SUMMARY: Matt Parkman and Audrey Hanson are at Union Wells High School investigating the latest Sylar killing. They interview Peter and Claire. Claire thanks Peter for saving her life. Peter shows signs of having more abilities. Meanwhile, DL is shot and runs from Jessica. Niki emerges and eventually turns herself in to keep Jessica from harming Micah. Eden helps Isaac escape. Isaac meets Hiro and tells of his painting of the exploding man. Isaac paints a new painting. Sylar is caught and held in a cell. Mr. Bennet is ordered by someone higher up not to kill him. Eden dies. The Haitian erases Lyle and Zach's memories, but keeps Claire's memories intact. Peter has a vision of exploding in New York.
==========================
HEROES
1X11: FALLOUT
==========================

FADE IN:

[t__LE CARD: HEROES]

DISSOLVE IN:

[NBC PREVIOUSLY ON]

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

VARIOUS CUTS OF: PETER; CLAIRE; CLAIRE RESCUING THE MAN FROM THE TRAIN WRECK; HIRO.

NARRATOR: (v.o.) Ordinary people across the globe discovered extraordinary abilities.

[JESSICA]

(Jessica is test-firing the high-powered rifle.)

NARRATOR: (v.o.) Niki's alter-ego sought revenge.

GUN SELLER: You must really hate the guy.

JESSICA: He took my son.

[CROSSHAIRS]

(DL is in the crosshairs. He looks around.)

NARRATOR: (v.o.) And took the ultimate retribution.

(Jessica fires.)

[PETER]

NARRATOR: (v.o.) Peter sets out on his mission--

(Peter talks with Ando at the Burnt Toast Cafe. He shows Ando the photo.)

PETER: I know when and I know where the cheerleader gets attacked. I have to stop him.

[EXT. PHYSICAL EDUCATION CENTER - FRONT -- NIGHT]

(Claire gasps. Peter starts to regenerate and his life-threatening injuries heal.)

NARRATOR: (v.o.) --to save the cheerleader.

(Peter looks at Claire.)

PETER: By saving you, did I save the world?

CLAIRE: I don't know. I'm just a cheerleader.

(Claire runs to get help.)

NARRATOR: (v.o.) But he was taken by the police.

(The officers arrest Peter.)

OFFICER: Put your hands on your head.

PETER: It's not what you think, guys!

(They handcuff him.)

PETER: What are you doing?

[EXT. PHYSICAL EDUCATION CENTER - GROUNDS BEHIND BUILDING -- NIGHT]

(Sylar encounters Eden.)

NARRATOR: (v.o.) And, Sylar was finally captured.

EDEN: You don't want to hurt me. Go to sleep.

(The Haitian puts his hand over Sylar's face. Sylar falls to the ground.)

[EXT. PHYSICAL EDUCATION CENTER - STADIUM -- NIGHT]

(Claire runs to her father. They hug.)

NARRATOR: (v.o.) And Claire revealed the secret that would change her life.

MR. BENNET: You're lucky to be alive.

CLAIRE: It's not luck, dad. I have something I have to tell you.

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

FADE TO:

[t__LE CARD: HEROES]

FADE OUT.
END OF NBC PREVIOUSLY ON

FADE IN:

[INT. BENNET RESIDENCE - KITCHEN]

CAPTION:
CLAIRE BENNET
ODESSA, TEXAS

(The door opens. Claire and Mr. Bennet walk into the house. Claire is wearing her father's jacket. They're both quiet. Mr. Bennet closes the door and turns the light on to the den. He grabs a couple of folded towels and heads over to the kitchen sink.)

CLAIRE: Are you mad at me? You haven't said anything since we got in the car. Since I told you.

(He wets the towels and gives them to Claire.)

MR. BENNET: No, no, no, I just ... I've just been thinking.

(He opens the refrigerator and pulls out a container of something to drink.)

MR. BENNET: Um ... I have something I need to tell you. It's not fair to keep it from you any longer. What you can do ... I've known about you, Claire. I knew before you knew. Before you made those tapes with Zach.

CLAIRE: You saw the tape? (He nods.) Why didn't you say anything?

MR. BENNET: There are a lot of reasons. But mostly, I just wanted to protect you.

CLAIRE: Protect me? All this time, I've ... felt so alone, and like some sort of freak. And you knew?

MR. BENNET: I've worked very hard. I've done some things that I am not proud of to keep you safe.

CLAIRE: What kinds of things?

(He turns, grabs a couple of glasses off the rack and heads over to the counter.)

MR. BENNET: I just wanted you to have a normal life.

CLAIRE: Jackie died because of me. He thought she was me, didn't he?

MR. BENNET: That man is taken care of. I promise you.

(Mr. Bennet fills both glasses.)

CLAIRE: You and mom knew all this time?

MR. BENNET: Your mother doesn't know. Neither does your brother.

CLAIRE: Actually, Lyle kind of found out.

MR. BENNET: Really? Did anybody else?

CLAIRE: Just Zach.

MR. BENNET: Nobody else can know. It's the only way to keep you safe. That man who tried to kill you, there are others out there like him. Who want what you have and will hurt you to get it. That's why we can't tell your mother. We can't tell anybody. Do you understand?

(Claire cries, tears run down her cheeks.)

CLAIRE: Yeah.

MR. BENNET: I'm gonna pick Lyle up from practice, and I'll talk to him. You talk to Zach. Any other tapes you've made ... I need you to destroy them.

CUT TO:

[EXT. PHYSICAL EDUCATION CENTER - GROUNDS BEHIND BUILDING -- DAY]

(The hill area behind the physical education center building is taped off and swarming with officers. Crime Scene personnel are there collecting evidence, officers with canines are also there. Matt Parkman walks up to the scene with Audrey Hanson.)

MATT PARKMAN: The victim was a student: Jacqueline Wilcox. And the crime scene fits Sylar's MO.

CAPTION:
MATT PARKMAN
UNION WELLS HIGH SCHOOL

AUDREY HANSON: He took her brain?

(They walk under the crime scene tape.)

MATT PARKMAN: No, but the incision in her skull said he wanted to, but somebody got in his way.

(Audrey kneels down to look at the dirt.)

AUDREY HANSON: They have a suspect in custody, a hospice nurse from New York.

MATT PARKMAN: And you think he might be Sylar?

(Matt takes out some aspirin.)

AUDREY HANSON: No. I think this is.

(She indicates the blood on the grass and dirt next to evidence marker Z. Matt pops a couple of aspirin.)

AUDREY HANSON: Judging by the blood patterns, I'd say he stopped here to catch his breath, and then just ... disappeared.

MATT PARKMAN: You know what? Maybe he didn't.

(Matt and Audrey head over to another area.)

MATT PARKMAN: Look at this. The tread pattern's totally different.

(He indicates shoeprints near evidence markers K and I.)

MATT PARKMAN: These are two new sets of footprints.

AUDREY HANSON: That's the fourth handful of those you knocked down since --

MATT PARKMAN: (interrupts) I have headaches! (backs off) It's the whole Janice thing, it's --

AUDREY HANSON: She slipped out, Parkman. And it sucks, but it happens. You've never cheated on her?

MATT PARKMAN: No. You don't believe me.

(The two walk away from the area.)

AUDREY HANSON: Well, statistically speaking, law enforcement attracts a certain kind of male personality.

MATT PARKMAN: Oh, what personality would that be?

AUDREY HANSON: Dogs.

MATT PARKMAN: And the female personality?

AUDREY HANSON: Mmm, b____es. We keep it in the canine family.

MATT PARKMAN: (sighs) Okay, so two new sets of footprints. You think Sylar had accomplices?

AUDREY HANSON: With the amount of blood he lost, there's no way he got out of here by himself. So I guess we'll ask this ... (she looks at her notes) -- Peter Petrelli.

CUT TO:

[EPISODE t__LE]
CHAPTER ELEVEN
"FALLOUT"

[INT. ODESSA SHERIFF'S DEPARTMENT - HOLDING CELL - DAY]

(Peter is lying on the bunk in his cell. An officer unlocks the glass door and opens it. Nathan raps his knuckles on the glass. Peter gets up.)

PETER: Nathan. What are you -- What are you doing here?

(Peter's white shirt is bloodied near the neckline and bottom edges.)

NATHAN: You get in trouble, I drop everything and fix it. Isn't that how things work?

(Nathan steps into the cell and gives Peter a hug. The officer closes and locks the door behind Nathan.)

NATHAN: Get you out of here soon.

PETER: What, no lecture?

NATHAN: I'm just glad you're alive, man.

(Peter looks at Nathan.)

PETER: Why did you destroy that painting? Why did you try and keep me from coming here?

NATHAN: The painting showed you dead, Peter. And when I got the phone call, I nearly believed it for a minute.

PETER: Yeah, I thought I'd be the hero.

NATHAN: Yeah, heh. How'd that work out for you?

PETER: (rolls his eyes) Save the cheerleader, save the world.

(Nathan puts his arm around Peter's shoulders and sits next to him.)

NATHAN: You're meant to do a lot of things, Peter. Saving the world isn't one of them. You gotta learn to recognize when life is bigger than you are. You're not a fighter. But that's okay. The world needs nurses too.

PETER: When I'm around you, I can do what you can do. Isaac, Hiro Nakamura, this girl Claire. See, I think that we're all the same somehow and this bomb that Isaac painted, I think we're supposed to stop it. But I just ... I don't think I can do it.

NATHAN: That's because you can't.

(Peter turns away.)

VISION SYLAR: (o.s.) How can you stop what's coming?

(When he turns back, he sees Sylar sitting next to him.)

VISION SYLAR: When you don't know anything about power?

(Peter gasps and scrambles to the corner of the bunk, scared.)

(There's no one in the cell with him - not Sylar, not Nathan.)

CUT TO:

[t__LE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. ROADSIDE CAFE -- NIGHT]

CAPTION:
DL HAWKINS & MICAH SANDERS
RURAL UTAH

(DL has just finished putting Micah in the car. He hurries around to the driver's side and starts to open the car door. BAM! A shot rings out. The bullet hits DL in the upper right shoulder, causing him to spin around, slamming the car door closed with his body.)

(Micah gasps.)

(On the other side of the street, hidden behind a tree, Jessica slides the bolt back, releasing the empty cartridge and prepares to fire another shot. She takes aim.)

(DL falls to his knees.)

(Another shot rings out. The bullet hits the car near the wheel well and very close to DL's head.)

DL: (shouts) Micah!

(Inside the car, Micah crouches down low on the seat.)

MICAH: Dad!

(Jessica releases the empty cartridge.)

(DL struggles in the dirt.)

DL: (shouts) Stay down!

(Micah stays down.)

(Jessica takes aim at DL as he crawls away from the car. BAM! DL phases and the bullet passes clear through his head, hitting the front tire and flattening it.)

(DL continues to crawl for cover.)

(Jessica puts the gun down. Carrying a handgun, she heads over across the street. Some light traffic passes in front of her.)

(She reaches the car and looks inside.)

(She also sees in her reflection in the back window. Its Niki. She shakes her head at her.)

JESSICA: What are you looking at?

(Jessica opens the front door and doesn't find anything. She slams the front door shut with so much force that the glass shatters.)

CUT TO:

[INT. (TEXAS) PAPER COMPANY - SECRET OFFICES -- HALLWAY]

(Eden sits in the hallway, outside a closed door. She stands up when Mr. Bennet enters the hallway. She's carrying a file folder.)

MR. BENNET: Anything?

EDEN: Slept through the night.

(He takes the file folder from her and opens the room door.)

[REVERSE: DARK ROOM]

(The door opens.)

[INT. PAPER COMPANY - SECRET OFFICES -- HALLWAY]

(Eden steps forward to follow him, but Mr. Bennet stays her with his hand.)

MR. BENNET: I got this.

(He walks into the room leaving Eden standing out in the hallway. Eden turns and walks off screen.)

[INT. PAPER COMPANY - SECRET OFFICES - SYLAR'S CELL -- CONTINUOUS]

(The room is dark. Mr. Bennet walks up to the panel separating the outer room from the inner room. He presses a b___on and the lights switch on.)

(He steps out to the middle of the observation window. In the inner cell, Sylar is lying on a bed. He's covered with a blanket.)

MR. BENNET: You lost a lot of blood. We sewed you up the best we could. (Sylar looks around the cell.) Turns out you're not so untouchable after all.

(Sylar pushes the blanket aside and sits up. He stares at Mr. Bennet.)

MR. BENNET: Oh, no. No, you'll find your abilities won't work. Not here. You're not going anywhere, Gabriel.

SYLAR: My name is Sylar.

MR. BENNET: Now it is. Wasn't so long ago that you were Gabriel Gray. An insignificant watchmaker.

(Sylar stands up. He makes his way slowly around the bed.)

SYLAR: I restored timepieces. Do you know why I was so good at it?

MR. BENNET: No, why don't you tell me.

SYLAR: Because I can see how things work. What makes things ... tick. Like you.

MR. BENNET: We're interested in how things work as well. Everyone else we've ... met has had only one ability. You've taken on several.

SYLAR: I guess that's what makes me special.

MR. BENNET: That's important to you, isn't it? Being special.

SYLAR: It's important to everyone.

MR. BENNET: I think you're insane. I think the infusion of so many alterations to your DNA has corrupted your mind. All this power is degrading you.

(Sylar steps closer to the window.)

SYLAR: And yet here I am, alive and well, and as soon as I get out, I'm gonna collect one more ability from your daughter. Sweet, innocent.

MR. BENNET: That's enough.

SYLAR: Ripe, indestructible.

MR. BENNET: I said that's enough, Gabriel.

SYLAR: (shouts) My name is Sylar!

(Sylar lunges for the window, hands splayed against the glass.)

(Mr. Bennet smiles. He steps over to the side panel and turns the ceiling lights off. The entire room is cast into darkness again.)

CUT TO:

[INT. PAPER COMPANY - SECRET OFFICES - STAIRS / HALLWAY -- CONTINUOUS]

(Mr. Bennet is on the phone as he walks up the stairs.)

MR. BENNET: (to phone) Options? There are no options with an individual like this. Maybe I didn't make the risk clea- (pause & sighs) Understood. Of course.

(He shuts his phone and stuffs it in his pocket. Eden waits for him at the top of the stairs.)

EDEN: Is it true?

MR. BENNET: You have to be a little bit more specific, Eden. I've got more than one house on fire at the moment.

(They both walk through the hallway.)

EDEN: We're keeping him alive.

MR. BENNET: Those are our marching orders.

EDEN: Think about what he almost did to Claire. I could tell him to kill himself.

(Mr. Bennet stops walking.)

EDEN: No one would have to know.

(He's quiet for a long moment. Mr. Bennet turns and sees the Haitian step out into view at the end of the hallway in front of him.)

MR. BENNET: I don't have time for this. Not today.

(Mr. Bennet walks over to the Haitian.)

EDEN: You know I'm right! I know I'm right, and if that -- that Haitian could speak, he'd tell you I'm right!

(The Haitian doesn't say anything. He looks at Eden.)

(Eden backs away and leaves.)

CUT TO:

[EXT. (UTAH) WOODS -- DAY]

(DL and Micah are running through the woods. DL holds his wounded shoulder stiff while clutching the metal briefcase in his other hand.)

(After a moment, they stop. DL puts the metal briefcase down and starts removing his jacket. He motions for Micah to help him.)

DL: Micah, take that. Here, take ... That's it.

(Micah helps DL slip out of his jacket. DL drapes the bloodied jacket on the bush.)

DL: Walk back the way you came. In the footsteps.

(Micah starts walking backwards.)

DL: Come on.

MICAH: Oh. Like the Indians.

DL: Just like the Indians, son.

SHORT TIME CUT:

(DL and Micah are walking in the woods.)

MICAH: That wasn't the police.

DL: You don't know that.

MICAH: Dad, they've gotta warn you before they shoot. It's a rule.

DL: The police don't always follow the rules, son. Trust me.

(A bird caws in the distance. Just up ahead, there's an old building.)

DL: Give me a hand.

(Micah puts his arm around DL's waist and starts helping him toward the building.)

(They reach the front door. DL puts the metal briefcase down.)

DL: Right here. (whispers) Okay.

(He tries the door and finds it locked. As Micah watches, DL phases the door along with his left arm and reaches for the inside lock.)

[INT. ABANDONED SHACK - DAY - CONTINUOUS]

(DL's phased hand and arm appear through the door. He reaches for the lock, finds it and twists the deadbolt.)

CLICK!

[EXT. ABANDONED SHACK - DAY - CONTINUOUS]

(DL pulls his arm out of the door and opens the door.)

[INT. ABANDONED SHACK - DAY - CONTINUOUS]

(DL looks inside and grabs a rag.)

[EXT. ABANDONED SHACK - DAY - CONTINUOUS]

(He hands the rag to Micah. DL removes his shirt down to his undershirt. He grunt from exertion and sits down.)

MICAH: (worried) Dad, are you gonna be okay?

DL: I'm gonna be as good as new. I just need you to help me with these bandages. You can do that, right?

MICAH: Yeah.

DL: Yeah? All right.

(Together, DL and Micah tear DL's shirt into bandage strips.)

MICAH: It was her, wasn't it? It was Jessica.

DL: Uhh!

(They continue tearing the shirt into strips.)

DL: It sure looked like your mom.

MICAH: Mom would never hurt you on purpose.

DL: She just did, Micah. A couple inches to the left ... and ...

(DL passes out. Micah nudges him.)

MICAH: Dad? (shouts) Dad, wake up! Dad, you need to wake up!

CUT TO:

[INT. (TEXAS) ODESSA SHERIFF'S DEPARTMENT - INTERVIEW ROOM -- DAY]

(Peter sits in the interview room. He presses the tips of his fingers against his temples and looks up when the door opens. Audrey Hanson and Matt Parkman walk in.)

AUDREY HANSON: Your brother's pretty well connected.

(Matt closes the door behind him.)

AUDREY HANSON: Even down here. We had to climb over six lawyers to get to you, Mr. Petrelli.

(Peter rubs his eyes with the back of his wrists. Audrey notices.)

AUDREY HANSON: Are you okay?

PETER: My head feels like it's gonna split open.

(Matt steps forward and puts his aspirin container in front of Peter. He moves to the other side of Peter.)

MATT PARKMAN: Help yourself.

(Matt grabs a water bottle from the table behind Peter and puts it on the table as Audrey sits down next to Peter. Peter opens the aspirin bottle and takes out some tablets.)

PETER: I didn't kill that girl.

AUDREY HANSON: We know. The blood we found on you was your own. We checked you out, and you don't seem to have any injuries. Care to explain that?

(Peter takes a couple of tablets.)

PETER: If I'm not being charged, can I go?

AUDREY HANSON: What's a hospice nurse from Manhattan doing at a high school homecoming in Texas? You some kind of pervert?

(Peter looks at her. He doesn't say anything.)

PETER: My brother said not to talk.

(Audrey looks at Matt.)

AUDREY HANSON: We don't need you to talk.

(Matt nods and concentrates on Peter.)

(Matt hears jumbled voices. So does Peter. Peter turns and looks at Matt. Suddenly, they're hit with their thoughts colliding into each other and then some - feedback.)

(Peter flinches.)

(Matt continues to concentrate on Peter. Peter turns and again looks at Matt.)

(More feedback ensues. Both men flinch.)

PETER: Ohh!

(They both gasp from the pain. Peter puts his hands to his head. Something's happening.)

PETER: What are you doing to me?

(Matt looks at Peter, then takes a seat at the table opposite him.)

MATT PARKMAN: "Save the cheerleader"?

AUDREY HANSON: (v.o. thinking) Too late for that.

(Matt turns and looks at Audrey.)

AUDREY HANSON: (v.o. thinking) The cheerleader's dead.

(Peter's eyes widen. Yes, he heard that, too. He looks at Audrey.)

PETER: Claire's dead? No, that's not possible.

MATT PARKMAN: (v.o. thinking) (echoy) Did he just read her mind?

(Peter turns and looks at Matt.)

MATT PARKMAN: (v.o. thinking) (echoy) Is he one of them?

(Peter heard those thoughts as well.)

AUDREY HANSON: The cheerleader's name was Jackie Wilcox. (She looks at Matt.) What the hell is going on --

PETER: (interrupts) No, Claire is the one that he wanted.

MATT PARKMAN: Claire?

(Peter glares at Matt.)

PETER: You're not protecting her?!

(Peter surges to his feet.)

AUDREY HANSON: Why would you know who he wanted?

PETER: You wanna catch this guy? You need to find her. You need to protect her!

(Matt looks at Peter. There's a whooshing sound as Matt reads Peter.)

MATT PARKMAN: (to Audrey) He's telling the truth.

AUDREY HANSON: Then we better find this cheerleader.

(Audrey and Matt get up. They head for the door. Peter rubs his forehead.)

PETER: You're not gonna let me out of here?

AUDREY HANSON: You get out when I get answers.

(Audrey and Matt leave the room. Panting, Peter sits down. He puts his hands to his head as he waits.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

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

(The door opens and Mohinder enters. He's carrying a box of his stuff. He closes the door behind him and puts the box down.)

CAPTION:
MOHINDER SURESH
BROOKLYN, NEW YORK

(He turns to put his bag away when he sees the small note taped to the coat rack.)

Welcome Home!
I knew you'd
be back! Now get
back to work!
Love Eden

(Mohinder takes the note and looks at it.)

SHORT TIME CUT TO:

(Mohinder is on the phone.)

MOHINDER: (to phone) I faxed the list to your Quantico office yesterday! Names, addresses. Why didn't you warn them? (pause) Looking into it? At least six of the people on this list are dead, all of them from the same killer. (pause) James Walker in Los Angeles was killed nine days ago. Charlene Andrews two days ago, Midland, Texas. Doesn't this mean anything to you people? (pause) Well, do you really want to take that chance? (pause) Fine, I won't. Never mind.

(He hangs up with frustration.)

(He looks down on the desk and sees a hand-written post-it note:
ISAAC MENDEZ
NEW YORK CITY

(He takes the post-it note and turns toward the map.)

CUT TO:

[INT. (TEXAS) PAPER COMPANY - SECRET OFFICES - ISAAC'S ROOM]

(Isaac is sketching. The door buzzes and opens. Eden walks in.)

EDEN: You're sketching.

(Isaac looks clean.)

ISAAC: I am.

EDEN: And you're sober.

ISAAC: The locks on the door help.

(He sits at a table, his painting of the exploding man just behind him.)

EDEN: Anything interesting?

ISAAC: Nothing predictive, if that's what you're asking. I don't think I can do it clean.

EDEN: You'll get there.

ISAAC: To be honest, it's nice to be drawing just to draw again. That's what I liked about comics. You don't have to take them too seriously.

EDEN: Good guys catching bad guys?

(Isaac nods and goes back to his drawing.)

EDEN: Which reminds me ... Claire. The cheerleader...

(Eden sits down.)

EDEN: She's alive.

(Isaac smiles, pleased.)

ISAAC: Peter? He saved her?

EDEN: No, you did. With your gift. I mean, thanks to you, Sylar won't be able to hurt anybody anymore.

ISAAC: This means we can change the future. Maybe stop that bomb.

(She stands up.)

EDEN: Well, I wish you the best of luck.

ISAAC: What? Where you going?

EDEN: Off the reservation.

ISAAC: You're leaving? Well, what good is painting the future if no one will do anything to change it?

(Eden leans forward and kisses Isaac. She slips him a cell phone and a PRIMATECH card key.)

EDEN: So change it.

(She leaves the room. Isaac turns and looks at the painting of ANDO and HIRO in front of the bloodied HOMECOMING banner.)

(Isaac looks at the cell phone and card key. He looks back at the painting.)

(Transition to: The painting changes to live-action with Hiro and Ando standing in front of the bloodied HOMECOMING banner.)

WIDEN OUT TO:

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

(Hiro talks with Ando in j__anese. The men behind them remove the bloodied banner.)

HIRO: (subtitled) I couldn't save Charlie. And now the Cheerleader is dead too.

ANDO: (subtitled) "The earth is doomed?"

(Hiro and Ando head out. Around them, forensics are still in the area.)

HIRO: (subtitled) "Save the cheerleader, save the world." We failed to save her so now we can't save the world.

ANDO: (subtitled) No, no. "Save the Cheerleader." Then "Save the world."

HIRO: (subtitled) No, it's an "if, then" statement.

ANDO: (subtitled) How do you know?

HIRO: (subtitled) I was the one who said it!

ANDO: (subtitled) "Future you" doesn't count as you!

HIRO: (subtitled) Never mind. Two people died. If we don't continue they died for nothing. We will find a way. We must.

ANDO: (subtitled) How?

(Hiro takes out the comic book from his bag.)

HIRO: (subtitled) Get back on mission. Find Peter Petrelli. Find the artist. Stop the bomb. Destiny hasn't forgotten us.

(Hiro's cell phone rings. He answers it.)

HIRO: (to phone) Hello?

INTERCUT WITH:

[INT. (TEXAS) PAPER COMPANY - SECRET OFFICES - ISAAC'S ROOM]

ISAAC: (to phone) Hiro? Hiro Nakamura?

HIRO: (from phone) Yes?

ISAAC: This is Isaac Mendez.

HIRO: Mr. Isaac?!

ISAAC: Hiro ... we need to meet.

ANDO: (subtitled) Who is it?

(Hiro turns to him and smiles.)

HIRO: (subtitled) Destiny!

ANDO: (subtitled) I wish ... Destiny would lose our number.

CUT TO:

[INT. (TEXAS) ODESSA SHERIFF'S DEPARTMENT - INTERVIEW ROOM -- DAY]

(Claire talks with Audrey Hanson, mid-interview. Mr. Bennet sits at the table with her.)

CLAIRE: And then he grabbed her and -- and I tried to save her, but ... he was killing her, and ... (Mr. Bennet puts his hand on Claire's arm.) She told me to run, so I ran. I left her and I ran.

INTERCUT WITH:

[INT. (TEXAS) ODESSA SHERIFF'S DEPARTMENT - OBSERVATION ROOM]

(Matt Parkman is in the observation room watching the interview.)

AUDREY HANSON: (through speaker) I'm sorry, Claire. I know you've been through a lot. I just have a few more questions.

(We know he's trying to read her and he's getting nothing. He moves to another window.)

[INT. (TEXAS) ODESSA SHERIFF'S DEPARTMENT - INTERVIEW ROOM - DAY]

(Audrey glances at the window as if waiting for something from Matt. She continues.)

AUDREY HANSON: This man ... did he exhibit anything out of the ordinary?

(Claire glances at her father.)

[INT. (TEXAS) ODESSA SHERIFF'S DEPARTMENT - OBSERVATION ROOM]

(Matt continues to try to get something from them, but he's getting nothing.)

CLAIRE: You mean besides killing my friend?

(Audrey glances again at the observation window.)

AUDREY HANSON: No, like being able to fall five stories and walk away without a scratch.

CLAIRE: What?

AUDREY HANSON: Well, you said Peter Petrelli tackled the man who killed Jackie, and they both fell over the ledge. That's a pretty long fall.

(Matt continues to get nothing. He shakes his head with frustration, but keeps trying.)

CLAIRE: Is Peter okay?

AUDREY HANSON: He survived ... without a scratch.

(Matt continues to get nothing.)

AUDREY HANSON: How do you think he did that?

CLAIRE: All I know is he saved my life.

AUDREY HANSON: He's a very lucky guy. You didn't seem to get hurt at all, either.

CLAIRE: I guess I'm lucky too.

AUDREY HANSON: We found some of your blood at the crime scene.

CLAIRE: Look, I've told you everything I know, okay?

MR. BENNET: Do you have what you need, Agent Hanson?

(Audrey turns and looks at the window. Mr. Bennet follows her gaze. She turns back.)

AUDREY HANSON: Yes ... of course. Thank you both very much for your time.

CLAIRE: (to Audrey) Wait, can I talk to Peter?

[INT. (TEXAS) ODESSA SHERIFF'S DEPARTMENT - HALLWAY -- CONTINUOUS]

(Matt exits the observation room just as Claire, Mr. Bennet and Audrey exit the interview room. He walks over to them in the hallway.)

MATT PARKMAN: Excuse me.

MR. BENNET: Yes?

MATT PARKMAN: Mr. Bennet, I just want to let you know that we're doing everything in our power to, uh, to get this guy.

MR. BENNET: Well, I appreciate that, Mr ...

(He holds out his hand.)

MATT PARKMAN: Uh, Parkman. Uh, Officer Matt Parkman.

(They shake hands. Matt turns and looks at Claire.)

MR. BENNET: I really appreciate that, Officer Parkman. Thank you.

(The elevator bell dings. Claire and Mr. Bennet leave. Matt looks very frustrated.)

AUDREY HANSON: You don't have to be a mind reader to know she's hiding something. What is it?

MATT PARKMAN: I didn't get anything. I mean, I ... there was this distinct ... absence of sound.

AUDREY HANSON: You mean silence?

MATT PARKMAN: No, it was more like a static interfering with my ... Whatever the hell this thing is.

(They head back to the room.)

AUDREY HANSON: That's a new one.

MATT PARKMAN: No, it's not, actually. I've heard this before. Once, when I went to that bar. It's the last thing that I heard, or didn't hear, before I lost a day.

(They enter the room. Camera pulls back and we see the Haitian standing just around the corner. He looks around, then walks out and down the hallway.)

CUT TO:

[EXT. (UTAH) WOODS -- DAY]

(Jessica is running through the woods quickly and with purpose. A bird caws in the distance. She turns and finds DL's bloodied jacket on the bush.)

(We see the distinct SYMBOL on the back of her right shoulder.)

(She holds the jacket and looks at it. Somewhere inside her it registers that this is DL's jacket with DL's blood. Niki emerges. She looks around, then back at the bloodied jacket.)

NIKI: (whispers) DL. Did she ...

(Niki can't believe it. She shudders at the thought.)

NIKI: Did I...

(Niki drops the jacket and turns to run. She takes a couple of steps, trips and falls near a small puddle of murky water.)

(In the water's reflection, we see Jessica standing above her, her arms crossed.)

JESSICA: (hard) Get up!

(Niki is on the ground. She turns and looks up as if Jessica were indeed standing over her.)

NIKI: What did you do?

(Camera starts from Jessica's reflection in the water, then quickly zooms up to Jessica herself standing with her arms crossed. The two talk to each other.)

JESSICA: What I had to do to get Micah back.

(Niki sits up.)

NIKI: If you cared about Micah, you wouldn't have taken those shots. You could have missed.

JESSICA: I don't miss. You saw DL's jacket.

NIKI: DL's Micah's father.

JESSICA: DL is a criminal. He brought danger into our home. You want Micah to end up like that?

NIKI: You're wrong about him. You're out of control.

JESSICA: (mocks) What do you know about control, Niki?

(Niki gets to her feet.)

NIKI: You're part of me. You do what I say.

JESSICA: It doesn't work like that. Not anymore.

NIKI: Why are you doing this?

JESSICA: Because you're not strong enough.

MICAH: (o.s.) Mom!

(Jessica and Niki both turn to look.)

JESSICA: Micah!

MICAH: (o.s.) Mom, is that you?

(Jessica takes out a handgun.)

JESSICA: Coming!

(Jessica starts running quickly again.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (TEXAS) ODESSA SHERIFF'S DEPARTMENT - HOLDING CELL -- DAY]

(Peter is sitting on the bunk in his cell. He coughs a little. The guard walks up to the door. Claire and Mr. Bennet are just behind him. The guard unlocks the door and opens it for them.)

(Peter glances up and quickly gets to his feet when he sees Claire.)

(Claire walks in. She smiles at him. Peter's just so happy to see she's all right.)

PETER: You're okay.

CLAIRE: Thanks to you.

MR. BENNET: Mr. Petrelli, I'm Claire's father.

PETER: Hi.

(They shake hands.)

MR. BENNET: You saved my little girl. I owe you my life.

PETER: I was just in the right place.

MR. BENNET: Maybe one day I'll be in the right place and can return the favor.

(Peter braces his hand against the wall near him and coughs.)

MR. BENNET: Are you feeling all right?

PETER: Yeah. Fine.

CLAIRE: Hey, Dad, can you wait outside?

(Mr. Bennet looks at Peter.)

MR. BENNET: Of course.

(The guard lets Mr. Bennet out and closes the door again. Claire takes a step toward Peter.)

CLAIRE: How long have you known?

PETER: Known what?

CLAIRE: That you're like me. You would have died if you couldn't --

PETER: (realizes) Wait-wait-wait. Do you ... (Peter sits down on the bed.) Do you heal? Is that it?

(Claire nods.)

CLAIRE: All this time, I thought it was just me. Now there's you. Is that why you came for me? (She sits down next to Peter.) Is that why you ... asked me if I was the one?

PETER: No, I just -- I knew I had to save you.

CLAIRE: Why?

PETER: To save the world.

(Claire shakes her head, confused.)

CLAIRE: What do I have to do with the world?

PETER: I don't know. (adds quickly) Yet. I do know that I don't think I would be here if it wasn't for you. I think I'd die.

CLAIRE: I've died before. It's no big deal.

(Claire chuckles.)

PETER: I'm not like you, Claire. I --

(Mr. Bennet knocks on the glass, interrupting them. Claire turns and holds up her index finger - just one more minute. Mr. Bennet nods.)

(She turns back to Peter.)

PETER: This, uh ... this healing thing is kind of new for me.

CLAIRE: Wait -- you didn't know that you were gonna heal when you dove off the building?

PETER: No.

(Peter chuckles and coughs.)

PETER: (sheepish) That's kinda stupid, huh?

(Claire smiles and shakes her head, even more impressed by him.)

CLAIRE: No, it's not.

(Mr. Bennet knocks on the glass again. Claire turns and nods to him. She looks at Peter, then gets up and heads for the door. As the guard unlocks the door, Claire turns back and smiles at Peter.)

CLAIRE: You're totally my hero.

(Peter chuckles and smiles back. Claire leaves the cell. We hold on Peter.)

CUT TO:

[EXT. (UTAH) ABANDONED HOUSE -- DAY]

(Jessica runs through the woods.)

JESSICA: (shouts) Micah!

MICAH: (o.s.) Mom? Mom, is that you?

JESSICA: Come here.

(Jessica reaches the clearing in front of the abandoned house. Micah runs out to meet her. She runs to him, grabs him and hugs him.)

MICAH: Mom! Dad's hurt.

JESSICA: Where is he?

(He points to the house.)

MICAH: In there. He's bleeding ... bad.

(Jessica follows Micah, pulling out the gun and keeping it behind her back and out of Micah's sight. She brings the gun around, keeping her body between the gun and Micah as she runs toward the front door.)

(She opens the door and steps inside. DL hits her in the stomach with a shovel. Jessica falls back. Rolling on the ground, she drops the gun.)

(DL has his arm in a sling. He runs out and heads for the gun. Jessica sees him and quickly gets to her feet as DL reaches for the weapon.)

(She kicks him hard in the chest. DL goes flying backward through the air. DL hits the ground hard with a thud.)

(Micah grabs Jessica's arm.)

MICAH: (shouts) Stop fighting! Stop fighting!

JESSICA: It's for your own good!

(She elbows Micah away from her. He flies backward and lands hard against the rocks.)

MICAH: Aggh!

(DL sees Micah in pain. His attention is focused on Micah.)

DL: Micah!

(He gets to his feet and rushes past Jessica to help Micah.)

DL: Micah!

(Jessica turns and sees that she's hurt Micah. Micah clutches his shoulder in pain.)

DL: Are you okay, son?

(And Niki emerges.)

NIKI: Micah ...

(She walks over to Micah. DL turns.)

DL: (harshly) Stay away from him!

NIKI: (to Micah) It's me, baby.

(Niki kneels in front of Micah.)

MICAH: Mom, is that you?

NIKI: It's me.

(As DL watches, Micah gets up and hugs Niki. Niki pulls away a little and looks at Micah.)

NIKI: I am so sorry.

(She touches Micah's face, then turns to look at DL.)

NIKI: I'm so sorry.

(DL looks at Niki. Finally convinced, he pulls her toward him and kisses the top of her head as Niki hugs Micah.)

CUT TO:

[INT. UNION WELLS HIGH SCHOOL - FIELD -- DAY]

(Zach rides up to Claire on his bike. He gets off.)

CLAIRE: Hey.

ZACH: Hey.

CLAIRE: So what have people been saying?

(He and Claire walk. He's carrying a small plastic bag.)

ZACH: Well, the official word is that somebody got killed in the high school. But everybody knows it's Jackie. I got, like, four text messages this morning.

CLAIRE: Did you bring the tapes?

ZACH: Oh, yeah. (He gives her the bag. Claire empties the three tapes on the ground.) There wasn't that much to bring--

(She smashes the tapes with the heel of her shoe.)

CLAIRE: That's pretty destroyed, right?

ZACH: Yeah, I don't think they're gonna play again. (She picks up the tapes.) Look ... I feel really bad. About breaking you out and pushing you to go to homecoming last night. I'm sorry.

CLAIRE: You shouldn't feel bad. You did it because you're my friend. Probably the best friend I've ever had.

ZACH: You know, I've only been your friend for two weeks.

(She kicks him playfully.)

CLAIRE: Hey, I didn't say it wasn't pathetic.

ZACH: You know, you could have been killed.

CLAIRE: I know. Look, I gotta go. My dad just wanted to ... make sure that you weren't gonna say anything to anyone.

ZACH: Of course. Cross my heart.

CLAIRE: Thanks, Zach.

(Zach turns and leaves. We hold on Claire)

CUT TO:

[EXT. MIDLAND BUS DEPOT -- DAY]

(Hiro and Ando wait at the bus depot in front of door #151. A greyhound bus pulls up and passengers step out. Isaac gets off the bus. Hiro sees him and rushes over to meet him.)

ISAAC: Hiro Nakamura, I presume.

HIRO: (excited) Mr. Isaac?

(Hiro holds up his hand in the 'live long and prosper' sign.)

CUT TO:

[INT. BURNT TOAST DINER -- DAY]

CAPTION:
BURNT TOAST DINER
MIDLAND, TEXAS

(Hiro, Ando and Isaac enter the diner. Isaac is looking through Hiro's comic book as they make their way to a table.)

ISAAC: This hasn't even gone to the printer yet. It's--it's incredible.

(Hiro pulls out a chair for Isaac and he sits down.)

ISAAC: You really went to the future. Jumping through time, I mean --

HIRO: --and s___e. Your power very strong too.

(Isaac turns the comic book to the page where Hiro pays for the comic book in yen.)

ISAAC: I'm not so sure about that. I can only do it when I'm chasing. (He looks at their blank faces.) Uh, stoned. On drugs. Uh ... What else did you see there ... then?

HIRO: Oh, um ... I saw the bomb. It exploded the city and destroyed many things. And I saw you.

(Hiro stops.)

ISAAC: What about me?

(Hiro looks at Ando; Ando nods for him to go ahead.)

HIRO: I saw you on the floor. You were dead. With your head ... cut ... off.

(Isaac reaches up with both hands and scratches the back of his head.)

ISAAC: Okay. The man who cuts off heads ... he's taken care of.

(Hiro looks at Charlie's shrine.)

HIRO: He's caught?

ANDO: That is very good news. Hiro lost a friend. The brain man killed her.

(Isaac is reminded of something. He looks down at his bag and grabs his sketch book.)

ISAAC: Wait a minute. (He flips it open and shows them two pages of Hiro and Charlie.) I painted this two days ago ... sober. Is this your friend?

HIRO: Yes.

ISAAC: (excited) I did it. You say your mission is to stop the bomb. In New York.

(Hiro pulls out the comic book.)

HIRO: Yes, uh ... our destiny.

ISAAC: I think it may be mine too.

(Hiro opens the comic book to the last page and shows Isaac the picture of New York exploding.)

ISAAC: I painted that mural on my floor. And very recently, I painted a picture of ...

(He glances around to see if anyone is listening and lowers his voice.)

ISAAC: ... a man exploding.

(beat)

HIRO: (whispers) How do you stop an exploding man?

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. BENNET RESIDENCE - KITCHEN -- DAY]

(Lyle is sitting at the kitchen counter eating a bowl of cereal. The door opens and Claire walks in.)

CLAIRE: (shouts) Mom! (She closes the door.) Dad!

LYLE: Mom's at the store. I don't know where Dad is.

CLAIRE: Did Dad talk to you?

LYLE: About what?

CLAIRE: About me. He knows. And he knows that you know.

(Lyle shakes his head. He has no clue what she's talking about.)

CLAIRE: My thing. That I can't get hurt.

(Lyle smirks. He reaches out and punches Claire on her arm.)

LYLE: That didn't hurt?

CLAIRE: Lyle, I'm serious. Now tell me what Dad said to you.

LYLE: I haven't seen Dad all day.

CLAIRE: He was supposed to pick you up from practice.

LYLE: Well, he didn't.

CLAIRE: Well, how'd you get home?

(Lyle is silent. His eye shift from side to side. It's apparent that he can't remember.)

CLAIRE: Lyle. How did you get home?

LYLE: I-I don't remember.

(We hold on Claire.)

CUT TO:

[EXT. (UTAH) WOODS -- DAY]

(DL, Niki and Micah walk back. Niki is carrying the metal briefcase. Micah trails behind them.)

DL: I can get you some help, Nik.

NIKI: You don't understand.

DL: There are doctors that can help with situations like this.

NIKI: D, she's stronger than me.

DL: I don't believe that for a second.

NIKI: You've seen what she can do! How do you explain that?

DL: There are a lot of things that I can't explain. Like why you shot me.

NIKI: Jessica shot you. And she's gonna come back and take Micah. She's out of control. She could really hurt him, even ...

(Niki stops and comes to a horrible realization.)

NIKI: I can't be trusted.

DL: Nik ...

(Behind them, Micah falls to the ground and groans. DL rushes back to check on him. He seems hesitant to leave Niki alone.)

DL: Micah. You all right?

MICAH: Yeah, I'm okay.

(He helps Micah back on his feet.)

DL: Come on. Gonna get you to a hotel. We gonna get you cleaned up, all right? (Micah nods.) (louder) Nik, we're gonna go to a hotel -

(He turns around and sees the metal briefcase on the ground. Niki is not there.)

DL: Nik?

(Across the road, Niki walks up to the Sheriff's car.)

SHERIFF: Can I help you, ma'am?

NIKI: Yeah, you can arrest me.

SHERIFF: Arrest you? For what?

NIKI: Murder.

(Back on the other side of the street, DL and Micah watch.)

CUT TO:

[EXT. PAPER COMPANY (BUILDING) -- DAY]

(Audrey Hanson and Matt Parkman are sitting in a car staking out Mr. Bennet.)

AUDREY HANSON: Really, Parkman. Since when does absence of noise warrant a stakeout?

MATT PARKMAN: You always say I don't take you anywhere.

AUDREY HANSON: Well, you sure know how to spoil a girl.

MATT PARKMAN: Eat your tex-mex.

AUDREY HANSON: (v.o., thinking) Gotta say, he can be cute. Oh, God, did he just hear that?

(Oh yes, he did. Matt Parkman smiles a little and turns to look at Audrey. She doesn't look at him.)

AUDREY HANSON: (out loud) Did you just read my mind?

(Matt chuckles.)

AUDREY HANSON: You can't do that. It was a stray thought, I-- You can't do that.

MATT PARKMAN: (teases) You really think I'm, uh ... "cute"?

AUDREY HANSON: I really think you're married. And I really think you love your wife.

MATT PARKMAN: I do.

AUDREY HANSON: Then why haven't you called to yell at her, so you can go home already? That's what you want, isn't it?

MATT PARKMAN: I don't wanna be a chump.

AUDREY HANSON: So still loving your wife after she has s__ with someone else makes you a chump?

MATT PARKMAN: Doesn't it?

AUDREY HANSON: Grow up, Parkman. If you want your marriage to work, you have to find a way to make it work. Otherwise, you are kind of a chump.

(Over Matt's shoulder and through the window, she sees Mr. Bennet exit the building.)

AUDREY HANSON: Cheerleader's dad, 9:00.

(Matt turns and sees Mr. Bennet talking with the Haitian.)

MATT PARKMAN: That guy that's with him. I know that guy.

AUDREY HANSON: From where?

MATT PARKMAN: He was at the bar ... the night I first heard that static.

AUDREY HANSON: But how do you know? I thought you lost that whole day.

(Matt motions for her to wait. Mr. Bennet and the Haitian walk in their direction.)

MATT PARKMAN: Hold on.

(He tries to get something from them. Anything.)

AUDREY HANSON: (nervous) Matt, maybe we should get out of here.

(He grunts and tries harder.)

MATT PARKMAN: Hold it, I'm just trying to get ... something.

(He looks at them and concentrates harder. His nose starts to bleed. Mr. Bennet and the Haitian continue to walk. They veer right, then in two different directions.)

(Matt breaks off. He turns around, panting. Audrey notices his nose bleeding.)

MATT PARKMAN: I was only able to get one word.

AUDREY HANSON: What?

MATT PARKMAN: Sylar.

CUT TO:

[EXT. UNION WELLS HIGH SCHOOL - FIELD -- DAY]

(Claire waits on the field. Zach rides up on his bike.)

ZACH: All right, Claire, I'm here. What's the emergency?

CLAIRE: Something's going on. It's like The Stepford Body s_____ers or something. My brother doesn't remember anything. What I can do, nothing. It's like they made him forget.

(He looks at her, then looks around the field.)

ZACH: (scoffs) All right, so this is another one of your little cheerleader initiation pranks. Is that it? Hmm, is it?

CLAIRE: Zach, are you listening to me? Something is going on!

ZACH: What is your damage? Look, you haven't talked to me since sixth grade, and now-now you call me out of the blue? What is this about?

(Claire shakes her head, scared.)

CLAIRE: They got to you too.

ZACH: Are you on crystal meth or something? 'Cause this is really cracky behavior.

(Claire backs away from him. She turns and leaves.)

ZACH: Claire.

(Claire runs.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. PAPER COMPANY - SECRET OFFICES - SYLAR'S CELL]

(Sylar sits in his cell. The door opens and Mr. Bennet walks in. He turns the lights on. He puts a tray of food through the slot.)

(Sylar doesn't turn around.)

SYLAR: You see yourself as some sort of humanitarian, don't you? A do-gooder, a hero. Kidnapping men and women who are different. Does that make you feel powerful?

(Mr. Bennet doesn't say anything.)

SYLAR: We're quite alike, you know. You collect special people. So do I.

MR. BENNET: We're gonna take you apart, Gabriel. Like one of your little watches. (scoffs) Sorry ... timepieces. And we're gonna find out exactly what makes you ... tick.

(Mr. Bennet turns the lights off and leaves the room. The door shuts behind him.)

CUT TO:

[INT. MOTEL ROOM -- NIGHT]

(Hiro and Ando look at the blank paper on the easel. Isaac stares at the paper.)

ISAAC: I don't think I can do this.

(Hiro walks over to him.)

HIRO: Yes, you can. Concentrate.

(Hiro grits his teeth and scrunches his face as he usually does when he wants to use his powers. His eyes pop open and he nods encouragingly to Isaac.)

(Isaac nods. Hiro goes back to his position next to Ando and they watch Isaac. Isaac sits up straighter. He closes his eyes and concentrates.)

(When he opens his eyes, his pupils are white - as he sees the painting in front of him.)

(Isaac takes his shirt off as he prepares to paint.)

(Isaac starts to draw.)

CUT TO:

[INT. MR. BENNET'S CAR (TRAVELLING) -- NIGHT]

(Mr. Bennet's cell phone rings. He answers it.)

MR. BENNET: (to phone) Hello?

INTERCUT WITH:

[INT. BENNET RESIDENCE - NIGHT]

CLAIRE: (scared) Tell me you remember. Y-you remember what I told you? Last night. Don't you? You remember what we talked about?

MR. BENNET: Of course I do. What's going on?

CLAIRE: You said that there were people who wanted to hurt me. I think they got to Zach and Lyle. They don't remember anything. It's like it never happened. I don't know what to do.

MR. BENNET: Where are you?

CLAIRE: I'm at home. Where's Mom? Where's -- where's Lyle?

MR. BENNET: Just stay where you are. I'll be right there. I love you, Claire. You're gonna be okay.

(The room door opens quietly. Claire doesn't notice.)

CLAIRE: Okay.

(She hangs up. Someone walks into the room. She still doesn't notice.)

(She turns, looks up and finally sees him there. She gasps and tries to get away. The Haitian grabs her and covers her mouth with his hand.)

CLAIRE: No! No! No!

(Her cries are m___led. The door slams shut.)

(Claire struggles against the Haitian, but his hold around her is firm. The Haitian speaks.)

THE HAITIAN: I work for your father.

(Claire stops struggling.)

THE HAITIAN: He sent me here to make you forget. Like he sent me to your friend. And your brother. And to your mother so many times.

(As he talks, Claire quiets down.)

THE HAITIAN: He'll be here soon, expecting that ... you won't remember anything. But it is very important that you do. Tell me, Claire. Can you keep ... a secret?

CUT TO:

[INT. MOTEL -- NIGHT]

(Hiro and Ando wait across the room as Isaac paints. Ando glances at his watch.)

ANDO: (subtitled) What will we do once he paints something?

(Hiro shrugs.)

HIRO: (subtitled) Maybe we should make sure he is okay.

(Hiro and Ando look at the painting as Isaac continues to paint.)

ANDO: (subtitled) I thought he only painted the future ...

(We see that Isaac has painted Hiro brandishing a samurai sword against a large dinosaur-like creature.)

HIRO: (subtitled) Oh, no! What if I step on a bug? I could change history ...

ANDO: (subtitled) Change history? You're gonna die!

(Isaac stops painting.)

HIRO: (subtitled) I really need to find that sword ...

CUT TO:

[INT. MOHINDER'S APARTMENT -- NIGHT]

(Mohinder stands at the wall map. The phone rings. He answers it.)

MOHINDER: (to phone) Hello?

EDEN: (from phone) Mohinder? It's me.

MOHINDER: Eden.

(He sits down.)

EDEN: Look, I'm not who you think I am. I lied to you, and I'm really sorry. And I'm gonna explain it all to you soon.

MOHINDER: Wh-where are you? What's going on?

EDEN: First, I need to make things right.

INTERCUT WITH:

[CU: SECURITY PAD]

(Eden punches the code in to the security pad. The door unlocks and opens.)

EDEN: (from phone) Starting with killing the man who murdered your father.

(She hangs up.)

MOHINDER: Eden, wait, I --

CUT TO:

[INT. PAPER COMPANY - SYLAR'S CELL]

(Eden turns the lights on. Sylar is in his cell. He stands up quickly. Eden walks over to the glass, her hands behind her back. The door closes behind her.)

SYLAR: I do know you, don't I?

(Eden takes out a gun.)

EDEN: I live next door to Chandra Suresh.

(Sylar smiles.)

SYLAR: That wonderful ability. The power of persuasion, and this whole time, you were the girl next door.

EDEN: (echoy) I'm gonna take this gun, and I'm gonna put it in that slot. You're gonna take it, and you're gonna blow your brains out.

SYLAR: (hard) You knew, didn't you?

(Suddenly, he jerks his fisted hand backward and like pulling a puppet on a string, Eden flies toward him straight into the glass window, smashing it.)

(He grabs her neck in his hand, her face cut and bloodied. Eden gasps.)

SYLAR: You knew what I was, and you let it continue. (Eden chokes.) In a way, you helped me.

(He chuckles.)

SYLAR: And after I've consumed your power, you'll help me even more.

(He glances down at the gun in her hand as she slowly raises it up.)

SYLAR: Oh, Eden, you know that won't hurt me.

(Instead, her hand twists back and the muzzle points back at herself.)

BAM!

(Blood spatters on the broken glass window.)

CUT TO:

[INT. ODESSA SHERIFF'S DEPARTMENT - HOLDING CELL -- NIGHT]

(Peter is sitting on his bunk in his cell. An officer unlocks the glass door and opens it for Nathan. Nathan walks in.)

PETER: What are you doing here, Nathan?

(Nathan tosses Peter a plastic bag of his things. Peter catches it.)

NATHAN: Let's go.

[INT. ODESSA SHERIFF'S DEPARTMENT - FRONT DOOR]

(Nathan and Peter head for the front door as they cross the bullpen.)

PETER: Aren't you gonna ask what happened?

NATHAN: I know what happened. You got yourself in trouble. You nearly got yourself killed.

(Nathan and Peter walk through the hallway.)

PETER: No, I saved a girl.

NATHAN: (scoffs) Had to be a hero, didn't you? Got it out of your system now?

PETER: I finally get it now, Nathan. I have these dreams, and when I'm around someone with an ability, I can do what they can do.

NATHAN: You look like hell.

(Peter coughs.)

[EXT. ODESSA SHERIFF'S DEPARTMENT - BUILDING - NIGHT]

(Peter and Nathan exit the building.)

PETER: And I was with that girl and that guy that was trying to kill that girl. And this cop, I think he was reading my mind. They were all like us.

(They start walking down the front steps to the building.)

NATHAN: Dysfunctional?

PETER: No, they ...

(Peter takes a breath. He's having trouble breathing and is walking haphazardly. Nathan continues walking forward, not looking at him.)

PETER: Nathan, I have to stop that bomb. I have to save everybody.

NATHAN: Right now, I'd settle for you walking straight.

(Peter collapses on the ground.)

NATHAN: (o.s.) Peter? Peter!

(Peter stumbles, falls ...

SMASH CUT TO:

[EXT. NEW YORK CITY STREET (FUTURE) - VISION]

... and hits the ground.)

(Peter is on the ground in the middle of the street. He opens his eyes and gets to his feet. He's no longer wearing the blood-stained white shirt, but his leather jacket.)

(The place is eerily quiet and silent except for the hollow sounds of wind blowing. Peter looks around. Like a deserted city, stray paper blows past the screen. Peter turns around.)

(The roads behind him are jam packed with stopped cars. Their doors are open. In the background, we hear the garbled sounds of two-way radio traffic.)

(The detour arrows turn on pointing Peter in a direction. Peter starts walking through the street. He looks around. The voices in the background are echo-y and garbled.)

(Peter walks out into the street and makes his way between the empty cars.)

(He sees an over-turned bicycle, the back wheel still spinning. He looks up and sees the familiar campaign sign: VOTE PETRELLI. He's in front of Nathan's campaign headquarters.)

(Peter starts for the building.)

(The door to the taxi cab in front of him opens and Mohinder steps out and smiles when he sees Peter. Then, he looks at Peter and starts running away from him. Peter continues forward.)

(Suddenly, he sees others - Matt, in his officer's uniform, is directly in front of him and holds his hand out for Peter to stay there. Just behind Matt are DL, Micah and Niki. DL picks Micah up and they all start to run away from Peter.)

(Matt motions for them to run from Peter.)

(Peter turns and sees Claire in her cheerleader's uniform running between the cars toward him.)

(He turns and sees Nathan step out of the building.)

(DL, Micah and Niki continue to run from Peter.)

(Nathan exits the building.)

(Claire runs between the cars and runs up to Peter. She stops in front of him and shakes her head. She starts to back away from him.)

(Across the street, Simone is running toward Peter. He turns and sees her. Suddenly Isaac grabs Simone and pulls her away from Peter, stopping her from getting too close.)

(Nathan is walking toward Peter.)

(Hiro and Ando are on the sidewalk looking at Peter.)

(Claire looks at Peter and she shakes her head.)

CLAIRE: (no audio) I'm sorry.

(She starts to back away from him. Peter looks down at his hands. They start to glow white.)

(Isaac has a firm hold around Simone as she struggles against him. He pulls her away from Peter.)

(Ando and Hiro look at Peter sadly.)

(Claire backs away, then turns and runs.)

(Nathan steps out into the light as he watches Peter.)

(Peter looks at the uncontrollable power in his hands as he glows white hot.)

(Nathan continues walking toward Peter.)

(He stops in front of Peter.)

(Peter's eyes burn.)

(He glows and is consumed by the power. He screams.)

(Peter starts to explode.)

[XCU: PETER'S EYE]

(The fire burns in the center of Peter's left eye. We zoom out completely on --

[PETER]

-- and find Peter on the ground, eyes wide open, his cheek pressed to the concrete. He gasps.)

ABRUPT CUT TO:

[EXT. ODESSA SHERIFF'S DEPARTMENT - BUILDING (PRESENT) - NIGHT]

(Nathan is holding Peter as Peter gasps for breath.)

NATHAN: (soothing) Easy. It's all right. It's all right. It's all right.

PETER: (gasps) It's all my ... fault.

(Peter pants for breath.)

PETER: The explosion.

NATHAN: What are you talking about?

PETER: It's me.

(Peter stops breathing.)

NATHAN: Breathe. Come on, Peter. Breathe.

(He slaps Peter's face trying to get him to breathe.)

NATHAN: Peter. Peter!

(TOP VIEW DOWN: A small crowd is gathering around Nathan as he holds Peter.)

NATHAN: Peter!

FADE TO BLACK.

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