HEROES
2X05: FIGHT OR FLIGHT
ORIGINAL AIR DATE ON NBC: 10/22/2007
TRANSCRIBED FROM NBC
Written by: JOY BLAKE & MELISSA BLAKE
Directed by: LESLI GLATTER
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
==========================
DISCLAIMER:
==========================
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==========================
SUMMARY: Matt and Nathan visit Maury, Matt’s father, who shows them their
worst nightmares. Mohinder takes Molly to the company despite Mr. Bennet’s warning
not to. Ando reads about Hiro’s journeys with Takezo Kensei. Micah helps Monica with
her abilities. Peter paints a predictive painting. While trying to find Peter, Elle kills
Ricky.
==========================
HEROES
2X05: FIGHT OR FLIGHT
==========================
FADE IN:
[EARTH (STOCK)]
MOHINDER (NARRATOR): Previously on Heroes ...
CAPTION:
PREVIOUSLY
FADE TO:
FADE IN:
[EXT. (NEW ORLEANS) DAWSON HOUSE – FRONT YARD -- NIGHT]
(Niki talks with Micah.)
NIKI: I'll only be gone for a while.
FRONT PORCH
(The front door opens and Micah smiles.)
NIKI: (v.o.) This is your chance at a normal life.
NANA: Welcome to New Orleans.
[INT. DAWSON HOUSE – LIVING ROOM – NIGHT]
(Monica sees that Damon and Micah are watching the wrestling match.)
MONICA: Is that pay-per-view?
DAMON: Micah's some type of genius and rigged the cable.
(CUT TO: Micah has his hand on the back of the television set, his eyes closed in
concentration.)
(CUT TO: On the television set, the wrestler does a "619" – where he grabs
the ropes, swings around sideways and kicks his opponent – who is hanging over the
same ropes – in the head.)
ZOOM IN to MONICA’S EYE as she processes the move she sees on the TV.
CUT TO:
[INT. (NEW ORLEANS) BURGER BONANZA – NIGHT]
(A customer forces his way into Burger Bonanza as Monica is locking up. He points a gun at
her.)
LATE CUSTOMER: I'll take everything you got in the register!
MONICA: Okay, okay!
(CUT TO: Monica grabs the pole, swings around and kicks the customer. He goes flying
backward through the glass, smashing it. He falls on the floor.)
[INT. (TOKYO) YAMAGATO INDUSTRIES – OFFICE -- DAY]
(Ando finds a secret compartment in the hilt of the Kensei sword. Inside, he finds several
rolls of parchment.)
HIRO: (v.o.) (subtitled) Ando, I write to you from the greatest adventure of my
life.
[EXT. (1671) -- DAY]
(Hiro writes on the small paper.)
DISSOLVE TO:
(Yaeko walks with Hiro, who is wearing Takezo Kensei’s armor.)
HIRO: (v.o.) (subtitled) Ando, I've met the most beautiful woman Japan has ever
seen.
DISSOLVE TO:
YAEKO: (subtitled) Take off ... your mask.
(Hiro takes a step back and holds his hand up to stop her.)
CUT TO:
HIRO: (v.o.) (subtitled) I’m sorry, Ando. I can’t come home. Not yet.
(Hiro turns and runs to catch up with Kensei and Yaeko.)
HIRO: Kensei!
CUT TO:
[INT. (NEW YORK) ISAAC’S STUDIO – DAY]
(Bob talks with Mohinder.)
BOB: You don't realize how valued you are here at the company. (He puts a hand on
Mohinder’s shoulder.) You're part of the family now.
LATER:
(Mohinder looks for the series of paintings.)
MOHINDER: (v.o.) I'm in over my head.
MR. BENNET: (to phone) As long as I'm alive, you will be taken care of.
[INT. (IRELAND) WANDERING ROCKS PUB]
(Peter uses his powers against Will and pins him up high against the wall.)
CAITLIN: Peter!
(Ricky shows Peter the box.)
RICKY: This here's everything you had on you when we found you.
LATER:
(Caitlin talks with Peter.)
CAITLIN: Your box or your life. You gonna open it, or what?
[INT. (NEW YORK) MOHINDER’S APARTMENT]
(Matt shows Mohinder the photo.)
MATT: Kaito Nakamura, murdered. Angela Petrelli, attacked.
MATT: (points) This is my dad. He may be the killer.
FADE TO:
(Molly interrupts Matt and Mohinder’s argument.)
MOLLY: I'll find your father.
(CUT TO: Molly is looking for Matt’s dad.)
MATT: Molly, what's the apartment number?
MOLLY: Nine.
MATT: Nine. Good girl. All right. Get out of there right now.
MOLLY: He sees me.
MATT: Get out of there.
MOLLY: Leave me alone! (screams) Aah!
(Molly passes out.)
MATT: No, no, no. Molly, please wake up.
FADE OUT.
END OF PREVIOUSLY ON
FADE IN:
[INT. (NEW YORK) MOHINDER’S APARTMENT -- NIGHT]
AN IV BAG
MOHINDER: (v.o.) When confronted by our worst nightmares, the choices are few:
fight or flight.
(Molly is in bed. Mohinder holds her hand and tends to her.)
CAPTION:
SURESH, PARKMAN, WALKER
BROOKLYN
MOHINDER: (v.o.) We hope to find the strength to stand against our fears. But
sometimes, despite ourselves, we run. What if the nightmare gives chase? Where can we hide
then?
(Matt stands and watches at the foot of the bed. Mohinder dabs Molly’s forehead with
a towel.)
MATT: Okay, when's she gonna wake up?
MOHINDER: I don't know, she's burning up.
MATT: All right, we gotta get her to a hospital.
MOHINDER: No hospital's equipped to deal with this.
(Matt sits on the edge of the bed.)
MATT: You really think my father did this to her ... in her nightmare?
MOHINDER: She used her ability to find him for you, and slipped into this.
MATT: She was so afraid. I never should have asked her to look for him.
MOHINDER: No, you shouldn't have. (Matt gets up.) But now you know where he is.
MATT: I can't just leave her like this.
MOHINDER: You have to. (Mohinder gets up.) If your father did something to her, you
need to find out what and how to end it. You have an address in Philadelphia. She even saw
his door.
MATT: I haven't seen the man in 25 years.
MOHINDER: Molly faced her worst nightmare for you. Do the same for her. Find him.
I'll stay here with her. I'll do everything I can.
MATT: I don't even know what I'm dealing with. Why was he in that photo?
(He stops and remembers something.)
MATT: Angela Petrelli ... she knows him.
(Matt goes to the bed.)
MATT: You're gonna be okay. (He kisses her forehead.) I promise.
(He turns and leaves.)
CUT TO:
[INT. (NEW ORLEANS) BURGER BONANZA – DAY]
(Monica talks with Officer Landry as she cleans up the glass on the floor.)
MONICA: I was about to lock up when this guy showed up. He--he pushed his way in,
shoved a gun in my face. Next thing I know he's flying through that glass.
CAPTION:
MONICA DAWSON
NEW ORLEAN
OFFICER LANDRY: You hit an armed man?
MONICA: I guess. Could've been a kick. I don't know; it all happened so fast.
OFFICER LANDRY: Is this the guy?
(He shows her a photo. It is.
OFFICER LANDRY: His name is Lonny Stills. He's a local gangbanger. He's already hit
three other fast food joints in the area this month. It fits his MO.
(Monica looks over at Camille, who is shaking her head.)
MONICA: Like I said, it's all a blur.
OFFICER LANDRY: Look, I know you don't want to be a snitch. It's dangerous. But in
order for me to get this guy off the street, I need somebody to step up and ID him. Be a
hero.
MONICA: I'm sorry, I can't do that.
OFFICER LANDRY: You know, I can't help a neighborhood that won't help itself. You
change your mind, you give me a call.
(He gives her his card and leaves.)
CUT TO:
[INT. (IRELAND) WANDERING ROCKS PUB -- DAY]
(Caitlin closes the pub.)
PETER: You closing up already?
CAPTION:
PETER PETRELLI
CORK, IRELAND
(She turns and heads over to him.)
PETER: It's the middle of the afternoon.
CAITLIN: I need a break.
(She kisses him.)
PETER: I could get used to this.
CAITLIN: Right, a guy who can throw a thousand volts out of either hand ...
settling for everyday life in a pub in Cork. I'm not sure it suits you.
PETER: Why not?
CAITLIN: Peter, just because you don't remember your past, it doesn't mean you
don't have one. Aren't you curious about who you are, or where you come from?
PETER: You've seen what I can do. There's a side of me that I can't control. Maybe
it's best if I don't dig too deep.
CAITLIN: I know the kind of man you are ...even if you don't. There's only good in
you. And I bet whatever's in that box will tell you the same thing.
(Peter looks at the box on the shelf behind the bar.)
PETER: Weren't you the one who didn't want me to look in that box?
CAITLIN: I only said that because you hadn't kissed me yet.
(He kisses her and picks her up.)
PETER: Now that you have, you done with me?
(He plants two kisses on her neck.)
CAITLIN: Mm ... gettin' there. (He turns and carries her to the back room.) After
all, a pretty boy like you, there's bound to be someone looking for you—friends, a
girlfriend.
PETER: Let 'em look.
(They kiss.)
(The door slams shut.)
CUT TO:
[EXT. DOCKS -- DAY]
(The place is busy as various containers are being moved around. Will steps out of a
container.)
WILL: Like I told you, you're not gonna find him in there.
(He turns around. A blonde woman is looking around the empty container.)
ELLE: But you're sure it was him?
WILL: Yeah. Found him cuffed inside there a few nights back. Poor sap. Didn't know
how he got there. Didn't even know his own name.
ELLE: Do you know where he is now?
WILL: Depends. Who's askin'?
(She shrugs and smiles at him.)
ELLE: Just me. I work for a company interested in keeping him out of trouble. Peter
is a ... dangerous guy.
WILL: Ha. You don't have to tell me that. He's in town. Place called Wandering
Rocks Pub.
(She turns and starts walking away.)
WILL: Hey, if he's so dangerous, sweetheart, why'd they send a little girl like you
in all alone?
(She smiles, then turns the corner and walks out of his view. She runs her hand along the
shipping container. Electrical sparks appear, causing the wood to leave burn markings.
ELLE: I can take care of myself.
FADE TO:
[TITLE CARD: HEROES]
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EPISODE TITLE]
CHAPTER FIVE
"FIGHT OR FLIGHT"
[INT. (NEW YORK) POLICE DEPARTMENT]
(Matt passes two officers.)
MATT: Bring her back to holding.
(The two officers leave. Nathan walks up to Matt.)
CAPTION:
PETRELLI & PARKMAN
MANHATTAN POLICE STATION
NATHAN: What do you think you're doing interrogating my mother without me there?
MATT: Relax. She didn't give me anything.
NATHAN: Of course she didn't give you anything. These people protect each other.
(Matt stops in front of the desk where an officer answering the phone gives him a
message.)
NATHAN: My mother's not a killer. I'm not gonna have her sit in jail for a crime
she didn't commit.
MATT: Neither am I. That's why I'm going to Philadelphia to see my father, figure
this whole thing out.
NATHAN: Let me come with you.
MATT: No! You're not a cop.
NATHAN: Listen, I'm guessing this isn't official police business. So if I'm there,
it won't really make a difference. Because officially, neither are you.
MATT: You don't understand. It's Molly. My father did something to her. She's in
trouble.
NATHAN: What do you mean "did something to her"?
MATT: Come here.
(They step away from the reception desk to talk privately.)
NATHAN: Did what?
MATT: He got inside her head somehow. I don't know how he did it, but I think it's
all connected -- to Kaito, to your mother. It could be dangerous.
(Nathan glances around him.)
NATHAN: I can take care of myself. Listen, I have to do this. Let me come with you.
MATT: Fine. We can probably get there faster. You know, 'cause you can, uh ...
(Matt nods upward at the ceiling.)
NATHAN: (no way) I'm not a cargo jet, Parkman.
MATT: Oh, please.
FADE TO WHITE:
[INT. (IRELAND) WANDERING ROCKS PUB -- EVENING]
(The door opens. Ricky and another man, a worker from the docks, enter. Ricky sees Peter
and Caitlin kissing against the wall in the back of the pub.)
RICKY: I need to talk to him.
(They look at him.)
RICKY: Alone.
(Caitlin steps away.)
RICKY: (to the worker) Tell him what you told me.
WORKER: This American girl, she’s hitting all the boys on the dock, looking for a
certain shipping container.
PETER: She say what she wanted?
WORKER: Yeah. You.
(Peter looks at Ricky.)
(The worker takes his beer and leaves them. Peter turns toward the bar.)
RICKY: No worries, boyo. I think I can help.
PETER: This is my problem.
RICKY: Not given what I just saw between you and my sister. (Peter nods.) You care
about her, don't you?
PETER: Right now, she's the only thing in my life that means something.
RICKY: Caitlin has a flat up the hill. Go there and stay until I call you. I'll
take care of your friend.
PETER: I could handle this myself.
RICKY: I don't doubt it. I've seen what you can do. But I've got an investment in
you now and some little blonde's isn't going to scare me off. Now go on. And don't be
telling Caitlin about any of this. She'll only worry sick.
CUT TO:
[EXT. (NEW ORLEANS) BEHIND BURGER BONANZA – DAY]
(Monica is sitting outside thinking about what she just did and she’s not happy about
it. The back door opens and Camille exits the building to join her.)
CAMILLE: Monica. (She runs over.) Well?
MONICA: Well, what?
CAMILLE: Well, are you gonna tell me what that was all about?
MONICA: Uh, I just didn't want some crackhead looking for revenge. So I said I
didn't recognize him.
CAMILLE: No, not that. I'm talking about the whole flying karate kick thing.
MONICA: Oh ... that.
CAMILLE: Mr. Lamont said he has never seen anything like it. How did you do that?
More importantly, why did you do that?
MONICA: I don't know. I don't know anything anymore. Nothing makes any sense.
CAMILLE: Well ... where did you learn how to ...
MONICA: I think -- I think on TV. Something is happening to me, Camille. My body
does things before my brain even knows what's happening. That thing with the tomatoes
yesterday? (Camille nods.) Now this. It's like ...
CAMILLE: Like what?
MONICA: I was supposed to be somebody, Camille -- the first person in my family to
go to college. Now look at me. You know what, never mind. I've been here since last night.
I'm just gonna go home and sleep it off.
(She takes a step to leave. Camille stops her.)
CAMILLE: Hey, Monica. Everything's gonna be okay.
(She gives Monica a hug.)
CAMILLE: Oh. Okay?
MONICA: Yeah. I hope so.
(Monica heads inside.)
WHITE FLASH TO:
[INT. (PHILADELPHIA) HALLWAY OUTSIDE MAURY’S APARTMENT – DAY]
CAPTION:
PHILADELPHIA, PA
(Matt and Nathan head toward apartment #9.)
MATT: All right, this is it. This is where Molly said we'd find him.
NATHAN: What are you planning, exactly?
(They stop in front of the door.)
MATT: Uh, I'm not sure.
NATHAN: You're not sure? He traumatized your girl. Has my mother terrified. You
better get sure. Get your gun out.
(Matt nods.)
NATHAN: Come on.
(Matt raises his arm to knock on the door, but his demeanor has Nathan concerned. He puts
a hand on Matt’s shoulder.)
NATHAN: Hey ... You okay?
MATT: When I was 13, my father ran out on us. I haven't talked to him. I haven't
seen him. I've spent half my life thinking about what I'm gonna say to this guy if I ever
got the chance. And now I can't even knock on the door.
(Nathan knocks on the door. Matt looks at him.)
NATHAN: You're welcome. Parkman, this is not a family reunion.
MATT: I know.
NATHAN: Okay. He's not your dad today. He is a suspect. Get your gun out.
(Matt puts his hand on his gun.)
MATT: (loudly) Police! Open up!
(Matt shoulders the door open.)
[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]
(Matt walks in. Nathan remains just inside near the door with his back against the wall.)
MAURY PARKMAN: (shouts) Who the hell are you?! (He cocks his gun.) I said who the
hell are you?!
MATT: Put the gun down and I'll tell you.
NATHAN: Parkman.
MAURY PARKMAN: Matt? Oh, my God. W-what are you doing here?
MATT: Put the gun down.
MAURY PARKMAN: Not till you tell me what the hell you're doing here!
MATT: I want to know what you're doing inside Molly Walker's dreams.
MAURY PARKMAN: Who?
MAURY PARKMAN: And what do you know about Kaito Nakamura's murder?
NATHAN: And while we're at it, why is Angela Petrelli protecting you?
MAURY PARKMAN: Wha--?
(Matt knocks the rifle away, grabs Maury and twists his arm behind his back.)
MAURY PARKMAN: Aah! Ow! Wait! What are you, a cop?
(Matt pushes Maury face forward up against the nearest wall.)
MAURY PARKMAN: Aah!
MATT: Right now I'm not, so you better start talking.
(Matt handcuffs Maury. Nathan steps out and picks up the rifle. He empties all the bullets
out of the chamber. Matt glances back at him.)
NATHAN: I'm good.
(Matt turns Maury around to face him.)
MAURY PARKMAN: Ow! You got it all wrong.
NATHAN: Ah. That why you're swingin' a shotgun?
MAURY PARKMAN: (motions) Because of that. On--on the desk.
(Nathan checks it out and picks up the photo. He shows it to Matt.)
MAURY PARKMAN: They're gonna kill me too.
(Matt looks down and sees Maury’s photo with the SYMBOL drawn in red over his face.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]
(Matt talks with Maury as Nathan looks around the small apartment.)
MATT: Tell me about Molly Walker. She's seen this symbol. She's seen you, and she
calls you the Nightmare Man.
MAURY PARKMAN: She's looking for me.
MATT: Yeah, and she saw you looking back at her, and now she won't wake up. So
whatever you did, undo it now.
MAURY PARKMAN: Sorry, I'm p-protecting myself.
NATHAN: Protecting yourself from who?
MAURY PARKMAN: Which one of her kids are you? You're the politician, right?
NATHAN: My mother is sitting in jail for Kaito's murder. They both received similar
threats. Both taken from the same picture ... the same photograph. You were all connected.
(Matt releases him.)
MAURY PARKMAN: Your folks, Kaito ... Linderman, me, we found each other years ago.
We -- we thought we could help people. Save the world.
(Matt slams Maury back up against the wall.)
MAURY PARKMAN: Oh!
MATT: The only thing you've ever wanted to save is your own ass.
MAURY PARKMAN: Still angry, huh, Matt? Feel better? Slapping the cuffs on your dad
make you feel good?
MATT: Oh, it's starting to, yeah.
NATHAN: This is a waste of time. Just read his mind so we can get the hell out of
here.
MAURY PARKMAN: What did you say?
(Maury looks at Matt.)
MAURY PARKMAN: You can...read minds? Yeah?
(Maury chuckles. Matt looks puzzled.)
MAURY PARKMAN: Go ahead.
NATHAN: Go on.
(Matt concentrates. He can’t get through. There’s massive feedback –
MAURY PARKMAN: Aah ...
MATT: God!
-- and backs away from the pain.)
MAURY PARKMAN: It's painful, isn't it?
MATT: How do you know that? Can you read minds too?
MAURY PARKMAN: See, Matt, you and I, we're not so different after all. Come on,
unlock these cuffs. I'll tell you everything I know. I promise.
WHITE FLASH TO:
[INT. (NEW ORLEANS) DAWSON HOUSE – LIVING ROOM – DAY]
(Micah is playing the piano.)
(Monica opens the door and walks in.)
NANA: Isn't it wonderful? We've got a musician in the house again.
(Monica walks up to the piano and watches Micah for a moment. Micah stops playing.)
MONICA: Nobody's touched that thing since my mother died.
MICAH: Oh, I'm sorry. Nana said I could, but if--
MONICA: Oh, yeah. It's okay. Please keep playing.
(Monica puts her bag down and sits down next to Micah. He starts playing.)
MICAH: You must really miss your mom.
MONICA: Yeah, I do.
MICAH: I miss mine too.
MONICA: Oh, I'm sure she's fine. And missing you right back.
MICAH: She wouldn't even tell me where she was going.
MONICA: You gotta remember she cares about you. I know new things can be scary. My
mom always said God doesn't give us anything we can't handle.
(Monica starts playing the same thing Micah plays, only a couple octaves higher. She
doesn’t appear to notice doing it.)
MICAH: You play piano too?
MONICA: No. Never learned.
(She turns and watches herself play. She repeats the phrase over and over going faster and
faster.)
(Suddenly, she stops. Spooked.)
(Monica gets up and backs away from the piano.)
MICAH: If you don't play, then what was that?
(She doesn’t know. Monica turns and leaves.)
CUT TO:
[INT. (NEW YORK) MOHINDER’S APARTMENT]
(Mohinder is on the phone. The phone rings.)
MR. BENNET: (from phone) Yes?
MOHINDER: (to phone) I've been trying to reach you for hours. Where have you been?
MR. BENNET: (from phone) I'm at work. Why?
INTERCUT WITH:
[EXT. (ODESSA) STREET]
(Mr. Bennet walks on the street as he talks on the phone. The Haitian is with him.)
MOHINDER: (from phone) It's Molly. She won't wake up, and her vitals are getting
worse. I'm running out of options here.
MR. BENNET: (to phone) Take her to the hospital.
MOHINDER: (to phone) And say what? That she's trapped in a nightmare? No, I am
taking her into the company.
MR. BENNET: (to phone) You can't be serious. These are the people we're fighting
against.
MOHINDER: (to phone) Molly won't last. Not like this. They are the only people who
can understand what's happening to her.
MR. BENNET: (to phone) Don't do this. The moment you trust them with what you care
about most, they'll have you. Don't forget whose side you're on.
MOHINDER: (to phone) I'm on her side.
(Mohinder hangs up and goes back to Molly’s room.)
(HOLD on Mr. Bennet.)
CUT TO:
[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]
(Matt talks with Maury. He uncuffs Maury. Nathan sits in the chair and watches them.)
MATT: All right, you gotta tell us everything. Every crime. Everyone you've ever
worked with. Everything.
MAURY PARKMAN: I'm so sorry. I'm so sorry I left you.
(He gives Matt a hug. Matt is uncomfortable and pushes him away.)
MAURY PARKMAN: It wasn't easy for me.
(Matt pushes Maury down in the nearest chair.)
MATT: Don't.
MAURY PARKMAN: I need to say it. When I found out I could read minds, it was a
temptation, I was weak. I used people. I was a real scumbag. You ... a cop. I'm so proud.
MATT: You don't get to be proud. You don't get to be anything. Just answer the
questions.
NATHAN: You said you tried to save the world. How?
MAURY PARKMAN: These gifts came out of nowhere. We just found each other, like we
were connected somehow. We thought we were invincible. A few of us took that to heart.
They started to do whatever they wanted. I did what I could to stop them.
NATHAN: Like what?
MAURY PARKMAN: (He looks at Matt.) This thing we can do, you and I. It only begins
at reading minds. And then it becomes so much more.
MATT: More how?
MAURY PARKMAN: I--I can't explain it. (He stands up.) No, hang on. I got something
I can show you. 'Cause it helped me understand it.
(He heads for the back rooms just past the kitchen.)
MAURY PARKMAN: Yeah, I got a bunch of stuff from back then.
(He points to the room doors.)
MAURY PARKMAN: It's--it's in here. Oh, come on.
(Matt sighs and follows him. Maury enters the room and turns off to the left.)
(Matt follows him inside.)
[INT. MAURY PARKMAN’S APARTMENT (#9) – BACK ROOM]
(Matt walks in and looks around.)
(The door slams shut behind him.)
[NATHAN]
(Nathan gets up and runs to the back room door.)
NATHAN: Matt?
(He presses his ear up to the door. Nothing. He tries the doorknob. It’s locked.)
NATHAN: (shouts) Matt!
[INT. MAURY PARKMAN’S APARTMENT (#9) – (MATT’S NIGHTMARE)]
(The back room is dark.)
MATT: (shouts) Dad? Hey, what's going on?
(The cell door opens. A shaft of light shines in from the outside. Matt turns away from
the sudden brightness.)
(The guard opens the cell door.)
GUARD: (distorted voice) [(backwards speech) You know the drill, Parkman; hands
against the wall.]
(Matt walks up to him.)
MATT: Hey, what the hell's going on?
(The guard steps forward, grabs Matt’s arm and slams him up against the wall.)
MATT: Where am I?
GUARD: (garbled) [(backwards speech) You abandoned your kid. You’re a dead
beat, and now you’re gonna pay.]
[NATHAN]
(Nathan is kicking the backroom door.)
(He slams his shoulder against the door and it opens. Nathan enters the room.)
[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]
(Nathan stops. He finds himself up on the Deveaux Building rooftop post-explosion. PULL
BACK to REVEAL the rooftop in shambles, the pigeon coop black and burned, the door hanging
off the doorframe.)
(Nathan steps out onto the rooftop and can’t believe his eyes. It’s his worst
nightmare.)
NATHAN: This is impossible. We saved the city.
(He looks out at the city around him. PAN AROUND Nathan to show the city in shambles.
Large billowing black smoke rises out between burning buildings. The city is on fire.)
[MATT]
(Matt stands in front of his cell door.
MATT: Let me out! It's a mistake. I'm not supposed to be here.
(The sliding panel over the window in the door opens and the guard looks into the cell.)
GUARD: Yeah, no one's supposed to be here.
(He closes the sliding panel.)
(Matt shakes his head.)
[INT. MAURY PARKMAN’S APARTMENT (#9) – BACK ROOM]
MAURY PARKMAN: (v.o., thoughts) Pleasant dreams.
(Maury steps out of the backroom and closes the door. He grabs his jacket off the kitchen
chair and heads out the front door.)
[INT. HALLWAY OUTSIDE MAURY PARKMAN’S APARTMENT (#9) -- CONTINUOUS]
(Maury closes the door and leaves.)
(He smiles.)
(CU: OF THE #9 YELLOW DOOR)
SMASH OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (TOKYO) MUSEUM OF CULTURAL HISTORY – RESTORATION DEPT]
(Curator Tatsuya Atsumi opens one of the Hiro scrolls.)
CAPTION:
ANDO MASAHASHI
TOKYO, JAPAN
(He looks at it under a magnifying glass.)
TATSUYA ATSUMI: (subtitled) Incredible. The ink and parchment look authentic.
(Tatsuya Atasumi talks with Ando as he studies the scroll.)
TATSUYA ATSUMI: (subtitled) Where did you get these?
ANDO: (subtitled) They were left to me by a friend. These are the more damaged
scrolls. I must know what they say. Please, will you help me?
(Tatsuya Atsumi sighs.)
TATSUYA ATSUMI: (subtitled) To be the first to read these ... I think I can help.
ANDO: (subtitled) Thank you, sir.
VARIOUS DISSOLVES OF: Tatsuya Atsumi works to make the scrolls readable. He brushes a
clear liquid on the writing and lets it dry.
TATSUYA ATSUMI: (subtitled) There we are. Let’s see, shall we?
(He puts the scroll under a camera and they can read it clearly on the monitor.)
HIRO: (v.o.) (subtitled) Dear Ando ...
(Tatsuya Atsumi looks at Ando. Ando chuckles.)
ANDO: (subtitled) It’s a common name.
HIRO: (v.o.) (subtitled) Dear Ando, I can’t believe I’m helping the
legendary Takezo Kensei ...
DISSOLVE TO:
[EXT. (1671) – DAY]
(Yaeko is painting)
HIRO: (v.o.) (subtitled) ... accomplish the very trials I read about as a boy
... Battling the "Angry Ronin," climbing the "Frozen Waterfall,"
finding "The Single Crimson Peony."
(PULL BACK to show Yaeko is sitting outside and painting. There are several paintings
lined up on the ground next to her.)
HIRO: (v.o.) (subtitled) Each trial brought us closer to rescuing Yaeko’s
father ...
(She’s sitting on the side of the road.)
HIRO: (v.o.) (subtitled) It’s like living in a storybook.
DISSOLVE TO:
(Hiro and Kensei run up to her. They’re both exhausted. Kensei is carrying a piece of
paper.)
HIRO: (v.o.) (subtitled) Only more tiring.
(Yaeko puts her painting down and goes to meet them.)
YAEKO: (subtitled) You have it? The final map to White Beard’s camp?
CAPTION:
FEUDAL JAPAN
1671
(Kensei has several pieces of folded papers. He and Yaeko open them up.)
KENSEI: (subtitled) Now we can find White Beard ... and rescue your father.
(Yaeko and Kensei put the open pieces of paper next to the others on the ground to
complete the scroll.)
HIRO: (v.o.) (subtitled) It was all going according to plan.
(Yaeko and Kensei together complete the scroll. They’re holding each other’s
hands. They turn and share a look.)
HIRO: (v.o.) (subtitled) The rescue ... And the blossoming love ...
CU: KENSEI AND YAEKO’S HANDS
HIRO: (v.o.) (subtitled) between Kensei and Yaeko.
(Hiro looks so sad.)
WHITE FLASH TO:
[INT. (NEW ORLEANS) DAWSON HOUSE – DAY]
(Seven tomato rosettes are on the cutting board. Monica stares down at the tomato rosettes
she made. The melancholy piano tune echoes in her head.)
(Micah walks up to her.)
MICAH: Monica.
(Monica quickly throws a hand towel over the rosettes, hiding them from Micah’s
view.)
MICAH: I think I know what happened with the piano.
MONICA: What can I say? Guess I'm just a musical genius.
MICAH: Or it's something else.
(She turns around and looks at Micah.)
MONICA: Look, it's been a hard couple days for me. In fact, it's been a hard couple
years. So I think I'm just gonna take a nice long nap, and sleep it off.
(She walks past Micah on her way out of the room.)
MICAH: Monica. (She stops. Micah walks up to the TV in the kitchen.) Do you
remember last night when I said I was able to rig the pay-per-view on the TV?
MONICA: Yeah.
(Micah puts his hand on the TV screen. He closes his eyes and concentrates.)
(The television set turns on by itself.)
REPORTER (MAN): (from tv) ... Construction, the rebuilding of downtown New Orleans
in full swing. People are returning, and looking for a fresh start. Restaurants, retail--
(The television set turns off. Micah looks at Monica and smiles.)
MICAH: Well, I lied.
MONICA: How did -- how did you –
MICAH: I think it runs in the family. I mean, maybe not exactly like me, but -- my
dad could walk through walls.
MONICA: DL?
MICAH: Yeah. And my mom ... Don't even get me started on my mom. But I think what's
going on with you is more like this.
(He shows her a 9th Wonders!, issue #10, comic book. She looks at it and tosses it
on the counter. The comic book cover reads, WHO IS ST. JOAN?)
MONICA: A comic book?
MICAH: Yeah. This is Saint Joan. She's a muscle mimic.
MONICA: A what?
MICAH: A copycat. Whatever she sees, she can do. That's just like what you did with
me and the piano.
(Monica thinks about it.)
MONICA: A copycat.
(Then it makes sense. She removes the towel off the tomato rosettes.)
MONICA: Copycat.
(She picks one up and shows it to Micah.)
MONICA: Look at this. I shouldn't know how to do this. I saw it on TV.
(Monica smiles, relieved.)
MONICA: Oh, my God.
MICAH: So if this is really happening to you, maybe we ought to go test it out.
(Monica looks at Micah.)
CUT TO:
[INT. (NEW YORK) THE COMPANY – MOLLY’S ROOM]
(Molly is asleep and is hooked up to a heart monitor.)
[INT. THE COMPANY – HALLWAY OUTSIDE MOLLY’S ROOM -- CONTINUOUS]
(Mohinder stands outside the room watching her through the window.)
(Bob walks out and joins him. He’s carrying a file folder.)
MOHINDER: (sighs) I didn't know where else to go.
BOB: Oh, you made the right choice. We're going to do everything we can for Molly.
In the meantime, we have someone else who needs us. And we would like you to bring her in.
MOHINDER: You're sending me into the field?
(He gives the file to Mohinder.)
BOB: Yes.
MOHINDER: Molly needs me here.
BOB: No, no, no. Molly is our top priority here, but we need you out there doing
the good work you do, helping others like her. And..uh..you're gonna need this.
(He gives Mohinder a taser.)
MOHINDER: This is how you help people? By tasering them?
BOB: Well, that's just standard procedure to make sure everyone's safe. A lot of
the people we encounter aren't in control of their abilities. But trust me, it's easier to
ask forgiveness than permission.
(Suddenly a loud commotion sounds. Alarms blare.)
MAN: (o.s.) (shouts) Niki's loose, grab her!
(Mohinder turns to check it out.)
MAN: (o.s.) (shouts) Down the hall.
MAN: (o.s.) (shouts) Grab her.
(He turns the corner and sees Niki walking up to him.)
MOHINDER: Niki?
(She pushes him aside, throwing him up high against the wall with her super-strength. He
grunts and smashes the glass. She turns to Bob, pushes him up against the wall, her hand
around his neck.)
(He gasps for breath, his feet dangling helplessly under him, a foot above the floor. She
continues to choke him.)
NIKI: Aah!
(Niki his zapped with a taser. She releases Bob and falls to the floor. We see Mohinder is
the one who fired at her.)
(Niki is rendered unconscious. Bob gets to his feet, his hand at his own neck as he gasps
for breath.)
MOHINDER: What the hell is going on here?
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (NEW ORLEANS) STREETS -- DAY]
(Monica and Micah walk along the street. There’s a lot of activity around them.)
MICAH: So do you want to try something really rad? Like a kick flip?
(He points to the boy on the skateboard going up a ramp. The boy kicks the skateboard and
jumps off the ramp.)
MICAH: Slam dunk?
(He indicates the guys on the basketball court playing. One of them runs and slam-dunks
the ball into the net.)
(Monica watches the girls double-dutch.)
MONICA: Well ... I always sucked at double-dutch.
(Monica watches them. The girls notice her.)
DOUBLE-DUTCH GIRL: You want somethin', lady?
(Monica continues to watch them. ZOOM IN on her eye as she processes the moves.)
(Monica glances at Micah. She goes for it.)
MONICA: Yeah. I want to jump in.
(Micah smiles as she heads over.)
MONICA: And don't call me lady.
(Monica looks at Micah, who encourages her. After a moment, she jumps in. The girls cheer.
Monica copies their moves and has a blast.)
(Micah has a blast as well, laughing along with her at the discovery of her ability.)
WHITE FLASH TO:
[INT. (IRELAND) CAITLIN’S FLAT – NIGHT]
(Thunder rumbles outside. The door opens. Caitlin walks in and puts her folded umbrella
down. She’s drenched from the rain pouring outside. Peter steps inside behind her.)
CAITLIN: It's not much.
PETER: I sleep in a pub, remember?
(He’s carrying his bag. Caitlin closes the door. Peter looks around the flat. He sees
her paintings – a windmill and hillside road.)
PETER: You paint?
(He puts his bag down and takes his jacket off.)
CAITLIN: Well, it's what I do to relax.
PETER: These are amazing. (Caitlin puts her keys down and removes her jacket.)
You're talented.
CAITLIN: Is that why you kidnapped me? So you could sort through me things? Don't
start liking me less now that you're peeling away the mystery.
PETER: I just ... wanted to see where you lived. Lie on a real bed maybe.
CAITLIN: No one's stopping you.
(Caitlin goes to sit on her bed. Peter looks out the window.)
CAITLIN: What are you looking at?
PETER: Nothing.
CAITLIN: Then what is it that's on your mind?
PETER: You were right. (He turns and walks over to his bag.) Whatever I was,
whoever I am ... I have to face it.
(He takes out his box. He goes and sits on the bed in front of Caitlin.)
PETER: Nothing that I find in this box is gonna change anything. Whatever my life
was before, this is where I want to be now ... with you. Okay?
CAITLIN: Okay. Get on with it then.
(Peter looks at the box and sighs as he opens the box. He finds his passport and plane
ticket.)
(He opens his passport.)
CAITLIN: Peter Petrelli?
PETER: From New York.
(She looks at the plane ticket.)
CAITLIN: Looks like you were leaving. This is an open ticket, New York to Montreal.
(He takes out a photo of him and Nathan.)
CAITLIN: Who's that?
PETER: I wish I knew. None of this tells me how I got here, what I'm supposed to
do.
(Peter gets up in frustration. He turns and stops when he sees the blank canvass on the
easel.)
(The white canvass morphs and changes right before his eyes – a picture emerges.
Peter squints and heads over to the canvass.)
CAITLIN: What is it?
(He reaches out his hand to touch the moving picture and gasps.)
(He looks at the canvass, then grabs the pallet and squeezes out some paint on the board.
Caitlin goes over to him.)
CAITLIN: Peter?
(Peter’s eyes are on the canvass and the picture he sees. He closes his eyes. When he
opens his eyes, his pupils are white.)
CAITLIN: Oh, my God, Peter!
(Peter starts to paint.)
CUT TO:
[INT. WANDERING ROCKS PUB – NIGHT]
(Thunder rumbles outside. Ricky is carrying a box out from the back when he stops. Elle is
there in the pub waiting for him.)
ELLE: You know, I've never been in an Irish pub before. Do you have haggis?
RICKY: That's Scotland, love. We have stew. And mussels. And stew. But I'm closing
up.
ELLE: Oh, well ... Yeah, I was hoping you could help me. I'm looking for a guy.
RICKY: Best time for that's right after a football match. The fellas are locked out
of their minds. Up for anything.
(She gives a weak, humorless laugh. She shows him a photo of Peter.)
ELLE: His name is Peter Petrelli.
RICKY: Never seen him before.
ELLE: Never seen him before?
RICKY: No.
ELLE: Cool. Thanks.
(She smiles and turns to leave. She stops.)
ELLE: The thing is, I talked to a few people from the docks. They said they saw him
in here.
RICKY: I don't know what to tell you.
ELLE: Hmm. So either you're lying, or all those other people are lying. It's just
kinda hard to tell who's lying, you know?
RICKY: Like I said ... I don't know this Peter. That it now?
ELLE: I guess so.
(She turns to leave.)
RICKY: Sorry I couldn't be more help.
ELLE: Yeah. So am I.
(Elle locks the front door and ZAPS it, melting it.)
(She turns and throws a beam of electricity at Ricky.)
CUT TO:
[INT. (NEW YORK) THE COMPANY – NIKI’S ROOM – NIGHT]
(Bob uses his penlight on Niki’s eyes.)
BOB: You gave us quite a scare.
(Niki is strapped in bed.)
NIKI: I'm sorry about earlier. I'm feeling much better now. Thank you.
BOB: We knew it wouldn't be easy. Multiple-personality disorder is a terrible
affliction, but we're gonna get you well again. I promise.
NIKI: Thank you.
(Bob leaves. As soon as the door closes, Mohinder reaches for Niki’s wrist straps to
release her.)
MOHINDER: I'm gonna get you out of here.
NIKI: I can't leave.
MOHINDER: Niki, you're a prisoner.
NIKI: I'm not. I came here on my own. I gave up my son to be here. I'm sick.
(Mohinder glances at the door.)
NIKI: I didn't think anyone could ever understand my problems. What I've done. What
I'm capable of. These are the only people that can help me.
CUT TO:
[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]
(Nathan looks out at the burning city in front of him. Ash rains like flurries on the
city. He stares out at the destruction, unmoving and in shock.)
VOICE: (raspy) Nathan.
(Nathan turns around. He sees another figure on the ground on the rooftop.)
NATHAN: Peter?
(The figure starts to get up. Nathan heads over.)
NATHAN: Peter!
(Nathan kneels down, a bright smile on his face.)
NATHAN: Peter, I knew it. I knew you could survi--
(The man on the rooftop looks at Nathan. He IS Nathan – scarred and burned, his
features deformed and hideous.)
(Nathan’s smile fades.)
NATHAN: You.
(Nathan backs away.)
NATHAN 2: You can't run from me, Nathan.
INTERCUT WITH:
[INT. PRISON CELL – (MATT’S NIGHTMARE)]
(A baby cries.)
(Matt turns around and finds a baby on the floor.)
MATT: There's a ... baby. (shouts) Hey, you've gotta get this baby out of here!
(There’s no answer. Matt looks at the door.)
MATT: (shouts) Hey!
(The baby continues to cry. Matt turns around and finds Janice in the cell carrying the
crying baby.)
MATT: Janice? What are you doing in here?
(Janice doesn’t answer him.)
MATT: Is that-- Janice ... Is that baby mine? You said I wasn't the father.
JANICE: But you read minds. You looked into my head and you saw the truth, but you
still left.
MATT: No. No, I didn't. I didn't know.
JANICE: You left him. (She walks over to him.) Just like your father left you. Just
like you're gonna leave Molly.
(She walks past him toward the door. The guard opens the door for her.)
MATT: No.
(She steps out of the cell.)
MATT: No, Janice.
(He starts to follow her, but the guard stops him.)
MATT: Janice! Hey --
(The guard slams him up against the cell wall.)
INTERCUT WITH:
[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]
(Nathan 2 pushes Nathan away from him.)
[INT. PRISON CELL – (MATT’S NIGHTMARE)]
(Matt falls on the floor.)
[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]
(Nathan 2 advances on Nathan. Nathan backs away from him.)
NATHAN 2: You're no hero. Everybody's dead because of you.
NATHAN: We have to stop it.
NATHAN 2: You can't. You don't want redemption. You want ignorance.
(Nathan 2 pushes Nathan backward toward the edge of the building.)
NATHAN 2: Let's go over the edge. You won't feel anything.
(Nathan 2 grabs the front of Nathan’s shirt and suit.)
NATHAN 2: You never do.
(Nathan turns and flips Nathan 2 onto the edge of the building.)
NATHAN: You don't know me.
NATHAN 2: I am you.
(Nathan 2 butts his forehead hard against Nathan’s head.)
[INT. PRISON CELL – (MATT’S NIGHTMARE)]
(Matt butts his forehead hard against the guard’s head.)
(Matt pushes away from the wall.)
[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]
(Nathan 2 punches Nathan in the face.)
[INT. PRISON CELL – (MATT’S NIGHTMARE)]
(Matt rams his head in the guard’s abdomen, pushing the guard all the way back to the
far wall.)
[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]
(Nathan 2 rams his head in Nathan’s abdomen, pushing Nathan all the way back to the
pigeon coop.)
(The guard hits the wall and grunts upon impact.)
(Nathan hits the wall and grunts upon impact.)
(Matt punches the guard low repeatedly in the abdomen.)
(Nathan 2 punches Nathan low repeatedly in the abdomen. Nathan 2 punches Nathan in the
face.)
(Nathan turns and head-butts Nathan 2.)
(The guard turns and head-butts Matt.)
(Nathan and Nathan 2 grab each other, fall and roll on the ground.)
(The guard and Matt grab each other, fall and roll on the ground.)
(Matt straddles the guard and starts hitting him.)
(Nathan 2 straddles Nathan and starts hitting him.)
(Matt continues to hit the guard.)
(Nathan 2 continues to hit Nathan.)
(Matt continues to hit Nathan.)
(Matt stops. What the hell just happened?)
(The guard takes the opportunity in the break in Matt’s concentration and rolls them
over to straddle Matt.)
(Nathan rolls over and straddles Nathan 2.)
(Nathan starts to hit Matt.)
(Matt tries to stop him. He grabs Nathan by his chin and pushes him away, but all Nathan
sees is Nathan 2, not Matt. He starts to choke Nathan 2.)
(Nathan 2 laughs at Nathan as Nathan chokes him.)
(Nathan continues to choke Matt.)
MATT: Stop it, Nathan! Nathan, wake up! Wake up!
(Nathan hears Matt’s voice.)
(Matt concentrates on sending his thoughts to Nathan.)
MATT: (v.o., thoughts) (echo-y) Nathan ... wake up. Wake up. Nathan, wake up.
(Nathan sees Nathan 2.)
MATT: (v.o., thoughts) (echo-y) Wake up.
(Nathan 2 morphs into Matt.)
MATT: (v.o., thoughts) (echo-y) Wake up!
(Nathan sees Matt and lets him go.)
[INT. MAURY PARKMAN’S APARTMENT (#9) – LIVING ROOM]
(Matt and Nathan are on the floor in Maury’s living room. Matt pushes Nathan off him.
Both men are panting.)
(Matt looks around and finds them back in Maury’s living room.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]
(Nathan sits up. Nathan is still getting his bearings.)
NATHAN: What happened?
MATT: Now we know why Molly calls him the Nightmare Man.
(Nathan sits up.)
NATHAN: You stopped it. How'd you do that?
(Matt stands up. Nathan gets up and helps him up as well.)
MATT: I don't know.
(Matt looks around the place as if he’s searching for something.)
MATT: Oh, he's gone.
NATHAN: What are you looking for?
MATT: We need to know where he went. Why he's doing this. Something to --
NATHAN: To what?
MATT: I knew this was a con. I knew I couldn't trust him.
(Frustrated, Matt throws the papers on the desk on the floor. Nathan takes a step back as
he watches him.)
(Nathan looks down and sees a torn photo on the floor. Nathan picks it up. It’s of
Bob and it has the SYMBOL in red over his face.)
NATHAN: I think I know where he's headed. That's Bob. He's one of them.
MATT: He runs the company.
NATHAN: Not for long. Looks like he's next.
WHITE FLASH TO:
[INT. (TOKYO) MUSEUM OF CULTURAL HISTORY]
(Curator Tatsuya Atsumi opens the next scroll under the camera. He and Ando read it.)
HIRO: (v.o.) (subtitled) So, we were on our way to take on White Beard ... and
save Yaeko’s father. History was back on track ... But the battle with White Beard
was going to put love on hold.
DISSOLVE TO:
[EXT. (1671) WHITE BEARD’S CAMP – DAY]
(Kensei, Hiro and Yaeko walk over the hill.)
KENSEI: According to the map, White Beard's camp should be right over this ridge.
HIRO: We should leave Yaeko here then. (in Japanese, subtitled) Yaeko, please stay
here. For your safety.
(Yaeko hurries past Hiro to speak directly to Kensei.)
YAEKO: (subtitled) My father taught me well the way of the sword. I will not stay
behind. I will fight with you to rescue him.
(Kensei looks at Hiro. He nods.)
KENSEI: (subtitled) As you wish ... my love.
(She takes his hand.)
KENSEI: (subtitled) We will defeat White Beard together.
(They walk to the top of the hill. Voices come from down below. They look out and see the
land covered with tents.)
KENSEI: Right after we defeat his entire army.
(Hiro swallows.)
HIRO: (v.o.) (subtitled) Yes, Ando. Tonight, we will attack.
(CAMERA stops on each of their expressions.)
DISSOLVE TO:
[INT. (TOKYO) MUSEUM OF CULTURAL HISTORY (PRESENT)]
HIRO: (v.o.) (subtitled) Three of us against an army. I fear --
(And then it stops.)
ANDO: (subtitled) "Fear" what? (Ando looks down at the scroll.)
What’s next? I can’t read the next words!
TATSUYA ATSUMI: (subtitled) These are still too damaged. I need more time. I’m
sorry.
ANDO: (subtitled) But, I must know what happens next. With the army! With Yaeko!
Does Hiro survive?
(Ando looks at Atsumi.)
TATSUYA ATSUMI: (subtitled) How would I know?
(Ando sighs in frustration.)
CUT TO:
[INT. (NEW ORLEANS) DAWSON HOUSE – LIVING ROOM]
(Monica is watching channel 46, the Living Room Channel. She’s watching a soap opera
where two characters are kissing under a tree. She changes to channel #43, the Gulf News
Channel, then to channel #53, the All-Cartoon Channel. She stops on channel #52, Brava.
She watches the Weekly Martial Arts Movie.)
(She puts the remove down, watches the martial arts moves, then mimics them on the living
room floor.)
(Micah walks in and smiles as he watches her.)
MICAH: That is amazing.
(She stops and looks at him.)
MONICA: Yeah. I know. But what do you think it all means? Having these -- these
powers.
MICAH: I think it means that we're special.
MONICA: But why? I mean, all this time I've been praying to God to give me
direction, to show me what I'm supposed to do with my life. Of all the things he could
give to me ...
MICAH: Maybe we're supposed to do something with these.
MONICA: I just wish I knew what. It is way past your bedtime.
(He chuckles.)
MONICA: Hey, this is our little secret. Right?
(They lock pinkies to seal the promise.)
MONICA: All right.
MICAH: I know it's scary at first, but this is a good thing. I promise.
(She gives him a hug.)
MONICA: I'm just looking for some answers. That's all.
(He turns and heads to his room.)
(There’s a knock at the front door. Monica turns and goes to answer it.)
(She opens the door and finds Mohinder on the front porch.)
MOHINDER: Monica Dawson?
MONICA: Yes.
MOHINDER: I'm Dr. Mohinder Suresh. May I?
(She opens the outer door.)
MONICA: Can I help you?
MOHINDER: I'm sure you have lots of questions about what's happening to you. Well,
I have some answers.
WHITE FLASH TO:
[EXT. (IRELAND) STREET – NIGHT]
(It’s raining outside a parked blue car.)
ELLE: (to phone) Hi. Yep. I'm fine. Weather could be better. No, not yet, but I
will. He's here. Had to improvise a little, but ... (pause) No, I mean, I just had to use
a little ... persuasion, that's all. (pause) For -- no, it was just some guy. And, I --
all right, I killed him, okay? What is the big deal? (pause) What do you mean? Now?
(pause) This is my assignment. And I almost have him. (pause) What if I promise not to
– (pause) Fine. I'll come home now.
(She starts the car.)
ELLE: (to phone) Sorry, Daddy. It won't happen again.
(She hangs up.)
(She drives away.)
CUT TO:
[INT. (IRELAND) CAITLIN’S FLAT – NIGHT]
(Peter’s still in his trance as he paints. He’s putting the final touches on the
painting, then gets out of the trance. He looks at the painting. It’s of them –
Peter and Caitlin – in front of a building door.)
PETER: What happened?
CAITLIN: I don't know. Apparently you're a genius of an artist too.
PETER: I painted that? How?
CAITLIN: How do you shoot lightning from your hands? All I know is your eyes went
dead, and you couldn't be stopped. Until there was this. Is that us?
PETER: I don't know, maybe. What do you think this is?
CAITLIN: A church?
PETER: The street signs are in French.
CAITLIN: Could be Montreal. Like the plane ticket.
(Caitlin’s phone rings. She answers it.)
CAITLIN: (to phone) Hello? (pause) What?
ABRUPT CUT TO:
[INT. WANDERING ROCKS PUB – NIGHT]
(The doors burst open. Caitlin rushes in. She’s drenched and in a panic. Peter is
right behind her.)
CAITLIN: (screaming) Ricky? Ricky!
(Peter grabs her and stops her from running over to Ricky’s burnt corpse. Tuko is
kneeling next to the body.)
CAITLIN: (wailing) Oh, my God, Ricky! (crying) Ricky!
PETER: Look at me. Look at me. Hey, this is my fault. Okay, they were looking for
me.
CAITLIN: No, no, no, no ...
(She hits him as she cries. Peter grabs her and they collapse to the floor.)
CAITLIN: (sobbing hysterically) Ricky ...
(Peter holds her.)
PETER: I'm gonna find 'em, okay? I'm gonna find 'em. I can't hide anymore. I can't
hide.
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/
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==========================
TITLE/OPENING CREDITS
==========================
HEROES
2X05: FIGHT OR FLIGHT
ORIGINAL AIR DATE ON NBC: 10/22/2007
TRANSCRIBED FROM NBC
Starring:
DAVID ANDERS as Takezo Kensei (Adam Monroe)
KRISTEN BELL as Elle Bishop
JACK COLEMAN as Mr. (Noah) Bennet (HRG)
DANA DAVIS as Monica Dawson
NOAH GRAY-CABEY as Micah Sanders
GREG GRUNBERG as Matt Parkman
ALI LARTER as Niki Sanders
JAMES KYSON LEE as Ando Masahashi
MASI OKA as Hiro Nakamura
ADRIAN PASDAR as Nathan Petrelli
SENDHIL RAMAMURTHY as Mohinder Suresh
MILO VENTIMIGLIA as Peter Petrelli
Guest Starring:
JIMMY LEAN-LOUIS as The Haitian
ALAN BLUMENFELD as Maury Parkman
HOLT MCCALLANY as Ricky
ERIKO (TAMURA) as Yaeko
LISA LACKEY as Janice (Parkman)
KATIE CARR as Caitlin
JEANETTE BROX as Camille
ADAIR TISHLER as Molly Walker
with
NICHELLE NICHOLS as Nana
and
STEPHEN TOBOLOWSKY as Bob (Robert Bishop)
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
Executive Producer: GREG BEEMAN
Executive Producer: ALLAN ARKUSH
Executive Producer: DENNIS HAMMER
Executive Producer: TIM KRING
Written by: JOY BLAKE & MELISSA BLAKE
Directed by: LESLI GLATTER
==========================
END CREDITS
==========================
nbc.com
* Tailwind Productions
* NBC Universal Television Studio
Co-Starring:
DOMINIC KEATING as Will
ADETOKUMBOH M’CORMACK as Tuko
JONATHAN T. FLOYD as Officer Landry
MIO TAKADA as Curator (Tatsuya Atsumi)
JAMES STORM as Fitzpatrick
LAIVAN GREENE as Braces
CHRISTOPHER GUYTON as Guard
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 PAKASKI
Story Editors: JOY BLAKE & MELISSA BLAKE
Story Editor: CHUCK KIM
Unit Production Manager: CATHY MICKEL GIBSON
First Assistant Director: ROBERT SCOTT
Second Assistant Director: DIANE CALHOUN
Costume Designer: DEBRA McGUIRE
Art Director: MATTHEW JACOBS / TOM TAYLOR
Set Decorator: RON V. FRANCO
Property Master: ROSS ANDERSON
"A" Camera Operator: PETER MERCURIO
"B" Camera Operator: BOB SEAMAN
Costume Supervisor: NANCY GOULD
Costume Supervisor: 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
Special Makeup Effects: GLENN HETRICK / BRYAN BLAIR / RICHARD MAYBERRY
Isaac’s Artwork by: 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 GRIGSBY
Stunt Coordinator: SCOTT WILDER
"A" Camera 1st Assistant: DAVID WHITE
"B" Camera 1st Assistant: GAVIN ALCOTT
Script Supervisor: VARLERIE 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 GRENAUDIER
Visual Effects Producer: MARK SPATNY
Assistants to Co-Executive Producers: foz mcdermott / PIERLUIGI COTHRAN
Assistants to Executive Producer: JIM MARTIN / TIMM KEPPLER / KELLY SULLIVAN / ERIN
FITZGERALD
Promotional Consideration Furnished by: DELL / SPRINT
Clips Furnished by: TELEMUNDO NETWORK / CONCORD MOON LP / UNIVERSAL STUDIOS LICENSING LLLP
(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:12/10/2007~lky
http://www.kilohoku.com/