SUMMARY: While trying to convince Mohinder that he has powers, Peter receives a visit from Future Hiro who sends him on a mission to "Save the cheerleader; save the world." Hiro and Ando are tossed out of Vegas. They argue and the two go their separate ways. Nathan is chased by Mr. Bennet and the Haitian he flies out of their clutches. When he lands, he encounters Hiro who tells him about the mission to stop New York from exploding. Nathan gives Hiro a ride back to Vegas. Ando goes to visit Niki and is nearly arrested for trespassing. Niki's husband, DL, makes his first appearance. Mr. Bennet finds out that Brody tried to rape Claire and he sends the Haitian in to wipe out his memory completely. Mohinder doesn't believe Peter and sends him away. Peter goes back to Isaac and looks at the paintings of the cheerleader. Peter finishes Isaac's painting. Hiro calls Isaac and Peter answers the phone ready to deliver the message to Hiro.
==========================
HEROES
1X05: HIROS
==========================

FADE IN:

[t__LE CARD: HEROES]

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

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

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

[MATT PARKMAN]

(Matt is having a drink at the bar and collapses on the floor.)

NARRATOR: (v.o.) The cop who hears thoughts is captured by a myterious stranger.

(When he comes to, Mr. Bennet looks down at him.)

MATT: What do you want with me?

MR. BENNET: We want to know more about you.

(The Haitian covers Matt's eyes.)

[HIRO NAKAMURA]

(Hiro and Ando come down the escalator.)

NARRATOR: (v.o.) The office worker who stops time --

(Hiro sets right a martini glass that's about to spill from a waitress's serving tray.)

NARRATOR: (v.o.) -- tests his powers in Vegas --

(Hiro uses his powers. Ando puts his poker hand down. The high roller isn't happy.)

ANDO: I win again. Whoo!

(Cut to: The high roller and his three thugs meet with Ando and Hiro in the back alley.)

NARRATOR: (v.o.) -- but gets into trouble.

(The thug punches Hiro in the face.)

[NIKI SANDERS]

(Niki meets with Ms. Sakamoto.)

NARRATOR: (v.o.) The single mother gets an unusual offer.

MS. SAKAMOTO: Mr. Linderman is willing to forget your debt in exchange for a favor.

(Niki and Nathan kiss.)

NIKI: I'm not a w____.

(Cut to: Jessica walks up to Nathan and pushes him back in a chair.)

(Cut to: The light in the fire alarm blinks.)

NARRATOR: (v.o.) Her alter-ego takes over ... but can't stop the politician from being taken.

(Cut to: As Niki and Nathan sleep, Mr. Bennet stands at the foot of the bed.)

MR. BENNET: Just take the one.

[CLAIRE BENNET]

(Claire Bennet is cut open on the autopsy table.)

NARRATOR: (v.o.) The indestructible cheerleader escapes the morgue -

(Claire gets up.)
(Claire runs out of the morgue with a lab coat over her.)

NARRATOR: (v.o.) -- to take revenge on the boy who attacked her.

(Claire sits on the amphitheatre seats waiting for Brody Mitchum.)

(Claire is driving Brody's car.)

BRODY MITCHUM: (smug) There's nothing you can do about it.

CLAIRE: I can do this.

(Claire smashes the car into the wall.)

[PETER PETRELLI]

(Peter bangs on the subway car door. The subway car is frozen in time.)

NARRATOR: (v.o.) And a brother's search for answers leads him to the ultimate encounter.

(Future Hiro appears to Peter.)

FUTURE HIRO: My name is Hiro Nakamura. I'm from the future. I have a message for you.

CUT TO:

[t__LE CARD: HEROES]

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

FADE OUT.
END OF PREVIOUSLY ON.

[EPISODE t__LE]
CHAPTER FIVE
"HIROS"

FADE IN:

(INT. (NEW YORK) SUBWAY -- NIGHT)

CAPTION:
NEW YORK CITY

(The subway car is frozen in time. We move around the small car.)

MOHINDER: (v.o.) When a change comes, some species feel the urge to migrate. They call it zugunruhe-the pull of the soul to a far-off place, following a scent in the wind, a star in the sky. The ancient message comes, calling the kindred to take flight and to gather together. Only then can they hope to survive the cruel season to come.

(In one moment, Hiro is not there, in the next, future Hiro is facing Peter. Peter turns to look at Future Hiro.)

FUTURE HIRO: Peter Petrelli?

PETER: What? Are you doing this?

FUTURE HIRO: You look different without the scar.

PETER: I don't know you.

FUTURE HIRO: Not yet. My name is Hiro Nakamura. I'm from the future. And I have a message for you. I don't have much time. I'm risking a rift just by coming here. The girl -- you have to save her.

PETER: What girl?

FUTURE HIRO: The cheerleader. It's the only way to prevent it.

PETER: Prevent what?

FUTURE HIRO: Everything. Listen to me. She must live. The painter, Isaac ... go to him. He will know. When I call you, you must tell me where we meet. You told me many times how lost you felt. Before it all started. This ... is what you've been waiting for. Be the one we need.

(Peter nods. Future Hiro turns and heads for the back of the car. Peter follows.)

PETER: Wait!

FUTURE HIRO: Save the cheerleader; save the world!

PETER: Wait! Hiro! I don't understand!

(And time resumes. The subway car lurches as everything and everyone move again.)

PETER: (shouts) Hiro! Where are you? I -- I don't understand!

(Mohinder walks up to Peter.)

MOHINDER: Peter! Are you all right?

PETER: The cheerleader.

FADE TO WHITE:

[INT. (ODESSA) HOSPITAL -- NIGHT]

(The gurney with Claire on it is wheeled through the hallway.)

OVERHEAD: Dr. Thomas, dial 182, please.

(The doctor and two paramedics move along with Claire.)

ER DOCTOR: She's got an airway. She's breathing. She's got circulation.

(Claire is wearing an oxygen mask.)

CLAIRE: I'm fine. I just wanna go home.

CAPTION:
ODESSA, TEXAS

(They turn into a room.)

PARAMEDIC: Looks like she was driving. There was a lot of blood in her mouth.

ER DOCTOR: I don't see anything. Is her mother here?

(Sandra Bennet rushes forward.)

SANDRA BENNET: Claire!

CLAIRE: Oh, Mom!

SANDRA BENNET: Oh, my God. Is she okay?

ER DOCTOR: Your daughter's gonna be fine.

SANDRA BENNET: Does it hurt? They said you're gonna be okay.

CLAIRE: No, no. Oh, I'm fine. I just wanna go home.

SANDRA BENNET: Soon. Sweetie, doctors just wanna run some tests first. I'll call your father. I'll tell him to come.

(Claire looks over at Brody Mitchum bleeding on the other emergency room bed, his neck in a brace.)

BRODY MITCHUM: Crazy b____.

(The doctors wheel the gurney away.)

(Sandra gets her phone out and dials.)

CUT TO:

[EXT. (LAS VEGAS) UNKNOWN - DAY]

(Mr. Bennet and the Haitian forcibly escort Nathan to a car.)

NATHAN: Do you have any idea who I am?

MR. BENNET: Better than even you do.

NATHAN: All right, look, I'll pay you anything, okay? You name it.

(Mr. Bennet's phone rings.)

MR. BENNET: We don't want anything. We just need to know a couple of things.

(Mr. Bennet glances down at his cell phone.)

MR. BENNET: That's all --

(Nathan takes the distraction and kicks Mr. Bennet's gun hand. He pushes the Haitian away from him and he takes off running.)

(Mr. Bennet points the gun at Nathan as he runs. But instead of firing, they run after him.)

(Nathan runs out of the covered parking and toward the fence. The Haitian and Mr. Bennet run after him.)

(Nathan comes to the wire fence. He jumps up on it, intending to climb over, but doesn't get high enough. He lets go and jumps down. Mr. Bennet and the Haitian catch up with him.)

MR. BENNET: That was entirely unnecessary.

(Nathan turns around.)

NATHAN: You might as well go ahead and shoot now. 'Cause I'll find you. And I will kill you.

MR. BENNET: Unlikely, Mr. Petrelli.

NATHAN: I've seen your faces.

MR. BENNET: That, I'm afraid, won't be a problem. (to the Haitian) Put him down.

(The Haitian gets ready to move in closer to Nathan, who gets set to move as well.)

(Suddenly, Nathan flies straight up into the air as Mr. Bennet and the Haitian watch. With a sonic boom, Nathan flies away.)

(Mr. Bennet puts his gun down as he stares up in the sky.)

(Nathan flies across the sky, leaving a trail of white behind.)

CUT TO:

[t__LE CARD: HEROES]

FADE OUT.
END OF TEASER

(COMMERCIAL SET)

FADE IN:

[INT. (ODESSA) UNKNOWN PLACE]

(Matt is strapped to a table and hooked up to monitors.)

FADE TO WHITE:

[EXT. (LAS VEGAS) BACK ALLEY - NIGHT]

(Ando and Hiro are out cold on the ground.)

FADE OT WHITE:

[EXT. NEVADA SKIES - DAY]

(Nathan flies across the sky, leaving a trail of white behind.)

FADE TO WHITE:

[INT. (NEW YORK) ISAAC'S STUDIOS - NIGHT]

(Isaac paints as it rains outside.)

FADE TO WHITE:

[INT. (ODESSA) HOSPITAL - DAY]

(Claire is awake and in bed.)

FADE TO WHITE:

[INT. (LAS VEGAS) NATHAN'S ROOM - DAY]

(Niki is sleeping on the bed.)

CAPTION:
LAS VEGAS, NEVADA

(The campaign manager slaps his hand on the black piano to wake Niki.)

CAMPAIGN MANAGER: Where is he? What'd you do with Mr. Petrelli?

(Niki turns around.)

NIKI: Who?

CAMPAIGN MANAGER: The guy you slept with. Where is he?

NIKI: I don't know. I don't know how I got here. I have to call my son.

CAMPAIGN MANAGER: Don't even think about it. (He tosses her dress to her.) Get dressed. You're coming with us.

(The door opens. Ms. Sakamoto walks in.)

MS. SAKAMOTO: Leave the lady alone. If you have a problem, it's with me.

CAMPAIGN MANAGER: You have a congressional candidate ... missing from your hotel.

MS. SAKAMOTO: My team's working on it now. If you'd like to review the security tapes with us, you can come with me.

CAMPAIGN MANAGER: Fine.

(He heads for the door.)

CAMPAIGN MANAGER: Let's go.

MS. SAKAMOTO: Admirable work, Ms. Sanders. Feel free to go home, secure in your solvency.

NIKI: What did you do to me?

MS. SAKAMOTO: As I saw it, a lot of things were done to you. However, none of them by me.

NIKI: (shakes her head) No. I left. I didn't go through with it.

(She holds a disk.)

MS. SAKAMOTO: Mr. Linderman reviewed the tape. And, needless to say, he was quite pleased with your performance.

(She plays the disk and Niki and Nathan in bed appear on the monitor.)

MS. SAKAMOTO: Either that's you, or you still owe Mr. Linderman $50,000. Go home to your son, Ms. Sanders. And tell him that his mommy doesn't have to worry about people asking for their money anymore.

(Ms. Sakamoto turns and leaves. Niki is confused.)

NIKI: I ... uh ...

CUT TO:

[INT. (NEW YORK) SUBWAY - NIGHT]

(Peter and Mohinder are on the subway.)

PETER: He was right there!

MOHINDER: Then he teleported away?

(Peter goes to the back of the subway.)

PETER: He -- he stopped time somehow. He talked to me. He knew who I was. He says that we all meet up ... somehow. Sometime in the future, I guess.

MOHINDER: I see.

PETER: Look, it seems crazy, but I know what I saw. He said something bad is gonna happen, but we could stop it. First we have to ...

(He stops and sighs.)

PETER: Save a cheerleader.

MOHINDER: (snickers) A cheerleader?

PETER: It seems impossible, I know.

MOHINDER: Impossible? It sounds mad.

PETER: Please, just ... He said that I have to go back to see Isaac the painter. Okay, that he's gonna know what we have to do. So let's just go back to his loft. If the answer isn't there, I promise that I will drive you to the airport myself. You can go back to India and you never have to hear from me again.

MOHINDER: Will you fly me there yourself? There are no answers. Go home, Peter.

(Mohinder turns and walks back across the subway car. The subway stops and the passengers disembark. Peter turns and looks back out the subway window with frustration.)

FADE TO WHITE:

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

(Janice is on the phone in the kitchen.)

JANICE PARKMAN: (to phone) Someone there has to be able to do something to find him. (pause) No! He went out on a__ignment, and he hasn't checked in since! (pause) I ... look, will you just have Detective McHenry call me.

(Matt groans and Janice stops. She sees Matt getting up from the couch.)

MATT: Ow, ugh.

JANICE PARKMAN: (to phone) Never mind. He's home.

(She hangs up. She throws the phone at him.)

MATT: Hey!

JANICE PARKMAN: Where the hell have you been? Do you know how worried I was?

MATT: I must have drank too much and passed out on the couch.

(Matt gets up.)

MATT: Do we have any aspirin?

JANICE PARKMAN: Uh ...you have been gone for a day.

MATT: What? That's impossible.

(He goes to the cabinet and opens the cupboard to get the aspirin.)

JANICE PARKMAN: No, it isn't, trust me. I've been awake for every hour of it. And I called the precinct a dozen times, and they said that you were working with the FBI.

(As she talks, he takes the aspirin with some water. Then he stops and looks at her.)

MATT: Yeah. That just started. (sighs) I was gonna tell you about that, but, um ...

JANICE PARKMAN: But what? Where were you?

MATT: I was, uh ... I don't know.

JANICE PARKMAN: You don't know? Do you have any idea what I've just been through? I kept picturing you in a ditch somewhere. And then every time the phone would ring, I'd think it was somebody calling to tell me that--

MATT: I didn't know you cared that much.

JANICE PARKMAN: (v.o., thinking) I'm your wife. I always care.

MATT: I mean ... It's good that you do, but, you know, you've barely spoken to me lately, except in our therapy sessions, Janice.

JANICE PARKMAN: What if something happened to you?

MATT: You worried about me? That's a good thing.

CUT TO:

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

CAPTION:
OUTSKIRTS OF
LAS VEGAS, NEVADA

(A van pulls up alongside the road. The doors open. Ando and Hiro are tossed out of the van. Their suitcases are tossed out of the van after them.)

ANDO: Uhh!
HIRO: Oof!

(The van doors close and the van drives away, leaving Ando and Hiro in their dust.)

HIRO: (subtitled) That hurt more than I thought it would.

(Ando and Hiro get up. Ando shakes his fist at them.)

ANDO: (shouts) You b______s! You don't know who you're messing with!

HIRO: (subtitled) I don't think they can hear you.

ANDO: (subtitled) Well it make me feel better!

(Hiro grabs his luggage. Ando grabs his. They start walking.)

HIRO: (subtitled) Wow ...

(They've been tossed near a roadside diner.)

HIRO: (subtitled) Good. I'm starving.

ANDO: (subtitled) Shut up. I'm not talking to you.

[INT. FLY BY NIGHT DINER - DAY - CONTINUOUS]

(The door opens. Ando and Hiro walk in.)

HIRO: (subtitled) Do you think they have waffles?

ANDO: (subtitled) I said I'm not talking to you. I can't believe I got beat up because of you. I've never gotten beat up before.

HIRO: (subtitled) I got punched too.

ANDO: (subtitled) Once. They kept kicking me! Ah!

(He touches his bruised cheek.)

ANDO: (subtitled) My jaw is clicking. Did it used to click?

(They sit down in a booth.)

HIRO: (subtitled) Let's just eat, then get the car back, okay?

(The waitress appears with menus.)

ANDO: (subtitled) This is all your fault, Hiro. All you had to do was stop time, and we would still have our money.

HIRO: (subtitled) My fault? We got beat up because you made us cheat at gambling. Using my powers for personal gain. That's the Dark Side.

ANDO: (subtitled) Not being broke is the Dark Side?

(Hiro opens the menu.)

HIRO: (subtitled) Ah, waffles! Whoo-hoo!

(Ando rubs his temples.)

ANDO: (subtitled) I don't know why I'm on this stupid trip.

HIRO: (subtitled) I've told you now a hundred times. To save the world.

ANDO: (subtitled) "Save the world!" "Save the world!" Don't you ever think of anything else?

HIRO: (subtitled) All you've done since you came to America is complain. If you're so miserable here, go back to j__an.

ANDO: (subtitled) I'm not miserable here. I'm miserable with you!

HIRO: (subtitled) Then go. Go gamble and meet girls. Hang out with her Internet stripper without me if that's what you want.

ANDO: (subtitled) Fine - maybe I will.

HIRO: (subtitled) Okay, then go --

(Ando gets up and leaves their booth.)

ANDO: (subtitled) Okay --

HIRO: (subtitled) I'm not following you --

ANDO: (subtitled) Good!

HIRO: (subtitled) You don't even know anyone in Las Vegas. You don't know anyone in this country.

(Ando opens the front door.)

ANDO: (subtitled) (shouts back) Yes, I do!

(Ando leaves, the door slams shut behind him. Hiro removes his tie.)

HIRO: (subtitled) I'll probably save the world faster now.

(He turns and looks out the window. He sees something moving in the sky. It's Nathan! He's in his pajama bottoms and slides to a stop in the parking lot.)

(Hiro is amazed.)

(Nathan hops on his tender feet.)

NATHAN: Gyah! Ahh! Ohh!

(He turns and looks at the diner.)

(In the diner, Hiro looks around to see if anyone saw Nathan. Everyone else is busy with their food. Hiro looks out the window and grins at Nathan.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (LAS VEGAS) FLY-BY-NIGHT ROADSIDE DINER - DAY]

(The doorbell jingles as Nathan walks in. Everyone sees him, smiles and stares at him.)

NATHAN: All right, I get it. A guy in his pajamas. Ha ha. Now, we can all stare and have a good laugh, or one of you could lend me your cell phone.

(Hiro smiles. Nathan takes a seat at the counter.)

WAITRESS: Can I help you?

NATHAN: I'll take one of those T-shirts. And a cup of coffee, while you're at it.

(Hiro is in awe at Nathan.)

CUT TO:

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

CAPTION:
LOS ANGELES

(Matt is in the other room on the phone and speaking in low tones. The door is partially open.)

MATT: (to phone) Okay, so two porterhouse steaks, both medium rare. And, um, what sides do you have? (pause) You know, one of everything's great. Cool. Thank you. Bye.

(He hangs up. Janice walks up to him.)

(He looks up and sees Janice. He goes to her.)

JANICE PARKMAN: Why aren't you at work?

MATT: You been, uh ... you been sleeping next to me all this time, and I ... I miss you. But I know ... I know you think I'm lazy. And that I don't know how to listen. And all I do is ... (he pauses) ... mope. (She chuckles.) Well, um ... you know what? That's okay. Maybe you're right. Maybe I just need to try harder.

JANICE PARKMAN: I think we both do.

MATT: Good. 'Cause we're calling in sick today.

JANICE PARKMAN: No. No.

(She turns and walks into the next room.)

MATT: Oh, yeah. I got it all planned out. Just go get dressed.

JANICE PARKMAN: I'm dressed!

MATT: No, something nicer. Come on.

(Janice smiles and shakes her head.)

CUT TO:

[INT. (LAS VEGAS) FLY-BY-NIGHT DINER - DAY]

(With a glowing look on his face, Hiro stares at Nathan. Nathan is dressed in a dark t-shirt. Hiro gets up from his booth and scoots over toward Nathan, who is reading the paper.)

(Nathan looks up.)

NATHAN: Can I help you?

(Hiro sticks his hand out.)

HIRO: Hiro. Hiro Nakamura.

(Nathan shakes his hand.)

NATHAN: Oh. Nathan Petrelli.

HIRO: Petrelli. Nathan. Very nice to meet you.

NATHAN: Thank you.

HIRO: (whispers) Flying man. Oh ... you fly. I see you. Whhshh!

(Hiro motions with his hand.)

(Nathan glances at the waitress and nods.)

NATHAN: Thank you. (to Hiro) I don't know what you're talking about.

(He sips his coffee.)

HIRO: (whispers) Oh, it's okay. I keep secret. (He looks around.) I bend time onto s___e. Teleport-o into future. We are both special.

(Nathan looks away.)

NATHAN: All righty, then.

HIRO: Oh, I--I go to New York. I see future. Um ... Big boom goes there. Bad for many people. (motions big) Boo-khashhh!

NATHAN: Shh-

(Hiro imitates a small, softer explosion.)

NATHAN: I can see where that might be a problem.

HIRO: Don't worry. I stop it. Am hero.

NATHAN: (smiles) Lucky us.

(Behind them, a car pulls up into the parking lot. The car horn honks. Nathan glances behind him. That's his ride. He puts his coffee cup down.)

NATHAN: Better go.

(Nathan gets up and heads for the door. He stops and turns around.)

NATHAN: In this future that you see, you don't happen to know whether or not I win the election, do ya?

(Hiro stops and thinks about it.)

HIRO: (mumbles) Yes, um ... Petrelli. Uh-huh. Nathan. (excited and claps his hands as he remembers) Ah, hai, hai, hai! Yes! I know you. Nathan Petrelli. Election. You win. Very big win. Landslide.

(Nathan chuckles and puts a hand on Hiro's shoulder. He turns and heads out.)

NATHAN: Yeah. I gotta get back to Vegas.

HIRO: Uh, give me ride, please.

(Nathan stops and turns around.)

NATHAN: Hmm?

(Hiro motions driving.)

HIRO: Ride-o. (motions honking horn) Boo boo.

NATHAN: Sure. Well, what the hell?

(Nathan motions for Hiro to come along. Hiro jumps off his stool and grabs his suitcase.)

NATHAN: What'd you say your name was?

HIRO: Hiro Nakamura.

(Nathan opens the door.)

NATHAN: Where you from?

HIRO: Tokyo, j__an.

(Hiro ducks out of the diner.)

NATHAN: Ah. Never been there.

(Nathan follows him.)

CUT TO:

[INT. (ODESSA) HOSPITAL - CLAIRE'S ROOM]

(Claire is in the hospital bed. Mr. Bennet walks up to her and puts his hand on hers.)

MR. BENNET: Hey ...

CLAIRE: Hi.

MR. BENNET: Your mother told me you lost control of the car.

CLAIRE: That's what I told her happened.

(He stops smiling and glances behind him. Sandra is talking with the ER doctor. Mr. Bennet closes the door.)

MR. BENNET: Is there something you want to tell me?

CLAIRE: (sighs) I ran the car into the wall on purpose.

MR. BENNET: You could have killed yourself.

CLAIRE: I wasn't thinking about me.

MR. BENNET: Well, what were you thinking about? Claire. You've got to start trusting me.

CLAIRE: (whispers) I lied to you.

MR. BENNET: About what?

CLAIRE: I lied to you when I said that ... I lied to you when I said nothing happened ... at the bonfire.

MR. BENNET: What happened to you?

CLAIRE: (crying) He tried to ... he tried to force me.

MR. BENNET: The quarterback?

CLAIRE: He threw me down, and I hit my head, and I woke up somewhere else. I'm sorry. I'm sorry that I lied to you. I didn't know what else to do. I can't prove anything. He was gonna get away with it again. I'm not the only one. Please, you can't say anything.

(He smiles at her.)

MR. BENNET: No one's gonna know. (He smoothes her hair back.) No one's gonna know a thing.

CUT TO:

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

(It's raining. Isaac is in his studio near the window, a blanket wrapped around him. Peter knocks on the door.)

PETER: Hello? (He steps inside.) Isaac?

(Peter walks over to him.)

PETER: You doing okay?

ISAAC: Go away, man.

PETER: Isaac, I need your help.

ISAAC: You need help ... ask Simone. You already took her. What else do you want from me?

PETER: You painted me. A picture of me flying. Okay, it happened. It was real. I flew.

ISAAC: Congratulations.

PETER: I'm telling you that I believe you. That you can paint the future.

(Isaac holds up a finger as he turns around and heads back to the painting table.)

PETER: Listen, whatever is happening to you, it's happening to me too. And I don't know why, but I'm supposed to ... see you. You're supposed to have the answer.

(Isaac cleans up his supplies.)

ISAAC: Is that what, um, I sound like? (scoffs) No wonder she left me. I don't have any answers.

PETER: You're supposed to ... know where I have to go.

ISAAC: See for yourself.

(Isaac continues to fiddle with his supplies. Peter turns and looks at the paintings.)

(He glances at the painting of Hiro and Ando under the bloodied HOMECOMING banner. He looks at the blonde-haired girl and at the painting of the locker doors flying toward the dark-haired man.)

(Isaac watches Peter.)

(Peter lifts up the painting of the eclipse to look at the painting of Claire on the amphitheatre steps.)

PETER: It's her--the cheerleader.

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (LAS VEGAS) HOTEL/CASINO - FRONT - DAY]

(The driver pops the trunk. Nathan gets out of the car and walks around to the driver's side. He's dressed in his own shirt and pants.)

NATHAN: (to the driver) I'll get it.

DRIVER: Thanks.

(Nathan opens the door for Hiro.)

NATHAN: (in j__anese)

(Hiro gets out.)

HIRO: (shouts) Vote Petrelli!

(Nathan chuckles.)

NATHAN: Early and often.

(They shake hands.)

HIRO: (softly) Oh ... up, up, and away.

NATHAN: Absolutely.

(The driver takes Hiro's bag out of the trunk. Hiro turns and grabs his bag.)

CUT TO:

[INT. PARKING GARAGE - DAY]

(Hiro runs with his bag to his rental. He opens the car hood and puts his suitcase in the back.)

CUT TO:

(Hiro slips behind the wheel and makes car noises while pretending to drive.)

HIRO: Vroom, vroom!

(beep-beep!)

HIRO: (subtitled) Move! Get out of the way!

(He sticks the keys in the ignition. The lights blink on and off.)

HIRO: Whoo hoo!

(He looks at the b___ons.)

HIRO: Uh -

(He presses something and the windshield wipers activate.)

HIRO: (subtitled) Maybe there're instructions.

(He looks inside the glove compartment and pulls out a sheet of paper.)

HIRO: (subtitled) It's all English ...

(Oh, no!)

CUT TO:

[INT. (LAS VEGAS) - LOBBY - DAY]

(Nathan is riding up the escalator. His campaign manager is behind him.)

NATHAN: Tell Sakamoto I'm back, and we need to talk.

CAMPAIGN MANAGER: Yes, sir.

(Niki is walking toward the escalators. Nathan sees her and follows her down.)

NATHAN: Didn't think I'd see you again. (To the campaign manager) It's all right, I'm good, I'm good.

(The campaign manager, who is on the phone, leaves.)

NATHAN: What the hell did you do to me?

NIKI: I could ask you the same thing. All I know is that I woke up in your room somehow, and you were gone.

NATHAN: All you know? We had a great dinner, then you leave. You come back and attack me. I have one of the best nights of my entire life. And the next thing you know, somebody's trying to throw me into a van.

NIKI: I don't know what happened last night. I swear. All I know is that when I met you, I was trying to be someone I'm not. And that's not who I wanna be.

NATHAN: Who do you wanna be?

NIKI: Someone good. A good mother. Not the person that I see in the mirror.

NATHAN: Look, I don't know how much of last night was an act and how much was you. The girl I met, that's the kind of girl you spend your entire life waiting to meet. Somebody strong, somebody beautiful, somebody ... good.

NIKI: I didn't know they were gonna do anything to you. They blackmailed me. Just like they're gonna blackmail you.

NATHAN: They taped us?

NIKI: I'm so sorry.

(Nathan puts his sunglasses on and leaves.)

CUT TO:

[INT. (LOS ANGELES) PARKMAN RESIDENCE - DINING ROOM - DAY]

(Matt is pouring the wine. Janice steps out.)

JANICE PARKMAN: Wow. Is it Christmas?

MATT: No, no, come here.

JANICE PARKMAN: What is all this?

MATT: (sighs) This is the Shiraz from that great place in the Sonoma Valley. Remember we went there a million years ago, and you've been thinking about going back?

JANICE PARKMAN: How do you know that?

MATT: And, um, porterhouse steaks from Mickey's that you craved. And I'm gonna pretend that, uh, that I cooked for you tonight. Oh, and, uh ...

(He turns the music on.)

JANICE PARKMAN: Wait, I've had that song in my head for days.

MATT: Oh, I know.

JANICE PARKMAN: I don't know what to say.

MATT: How about, uh ... "Pass the salad."

(He holds out her chair and she sits down. Matt takes the other seat and mixes the salad.)

JANICE PARKMAN: So, who is she?

MATT: That's nice. What, a guy can't pretend to cook dinner for his wife without being accused of cheating on her?

JANICE PARKMAN: Well, you were missing for a day, and now this, and ...

MATT: Okay, sorry. I thought this was what you wanted.

JANICE PARKMAN: Everything I could think of ... you thought of first. It's our best ... date. It's our only date ...

MATT & JANICE (BOTH): We've had in a long time.

MATT: I know. Okay, you know what?

(He picks up his glass.)

MATT: Let's, um ... let's call this the first of many to come.

JANICE PARKMAN: Why, do you have something planned for tonight?

MATT: Oh, I do now.

(She gets up, straddles him and they kiss.)

CUT TO:

[INT. (ODESSA) HOSPITAL - BRODY'S ROOM -- DAY]

(Brody is sleeping. His face is bruised and he's in a neck brace. His arms and legs are in casts. The heart monitor beeps steadily. Mr. Bennet is standing out in the doorway. He walks in and closes the door.)

(He closes the curtain and sits on the edge of the bed. Brody wakes up.)

MR. BENNET: Hello, Brody. I'm Claire's father.

BRODY MITCHUM: I know who you are. You're the guy I'm gonna sue.

MR. BENNET: I'm very sorry about the accident.

BRODY MITCHUM: It wasn't an accident.

MR. BENNET: What makes you say that?

BRODY MITCHUM: Because she crashed my car on purpose. She's a freak! She's ... not human.

MR. BENNET: I'd put more stock in her humanity than I would in yours. You tried to rape my daughter.

BRODY MITCHUM: I didn't touch her.

MR. BENNET: Well, it's her word against yours. And from my perspective, she's the more reliable witness.

BRODY MITCHUM: You don't know your daughter.

MR. BENNET: I know her better than even she does.

BRODY MITCHUM: I don't have to listen to this.

(Brody reaches for the nurse call b___on. Mr. Bennet grabs him and covers his mouth with his hand, m___ling his cry of pain.)

MR. BENNET: Shh.

(Brody grunts and gasps.)

MR. BENNET: Claire is a very special girl. It's confusing what's happening to her, and she doesn't need some punk making her life any more difficult. Do you understand me?

(Brody grunts.)

MR. BENNET: I should kill you. But instead, I'm gonna do you a favor. You already threw away this life. I'm gonna give you a second chance. And I'm gonna let you forget all the terrible things you've done. And maybe this time, when you wake up in your new life ...

(Brody grunts.)

MR. BENNET: ... you'll make something decent of it.

(Mr. Bennet lets Brody go. He grunts and gasps.)

MR. BENNET: Shh.

(Mr. Bennet straightens his jacket and pushes the curtain away. The Haitian is standing there.)

MR. BENNET: Hollow him out. Take everything.

(Mr. Bennet leaves. The Haitian steps forward and closes the curtain completely around Brody's bed.)

CUT TO:

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

(Peter hangs up the painting of Claire next to the painting of Hiro and Ando under the b_____ HOMECOMING banner. On the very top is the paining of Peter being attacked by flying locker doors. Peter takes the next painting of Claire in the amphitheatre and hangs it underneath that.)

(Isaac sits at the table. Peter looks at the paintings.)

PETER: Wow. This is amazing. Look, it's telling a story, like a comic. This girl, she's ... running and ... I ... Is that me?

ISAAC: Why would I paint you?

PETER: These two guys ... I think we're all trying to help her. Cheerleader. Who is she?

ISAAC: I don't know.

PETER: Yeah, but you painted these.

ISAAC: I was high, dog.

PETER: So what happens next? I mean, where is she?

ISAAC: (angrily) I was high!

(He coughs and gets up.)

ISAAC: I could have been clean. I tore myself apart. I lost Simone ... to try and find an answer. How to stop it.

(Peter turns and sees the mural of New York exploding on the floor.)

ISAAC: All I got was this garbage. (scoffs) Some cheerleader.

(Peter looks at another painting of a man in the shadows standing in front of something that's incomplete.)

ISAAC: It's nothing. I've ruined my life for nothing.

PETER: It's not nothing. Look, don't you get it? Everything is connected. We are all connected. If this thing that you painted, this bomb, is true, we're all dead. These are the key to saving us. Something's gonna happen to this girl. We need to know what. You have to finish this. (He points to the incomplete painting.) You -- you have to finish the painting.

ISAAC: Even if I wanted to, I can't. I'm out of drugs. I'm out of money to buy drugs.

PETER: Can't you just finish it without shooting up?

ISAAC: If you got some cash on you, man. That's another story. We can call it a commission.

(Peter sighs and looks at the painting. He stares intently at the painting. The white incomplete canvass morphs into an image --

PETER: I saw it.

ISAAC: What?

(Peter goes to the supply table.)

PETER: I saw something in the, uh, in the canvas. A picture. This painting... I can finish it.

ISAAC: You can paint?

(Peter takes his good shirt off to a dark t-shirt underneath. He picks up a can of paint and a brush.)

PETER: No. No, I can't. But ... I drew the future after I saw you the other day. It was only stick figures, but ...

(Isaac stands up and watches Peter.)

PETER: It came true.

(Peter looks at the painting. He closes his eyes and concentrates. Isaac watches him.)

(When Peter opens his eyes, his pupils are white. He looks at the canvass and starts to paint.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (ODESSA) HOSPITAL - BRODY'S ROOM]

(Claire walks through the hallway and enters Brody's room. Claire walks up to his bed.)

CLAIRE: Hi, Brody. I know you probably don't wanna see me right now or hear what I have to say. But I have to say it. What you did to me ... what you tried to do, was wrong. But what I did to you was wrong too, and I'm sorry. I think that everyone deserves a do-over at least once in their lives.

BRODY MITCHUM: I--I don't know you. Who are you?

CLAIRE: Brody, it's me, Claire.

BRODY MITCHUM: Why do you call me Brody?

CUT TO:

[INT. (LAS VEGAS) SANDERS RESIDENCE -- DAY]

(Niki returns home.)

NIKI: Micah!

(She takes her shoes off. She finds three men in her house - two men in suits and an officer.)

NIKI: Where's my son?

(She rushes around them and heads for the other room.)

NIKI: Micah! Is he ...

(She finds a couple more men in suits and another officer with Tina and Micah.)

NIKI: Oh, God. Honey. (She hugs Micah.) Honey. (to Tina) What happened?

TINA: They showed up a few hours ago. They're looking for DL. I told them you haven't seen him in months.

DETECTIVE: Ms. Sanders?

NIKI: Uh-huh?

(He shows her a photo of DL.)

DETECTIVE: Is this your husband, Miss?

NIKI: Yeah. What's going on with DL?

DETECTIVE: Did he try to contact you at all in the past few days?

MICAH: My dad didn't do anything.

NIKI: Micah ... I need you to wait with Tina for another minute, okay?

(Niki and the detective step aside.)

DETECTIVE: Ma'am. Your husband was spotted at a convenience store not far from here about an hour ago.

NIKI: He's here?

DETECTIVE: No sign of him yet. But we got cars hidden around the block in case he tries to make contact.

NIKI: DL's been on the run for six months. Why haven't you caught him?

DETECTIVE: We had him in custody two days ago. He pulled a Houdini, slipped out of his cuffs.

NIKI: DL Hawkins is a killer. He -- he has been following me. Doing things.

DETECTIVE: What sort of things?

NIKI: Look, if he's here, and he wants something, I won't be able to stop him. You need to protect us.

OFFICER: (from radio) We've got someone coming. He's headed for the house.)

(The detective pulls out his gun and everyone spurs into motion.)

DETECTIVE: Get these people safe.

(Niki grabs Micah and moves him into the next room.)

OFFICER: (from radio) He's headed for the back door.

(The officers with their guns surround the back door.)

OFFICER: (from radio) Repeat: cover the back door.

(The shadow of someone approaching moves along the back door. Everyone waits.)

(Someone approaches the door.)

MICAH: Dad.

(Ando walks in.)

OFFICERS: Freeze! Hands up! Hands up!

(Ando puts his hands up.)

ANDO: Nik-ki?

(Niki looks surprised. Ando waves to her.)

CUT TO:

[INT. (LAS VEGAS) HOTEL - DAY]

(Nathan signs the bill.)

MS. SAKAMOTO: Your men are worried about you, Mr. Petrelli. Are you all right?

NATHAN: I'm fine. Though I can't say I'm pleased with the security situation.

(He folds the paper and tucks it into his jacket pocket.)

MS. SAKAMOTO: You have the hotel's sincerest apologies. Consider your stay on us. If there's anything else you need, just ask.

NATHAN: Actually, uh, I was wondering how that tape turned out.

MS. SAKAMOTO: Consider it a favor you'll repay one day.

NATHAN: Or what?

MS. SAKAMOTO: For a man whose campaign is founded on sound family values, this could be really embarrassing for you. Especially considering your wife.

NATHAN: On the other hand, that tape really isn't worth much unless I win, is it? Why don't you just give me my four million, and I'll fly back to New York and put it to good use?

MS. SAKAMOTO: Our agreement was two million. It's rather generous.

NATHAN: You know, I thought so too. And then I thought, "Gee ... it must be pretty important for Linderman to see me in office if he's willing to go to this much trouble to keep me in line." Two million makes me a candidate in your pocket. Four million makes me a Congressman.

(Nathan smiles at her.)

CUT TO:

[INT. (LOS ANGELES) PARKMAN RESIDENCE - LIVING ROOM -- DAY]

(Matt and Janice are on the couch, post-coital sweaty and panting.)

JANICE PARKMAN: (gasping) Oh, that was ... Oh. I love you.

MATT: I love you.

JANICE PARKMAN: It's like you're in my head. It's like ... Mmm.

(They kiss.)

MATT: I love you. What can I get you?

JANICE PARKMAN: Nothing. Just sleep ... for a week.

(Janice laughs.)

MATT: Coffee ice cream.

JANICE PARKMAN: What?

MATT: You got it. Coffee ice cream coming up.

(Matt gets up and leaves the couch. Janice leans over the back and smiles.)

CUT TO:

[INT. CONVENIENCE STORE -- NIGHT]

(Matt opens the freezer and grabs a tub of coffee ice cream. He's eating a cookie. As he grabs another container of ice cream, a woman looks at him.)

MATT: Mmm, heh. I, um, I skipped lunch.

(The woman nods and moves away. Matt grabs another container and heads for the cashier.)

(He starts hearing random people's thoughts.)

WOMAN'S VOICE: (v.o., thinking) "Chlorophyll glucosamine"? Is that the same as ...

MAN'S VOICE: (v.o., thinking) Here we go.

(Matt goes to the cashier.)

MATT: Hey, um ... you have aspirin?

(The cashier points to the side. Matt grabs a container.)

MATT: Thanks.

MAN'S VOICE: (v.o., thinking) Security cameras won't see me. If he makes a move, I'll blow his head off. Now let me see ...

(Matt looks around.)

WOMAN'S VOICE: (v.o., thinking) If I eat cookies, then I'm gonna have to work out.

(Matt concentrates.)

MAN'S VOICE: (v.o., thinking) Clean everything out of the register. Probably get a couple hundred in cash too.

(Matt turns around and sees a young man with his hand in his pocket staring at the cashier.)

(Matt walks past the robber and notes the man's hand in his pocket. Matt walks up to the robber.)

MATT: Hey. Look, I know why you're here. And I just wanna say don't do this.

CONVENIENCE STORE ROBBER: What the hell do you know?

MATT: Nothing. But I'm a cop. But I am not armed. Okay? I just came in here to get some ice cream for my wife. But I know what you're thinking about doing. And I know that you could ... pull out the gun that you've got in there, and you could shoot me. But then you would be throwing your life away. And for what? A couple of twenties in the register, huh? Look, I know you're hurting. But Marie ... is waiting for you. At home, right? And Vincent's getting out in a month. All you have to do is just ... take your hand out of your jacket pocket ... and put the gun down ... and get out of here.

(The robber suddenly takes his hands out of his pockets and puts them on his head. He's holding the gun. He puts the gun down on the shelf and runs out. Matt picks up the gun. Matt starts out.)

WOMAN'S VOICE: (v.o., thinking) Oh, my God. Is that a gun? He's got a gun.

(Everyone in the store is staring at him.)

MATT: No, no, no, no.

MAN'S VOICE: (v.o., thinking) Don't shoot me.
WOMAN'S VOICE: (v.o., thinking) Call the cops.

MATT: No, I'm a cop.

MAN'S VOICE: (v.o., thinking) You do not look like a policeman to me.

MATT: No, it's okay.

MAN'S VOICE: (v.o., thinking) I can't believe this is happening.

MATT: No, it's okay. It's okay, I'm a cop.

MAN'S VOICE: (v.o., thinking) What's wrong with him.
WOMAN'S VOICE: (v.o., thinking) He's probably crazy.

(Matt wipes his forehead.)

WOMAN'S VOICE: (v.o., thinking) I just wanna get out of here.
WOMAN'S VOICE: (v.o., thinking) Please don't shoot me.

MATT: It's okay. I'm a cop.

WOMAN'S VOICE: (v.o., thinking) I just wanna get out of here alive. My mother's in the car!

MAN'S VOICE: (v.o., thinking) Someone call the police.

ABRUPT CUTS: Matt shakes his head. The voices are too much for him to handle.

MATT: It's okay!

(Matt collapses.)

MATT: Agh!

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (LAS VEGAS) SANDERS RESIDENCE -- NIGHT]

(Niki nods.)

NIKI: You're Huggerz, the guy from j__an?

(Ando is handcuffed behind his back and sitting in the chair. He's surrounded by the officers.)

NIKI: He's one of my customers. I run a website. How did you find me?

ANDO: WHOIS database. You need unlist, maybe.

NIKI: You shouldn't have come. I live here. My kid is in the other room. What did you think was gonna happen?

ANDO: I'm sorry. We chat so much online, I thought ... I thought you maybe help me.

NIKI: (scoffs) You got the wrong girl. That person that you see on the Internet, that's not me. You get the difference, right? Do you understand?

DETECTIVE: You want us to take him in for trespassing?

NIKI: Just ... let him go home.

(The officers uncuff Ando.)

DETECTIVE: Let's go.

ANDO: It was ... nice to meet you.

DETECTIVE: Okay.

(The detectives lead Ando outside.)

DETECTIVE: We'll leave a squad car outside in case your husband decides to show, Ms. Sanders.

NIKI: Thank you.

(The detective leaves.)

[INT. SANDERS RESIDENCE - MICAH'S ROOM -- NIGHT]

(Niki walks up to Micah and kisses the top of his head.)

(She walks out of the room and through the hallway. She stops and looks into the room.)

NIKI: Hello?

(She looks back at Micah busy with his own thing. She continues into the kitchen. She covers her face with her hands and sighs.)

(She turns and heads back to Micah's room.)

(Camera pulls back and we see DL standing in the kitchen hiding behind the corner. He turns toward the hallway.)

CUT TO:

[INT. (LAS VEGAS) PARKING GARAGE -- NIGHT]

(Hiro sits on the car back, playing with the car keys. He looks despondent and sad. He throws the keys up in the air and catches them absently.)

(Ando returns carrying his suitcase, his jacket slung over his shoulder.)

(Hiro turns and looks at Ando.)

(Ando walks over. He puts his suitcase down next to the car and folds his jacket over his arm. He looks out and sighs.)

ANDO: (subtitled) I guess ... ... we call the artist again.

(Hiro turns and looks at Ando.)

CUT TO:

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

(Fresh wet paint drips off the edge of the painting onto the floor. Camera pans up on the painting of the dead cheerleader.)

(Peter and Isaac step forward to study the painting.)

(Peter stands up to look at the entire painting.)

ISAAC: How'd you do that?

PETER: I don't know.

ISAAC: (determined) We have to save her.

(The phone rings. Peter turns and glances at the phone. Isaac ignores it.)

ISAAC: Ignore it. It's a wrong number. Some j__anese guy keeps calling, leaving messages.

(Peter turns and heads for the phone. He answers it.)

PETER: (to phone) Hello?

INTERCUT WITH:

[INT. (LAS VEGAS) CAR (PARKED) - NIGHT]

(Hiro is on the phone)

HIRO: (to phone) Mr. Isaac? Issac Mendez?

PETER: (to phone) Who is this?

(Hiro holds the phone so he and Ando can hear.)

HIRO: (to phone) Uh ... My name is Hiro Nakamura.

PETER: (to phone) My name is Peter Petrelli. I have a message for you.

(Hiro and Ando look at each other.)

(We hold on Peter.)

FADE TO BLACK.

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