SUMMARY: Simone's father dies. Isaac and his paintings are missing. Zach finds the videotape. Lyle watches the videotape and Claire has to convince him to keep her secret. Matt and Janice make up. Matt is on the verge of telling Janice his secret when he finds out that she's had an affair with his ex-partner Tom. Peter crashes a "Petrelli brunch" and Nathan's interview with the New York Journal. He also provides Nathan with an alibi for his Las Vegas one-night stand with Niki. Peter asks Nathan to help him get Isaac's paintings from Linderman. Nathan gets the paintings and lies to Peter about it. He also tells Peter about being kidnapped. Peter doesn't believe him. Thinking they've found Sylar, Matt and Audrey go after Ted Sprague and find him at his dying wife's bedside. While on the run, DL and Micah encounter Hiro and Ando. DL and Hiro use their abilities independently, and together they save a woman in a burning car. Tina checks up on Niki and finds her scared and crying. Niki talks with Nathan who is too busy with hiding the affair to help her. She smashes the phone into the mirror and shatters it. Jessica takes over. Worried for her, Micah calls Niki only to have Jessica answer the phone. He tells Jessica where they are and Jessica makes plans to get her son back from DL.
==========================
HEROES
1X07: NOTHING TO HIDE
==========================

FADE IN:

[t__LE CARD: HEROES]

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

VARIOUS CUTS OF: PETER / NIKI / CLAIRE / HIRO

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

[INT. BENNET RESIDENCE - LIVING ROOM]

(Claire meets with Hank and Lisa.)

NARRATOR: (v.o.) The cheerleader sought her birth parents for answers.

(CUT TO: Video footage of Claire snapping her dislocated shoulder back into place.)

(CUT BACK TO: Claire meets with Hank and Lisa.)

LISA: (to Hank) She has your mouth and your nose, doesn't she?

(CUT TO: Mr. Bennet watches the meeting from the den.)

NARRATOR: (v.o.) But was it real?

DISSOLVE TO:

(Out front, Hank talks with Mr. Bennet.)

HANK: I think that went really well.

(Lisa remains quiet.)

HANK: If there's anything else you need.

MR. BENNET: I'll keep you posted.

[MATT PARKMAN]

NARRATOR: (v.o.) The cop who reads thoughts, used his abilities to save his marriage.

(Matt pours a glass of wine for Janice.)

(Janice is impressed.)

JANICE PARKMAN: Everything I could think of, you've thought of first.

[NIKI SANDERS]

NARRATOR: (v.o.) The single mother's alter-ego revealed a deadly secret.

(Niki wakes up after being knocked out by Linderman's thugs.)

(CUT TO: Jessica shushes Niki.)

JESSICA: Shhh---

(CUT TO: Niki and Jessica talk.)

JESSICA: What do you think DL is gonna do when he finds out what we've done?

NIKI: We've done?

JESSICA: We've framed him.

CUT TO:

NARRATOR: (v.o.) And in a battle with her husband -

(DL finds Niki with the suitcase of money.)

DL: I'm taking the money.

(Jessica makes an appearance.)

JESSICA: You're not taking anything.

(She swings the suitcase and hits DL in the face. He flies across the room and smashes into the closet.)

(DL chokes Jessica. Jessica gasps for breath.)

(She falls to the floor.)

NARRATOR: (v.o.) -- lost her son.

SLOW MOTION: Micah runs toward his mom. DL grabs him.

CUT TO:

[PETER PETRELLI]

NARRATOR: (v.o.) The brother who could fly fell in love with his patient's daughter.

(Peter stands on the rooftop, his arms extended out from his body. He falls off the building.)

VARIOUS CUTS OF:
* Charles Deveaux is in bed.
* Peter and Simone talk.

(Peter tells Simone he's quit his job.)

PETER: Everyone runs into each other sooner or later.

SIMONE: Maybe it'll be sooner.

(CUT TO: Peter and Simone kiss under a red umbrella out in the pouring rain.)

NARRATOR: (v.o.) And is still uncertain of his powers.

(Peter opens his eyes and he's in a trance.)

FADE OUT TO:

[t__LE CARD: HEROES]

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

FADE OUT.
END OF NBC INTRODUCTION

FADE IN:

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

[EPISODE t__LE]
CHAPTER SEVEN
"NOTHING TO HIDE"

[INT. (NEW YORK) DEVEAUX PENTHOUSE - BEDROOM - DAY (PETER'S DREAM)]

(Peter is reading the NEW YORK TELEGRAPH to Charles Deveaux. The paper shows the Weather section and an article entitled, "Skies Clear For Solar Eclipse.")

PETER: M-Core's holding steady, but Yamagato -- Yamagato is down to 215 and an eighth. I think that's a good bargain.

(Charles is awake in bed.)

CAPTION:
PETER PETRELLI & CHARLES DEVEAUX
NEW YORK CITY

CHARLES DEVEAUX: Oh, really? And what do you know?

PETER: You saying I couldn't pick a stock?

CHARLES DEVEAUX: Ah, Darwinian. Look at your sorry a__. Barely able to make minimum wage. Now you look at me living in a penthouse. Central Park West.

PETER: Correction. It's dying in a penthouse in Central Park West.

(Charles chuckles and coughs. Peter gets up and walks around the bed with his stethoscope.)

CHARLES DEVEAUX: Right you are, my boy. Right you are.

PETER: Teach you to mess with me. Take a breath.

(Peter listens to Charles' heart.)

CHARLES DEVEAUX: In the end, all that matters is love. I love you, Peter.

PETER: I love you too, Charles.

CHARLES DEVEAUX: You speak your mind. You know who you are. You know what you want. That's your power. That's your strength.

(Peter walks over to the windows.)

PETER: Mind if I let you in on a little secret, Charles?

CHARLES DEVEAUX: You can say anything to me, you know that.

(Peter opens the windows. He goes back to the bed.)

PETER: (whispers) I can fly.

CHARLES DEVEAUX: (chuckles) Really? Well, if you can fly, then show me.

(Peter smiles. He gets up and steps away from the bed.)

PETER: All right. Watch this.

(Peter looks out at the open window. He starts walking toward the window -

PETER'S POV:

-- and he soars through the air - zooming and dipping along buildings and high-rises. He swoops between the buildings and -

DISSOLVE TO:
END OF PETER'S DREAM

[INT. PETER'S APARTMENT - BEDROOM - DAY]

(Peter wakes up. His front door buzzer sounds.)

VARIOUS DISSOLVES OF:

(Peter gets out of bed and answers the door. It's Simone. She appears upset.)

PETER: Simone. What's wrong? Come in.

(She steps inside. Peter closes the door behind her.)

SIMONE: It's my dad.

PETER: That's so weird. I was just having a dream about him.

SIMONE: He passed away about an hour ago.

(Peter holds Simone as she cries.)

SIMONE: I really needed to see you.

FADE TO WHITE:

[INT. (ODESSA) BENNET RESIDENCE - DAY]

(The doorbell rings. Claire answers it.)

CAPTION:
CLAIRE BENNET
ODESSA, TEXAS

CLAIRE: (to Zach) You know, I get that you're sort of socially slow, but you know you're supposed to call someone before you come over.

(Zach steps inside.)

ZACH: This you're gonna want to hear right away. I found the tape.

CLAIRE: What tape?

ZACH: The tape of you trying to kill yourself twenty times. I found it. Look, I was looking for my PSP under my bed, right? And there it was. You're safe.

(Zach gives Claire the tape. She punches him in the arm.)

ZACH: I thought this was supposed to be good news.

CLAIRE: Well, I can't believe you had it this entire time! Why didn't you look there before?

ZACH: I did. I tore the whole room apart. I must've checked the bed, like, fifty times.

(Sandra Bennet comes down the stairs. Zach and Claire stop talking. Sandra puts Mr. Muggles down. He's in a sweater and on a leash.)

ZACH: Good morning, Mrs. Bennet. Good morning, dog.

SANDRA BENNET: How are you, Zachary?

ZACH: I'm all right. Claire keeps punching me, though.

(Claire punches Zach again. She tucks the videotape under the jacket on the counter. Lyle steps out of the den and sees her.)

SANDRA BENNET: Your dad's plane's gonna be late. I won't be home until 8:00 or so. I am trusting you to hold down the fort.

CLAIRE: Because Lyle never listens to me.

SANDRA BENNET: Well, he will listen to you today because he knows what a big day it is for Mr. Muggles. Thank you. And he doesn't want to stress us out. Whew, does he?

LYLE BENNET: Sure.

SANDRA BENNET: Will you two help me out to the car?

(Sandra hands Mr. Muggles to Claire.)

SANDRA BENNET: Your dad left on the sprinklers last night. And I don't want to get his paws all soggy.

(Zach picks up the dog supplies.)

SANDRA BENNET: Here we go.

(Zach, Claire and Sandra head out the front door.)

SANDRA BENNET: (to Lyle) Wish Mr. Muggles good luck.

(As they leave, they pass Lyle, who is reading a comic book. He sighs, grabs a pizza from the box on the counter and looks at Claire's jacket. He glances behind him to make sure they're gone. He pulls out the videotape.)

FADE TO WHITE:

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

(Niki is on the floor and out cold.)

CAPTION:
NIKI SANDERS
LAS VEGAS

(Niki comes to. She gasps and gets up. She looks around and remembers.)

NIKI: Micah?

(Niki gets up and runs out the hallway to check the next room.)

NIKI: (screams) Micah?

(She runs into Micah's bedroom.)

NIKI: Micah!

(There's no sign of Micah. Niki stops and looks at her reflection in the mirror.)

NIKI: (to Jessica) Help me.

CUT TO:

[t__LE LOGO: HEROES]

FADE OUT

(COMMERCIAL SET)

FADE IN.

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

CAPTION:
MATT PARKMAN
LOS ANGELES

(Matt puts his shirt on as Janice sits on the bed watching him.)

MATT: Now, things have been really good between us these last couple days. Don't you think?

JANICE PARKMAN: I know. I like it.

MATT: I just -- I feel like we've been really honest with each other. And that's good, right?

JANICE PARKMAN: Yeah.

(Matt sighs.)

MATT: There's something that we need to talk about. Something that I discovered.

JANICE PARKMAN: (v.o., thinking) I thought I'd been so careful.

(Matt stops and stares at her.)

JANICE PARKMAN: Well, what? What is it?

MATT: I don't --

JANICE PARKMAN: (v.o., thinking) Oh, God, he knows.

(Matt's smile fades and he's reluctant to say anything.)

JANICE PARKMAN: What? What did you want to say?

MATT: Um ... It can wait, actually. I gotta ... I gotta get to work.

(Matt turns and heads out of the bedroom.)

JANICE PARKMAN: Matt.

CUT TO:

[EXT. (LAS VEGAS) SANDERS RESIDENCE (STOCK) - DAY]

[INT. SANDERS RESIDENCE - BEDROOM - DAY]

(Niki walks around the room and looks at the damage. In the background, we hear someone knocking on the front door. The door opens and Tina lets herself in. She appears in the doorway.)

TINA: Niki? I was knocking, like, forever. What is it?

NIKI: Micah. DL came back. He -- he took him. I tried to protect my son. But I couldn't. I failed him.

CUT TO:

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

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

(The studio is bare of paintings. Simone sits at the table, looking through Isaac's sketchbook. Peter returns to the studio.)

PETER: Landlord said Isaac's gone. He took his paintings and --

(Peter stops and looks around the empty studio. He just realizes that ALL the paintings are gone.)

SIMONE: Did you know he was leaving?

PETER: No. I can't believe he would just go like that. I thought we were just starting to make sense of his paintings.

(Peter looks at the area of the studio where they hung the paintings. They're all gone.)

SIMONE: I wanted to tell him what happened in person.

(Simone finds a sketch of Charles Deveaux in the sketchbook.)

SIMONE: Isaac sketched it for my dad's 70th birthday. You know, I've been trying to get him clean forever. The one time I need him. Feels like everybody's leaving me.

PETER: I'm not going anywhere.

SIMONE: He was still in a coma. And then, like it was any other day, he started talking. He said he'd been flying all over the world. But that it was a world he didn't recognize. There was so many people filled with pain. Nobody looking out for each other. He worried for them. And for me. Until you told him everything would be okay.

PETER: What do you mean I told him?

SIMONE: I know. It doesn't make any sense. But he said that you were flying with him. And you told him it was all gonna be okay. That there were people who cared, who would make a difference. That you would save the world. After that, he just put his head down and ... he was gone. Like he was falling asleep.

PETER: I never had that conversation with your father.

SIMONE: But it sounds like something you would say. Those messages you left on my answering machine. You said you wanted one of Isaac's paintings. Because it would help you save the world.

PETER: It's hard to explain.

(Simone walks up to him.)

SIMONE: But if you had that painting ...

PETER: (nods) I could save the world.

SIMONE: Linderman.

PETER: What?

SIMONE: The painting you want. I sold it to a guy named Linderman. He lives in Las Vegas.

CUT TO:

[INT. (NEW YORK) - DAY]

CAPTION:
HEIDI & NATHAN PETRELLI
HYDE PARK

(Heidi looks at two NATHAN PETRELLI cards. Nathan's family and Angela are there around the table including his two sons, Simon and Monty.)

ANGELA PETRELLI: Linderman gave you $4 million, and you're spending it on postcards.

HEIDI PETRELLI: I take it I'm supposed to choose.

NATHAN PETRELLI: Mmm.

(She picks the VOTE PETRELLI card on the left.)

HEIDI PETRELLI: That one.

NATHAN: Well, that isn't a red flag. You two agreeing on something.

(He takes the card and starts to head out. Angela stops him.)

NATHAN: All right, gonna go to the office and have this printed up.

ANGELA PETRELLI: Don't you want to hear about how the New York Journal wants to do a cover story on you? I've invited Oliver Dennison to come for family brunch and do an interview.

NATHAN: You're kidding.

ANGELA PETRELLI: No, I never kid about family brunch.

NATHAN: That's because we never have family brunch.

HEIDI PETRELLI: Nathan, this could be great.

(Nathan walks back to them.)

NATHAN: I don't know. Dennison could go anywhere for a bagel. He comes here, he's gonna want something.

HEIDI PETRELLI: Nothing wrong with taking advantage of an opportunity.

NATHAN: (loudly) Mandy ... kids, why don't you go finish that train set we started this morning, all right? Take them upstairs.

(Simon and Monty leave the room. Angela sits down.)

NATHAN: I am not gonna use my family for political gain.

HEIDI PETRELLI: Tell that to Peter. Nathan, you've been trying to protect me since this happened. It's sweet in theory, but in practice, it's insulting. I'm not made of glass.

NATHAN: I know. But we don't need this.

(He kisses Heidi on her forehead. He turns and starts out again.)

HEIDI PETRELLI: Four points behind says we do. I've been hiding in this house for the last six months because your polling was afraid I'd make you look weak. But now I can help by coming forward. Let me.

NATHAN: You sure about this?

(Heidi sighs and looks at Angela.)

HEIDI PETRELLI: Set it up.

(Angela gets up and heads for the door.)

ANGELA PETRELLI: Chef's been cooking all morning. Oliver will be here in an hour.

(Nathan has a huge smile on his face. Heidi looks at her watch and sighs. She looks at Nathan.)

HEIDI PETRELLI: Then I better get ready.

(Heidi pushes her wheelchair out of the room.)

NATHAN: (to himself) Yeah. Good idea.

[HALLWAY - CONTINUOUS]

(Heidi wheels herself out through the hallway.)

CUT TO:

[INT. (LOS ANGELES) POLICE STATION - LOCKER ROOM - DAY]

(Matt sits in the locker room. He takes a couple of aspirin. Tom McHenry walks in. He's wet from his shower, his locker next to Matt's.)

TOM MCHENRY: Feeling okay, Matt?

MATT: Hey, Tommy. Yeah, I'm, uh ... I'm good.

TOM MCHENRY: Come on, buddy. We rode in the same car together for three years. I can practically read your mind.

(Matt sighs.)

MATT: Dude, I don't know where to start.

TOM MCHENRY: How about we go get a beer? Dodger game at 7:00.

MATT: Yeah. Yeah, I like that. Thanks.

(Through the mirror's reflection, we see FBI Agent Audrey Hanson walk into the men's locker room. The hooting and cat calls start.)

VOICE: (o.s.) Would you look at that!

(Audrey walks up to Matt.)

MATT: What's going on? What are you doing here?

AUDREY HANSON: It's Sylar, he's killed again. I'll brief you on the way to the morgue.

TOM MCHENRY: Sylar? Who's Sylar?

MATT: I gotta talk to my watch commander.

(She gives him an FBI ID card. Matt takes it.)

AUDREY HANSON: Taken care of. I'll be outside. Put on some real person clothes.

(Audrey turns and leaves.)

CUT TO:

[INT. (ODESSA) BENNET RESIDENCE - LIVING ROOM - DAY]

(Claire walks back into the house.)

CLAIRE: (shouts) Lyle, you better not think I'm cleaning up after you. We just got rid of all those ants.

(She picks up a used napkin and drops it again.)

CLAIRE: Such a dork.

(Claire lifts up her jacket to retrieve the tape and finds it GONE! Claire sifts through the jacket. There's no tape.)

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

(Lyle is in the den watching Claire's video on the player.)

CLAIRE: (from video) Okay, I'm good.

(On the monitor, Claire screams as she falls off the top of the tower.)

ZACH: (from video) Oh, my -- oh, my God!

(Claire walks into the den.)

CLAIRE: What are you doing?

ZACH: (from video) Oh, my God! Claire!

(Claire grabs the video tape recorder and wrestles Lyle for it.)

CLAIRE: Shut it off! Lyle, give it to me! Give it to me!

(Lyle lets the recorder go. Claire struggles to get the tape out of the recorder. In the meantime, Lyle watches footage of Claire being hit by a car.)

ZACH: (on video) Claire!

(On the monitor, Claire gets up.)

(Claire gets the tape out of the recorder.)

CLAIRE: It's amazing what you can do with special effects these days, huh?

LYLE BENNET: That was all special effects?

CLAIRE: Yeah, what else would it be?

(Lyle grabs the stapler and staples the back of Claire's hand.)

CLAIRE: Ow! What the hell is wrong with you?

(Claire removes the staple and wipes off the blood. Lyle freaks out as Claire heals right before his eyes.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (ODESSA) BENNET RESIDENCE - FRONT - DAY]

(Lyle runs out of the house with Claire's videotape.)

CLAIRE: (o.s.) Lyle, give it to me! Lyle!

(Claire runs out of the house after Lyle.)

CLAIRE: Lyle, get back here!

(A neighbor working in her garden looks up. Lyle runs across the yard.)

CLAIRE: Lyle! (to Zach) Don't let him get away!

(Zach, who is riding up the sidewalk, jumps off his bike and blocks Lyle's path. Lyle turns and heads back to the house.)

ZACH: Lyle!

(Lyle pushes Claire aside and runs.)

CLAIRE: Ugh!

(Claire gets up and chases after him. A deliveryman looks up from his clipboard and watches them.)

CLAIRE: Lyle!

ZACH: Get back here!

(Lyle runs to the car.)

ZACH: Hey!

(Lyle gets into the SUV.)

CLAIRE: Argh!

(Lyle locks the doors.)

ZACH: Come on.
CLAIRE: Ugh!

ZACH: Why would you want to kill him again?

CLAIRE: Because he found the tape and then he stapled me.

(A neighbor out pushing his lawn mower watches.)

LYLE BENNET: (shouts) Help! Somebody help me! My sister's a freak!

(Claire hits the car windows.)

CLAIRE: Ugh!

CUT TO:

[INT. (LOS ANGELES) MORGUE - DAY]

(A burned body is on the table.)

AUDREY HANSON: Found him in a parking lot in Brentwood. Name's Robert Fresco, an oncologist at UCLA Medical Center.

MATT: Okay, so, uh, we figure out the MO.

AUDREY HANSON: Well, the MO is there is no MO. Sylar's victims are random. (sighs) Eight deaths I have no clue how to explain. Trust me. This one's number nine.

MATT: Yeah, but there's nothing out of the ordinary here, right? Doesn't this guy look like any other burn victim?

AUDREY HANSON: He's putting out 1800 curies of radiation.

MATT: Whoa.

AUDREY HANSON: Hazmat teams scoured the scene but didn't find any incendiaries. No plutonium, no uranium -- nothing. They did, however, find a fingerprint. Seared to the bone like a brand.

MATT: Seared to the bone?

AUDREY HANSON: We're running it through CODIS. Now, if we get a match and we can get close to him, I'm gonna need you to get inside his head. Pick him out of a crowd, find him in a building -

MATT: Right, about that, um ... lately it's been harder for me to filter the voices. And hearing what they're really thinking ... it can be ugly.

AUDREY HANSON: What's going on, Matt?

(The computer beeps and a photo appears on the monitor.)

AUDREY HANSON: Theodore Sprague, AKA Sylar. We got you.

CUT TO:

[INT. (LAS VEGAS) CAR (MOVING) - DAY]

(DL is driving. Micah sits quietly in the passenger seat.)

DL: So you're just gonna sit there all day and not say a word, huh?

MICAH: I want to go home.

DL: Like I told you, it's not safe there with your mother.

(Micah looks at DL.)

MICAH: Is she dead?

DL: No. She's gonna be fine.

MICAH: How do you know? Dad, we left her on the floor.

DL: We didn't have a choice.

MICAH: Heroes don't run away.

DL: Micah -

MICAH: Bad guys do. Heroes help people, Dad. You know what? You're a bad guy.

DL: I'm not a bad guy, all right?

CUT TO:

[INT. BEDROOM - DAY]

(Niki and Tina sit on the floor, their backs against the bed.)

NIKI: Do you remember when I told you that six months ago I started having these bad dreams?

TINA: We all have bad dreams, Niki.

NIKI: I don't think that they were just dreams. When they started, I thought that ... maybe somebody was following me or something. And I would catch my reflection. But it wasn't my reflection. It was another me. She has a name. Jessica.

TINA: Jessica?

NIKI: When someone tries to hurt me, it's like she comes out.

TINA: There is no Jessica. It's just you.

NIKI: No, I see her in the mirror. And she tells me that she wants to come out again. The part of me that needs Micah back wants to let her do it.

[INT. CAR (MOVING) - DAY]

(DL continues to drive.)

DL: It's just complicated with your mom and me.

(He slows the car. There's a car burning in the middle of the road.)

DL: What's up ahead?

(DL stops the car and gets out.)

DL: Stay there.

(Behind them, Ando pulls to the side of the road. DL runs to the burning car. Micah gets out of the car.)

MICAH: Dad, don't!

(There's a man on the side of the road. DL runs to the burning car.)

DL: Get out! Quick!

(There's a woman inside.)

(Micah gets out of the car.)

(Ando and Hiro get out of their car to see what's happening on the road.)

HIRO: (subtitled) What has happened?

(They see DL trying to get the passenger door open. He also notes the burning car. Micah walks over to them. Hiro looks at Micah. Ando stares at the accident.)

ANDO: (subtitled) He'll never get her out in time.

(DL tries the door and finds it locked. The lady behind the steering wheel is hurt and unable to respond.)

DL: Lady, you gotta get up! You gotta get out of there.

(Micah watches from the side and steps forward. Hiro pulls him back.)

(The flames from the fire ignite the leaking gasoline on the road. DL continues to pound on the glass window.)

(He phases his hand through the glass and opens the door. He climbs into the car.)

(The fire spreads quickly.)

HIRO: (to Micah) You no worry. I help.

(Hiro runs toward the accident. Micah runs after him, but Ando holds him back.)

(DL releases the woman's seatbelt. He carries the woman out.)

MICAH: Dad!
ANDO: Hiro!

(Hiro runs to the wreckage. The fire spreads quickly, igniting the gasoline around the car.)

(The car furthest away explodes! A tire and other bits of metal and glass are thrown into the air.)

(Hiro concentrates and time stops. The explosion freezes.)

(Hiro looks up and around. Everyone stopped moving. He runs to the tire suspended in the air and pokes his finger through the center. He walks around the tire and passes bits of flaming metal on his way to DL and the woman.)

(Hiro sighs as he considers how to save them.)

HIRO: (subtitled) Why couldn't I have super strength too?

(He braces himself and pushes them away.)

TIME RESUMES

(Ando pushes Micah to the ground as the cars explode. A large plume of flame and smoke rises to the air.)

(Ando and Micah look up from the road. They get to their feet. Micah looks for DL.)

MICAH: Dad!

DL: Micah!

(DL is standing on the side of the road. The woman is sitting next to the man. Hiro gets to his feet. DL runs over to Micah and scoops him in his arms.)

MICAH: Dad ... I thought you were dead. What happened?

DL: (shakes his head) I don't know.

(Hiro smiles as he looks at Ando. Ando looks back, proud of him. Hiro bows back.)

(We hold on DL.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (NEW YORK) PETRELLI RESIDENCE - TERRACE -- DAY]

(It's the Petrelli family brunch. Nathan returns to the table with his plate. He joins the others - Heidi, Angela, Monty and Simon. Oliver Dennison, the journalist, is also there.)

NATHAN: We're usually in our pajamas around the breakfast table. You can't blame us for cleaning up for the Journal.

OLIVER DENNISON: Not when the hollandaise is made fresh.

(Heidi moves her wheelchair to be with the boys.)

OLIVER DENNISON: You seem to be adjusting well.

HEIDI PETRELLI: To the wheelchair? You can say it, Mr. Dennison. I lost my right to be sensitive when I married Nathan. I'm not saying I didn't have my darker moments during rehabilitation. I was angry for a long time.

OLIVER DENNISON: At your husband?

(Everyone's quiet.)

OLIVER DENNISON: Wasn't he driving?

HEIDI PETRELLI: At God. But we seem to have made our peace.

(Peter walks in.)

ANGELA PETRELLI: Oh, hello, Peter.

PETER: What's this?

ANGELA PETRELLI: It's brunch. We always have brunch.

PETER: Since when?

NATHAN: (to Oliver) Will you excuse me? (to Peter) Peter, how good to see you.

(Nathan takes Peter back into the house.)

NATHAN: (loud) Nice of you to drop by, Peter.

[INT. PETRELLI HOUSE - CONTINUOUS]

NATHAN: (quietly) Whatever this is about, now is not the time.

PETER: Charles Deveaux died this morning.

NATHAN: Yeah. I'm sorry. Were you there?

PETER: No, I wasn't. I stopped working for him so I could figure out what was going on with us.

NATHAN: I told you to drop all this "I'm special" c___.

PETER: I can't, all right? I need your help.

NATHAN: That man out there is Oliver Dennison. He's working for the Journal doing a story on me. Everything I've worked for is riding on our family being able to sit through a single meal together and smile.

PETER: So I'm not family enough for you now.

NATHAN: No, you're not. Not when you're gonna ruin an election for me.

PETER: I just need you to get me a painting, all right? Linderman bought it.

NATHAN: Whoa, whoa. We're not exactly advertising that family connection around here.

PETER: All right, great. So just get him on the phone and ask about the painting.

NATHAN: Peter, I'm sorry. But you're gonna have to go, okay?

PETER: Hey, you know what? I'm just gonna fly off the terrace, yeah? No? Hey, I can fly. Nathan, so can you.

(Peter puts his hands on Nathan's shoulders.)

PETER: I'll tell you what. Why don't we just race around the Statue of Liberty real quick, huh? Give this tweedy guy something to write about.

NATHAN: You wouldn't.

PETER: Ah?

(Peter gives Nathan a look and heads for the terrace.)

NATHAN: Peter.

(Nathan follows him out.)

NATHAN: Peter.

[EXT. PETRELLI RESIDENCE - TERRACE -- CONTINUOUS]

(Peter returns.)

PETER: Sorry, Nathan gave me an earful about showing up in cords.

(He takes a seat at the table.)

PETER: I told him I'm trying to stay grounded.

(Nathan smiles tightly and puts a hand on Peter's shoulder.)

NATHAN: Good to have you back.

(Nathan goes to take his seat next to Heidi.)

CUT TO:

[EXT. (LAS VEGAS) ROAD - DAY]

(Micah looks at Hiro's 9th Wonders! comic book.)

MICAH: How'd you get this? The issue isn't even out yet.

HIRO: (subtitled) I got it in the future.

(He points to himself.)

HIRO: (subtitled) It's a story about me. Hiro.

(Hiro points to the Hiro on the cover.)

HIRO: Um, see ...

(He opens the comic book and points to different panels with him in it.)

HIRO: All the same. Hiro ... Ando ... Even same car! Nissan Versa! I teleported. New York City. (motions with arms in the air) Yatta! I freeze time too. Stop the explosion. Saved your dad!

(Micah turns and looks at Ando, who smiles and points proudly to Hiro.)

MICAH: Hey, didn't you visit my mom?

ANDO: Hmm?

(DL walks up to them.)

DL: We should get them to a hospital. (to Ando) Can you drive?

ANDO: Don't worry. Help is coming. I call the police.

DL: Time to go, Micah.

(DL walks Micah back to their car.)

MICAH: Dad, you saved her. Like a real hero. Now we can go back and save Mom.

DL: I wish it were that easy.

MICAH: Well, it is, Dad. We just go back.

(DL picks Micah up and sets him down on the hood of his car.)

DL: No, Micah ... it's not. I'm sorry. We can't go back. We can never go back.

(The police sirens wail in the distance.)

DL: Come on.

(Micah gets down from the car hood and they get into their car. Hiro and Ando watch. DL puts the car into gear and drives away.)

(Hiro and Ando wave.)

HIRO: Bye-bye!

ANDO: Take care!

(DL drives away and passes the officer car headed toward the accident.)

CUT TO:

[EXT. (ODESSA) BENNET RESIDENCE - DRIVEWAY - DAY]

(Zach bounces on the back of the family car.)

ZACH: Come on, you can't stay in there forever!

(Claire leans against the driver's side door. Lyle is inside the car with the tape. Zach gets off the car and appears outside the passenger side door.)

CLAIRE: Then just give me the d___ tape.

LYLE BENNET: I'm gonna put this thing on YouTube. Make, like, a million bucks.

ZACH: YouTube's free, you idiot.

CLAIRE: (to Zach) You're not helping. Lyle, no one can see what's on that tape.

LYLE BENNET: Are you an alien or something? Is he an alien too?

ZACH: Yeah, yeah. We're gonna - (deep, raspy voice) We're gonna a___ probe you!

CLAIRE: Zach! Stop scaring him.

LYLE BENNET: I'm not coming out until Mom and Dad get home.

CLAIRE: No, no, no. You cannot tell them. Lyle, please. They cannot find out about this.

LYLE BENNET: Why not?

CLAIRE: Don't you get it? If they found out, Mom and Dad would think it was a mistake to ever adopt me. We wouldn't be a family anymore. Please.

(Lyle rolls down the window and gives Claire the tape.)

CLAIRE: Thank you.

LYLE BENNET: Whatever.

(Lyle opens the car door and gets out. Zach walks around the car. Claire gives Lyle a hug. Zach breaks it up.)

ZACH: Argh!

(Claire whacks Zach on his arm.)

CUT TO:

[EXT. (LOS ANGELES) ROAD OUTSIDE SPRAGUE RESIDENCE -- DAY]

(Matt and Audrey get out of the car.)

MATT: Wait a minute. Wait a second. We're going in here without backup? No one even knows we're here, do they? What is this all about with you?

AUDREY HANSON: You in my head, Parkman?

(They walk toward the front of a house.)

MATT: No, I'm just -- I'm asking a question.

AUDREY HANSON: It's about Sylar. I'm not letting him get away this time. I'm taking him down.

(They walk up the front steps.)

CUT TO:

[INT. SPRAGUE RESIDENCE - DAY - CONTINUOUS]

(Audrey kicks the front door in. They enter the house. Audrey is holding a Geiger counter.)

MATT: Something's burning. Radiation?

AUDREY HANSON: Curie levels are safe.

(The living room is a mess. There's an x-ray hanging up on a box. Matt looks at photos with burned faces and edges. The computer keyboard has two blackened spots where hands are usually placed.)

MATT: What the hell is this? What--

(The Geiger counter clicks louder and faster.)

AUDREY HANSON: Hang on, I'm getting some spikes.

(She turns toward a door with a blackened k___. Matt continues to go through the photos in the box.)

MATT: Hey. Check this out.

(He shows her the photos.)

MATT: Their faces are all burned off.

(They hear a thump coming from the next room and they take their guns out.)

(Matt and Audrey head for the closed door at the end of the hallway. The doorknob is blackened.)

(The clanging sounds continue.)

(Matt checks the room near the door at the end of the hallway. There's no one there. He nods to Audrey and he opens the last door.)

[INT. SPRAGUE RESIDENCE - BEDROOM - DAY]

(The bedroom is demolished. Half of the room is gone. The melted ceiling fan continues to turn. Audrey takes out the Geiger counter.)

MATT: What the hell happened in here?

AUDREY HANSON: 1800 curies of radiation. Come on, let's get out of here.

(Matt and Audrey exit the room.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (NEW YORK) PETRELLI RESIDENCE - TERRACE -- DAY]

(Peter has something to eat while talking with Oliver Dennison.)

PETER: Of course I'm gonna vote for Nathan. If Nathan takes care of the people half as much as he takes care of his brother, it's gonna be an interesting city.

OLIVER DENNISON: Pretty special family.

PETER: (chuckles) You have no idea.

OLIVER DENNISON: This is all very inspiring. (to Nathan) I was surprised to learn the Linderman Group recently invested in your campaign.

NATHAN: I don't know why you'd be surprised. Mr. Linderman was a good friend of my father's.

OLIVER DENNISON: So you don't deny going to Las Vegas to meet with a reputed mobster.

NATHAN: Is that why you're here?

OLIVER DENNISON: I spoke with a former member of your security detail. It seems there was a bit of a scare. You disappeared from the casino for several hours.

(Heidi rubs Nathan's arm.)

OLIVER DENNISON: And there was a blonde involved.

(Heidi stops.)

NATHAN: Uh --

PETER: It's all right, Nathan. You can tell him.

NATHAN: Right, um ... Look, um ...

PETER: I'm sure that you've recently heard about my mental health issues. I quit my job because of it. My brother basically saved my life. And he's convinced me to get the help that I needed. There's a private clinic outside Vegas. Nathan went, spoke to a doctor -- A woman doctor. I made him promise that no one would know. Not even the family. But I just don't care who knows anymore. Okay?

NATHAN: I didn't want to say anything until I cleared it with you.

PETER: That's Nathan. You know, right in the middle of an election, he still has time to help out his messed-up little brother.

NATHAN: Oh, well ...

[EXT. (LOS ANGELES) SPRAGUE RESIDENCE -- DAY]

(Officers and other personnel are there at the Sprague residence. Audrey walks up to Matt and gives him a pill to take.)

MATT: What's this?

AUDREY HANSON: They counteract radiation poisoning.

MATT: Oh, thanks.

(Matt takes the pills.)

(As they wait around, Matt's phone rings. He checks the caller ID. It's JANICE.)

MATT: One second.

AUDREY HANSON: Who keeps calling you?

MATT: Uh, nobody. It's my wife.

AUDREY HANSON: Since when is your wife nobody?

MATT: Listen, I don't think this guy's Sylar.

AUDREY HANSON: Yeah? Well, we'll see.

MATT: Look what I found in the bedroom. Look at this.

(He shows her a prescription bottle.)

MATT: Methotrexate. This is chemotherapy in a pill. This is prescribed to Karen Sprague and it's current.

AUDREY HANSON: She has cancer?

MATT: Check out the doctor on the label.

AUDREY HANSON: Dr. Robert Fresco--

MATT: Right.

AUDREY HANSON: The oncologist.

MATT: Mm-hmm.

CUT TO:

[INT. HOSPITAL - HALLWAY -- DAY]

(Audrey shows her badge to the nurse at the station.)

AUDREY HANSON: Karen Sprague's room?

(The nurse points to the room. Audrey and Matt head for the room.)

[INT. HOSPITAL - KAREN SPRAGUE'S ROOM - CONTINUOUS]

(The door opens. Ted sits next to Karen's bed as the nurse tends to her. Audrey and Matt walk in. Matt has his hand on his gun.)

AUDREY HANSON: Take it easy, Ted. We just want to ask you some questions.

TED SPRAGUE: I didn't mean to kill him. Dr. Fresco said there was nothing he could do to save her. (sniffles) I tried to convince him, you know? There must be something else that he could do. Anything. And we argued. And I lost control.

AUDREY HANSON: We can talk about this downtown.

(Ted grabs the nurse - one arm around her neck and the other hand around her wrist -- and holds her in front of him.)

MATT: Hey, let her go.

TED SPRAGUE: If you let me stay with my wife.

AUDREY HANSON: No, you let her go or I shoot.

TED SPRAGUE: Do you have any idea what would happen if you did that? Because I don't. Maybe I'll explode. Maybe I'll take out this whole hospital. Maybe I'll wipe out this city like an atomic bomb. (shouts) Just leave me alone!

AUDREY HANSON: We can't do that!

KAREN SPRAGUE: (v.o., thinking) Stop, Teddy, stop!

(Matt hears the voice and sees Karen on the bed.)

MATT: Karen wants you to stop.

TED SPRAGUE: (whispers) How could you say that?

MATT: She says you need to listen. Ted, you never listen. You're too d___ stubborn. But you're still her teddy bear.

TED SPRAGUE: Gimme a break. You think you can hear her?

AUDREY HANSON: He's telling the truth, Ted. Listen to him.

(Ted lets the nurse go. The nurse looks down at the hand-shaped burns on her arm.)

(The nurse leaves the room. Ted collapses in the seat next to his wife's bed. He takes her hand.)

TED SPRAGUE: (to Matt) What's she saying?

(Matt puts his gun away.)

MATT: She's saying she ... she doesn't blame you ... for all the pain and the worry. She's saying it's not your fault, Ted.

TED SPRAGUE: He shouldn't be here.
It's not fair.

MATT: She's saying it never is. She said that was the best date. The picnic on the beach and it poured sheets and sheets of rain.

TED SPRAGUE: We sat in my car ... and listened to the whole American Beauty album.

MATT: She remembers it all. She always will.

(Ted cries.)

TED SPRAGUE: What's she saying now?

(Matt turns and looks at Karen. Her eyes are open. She takes a deep breath. Her eyes close and the heart monitor flatlines. Ted cries.)

(Matt turns and looks at Audrey. She nods back.)

FADE TO WHITE:

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

(Niki is on the phone.)

NIKI: (to phone) Hi, this is Niki Sanders from Las Vegas. I need your help.

INTERCUT WITH:

[INT. (NEW YORK) PETRELLI RESIDENCE - STAIRS -- DAY]

(Nathan is climbing up the stairs. He stops and heads back down.)

NIKI: (from phone) I know that I'm probably the last person that you want to talk to.

NATHAN: You should not have called me here.

NIKI: I know that I have no right to. But I need your help. My husband took my son. I have nowhere else to go.

(He glances over his shoulder and sees Heidi headed his way. He quickly ends the call.)

NATHAN: (whispers to phone) I'm sorry. I can't help you. You have the wrong number.

(He closes his cell phone and turns to Heidi.)

NATHAN: Hi, hon.

HEIDI PETRELLI: Hi.

NATHAN: Where are the boys?

HEIDI PETRELLI: (nods to second floor) In the playroom. Do you still love me, Nathan?

NATHAN: Of course I do.

HEIDI PETRELLI: I know what this chair means to us as a couple. But I need you to know that I'm going to walk again. The doctors say it's a long shot. But I can do it if I have a reason. We just need some hope, Nathan, that our life can be like it was. What Peter said about you checking out a clinic for him with a doctor. Tell me that's what happened. If you say it is ... I'll believe you. Just give me some hope.

NATHAN: It's true.

(Heidi smiles at him. Nathan smiles back.)

HEIDI PETRELLI: Come on.

NATHAN: I'm gonna get the kids ready for bed.

HEIDI PETRELLI: (nods) Okay.

(Nathan puts a hand on her shoulder as he passes by on his way up. We hold on Heidi, who nods and smiles.)

CUT TO:

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

(Niki throws the phone into the large closet mirror, breaking it. She turns around, a new gleam in her eyes.)

(Tina appears in the doorway and sees the broken mirror.)

TINA: What the hell happened?

(Jessica has her back to Tina. We see the SYMBOL mark on the back of her right shoulder.)

JESSICA: You should just -- you should just go.

TINA: Niki, what is going on here? Are you okay?

(Jessica turns around and looks at Tina.)

JESSICA: I said that you can go now.

TINA: It's me. I'm just trying to help you out, girl, okay?

JESSICA: She doesn't need your help anymore.

(Tina takes a step back.)

JESSICA: Understand?

(Tina turns and runs out of the room. We hold on Jessica.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (LOS ANGELES) HOSPITAL - HALLWAY -- DAY]

(Audrey walks up to Matt, who is waiting in the hallway.)

AUDREY HANSON: Hey.

MATT: Hey.

AUDREY HANSON: So they're gonna run Sprague through decontamination. And then put him in a special holding tank downtown.

MATT: How'd he cause all that damage with his bare hands?

AUDREY HANSON: How do you hear what people are thinking?

(Matt says nothing.)

AUDREY HANSON: You did a great job in there.

MATT: Well, the guy was losing his wife. He just wanted to talk to her, say goodbye.

AUDREY HANSON: You talk to your own wife yet? You've been dodging her call all day.

(Matt doesn't answer her.)

AUDREY HANSON: Well, I'm gonna head downtown, cover Sprague's processing.

MATT: Right.

(Audrey turns and leaves. Matt takes his phone out and dials.)

MATT: (to phone) Hey, it's me. I actually thought you might be home by now. I'm calling just to ... talk, um ...

INTERCUT WITH:

[INT. PARKMAN RESIDENCE - BEDROOM]

(The room is empty as the answering machine takes the call.)

MATT: (from phone) Look, I had this stupid idea in my head that -- that I'm losing you. And I -- I just -- I can't help but have the feeling that there's something you're not telling me. (sighs) And I don't want us to live with any regret.

(Janice steps closer to the answering machine.)

MATT: (from phone) Or blame. I don't know. I guess I'm just afraid of things going unsaid. I love you. And ... and I just wanted to tell you that. You don't have to call me back. I'll see you later tonight.

(Matt hangs up.)

CUT TO:

[INT. (NEW YORK) PETRELLI RESIDENCE - OFFICE]

(Nathan is on the phone.)

NATHAN: (to phone) Yes, Mr. Linderman. It seems my brother's developed some sort of emotional attachment to this painting. I don't know what'll happen to him if he doesn't get it. But I'd rather not find out. Directly to the gallery. Mr. Linderman, I ... I appreciate it. Good night.

(He hangs up.)

CUT TO:

[INT. PETER'S APARTMENT]

(The door buzzer rings. Peter answers the door and finds Nathan there. Peter walks away to let Nathan in.)

PETER: You need to tell Heidi the truth.

NATHAN: No. She doesn't need the truth. She needs hope.

PETER: What, is that some kind of excuse?

NATHAN: I'm not saying what I did was right. That girl in Vegas- - I just needed to be with someone who --

(Peter walks past Nathan to close the door.)

NATHAN: -- didn't make me feel guilty every time I looked at her.

PETER: Did you -- did you talk to Linderman?

NATHAN: Yeah. Sit down.

PETER: And?

(Peter sits down.)

NATHAN: He's not gonna let it go. Hey, come on. Just let it go. It's just a painting.

PETER: It's more than that, Nathan. This is about what's going on with us. All right, this -- this painting is the key. With this thing, we can make a difference.

NATHAN: I'm trying to make a difference, Peter, the best way I know how. Flying around, how is that going to help anybody? What is that gonna -- What am I gonna do when I get there? I don't have a gun. I don't have a badge. I don't know karate. I guess I could put on a costume and fly around and pull cats out of trees. How's that gonna make a difference?

PETER: You're not gonna know until you try.

NATHAN: I'm sorry about the painting.

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

NATHAN: Listen, something else happened in Vegas that I- -

PETER: What?

NATHAN: These two guys, they tried to pull me out of my hotel room. They did. It was like a, um ... a kidnapping attempt or something.

PETER: How'd you get away?

NATHAN: I flew.

PETER: So who were they?

NATHAN: The one who did all the talking had these horn-rimmed glasses. The other guy was a spooky euro dude. He didn't say a word.

PETER: (scoffs) Son of a b____. You really expect me to believe that?

NATHAN: Yeah. I'm not lying to you.

PETER: No?

NATHAN: No. Think about it. What would people do if they knew what we were capable of? They'd lock us up and they'd throw away the key.

PETER: Now who sounds crazy?

NATHAN: Be careful.

PETER: (nods) Yeah.

(Nathan turns and leaves.)

CUT TO:

[INT. (LOS ANGELES) STATION - DAY]

(Audrey looks in through the window as someone takes Ted Sprague's photo.)

VARIOUS FLASHES OF TED & OF THE DOUBLE-LINED MARK ON THE BACK OF HIS NECK.

FLASH TO:

[INT. (LOS ANGELES) POLICE DEPARTMENT - LOCKER ROOMS - DAY]

(CU: A MIRROR'S REFLECTION OF THE DOUBLE-LINED MARK ON THE BACK OF MATT'S NECK.)

(Matt looks in his small locker mirrors. It's as if he's just noticed them.)

(He looks up and Tom McHenry walks over to him.)

TOM MCHENRY: Someone had a good day. It's all over the station. FBI bust, Homeland Security collar . Congrats, buddy.

MATT: Thanks, man. It, uh, really wasn't anything, though.

TOM MCHENRY: It must've been something. Your FBI girlfriend just put in a request for you to retake the detective's exam as a series of interviews. Can't blame it on the dyslexia this time.

MATT: Wait a second -- Interviews? I didn't even know that was an option.

TOM MCHENRY: She's FBI. She pulled some strings. And you are gonna pass it, no problem.

MATT: Thanks, man. Wow.

(They shake hands.)

(They both turn to their respective lockers.)

TOM MCHENRY: (v.o., thinking) Loser. I'm nailing your wife, and she is so fine ... so fine ... (chuckles)

(Matt turns and looks at Tom.)

TOM MCHENRY: Hey, you still want to grab that drink?

MATT: You son of a b____!

(Matt punches Tom in the face. Officers pull Matt away from Tom. Tom touches his lip as Matt leaves.)

CUT TO:

[EXT. (LAS VEGAS) THE LITTLEFIELD MOTEL -- PARKING LOT - NIGHT]

(Micah cautiously makes his way to a phone booth.)

MOHINDER: (v.o.) You do not choose your destiny. It chooses you.

(The sign on the phone reads: OUT OF ORDER. Micah picks up the phone.)

MOHINDER: (v.o.) And those who knew you before fate took you by the hand cannot understand the depth of the changes inside.

(He sees the OUT OF ORDER sign and places his hand on the front of the phone. He closes his eyes and concentrates. He presses the hook switch and the dial tone sounds. He dials.)

INTERCUT WITH:

[INT. SANDERS RESIDENCE - LIVING ROOM - NIGHT]

(Niki sits on the floor putting a cartridge into a handgun when the phone rings. She answers it.)

JESSICA: (to phone) Yeah?

MICAH: (to phone) Mom.

JESSICA: Micah. Hey, baby, I've been worried. You okay?

MICAH: Yeah, I'm fine. Are you?

JESSICA: I'm good. Are you with your dad right now?

(Micah glances behind him.)

MICAH: Uh, yeah. I just got out for one minute. Mom -- Mom, is this really you?

JESSICA: Tell me where you are, baby.

(Micah sighs.)

MICAH: Just put my mom on the phone.

JESSICA: Your mom's not here right now. And she's not coming back until I take care of a few things. So, why don't you tell me where you are, I'll come get you, and bring you home. Your mom needs you.

MICAH: I'm in a little motel. It's right off the Interstate 14. It's called the Littlefield Motel.

(DL grabs the phone from Micah. He listens to it and finds nothing but static.)

DL: You talking to your mom?

MICAH: No. No, I'm just goofing around.

(DL hangs the phone up.)

DL: Come on. We got some driving to do.

MOHINDER: (v.o.) They cannot fathom how much you stand to lose in failure.

(Jessica waits on the phone.)

JESSICA: (to phone) Micah?

MOHINDER: (v.o.) But you are the instrument of a flawless design.

(Jessica closes her phone.)

MOHINDER: (v.o.) And all of life may hang in the balance.

(She picks up her handgun and puts the cartridge in.)

MOHINDER: (v.o.) A hero learns quickly who can comprehend and who merely stands in your way.

(We hold on Jessica.)

FADE TO BLACK.

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