Heroes S01E02 Don't Look Back Lyrics

SUMMARY: After stepping off the roof of a building to prove he can fly, Peter wakes up in a hospital, confused by the details of what happened. He learns that his father had depression and committed suicide. He also learns he can fly. Mr. Bennet has the video tape of Claire regenerating. Mohinder catches a man wire-tapping his phone and meets his neighbor Eden McCain. He also finds a flash drive with his father's work on it. Isaac paints a mural of New York exploding and shows it to Simone who doesn't believe he can paint the future. Brody Mitchum, the star quarterback of Union High, shows an interest in Claire. Jackie takes credit for rescuing the man in the train wreck. Niki wakes up and finds the two thugs dead. She also finds more bodies her alter-ego has buried. Matt Parkman uses his telepathy to find a little girl whose parents were killed by Sylar. He's then arrested by FBI Agent Audrey Hanson, suspecting he may be involved in the murders. Hiro time travels to future New York, finds Isaac dead and witnesses the city's destruction.
==========================
HEROES
1X02: DON'T LOOK BACK
==========================

FADE IN:

[t__LE CARD: HEROES]

NARRATOR: (v.o.) Previously on Heroes

VARIOUS CU OF: PETER PETRELLI / NIKI SANDERS / ISAAC MENDEZ / CLAIRE BENNET / HIRO NAKAMURA

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

(Claire Bennet falls off the tall structure as Zach video tapes her.)

NARRATOR: (v.o.) From the cheerleader who realized she's invincible --

(Claire snaps her dislocated shoulder into place.)

CLAIRE: (v.o.) I have busted, like, every bone in my body--

(Claire talks with Zach.)

CLAIRE: -- and I don't have a scratch on me.

(Hiro Nakamura concentrates on the second hand on the clock.)

NARRATOR: (v.o.) -- to the office worker who can bend s___e and time.

(The second hand stops.)

NARRATOR: (v.o.) These strangers are discovering they were meant for something more.

(Peter Petrelli dreams of flying.)

PETER PETRELLI: Do you ever get the feeling that you were meant to do something extraordinary?

[CU: MOHINDER SURESH]

(Dissolve to: The file folder with the label: HUMAN FLIGHT POTENTIAL.)

(Dissolve to: The tape cassette case labeled: TELEPORTATION.)

NARRATOR: (v.o.) And as a son seeks the truth by finishing his father's work, --

(Mohinder looks at a framed photo of him in graduation garb with his father, Chandra Suresh.)

(Cut to: Mohinder talks with Nirad as he hurries across the street market toward his father's apartment.)

MOHINDER: I spoke to him two days ago. He was this closer to finding the first of "them."

(Cut to: Mohinder stops the cab he's driving and runs out into the street as fast as he can - away from the cab and from the man sitting in the backseat.)

NARRATOR: (v.o.) -- he's forced to run from the man surrounded in mystery.

(Mr. Bennet steps out of the cab.)

(Mr. Bennet is in Chandra Suresh's apartment.)

MR. BENNET: He left everything behind but his computer.

(Mohinder runs out the open door his arms full of whatever he can carry.)

(Mr. Bennet walks around the large wall map.)

(Dissolve to: Mr. Bennet puts his horn-rimmed glasses on.)

NARRATOR: (v.o.) A man who's more connected than anyone imagined.

[CU: MR. BENNET]

(Cut to: Claire welcomes her father home.)

CLAIRE: Hi, daddy!

MR. BENNET: Hey, baby!

(Mr. Bennet hugs Claire.)

CUT TO:

[t__LE CARD: HEROES]

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

FADE OUT TO
END OF (NBC) PREVIOUSLY ON

FADE IN:

[EPISODE t__LE]
CHAPTER TWO
"DON'T LOOK BACK"

[EXT. (NEW YORK) ROOFTOP - DAY]

(Peter Petrelli stands on the edge of the rooftop.)

MOHINDER: (v.o.) We all imagine ourselves the agents of our destiny, capable of determining our own fate. But have we truly any choice in when we rise or when we fall? Or does a force larger than ourselves bid us our direction?

(SLOW MOTION: With his arms spread wide, Peter leans forward and falls off the building, gracefully into a swan dive.)

MOHINDER: (v.o.) Is it evolution that takes us by the hand? Does science point our way?

(As he falls head first down to the ground, Nathan flies up to him and grabs his arm. They twist and turn in a spiral as the weight of the two pull them downward.)

MOHINDER: (v.o.) Or is it God who intervenes, keeping us safe?

(Peter slips and falls.)

[INT. HOSPITAL - PETER'S ROOM - DAY]

(Peter gasps as he wakes up. Nathan grabs his shoulder.)

NATHAN: Whoa, whoa. Easy, buddy.

(Peter is in a hospital bed.)

PETER: Where am I?

NATHAN: You're in a hospital.

PETER: What happened?

NATHAN: You don't remember?

CAPTION:
NATHAN AND PETER PETRELLI
MID-TOWN, MANHATTAN

PETER: (sighs) No.

NATHAN: You jumped, Pete.

PETER: Jumped?

(He groans and sits up.)

NATHAN: Yeah. Off the roof of a 15-story building. You tried to kill yourself. You were a little wound up yesterday, but I thought you were just being you.

PETER: What are you talking about? I didn't ... I didn't try to kill myself. You were in the alley below. I jumped, and ... you ... you flew.

NATHAN: I what?

PETER: You flew up and you caught me.

NATHAN: You jumped ... Peter. Twenty-five feet to a fire escape. I climbed up and carried you down. That's what happened. The rest is just crazy talk. You understand?

CUT TO:

[EXT. (TEXAS) TRAIN TRACKS - DAY]

(Fireman fight a fire. The entire area is closed off.)

(FAR WIDE SHOT: A train derailed and is on fire. several cars burn as firefighters work on putting the blaze out.)

(Claire runs toward the fire.)

(Zach stands outside the police barriers and video tapes Claire vanishing into the smoke-covered road.)

(Claire runs into the fire-burning train cars. She stops, looks around and sees a man hurt inside. She helps him up.)

FAR WIDE SHOT: BURNING WRECKAGE

(Camera pulls out and the wreckage is the photo on the front page of the ODESSA REGISTER. The headline reads: TRAIN DERAILS, EXPLODES. The article t__le reads, "Mysterious Good Samaritan Saves Man.")

[INT. BENNET RESIDENCE - KITCHEN - DAY]

(Claire is reading the newspaper.)

CLAIRE: Dad ...

(Mr. Bennet is standing in front of the stove cooking breakfast.)

CLAIRE: ... you mind if I talk to you about something?

CAPTION:
CLAIRE BENNET
ODESSA, TEXAS

(He puts the spatula down and picks up the pitcher of orange juice. He grabs a glass.)

MR. BENNET: You pregnant?

CLAIRE: What? No.

(He pours a glass of orange juice.)

MR. BENNET: You doing drugs?

CLAIRE: Dad!

(He puts the glass and the pitcher down on the counter and heads back to the stove.)

MR. BENNET: Actually ... I already know what it's about.

CLAIRE: You do?

MR. BENNET: It's about wanting to know who you really are. Your mother told me that you've been asking about your birth parents.

CLAIRE: Well, I think it's time that I knew.

MR. BENNET: Well, I have a few questions first. Not the least of which is why now?

CLAIRE: I'm just wondering, that's all. You know, what they're like, what they can do.

MR. BENNET: What they can do?

CLAIRE: Yeah, like hobbies and ... skills.

(He picks up the frying pan and walks back to the counter where he fills Claire's plate.)

MR. BENNET: You know, I don't ... mean this to be condescending. Even though you're gonna say I'm being condescending. But I really do believe that this is an adult decision.

CLAIRE: You're right. That is condescending.

MR. BENNET: Claire, there are gonna be issues. You're going to have issues. They're going to have issues. It's very complex, emotionally.

CLAIRE: Yeah, well, so am I.

MR. BENNET: Well, exactly.

(He offers her the breakfast plate. She takes it from him.)

MR. BENNET: Look, here's my advice, if you'll indulge me. Just ... keep things light and fun as long as you can. Like cheerleading.

CLAIRE: Being a cheerleader is hard work. Hard, treacherous work.

MR. BENNET: Of course it is, sweetheart.

CLAIRE: I don't wanna be late.

MR. BENNET: Hey ... (He kisses her cheek.) I just don't want you to be in such a hurry to grow up, okay? Trust me. I actually know a few things.

(Claire doesn't say anything. She turns and leaves. We hold on Mr. Bennet. After a moment, he turns and looks at the newspaper on the counter.)

CUT TO:

[INT. (NEW YORK) MOHINDER'S APARTMENT -- DAY]

CAPTION:
MOHINDER SURESH
BROOKLYN, NEW YORK

(The door opens and Mohinder walks into the apartment. He removes his satchel as he heads deeper into the apartment. He starts to remove his shirt. He turns around and sees a man in the next room. He's under the table working on something. The man doesn't notice Mohinder.)

(Mohinder puts his shirt back on. He picks up a heavy elephant and quietly sneaks up on the man. The man backs out from under the table.)

MOHINDER: (loudly) Who are you?!

(He moves quickly, his hands raised above his head.)

EXTERMINATOR: Whoa, whoa, whoa! Sorry, sorry! Easy, easy. (He stands up.) Your super let us in. We're doing the whole building today. I just got done with the lady with the dog and the cough.

(The man indicates his spray tank next to him.)

EXTERMINATOR: Almost done here.

(The exterminator picks up the spray can and Mohinder looks under the table and sees the open wiring and the electronics keypad in the exterminator's metal tool box.)

EXTERMINATOR: Uh, listen, it looks like some c___roaches might have infested your, uh, uh ... floorboards.

(Mohinder doesn't put down the metal elephant. The Exterminator looks at him and shakes his head.)

(Suddenly, he swings the canister at Mohinder's head. Mohinder ducks and swings the elephant, hitting the exterminator in the knee. The exterminator falls down.)

MOHINDER: Who are you?! What did you do to my father?

(The exterminator kicks Mohinder who goes flying backward across the room. He lands on the floor with a thud. The exterminator gets to his feet and pulls out a gun.)

(Mohinder scrambles backward.)

EXTERMINATOR: Let's take a little breather, huh, Professor?

MOHINDER: I suppose the c___roaches are the least of my problems.

EXTERMINATOR: Yeah, no argument there.

MOHINDER: Did you kill my father?

(The exterminator backs away and picks up his metal tool kit.)

EXTERMINATOR: I think we're done here, don't you? So I'll tell you what. Have a really great day.

(He tucks the tool kit under his arm and backs away. He turns and heads for the door.)

(Mohinder gets to his feet and chases after him.)

[INT. HALLWAY OUTSIDE MOHINDER'S APARTMENT - CONTINUOUS]

(The exterminator exits Mohinder's apartment just as Eden returns home carrying two grocery packages. He b__ps into her. She falls and drops her grocery packages; he drops his metal tool kit.)

(Mohinder runs out of the apartment and grabs the exterminator from behind. The two struggle. The exterminator drops his gun and smashes Mohinder up against the hallway wall.)

MOHINDER: Uhh!

(Eden picks up the gun and c___s it.)

(The exterminator elbows Mohinder. Both men freeze at the sound of the gun and turn to look at Eden.)

(Both men put their hands up.)

EXTERMINATOR: Hey, look, I'm just the exterminator. This guy came in and pulled a gun on me.

MOHINDER: He is not an exterminator.

EXTERMINATOR: He's paranoid. I was just in there spraying bugs in his apartment. He came in and freaked out.

EDEN MCCAIN: If you're the exterminator, why do you have a gun holster?

(The exterminator grabs Mohinder and pushes him into Eden. The two fall. The exterminator runs. Mohinder grabs Eden to stop themselves from falling.)

(Eden and Mohinder turn and look down the hallway. Mohinder releases his hold on Eden. They both look down the hallway.)

MOHINDER: Thanks for coming to my rescue.

EDEN MCCAIN: You're welcome.

MOHINDER: Mohinder Suresh.

(They shake hands.)

EDEN MCCAIN: The professor's son.

WHITE FLASH TO:

[INT. (TOKYO) TRAIN - DAY -- PRESENT]

(Hiro is on the train. His eyes are shut tight as he concentrates. The digital clock behind him speeds rapidly forward, then stops at 01:00. The train stops. Hiro opens his eyes.)

(People move to get off the train.)

(Sounds filter through first.)

MAN: (v.o.) Taxi!

(A car horn honks.)

(One moment he's on a train in Tokyo -

[EXT. (NEW YORK) TIME'S SQUARE - DAY -CONTINUOUS -- FUTURE]

--the next moment, he's in New York.)

(Hiro looks around and it slowly sinks in that he's in New York.)

MAN: (v.o.) Taxi!

CAPTION:
HIRO NAKAMURA
TIMES SQUARE, NEW YORK

(He looks around, a smile splits his face. He stretches his arms out wide and yells.)

HIRO: YATTA! HELLO, NEW YORK!

[EXT. SIDEWALK - DAY -- FUTURE]

(Hiro walks down the busy sidewalk, greeting people as they pass.)

HIRO: Hello. Nice to meet you.
HIRO: I love New York!
HIRO: Hello!
HIRO: Whassup?
HIRO: Britney Spears.
HIRO: Go, Yankees!

(He stops in front of a newspaper vendor as something catches his eye.)

(He turns and notices the 9TH WONDERS! comic book. He is on the front cover, his arms stretched out wide and yelling "I DID IT!" The corner caption reads: Hiro Arrives in New York.)

(He's absolutely stunned. He grabs the comic off the rack and starts reading. The vendor notices.)

VENDOR: Hey! Pal! This isn't a library.

(Hiro looks at the vendor.)

VENDOR: No pay, no read.

HIRO: Uh, uh, touchy, touch --

(Hiro chuckles and digs into his pocket for money. He pulls out some yen. He offers the bills to the vendor.)

(The vendor grabs the bills and Hiro takes off running down the sidewalk.)

VENDOR: Hey, get back here!

HIRO: (shouts in j__anese)

SMASH TO:

[t__LE CARD: HEROES]

FADE OUT
END OF TEASER

(COMMERCIAL SET)

FADE IN:

[EXT. (NEW YORK) SIDEWALK - DAY - FUTURE]

(Hiro runs down the sidewalk, the comic book clutched in his hand.)

VOICE: (o.s.) Hey, hey! Slow down, buddy!

(Hiro runs and runs and runs.)

VOICE: (o.s.) Come on!

(Hiro continues to run. He reaches a closed theatre, stops, turns and ducks behind the ticket booth.)

(He takes a breather, pushes his glasses on his nose and opens the comic book to read.)

(In it he sees panels of himself at his desk, his clock and arriving in New York.)

PANEL: (Hiro concentrating.)

PANEL: (Clock.)
CAPTION: TOKYO, j__AN
CAPTION: HIRO NAKAMURA

PANEL: (Clock.)
CAPTION: ONE OF ONE THOUSAND CUBICLE DRONES AT YAMAGATO INDUSTRIES.

PANEL: (Hiro stands up, his arms held high.)
CAPTION: I DID IT!

(Hiro flips over several pages.)

PANEL: (Ando talking with Hiro)
ANDO: Hiro-san, dude. You're messed up.
HIRO: Look, c'mon. I'm serious.

PANEL: Hiro talks with Ando on the escalator.
HIRO: As I develop my powers, I'll learn to bend s___e, too. Then I can teleport myself anywhere on the planet.
ANDO: Like Star Trek.

(Hiro flips over several pages.)

PANEL: In front of a soba shop, Ando walks away.
HIRO: Fine. STAY here. Be like everyone else. I want to boldly go where no man has gone before.

ANDO: (v.o., b.g.) (in j__anese)

ANDO: (in comic) That's right. You're special. You're "Super Hiro!"

(The more Hiro reads, the more freaked he gets.)

(He flips through the rest of the comic and comes to the last page with a write-up of the author. It reads: PUBLISHED BY WRITER/ARTIST: ISAAC MENDEZ, 215 REED ST. #7, NEW YORK, NEW YORK 10010.)

(Hiro stares at the artist's name and photo.)

WHITE FLASH TO:

[INT. (NEW YORK) ISAAC'S LOFT - DAY (PRESENT)]

CAPTION:
ISAAC MENDEZ, SIMONE DEVEAUX
LOWER MANHATTAN

(Isaac is on the bed. He reaches weakly for Simone as she climbs on the bed beside him.)

ISAAC: Simone --

(She dabs at his forehead with a white towel and proceeds to wipe his face.)

SIMONE: Shh, you had a hard night.

ISAAC: I saw it. There was a ... bright light. Like an explosion. It wiped out the whole city. Like Hiroshima --

(She wipes his chest and arms.)

SIMONE: Shh, shh, shh, it's okay. It was all a dream.

ISAAC: No ... I don't think so.

SIMONE: Yes.

ISAAC: I shot up last night. I had to.

SIMONE: Yes.

ISAAC: I painted what I saw. Is it there? (desperate) Do you see it?

SIMONE: Yes, I see it! But you need to rest.

ISAAC: We have to warn them.

(He gets up and moves to the edge of the bed.)

SIMONE: Uh! Warn who?

ISAAC: FBI, Homeland Security. We need to tell someone.

SIMONE: Isaac, you can't paint the future. No one will believe you.

ISAAC: I'd hoped you would.

SIMONE: None of it is real. What is real is, you got a drug problem. You overdosed on heroin last night. You're lucky to be alive. You know, I'm watching my father die. And I can't watch you die too. So you need to make a choice. Me or this.

(They look at each other.)

(CAMERA pushes forward between them and RISES UP to focus on the floor mural of New York exploding.)

WHITE FLASH TO:

[EXT. (TEXAS) UNION WELLS HIGH SCHOOL -- DAY]

(Zach rushes across the amphitheatre. He's carrying some books and looking very geek-ish.)

(Meanwhile, the quarterback, Brody Mitchum, talks with Jackie and Claire. He leans against the lockers demonstrating how to hold a football.)

BRODY MITCHUM: It's not about having big hands. Most guy's hands are too rough to pick out the details. Mine are sensitive. Feel how soft they are.

(He takes Claire's hand.)

CLAIRE: Wow.

BRODY MITCHUM: But you've got dainty hands.

(Jackie giggles.)

JACKIE: My mom says my hands are very dainty. (Brody entwines his fingers with Claire's.) Maybe I should try out for the football team.

(Zach interrupts.)

ZACH: Claire, may I borrow your ears just for a minute?

(He pulls her aside. Jackie follows them.)

JACKIE: Hey, Zach! Is it true you got an erection in the boys' locker room?

(Zach ignores her. He tugs Claire again.)

ZACH: (whispers) It's really urgent --

(Jackie listens in.)

CLAIRE: Not now. Not now.

(Claire pulls free and heads back to Brody. Zach rolls his eyes and leaves.)

(Principal Marks walks up to Claire and Jackie.

PRINCIPAL MARKS: Claire, Jackie. The sheriff and some firemen would like to have a word with you two.

CLAIRE: Okay.
JACKIE: Okay.

CUT TO:

[EXT. (LAS VEGAS) NIKI'S HOUSE -- DAY]

(Establish.)

(A telephone rings.)

NIKI'S VOICE: (answering machine) (v.o.) Hi, this is Niki. Leave me a message.

(beep)

[INT. NIKI'S WEB BEDROOM - DAY]

CAPTION:
NIKI SANDERS
LAS VEGAS, NEVADA

(Niki wakes up. She's on the bed and still clothed in her white shirt and jeans.)

MICAH: (from phone) Mom ... are you there? When are you coming to get me?

(Niki looks around the room and sees blood spatter on the walls.)

MICAH: (from phone) I hate it here. You said you'd be back soon. Just come pick me up, okay?

(She turns and sees Weasel in the chair, dead, a large piece of glass stuck in his throat. Niki gasps and scrambles to get up. She sees the Big Guy dead on the floor.)

(The next thing she notices is the web camera still on. She grabs the camera, gets up and takes it off the tripod.)

(She hears whispering.)

(She turns and sees her reflection in the broken full-length mirror. The "Niki" in the mirror is wearing blood-stained clothes. She looks at Niki and puts a finger to her lips.)

REFLECTION: Shh.

(Spooked, Niki quickly lifts the garage door and slips outside. She closes the garage door behind her.)

(She puts a lock on the garage door.)

[EXT. NIKI'S HOUSE - DRIVEWAY - DAY]

(Niki starts her car engine and drives away.)

[INT. CAR (TRAVELING) - DAY]

(Niki is on the phone with Micah.)

NIKI: (to phone) Honey, I'm so sorry. I'm on my way. Baby, I'm only five minutes okay? You know I love you.

(She hangs up.)

(As she drives, Niki glances down at the video camera next to her.)

(She comes to a red light and stops. While the car is idling, she picks up the camera and watches the video.)

(She is on screen.)

WEASEL (THUG 1): (o.s.) (from tape) Come on.

(Niki unbuttons her top.)

WEASEL (THUG 1): (o.s.) (from tape) Yeah.

(She lifts her shirt over her midriff and starts to unbutton her jeans.)

WEASEL (THUG 1): (o.s.) (from tape) That's the way I like it. Go ahead, go ahead. Come on.

(Niki hesitates.)

(ON NIKI as she watches the video camera.)

WEASEL (THUG 1): (o.s.) (from tape) What's the problem, baby? Things just started getting good here. I said what's the problem?

(Niki flinches as we hear the sounds of Thug 1 punching her on the tape.)

NIKI: (from tape) Uhh!

(Niki's defiant.)

NIKI: (from tape) Screw you.

(ON TAPE: Weasel punches Niki.)

(The tape goes black and statics out. Only audio remains. There's some commotion, then both men scream. Then, sounds of two people being stabbed is heard through the static.)

(The traffic light has since turned green, but Niki doesn't move. She continues to watch the tape.)

(On the tape, the two men scream.)

CUE SOUND: (PRE-LAP) CELL PHONE RINGING

ABRUPT CUT TO:

[INT. CAR (PARKED) - DAY]

(Niki is holding her cell phone, not the video camera. She's now dressed in a red top and the video camera is on the passenger seat next to her.)

(She looks at her ringing cell phone, then down to the camera.)

(She glances down at her blouse. Instead of answering the phone, Niki gets out of the car.)

[EXT. PARKING LOT - DAY]

(Niki's car is parked in an empty parking lot stall. An airplane passes overhead.)

(Niki looks around. Her cell phone continues to ring.)

(She answers the phone.)

NIKI: (to phone) Hello?

INTERCUT WITH:

[INT. TINA'S PLACE - LIVING ROOM - DAY]

(Micah sits on the sofa and looks out the window as he talks on the phone.)

MICAH: (to phone) Mom ... where have you been? I called you, like, four hours ago.

NIKI: What? Four hours?

MICAH: Yeah.

NIKI: I'll be right there, baby.

(She hangs up.)

(Micah hangs up and shakes his head.)

(Niki is confused and scared.)

CUT TO:

[EXT. TINA'S PLACE - DAY]

(Tina and Micah are out on the porch. Off screen, tires screech to a halt. Tina looks out and sighs as Niki runs to Micah.)

TINA: What is the matter with you, making him wait like that?

(Niki hugs Micah.)

NIKI: I'm sorry. Hon, two seconds.

(Micah nods and heads for the car.)

(Tina sighs.)

TINA: Okay. What the hell is going on, Niki?

NIKI: Something terrible has happened.

TINA: What? What is it?

NIKI: Those guys that you said that Linderman would send to get his money back ...

TINA: Yeah?

NIKI: Well, he did. And now they're dead. On the floor of my garage.

TINA: What? How?

NIKI: That's just it. I don't know.

TINA: What do you mean you don't know?

NIKI: I mean I don't know. I just--I woke up, and they were dead and ... I think that I might ... sometimes I look in the mirror ... and I'm not sure it's me that I'm seeing.

TINA: Maybe it was DL, you know? He's trying to protect you because he still loves you and Micah.

NIKI: DL wouldn't risk coming back. The cops are after him. And once Linderman finds out they're dead, it's not gonna matter who killed them. He's gonna come after me.

TINA: Then you need to listen to me. Niki, you have to call the police.

NIKI: No, I gotta ... (She looks at Micah.) I gotta cover my tracks. And then I gotta run. I gotta go.

(Niki hurries to the car. She gets inside, closes the door, puts the car in gear, backs up and leaves.)

FADE OUT.

(COMMERICAL SET)

FADE IN:

[INT. (NEW YORK) MOHINDER'S APARTMENT -- DAY]

(Mohinder is under the table looking at the wiring the exterminator was working on.)

EDEN MCCAIN: Why would anybody wanna tap papa Saresh's phone?

MOHINDER: Papa Saresh?

EDEN MCCAIN: Yeah, he told me to call him that after I butchered his name a couple times.

(Mohinder moves out from under the table.)

MOHINDER: (sighs) I don't know why someone would want to tap his phone. Back in Madras, I found a man in his apartment stealing his research, and now this.

(He hands Eden the bug found in his phone. Eden looks at it.)

EDEN MCCAIN: Why don't you just ask your dad? I mean, he must have some idea who it is.

MOHINDER: My father died four days ago.

EDEN MCCAIN: (surprised) What?

MOHINDER: I'm sorry, I ... you didn't know? (Eden sits down. Mohinder sits down next to her.) He was murdered in his cab.

EDEN MCCAIN: Oh, my God. How awful.

MOHINDER: You were close?

EDEN MCCAIN: Yeah ... I mean, I hate cooking for one. So I used to make extra and bring it over, and we would ... eat together, and he'd tell me about his theories and the map. We were friends.

MOHINDER: Well ... then you were closer to him than I was. I'm happy to hear he had someone to talk to. I'll get you some water.

(He gets up and heads to the kitchen.)

EDEN MCCAIN: I had no idea anything was wrong. I ... I knocked on the door a couple of times. I just ... I thought he was out, and we were missing each other. I had this book I wanted to show him.

MOHINDER: What book?

EDEN MCCAIN: Darwin's Origin of Species.

(He gives her a glass of water.)

MOHINDER: Thank you.

EDEN MCCAIN: It's a true first edition. I work at this antique book store, and I found a copy, and I just ... thought he'd get a kick out of reading it.

MOHINDER: Well, he most definitely would have gotten a kick out of it. That's very thoughtful.

EDEN MCCAIN: You know, he told me he was being watched. I thought that he was just eccentric.

MOHINDER: I like that you didn't use the word "paranoid."

EDEN MCCAIN: Do you think that they're watching you now?

MOHINDER: They could have killed me, if that's what they wanted. For the time being, it seems I'm more important to them alive. You said that he talked to you about his theories and the map. I need you to tell me everything he said to you. Everything you remember. Everything.

CUT TO:

[EXT. (TEXAS) UNION WELLS HIGH SCHOOL - AMPHITHEATRE - DAY]

(The cheerleaders are lined up in a row. Principal Marks, the Sheriff and the Fire Marshall are there.)

SHERIFF: Girls! This isn't a ... criminal investigation. Nobody here is in any kind of trouble. Quite the contrary. There just happens to be a very grateful man lying in the hospital who'd like to thank one of you for ... saving his life yesterday.

PRINCIPAL MARKS: I've never seen anyone so reluctant to be called a hero. You're sure it was one of our cheerleaders?

FIREMAN: The uniform said Union Wells High. (squints and points) I'd have to say it was ... her on the end.

(Jackie turns and looks at Claire.)

PRINCIPAL MARKS: That's Claire Bennet.

SHERIFF: Claire ... where'd you go yesterday after cheerleading practice?

CLAIRE: I, uh ...

JACKIE: (interrupts) It wasn't her. It was me. I was taking a shortcut home from school, and ... I saw the wreckage of the train ... wreck. And ... I just had to help.

PRINCIPAL MARKS: Why didn't you say something?

JACKIE: I guess I didn't want all the attention, you know? That's not why I did it.

FIREMAN: Well, on behalf of the Odessa Fire Department, I'd like to congratulate you as an honorary firefighter.

(He shakes her hand. The other cheerleaders squeal and cheer for Jackie.)

JACKIE: Thank you.

(Claire is quiet. She walks up to the Sheriff.)

CLAIRE: How is he?

SHERIFF: Who?

CLAIRE: The man Jackie pulled out of the train.

SHERIFF: He's got some pretty bad burns. Smoke damage to his lungs, but ... he's alive. Happy to be so.

(Claire smiles and nods.)

CLAIRE: Thanks to Jackie.

(The Sheriff nods. Claire smiles.)

CUT TO:

[EXT. FOOTBALL FIELD -- DAY]

(The football players are practicing.)

(Zach catches up with Claire.)

ZACH: Claire! I'm glad I finally got you alone. Look, we have to talk.

CLAIRE: Did you hear they asked Jackie to be the Grand Marshall of the pioneer day parade? They're gonna put her on the top of the fire truck. They should put her under the fire truck.

ZACH: It's about the videotape.

CLAIRE: What?

ZACH: The videotape! The tape where you're, like, killing yourself like twenty times.

CLAIRE: Oh, yeah, that. Can we just keep it under wraps?

ZACH: That's what I'm trying to tell you. It was in my backpack, and now it's not.

CLAIRE: What?

ZACH: It's gone.

CLAIRE: What do you mean, it's gone?

(Suddenly, a football player tackles Claire. She flies and falls to the ground, her head twisted completely around the back.)

(Zach sees Claire at the awkward angle and his jaw drops. Claire immediately turns her head back facing forward, her bones crunch and mend.)

(The football player gets up. He pulls off his helmet and its Brody Mitchum. He rushes over to help her.)

BRODY MITCHUM: Oh, my God! Claire! I'm so sorry. Are you all right?

(He helps her up.)

CLAIRE: Yeah. I'm okay. I'm all right.

(Zach glances behind him and the other football players are running toward them to watch.)

CLAIRE: (groans) Yeah. You just caught me off guard.

BRODY MITCHUM: I thought I heard something snap.

CLAIRE: Nope. (Claire raises her arm up high to the crowd around them.) I'm okay!

(The crowd sighs with relief and applauds.)

CLAIRE: I'm fine! I'm okay.

COACH: All right, that's it! Show's over!

(The crowd disburses. Claire turns back to Brody.)

CLAIRE: Yeah, no scratch on me.

BRODY MITCHUM: Guess you're not so dainty after all.

CLAIRE: I'm dainty enough.

(Brody leaves. Claire walks over to Zach.)

CLAIRE: (to Zach) We have got to find that tape.

(Claire turns and raises her arms to the other cheerleaders as she runs to join them.)

CLAIRE: Whoo!

(The cheerleaders cheer.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (LAS VEGAS) NIKI'S HOUSE - FRONT -- DAY]

(Niki drives home. She parks in the driveway. Micah and Niki get out of the car and head for the house.)

MICAH: (grumbling) What if I don't want to go on vacation?

NIKI: You don't have a choice. You have to.

MICAH: Why are we doing this, mom? Why won't you just tell me what's going on?

(Niki stops and looks at Micah.)

NIKI: I wish that I could, baby. But you are just gonna have to trust me, okay? Now go in and pack up your stuff. I have to take care of something in the garage.

(Micah heads for the house. He takes a step up, looks inside and stops.)

MICAH: Mom ... what happened to our house?

NIKI: Mikey, you're just gonna have to trust me, okay? Now go in and grab some stuff. Go.

(Micah goes into the house.)

(Niki heads for the garage. She removes the lock and opens the door. Everything is cleaned up. The bodies are gone.)

(Niki finds car keys hanging from a hook dangling from the ceiling. She wraps her fingers around the keys and looks at the mirror. The image in the mirror looks knowingly back at her. The image nods to something behind Niki. Niki turns around and sees a red convertible parked across the street.)

(She takes the car keys and steps out of the garage. She closes the garage door.)

(Niki heads across the street toward the red convertible. She gets into the car and tries the key. It fits. She checks the registration in the glove compartment. The car is registered to:
NIKI SANDERS
37 PARKER STREET
HENDERSON, NY, 89014

VALIDATED: 06/15/06
EXPIRES: 06/15/07

(She flips the registration over and finds a hand-written note:
IN THE TRUNK
FOLLOW THE MAP

(Niki gets out of the car and checks the trunk. She pops the hood and gasps at the sight of the two dead bodies inside. On the bodies is a map. She picks up the map, the blood sticking to her fingers. She puts the map down and slams the trunk closed.)

CUT TO:

[INT. (NEW YORK) HOSPITAL - PETER'S ROOM -- DAY]

(Peter sits in bed drawing. He draws two stick figures - one floating in the air, the other not. In the top right corner, he's also drawn the SYMBOL.)

(His mother, Angela Petrelli, knocks on the glass. Peter looks up. She smiles at him. He quickly puts the drawing aside.)

(Angela enters the room.)

ANGELA PETRELLI: Help me understand what you were doing on that roof.

PETER: I can't. Not yet. But I will. You just have to trust me.

(She sits down on the edge of Peter's bed and starts taking clothes out of the bag she's brought with her.)

ANGELA PETRELLI: There's something you need to know about your father's death. He committed suicide.

PETER: What?

ANGELA PETRELLI: He committed suicide. I found him on the floor of the bathroom.

PETER: You said he had a heart attack.

ANGELA PETRELLI: I lied. For his reputation, his heart was fine.

PETER: But he'd had two others before that.

ANGELA PETRELLI: Well, I lied about those too. Suicide attempts, both of them. He finally got what he wanted. When he was 23, he was diagnosed with major depressive disorder. He couldn't help it. It was just who he was.

PETER: Why didn't I know about any of this before?

ANGELA PETRELLI: Your father and I decided not to tell you since the disorder can have a genetic link, and you were always so sensitive. We didn't want you to worry about it.

PETER: But you're telling me now.

ANGELA PETRELLI: It can start with delusions of grandeur. Thinking you're invincible or indestructible. They are irrational thoughts that then turn suicidal. It's time you took a hard look at your life. And if there are changes to be made, I want to be here to help you. Because there's something else I never told you. Come here. You were always my favorite. I cannot lose you.

PETER: Yeah.

CUT TO:

[EXT. (NEW YORK) CORRIDOR OUTSIDE ISAAC'S FRONT DOOR - DAY -- FUTURE]

(Hiro presses the buzzer. He opens the comic book and looks at the writer/artist information about Isaac Mendez on the back inside cover.)

(There's no answer. Hiro knocks on the glass door. The door swings open.)

HIRO: Mr. Isaac Mendez?

(Hiro looks around, then steps into the studio loft.)

HIRO: Hello? Mr. Isaac?

(Hiro walks down the steps and further into the studio. Hiro tucks the comic into his satchel and looks at the paintings in the studio. The ones he passes by are of the SYMBOL in various forms and colors.)

(Hiro walks over to Isaac's worktable and finds an incomplete page with three panels all of him.)

HIRO: (softly) Mr. Isaac?

(Hiro turns and finds blood on the floor. He follows the blood to the back of the studio.)

(He sees more blood. A lot more blood. On the floor next to the blood is a gun.)

(Hiro picks up the gun. He continues forward.)

HIRO: (nervously) Mr. Isaac?

(Hiro reaches the back room and finds Isaac Mendez dead on the floor, his head sliced open and emptied. That's where all the blood came from. He gasps and can't move.)

(Police enter the studio through the entrance.)

DETECTIVE: Freeze! Drop your weapon.

(Hiro drops the gun.)

(From the second entrance, more officers enter the studio.)

OFFICER: Get your d___ hands up.

(Hiro puts his hands up.)

(The detective steps forward. Hiro glances down at the dead body and faints.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (LOS ANGELES) WALKER RESIDENCE - STREET -- DAY]

CAPTION:
MATT PARKMAN
LOS ANGELES

(Officer cars gather around a residential home. Matt Parkman is outside directing traffic.)

MATT PARKMAN: (mutters) Serial killer strikes in the middle of Los Angeles, abducts a little girl, and here I am. A hundred feet away. Might as well be in Siberia.

OFFICER: That's all right. They don't pay us enough to be where the action is. What are you gonna do, anyway?

MATT PARKMAN: What do you mean? I just wanna help.

OFFICER: You wanna help? Help me get more tape.

(Two cars arrive. FBI agents get out and head for the house.)

OFFICER: What do you think -- CIA or FBI?

MATT PARKMAN: Nah, she's dressed too nice for FBI.

OFFICER: I saw the test scores got posted this morning.

(By Matt's reaction, its clear he didn't pass.)

OFFICER: Don't worry about it, man. Not everybody's a test taker. Who wants to be a detective, anyway?

MOLLY: (v.o. thoughts) Please don't hurt me.

OFFICER: (b.g.) You gotta spend half your salary buying suits. Nine of out ten of these guys ...

(Matt looks around.)

MOLLY: (v.o. thoughts) He stole them.

OFFICER: (b.g.) Won't live to see their pension plan.

MOLLY: (v.o. thoughts) Please don't hurt me. Please don't hurt me.

(Matt listens to the little girl's voice and looks around.)

OFFICER: You all right, man?

(Matt doesn't answer. He turns and follows the little girl's voice.)

OFFICER: Matt?

(Matt heads for the house and walks past various officers in conversation.)

ND OFFICER: My back is killing me.

MOLLY: (v.o. thoughts) Please don't hurt me.

ND OFFICER: There's a bullet out there with my name on it.
ND OFFICER: Your a__ is on the line.

MOLLY: (v.o. thoughts) Please.

[INT. WALKER RESIDENCE - ENTRYWAY - DAY - CONTINUOUS]

(Matt walks into the house. Crime scene personnel are inside taking photos of the body hanging along the stairway banister, stabbed with utensils and other metal objects. The woman's head is cut open.)

MOLLY: (v.o. thoughts) Please don't hurt me.

(Matt stops and stares for a moment.)

MOLLY: (v.o. thoughts) Please don't hurt me.

(He turns and heads for the living room. He walks past FBI Agents Audrey Hanson talking with a CIA Agent.)

You know, we don't have any idea what happened in here.

FBI AGENT AUDREY HANSON: I've got a theory.

FBI AGENT: You always do.

FBI AGENT AUDREY HANSON: This is Barstow all over again. It's Sylar.

FBI AGENT: There isn't a Sylar. Last words of a dying victim. It didn't mean anything. And look at her. Must have taken three guys to lift her up that high. What about the daughter?

FBI AGENT AUDREY HANSON: No sign. We checked the house and surrounding, issued an amber alert. You've seen what happened to the father.

(James Walker is sitting at the table. He's frozen solid with the top of his head cut off like the others. He's holding a spoon half-way to his mouth as if he were caught while eating. Matt walks up to the body and looks at it, but his attention is elsewhere, listening.)

FBI AGENT AUDREY HANSON: Frozen solid, skull sawed off. We need to find out how.

FBI AGENT: The little girl's the priority.

(Matt walks around the body. He's still listening for the little girl. Matt looks around the room.)

MOLLY: (v.o. thoughts) Please don't hurt me. Please don't -- please don't hurt me.

(The CIA Agent looks up and notices Matt. Audrey Hanson also stops and notices Matt.)

MOLLY: (v.o. thoughts) Please.

FBI AGENT: You are not supposed to be in here.

(Matt motions for her to be quiet as he heads closer and closer to the paneled wall under the stairs. The CIA Agent is quiet. Matt turns and focuses on the cupboard.)

MOLLY: (v.o. thoughts) Please ... please don't hurt me.

(He looks down and sees a hallway table with a lamp on it against the paneling.)

MOLLY: (v.o. thoughts) Please don't -- Please don't hurt me.

(Matt removes the lamp and moves the table. He puts his hands up against the paneling and pushes. The paneling opens to a small cupboard under the stairs.)

(Inside, Molly Walker is huddled behind a small table and chairs. She stares at him, scared. Matt glances back at the agents before turning back to Molly.)

MATT PARKMAN: It's okay. It's okay. You're safe now. (He glances at his badge.) Look, I'm a cop. I'm one of the good guys, okay?

MOLLY: (v.o. thoughts) He hurt my mom and dad. Please don't hurt me.

(He holds out his hand to her.)

MATT PARKMAN: I'm not gonna let anybody hurt you. No, no, no. Come on, take my hand. It's okay. Come on. It's okay. Come on.

CUT TO:

[INT. (NEW YORK) MOHINDER'S APARTMENT -- DAY]

(Mohinder points to a spot on the wall map near a post-it with the SYMBOL and two question marks on it. He talks with Eden.)

MOHINDER: For years, he'd been working on a mathematical theorem using human genomes and DNA migration patterns. He thought he could find a way to identify these people, the ones who were special. I never believed it was possible. We fought about it constantly. It's the reason we grew apart.

(The phone rings; the answering machine kicks on.)

CHANDRA SURESH: (answering machine) You've reached Chandra Saresh. Please leave a message.

(The answering machine beeps. Eden checks the machine.)

EDEN MCCAIN: He's got messages.

(She plays it back.)

EMI: (answering machine) Chandra, this is Emi. You forgot to turn in your trip sheet for last week. Where is your head, man?

EDEN MCCAIN: Oh, my god, Mohinder.

MOHINDER: Yes?

EDEN MCCAIN: No ... the other Mohinder. The lizard. He's gotta be around here somewhere.

(Eden and Mohinder crawl on the floor looking for the lizard.)

(The answering machine beeps.)

NATHAN: (answering machine) Hi, I'm Nathan Petrelli. It would be an honor to represent New York's 14th district. When the time comes, vote Petrelli.

(The answering machine beeps.)

SYLAR: (from answering machine) Hello, Chandra. Why won't you talk to me? You can't leave me like this.

(The phone clicks. Chandra picks up.)

CHANDRA SURESH: (from answering machine) Hello, Mr. Sylar. I asked you not to call here anymore.

SYLAR: (from answering machine) The hunger, it's -- I can't control it. I don't want to. You made me this way.

CHANDRA SURESH: (from answering machine) I made you a murderer?

SYLAR: (from answering machine) You helped me to discover my potential. You wanted to see what I could do as much as I did. And now you want it to stop.

CHANDRA SURESH: (from answering machine) It's over. Goodbye.

(The answering machine beeps and clicks off.)

MOHINDER: I found a tape of a conversation my father had with a man nameD Sylar. A man he believed was Patient Zero.

(Something falls. Mohinder and Eden turn sharply to look. Eden finds Mohinder the lizard up on the shelf. She picks up the lizard.)

EDEN MCCAIN: Come here, you. Mohinder, this is Mohinder. You wanna give him a kiss?

(She puts the lizard back in its tank and finds a flash drive.)

MOHINDER: What is it?

EDEN MCCAIN: It's a portable hard drive.

(Mohinder takes it from her and looks at it. He attaches it to the laptop and checks it. A series of letters and dashes appear on the monitor, scrolling sideways. They form a pattern of the SYMBOL.)

MOHINDER: My God, he did it. He actually came up with a way to find them. You wondered why someone would want to kill my father. The reason for his death. It's this! I'm going to finish what he started.

CUT TO:

[EXT. (LOS ANGELES) WALKER RESIDENCE - BACKYARD -- DAY]

(Matt walks along the pool. The Audrey Hanson and the other FBI agent approach him.)

FBI AGENT: Hey, Parkman. How the hell did you know that little girl was in there?

MATT PARKMAN: I don't know. I don't know, I just -- I heard her whispering, and, um ...

AUDREY HANSON: House full of cops, but you're outside, and you just heard her whisper?

MATT PARKMAN: I can't explain it. It was ... I thought everybody could hear her. You guys couldn't hear her?

(Matt glances at his watch.)

AUDREY HANSON: You got someplace better to be?

MATT PARKMAN: It's my wife. I'm, uh ... I'm meeting her at a ... a therapy session. Couples counseling. We're having some problems at home.

(She looks at Matt.)

FBI AGENT: (v.o. thinking) This guy's worthless. Worthless

(Matt looks at her.)

FBI AGENT: ... Cut him loose. He got lucky.

(She turns and leaves. Audrey Hanson's not convinced. Matt starts to leave.)

AUDREY HANSON: Not yet, Parkman. (He stops.) Your captain says you've taken the exam to advance to detective three times?

MATT PARKMAN: Right.

AUDREY HANSON: You really think you're detective material?

MATT PARKMAN: Yes, ma'am, I do.

AUDREY HANSON: So how does it make you feel? Flunking out so many times.

MATT PARKMAN: I don't know. Embarrassed, I guess. A little angry.

AUDREY HANSON: A little angry?

MATT PARKMAN: Yeah.

AUDREY HANSON: Angry enough to do something about it? Maybe set yourself up to look like a hero?

MATT PARKMAN: Wait, what, you think I killed these people? I didn't kill these people. Sylar did.

(Audrey stops.)

AUDREY HANSON: (v.o. thinking) How did you know that name?

(She looks at him.)

AUDREY HANSON: How did you know that name? Six people a__igned to this case know the name of Sylar. How the hell did you know that?

MATT PARKMAN: (shakes his head) I heard it. From you.

AUDREY HANSON: (v.o. thinking) Like you heard the girl whisper.

MATT PARKMAN: Yeah.

AUDREY HANSON: Then hear this one.

(She cuffs him.)

AUDREY HANSON: You're under arrest.

MATT PARKMAN: What? Ow!

(We hold on Matt.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (LAS VEGAS) ROAD - NIGHT]

(Niki drives to the location on the map. She pulls to the side of the road and finds a shovel upright in the dirt. She parks the car and gets out. She adjusts the blanket over Micah who is sleeping in the back seat. She heads over to the shovel and starts digging.)

(She shovels once - twice - then hits something in the dirt. Using her hands, she finds a skull and gasps.)

(She picks up the shovel again and looks around.)

CUT TO:

[INT. (ODESSA) BENNET RESIDENCE - DEN - DAY]

(Mr. Bennet is watching something on a portable player. The door opens and Claire walks in. Mr. Bennet closes the player and smiles at Claire.)

MR. BENNET: Claire Bear!

CLAIRE: Hi, dad.

MR. BENNET: Hey. How was school?

CLAIRE: Very school-like. How was work?

MR. BENNET: Very work-like. Listen, I, um ... I made a couple of calls today.

(He pats the cushion in front of him. Claire sits down.)

MR. BENNET: I spoke to a very nice woman at the adoption agency and she said they were going to try to get in touch ... with your birth parents and, uh ... and request a meeting.

CLAIRE: I thought that was an adult decision.

MR. BENNET: You seemed pretty adult this morning when you told me you wanted to do it.

CLAIRE: Thanks.

MR. BENNET: She said it was a lengthy process. And it could take weeks. I'm hoping ... years. That way, you'll be my little girl for a while longer. I'm not done protecting you from the world.

CLAIRE: You're my dad. You'll never not be my dad. I promise I'll ... be your little girl for as long as I can. But you can't protect me forever.

MR. BENNET: I know. And it breaks my heart.

(A tear falls down Claire's cheek.)

CLAIRE: I love you, dad.

MR. BENNET: I love you too, sweetheart. (He wipes the tear from her cheek. Claire smiles.) Go get ready for dinner.

(Claire gets up and leaves. Mr. Bennet opens the player again. On it, he's been watching Claire' video.)

CLAIRE: (from video) This is Claire Bennett. And that was attempt number six.

MR. BENNET: It really does break my heart.

(He shuts the player.)

CUT TO:

[EXT. (NEW YORK) HOSPITAL ROOFTOP -- NIGHT]

(Peter sits on the edge of the rooftop. He looks down at the cars below.)

NATHAN: I've been looking all over for you.

PETER: Did you know about dad's depression?

NATHAN: Yeah.

PETER: Why didn't you ever tell me?

NATHAN: Because everyone's entitled to their secrets, Peter.

PETER: I was so sure when it happened. Now it turns out I'm just ... going crazy.

(Peter stands up. He looks down at the cars below.)

NATHAN: Look, hey ... we've been through this before. We've played this game, okay? Let's just ... let's just go.

(Peter looks at Nathan.)

PETER: Tell me what happened, Nathan. When I jumped. Tell me you flew. I wanna hear you say that you flew. Tell me, or I'll jump again. (Peter steps closer to the edge of the platform.) Hey, good luck on your campaign ... when I'm splattered all over the ground below.

NATHAN: All right. You want the truth?

PETER: Yeah.

NATHAN: We both flew. Pete ... I caught you, and I lost control. You're too heavy. We both started falling to the ground and just before we -- just before we hit, you flew. You.

PETER: Are you lying to me?

(Nathan shakes his head. Peter doesn't believe him.)

PETER: You are.

(He takes a couple of steps toward Nathan.)

PETER: You're trying to tell me what you think I wanna hear. You're lying to me again!

(Nathan doesn't say anything. He looks at Peter's feet, then back up at Peter. Nathan points to Peter's feet.)

(Peter looks down and sees that he's floating a couple feet above the rooftop. He looks at Nathan, then promptly falters and falls to the ground.)

(Nathan doesn't say anything. Peter's thrilled. He hugs Nathan.)

PETER: Did you see that? Did you see that? I flew?

NATHAN: Yeah, I -- I know. I know.

(Peter smiles.)

CUT TO:

[CU: PETER'S DRAWING]

(HOLD on Peter's stick man drawing of the roof where one man is floating over the air in front of the other.)

[INT. (NEW YORK) ISAAC'S STUDIO - DAY (FUTURE)]]

(The coroners remove Isaac Mendez's body. They walk over the mural on the floor of New York exploding.)

(The detective talks with Hiro.)

DETECTIVE: You're one sick son of a b____, you know that?

HIRO: Very sorry. I not speak much English.

DETECTIVE: What I wanna know is what did you do with the man's brain? You flush it down the toilet, you eat it, what?

(The interpreter arrives and puts the folded newspaper on the table in front of Hiro.)

DETECTIVE: (to the interpreter) We got a live one here. No English, no passport, no American money, no ID. (He shows him Hiro's wallet.) Except for this here. "An honorary member of the merry marvel marching society." Let's start by asking him how he got to New York.

DETECTIVE FURAKOWA: (in j__anese)

HIRO: (in j__anese)

DETECTIVE FURAKOWA: He says he teleported himself here.

DETECTIVE: Teleported? What the hell is that?

HIRO: Like Star Trek.

DETECTIVE FURAKOWA: He says he can bend the s___e-time continuum.

DETECTIVE: Funny, I've seen all the Star Treks. I don't remember you from the show.

(Hiro makes the "live long and prosper" sign.)

DETECTIVE: How long ago did he do this?

DETECTIVE FURAKOWA: (in j__anese)

HIRO: Yesterday.

DETECTIVE: Yesterday.

HIRO: (subtitled) If you let me make a phone call my English speaking friend will clear everything up.

INTERCUT WITH:

[INT. YAMAGATO INDUSTRIES - ANDO'S OFFICE - DAY]

(The phone rings; Ando answers it.)

ANDO: Moshi-moshi.

HIRO: Ando-kun? (in j__anese)

ANDO: Hiro? Doko? (not subtitled) Where are you?

HIRO: (not subtitled) New York! Teleporto-

(The translator takes the phone from him.)

DETECTIVE FURAKOWA: (in j__anese)

(Ando listens.)

DETECTIVE FURAKOWA: Your friend says he was with you yesterday.

ANDO: Yesterday?

DETECTIVE FURAKOWA: That's not correct?

(On Ando's office wall is a MISSING PERSONS poster for HIRO.)

ANDO: I have not seen Hiro Nakamura in five weeks. We look for him everywhere.

DETECTIVE FURAKOWA: His buddy hasn't seen him for five weeks. (subtitled) Your friend says he hasn't seen you in five weeks.

(Hiro looks at his watch:
MO 10-02
11:52

HIRO: October 2?

DETECTIVE: October 2? No, pal. Today. November 8th.

(He shows Hiro the early edition of the NEW YORK CHRONICLE. The headline reads, "Petrelli Wins in Landslide." The date is NOVEMBER 8.)

HIRO: November? No ... October.

(Suddenly, there's an explosion outside. Hiro and the two detectives turn to look out the large windows. There's a bright flash of light and the glass cracks from the sound. The buildings in front of them explode as a large plume of smoke mushrooms out toward them.)

(Hiro closes his eyes and concentrates on getting back.)

(The rumbling sounds of buildings exploding gives way to the rumbling sounds of the subway train.)

[INT. (TOKYO) SUBWAY - DAY (PRESENT)]

(Hiro opens his eyes and he's back on the subway. The digital clock behind him reads: 11:43.)

MOHINDER: (v.o.) For all his bluster, it is the sad province of man that he cannot choose his triumph. He can only choose how he will stand when the call of destiny comes.

(Hiro is quiet as he straightens and makes a decision.)

MOHINDER: (v.o.) Hoping that he'll have the courage to answer.

(We hold on Hiro.)

FADE TO BLACK.