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TRANSCRIPT:
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(FADE IN: The earth is shown in orbit. As it is rotating, an eclipse occurs and "HEROES" appears on the screen.)

(Close-up of PETER PETRELLI. The camera pans out to show him standing on the edge of a building in New York City.)

MOHINDER SURESH: (v.o.) Where does it come from? This quest? This need to solve life's mysteries though the simplest of questions can never be answered. Why are we here? What is the soul? Why do we dream? Perhaps we'd be better off not looking at all. That's not human nature. Not the human heart. That is not why we are here.

(PETER closes his eyes, stretches his arms, and steps off the building. He begins to fall, but the camera takes on his view and it is assumed he is flying.)

(CUT TO: PETER awakes suddenly to SIMONE DEVEAUX opening a set of curtains and letting light spill through the room.He is sitting in a chair wearing scrubs.)

SIMONE: How's he doing? I'm sorry, did I scare you?

PETER: No. No, I, uh, I just keep having these amazing dreams every time I close my eyes, and...never mind, um...(standing) he likes me to read him the stock page.

SIMONE: Has he been conscious at all?

PETER: No. It's been a week now, I think he's close. A couple more days, maybe.

(The camera shows an elderly man lying, unconscious, in a bed, with several tubes attached to his body.)

SIMONE: You know, I don't know what he'd do without you. You've got a real gift.

PETER: Just doing my job.

SIMONE: No. You're like a son to him.

PETER: Well, then, that would make us like brother and sister. Might be a little awkward if I ever wanted to ask you out. (chuckling) I'm sorry. That was, uh, that was inappropriate.

SIMONE: No, it's--it's sweet. It's...I'm dating somebody.

PETER: Yeah, no, really. It's...okay.(pausing) I need to change his IV.

SIMONE: I'm sorry.

PETER: No.

SIMONE: Of course.

(CUT TO: MADRAS, INDIA. 3 days before PETER'S dream. MOHINDER SURESH is standing in front of a map, giving a lecture to a small group of students in heavily accented English.)

MOHINDER: Man is a narcissistic species by nature. We have colonized the four corners of our tiny planet. But we are not the pinnacle of so-called evolution. (walking amongst the class) That honor belongs to the lowly cockroach. Capable of living for months without food. Remaining alive, headless, for weeks at a time. Resistant to radiation. If God has indeed created himself in his own image. Then I submit to you, that God...is a cockroach. (there is scattered laughter among the students) They say that man uses only a tenth of his brain power. Another percent, and we might actually be worthy of God's image. Unless, of course, that day has already arrived.(pausing) The Human Genome Project has discovered that tiny variations in man's genetic code are taking place at increasingly rapid rates. Teleportation, levitation, tissue regeneration. Is this outside the realm of possibility? (He becomes excited) Or is man entering a new gateway to evolution? Is he finally standing at the threshold to true human potential?

(MOHINDER notices a man who has just entered the room.)

MOHINDER: I'm sorry. I am out of time.(When the students have all left, he continues) I know, I know. I'm beginning to sound like my father. I can't help it.You know, they can fire me too, if they like. But there is something to it, Nirad. As crazy as it sounds. (The other man does not answer) What is it?

NIRAD: It's...your father. He's dead.

MOHINDER: How?

(The two are next shown walking through the streets of India in the pouring rain.)

NIRAD: Driving a taxi in New York City is a very dangerous job. The wrong fare, the wrong time, we may never know what really happened.

MOHINDER: (anxiously) No, I spoke to him two days ago. He was convinced someone was following him, trying to steal his research. He died because of his theories.

NIRAD: That's crazy.

MOHINDER: Is it?! (He stops walking)

NIRAD: The man left his family, discredited his career, to chase wild theories halfway around the world.(They begin to walk again, but at a faster pace) Where are you going?!

MOHINDER: To his apartment. To get his papers, his research. He was this close to finding the first of "them." (He begins to climb the steps to his father's apartment) His Patient Zero. He tracked him to Queens, New York.

NIRAD: Mohinder, listen to me. (Both stop mid-way up the stairs) Your father was my colleague and my friend. A respected professor, a brilliant geneticist. But he had clearly lost touch with reality.

MOHINDER: I followed in his footsteps. My thesis is based on his research!

NIRAD: Yes, you always wanted his approval!

MOHINDER: And now you're telling me it was all for nothing.

NIRAD:I'm telling you...to let go.

MOHINDER: I need to know why he died. I need to know that it wasn't all for nothing. And then I need to finish what he started.

(MOHINDER goes inside his father's apartment alone. He picks up a cassette tape labeled "Teleportation." He then holds up a photograph of himself and his father, with him dressed in a cap and gown. Putting the picture down, he turns to a map on the wall that has numerous strings and tacks pinned in different locations. As he begins to take them apart, a cell phone goes off from another part of the house and a man answers.)

MAN: Hello? Yeah, yeah I'm at his place now. No, no, no. He left everything behind but his computer. Research, the map. Yeah, let's get a team in here to bag and tag everything.

(While the man is talking on the phone, MOHINDER quickly gathers his father's belongings. He pulls out a camera and takes a picture of the map on the wall. The flash from the camera catches the other man's attention and he stops talking.)

MAN: I gotta call you right back.

(The camera pans in on MOHINDER pulling a tack from New York on the map and then pans out to show him running out the door with a box in his hands.)

(The man walks into the room previously occupied by MOHINDER. The camera focuses on a pair of wire-rimmed glasses. The man picks up the glasses and slowly puts them on.)

(CUT TO: LAS VEGAS, NEVADA. NIKI SANDERS is dancing on a bed. In front of her is a camera on a tripod. As she begins to take off her bra, a sound from a nearby computer stops her. She walks over to the computer and the camera pans in on an instant message conversation. "XXXNikki4u: Time's up." Huggerz69 replied back with "Little more. Please." NIKI is shown typing, "It'll cost you another 39 bucks." Huggerz69 answers, "Bitch."

NIKKI: Pervert.

(NIKI walks away from the computer. Before leaving the room, she stops in front of a mirror and looks at her reflection, nervous. In the background there is indistinct whispering.)

(A few minutes later, she walks inside her house.)

NIKI: Time to get up, Micah! (entering her son's room) Micah?! (the camera shows a young boy taking apart a computer.) Micah!

MICAH: What?

NIKI: Damn it, Micah. Don't do that to me. (She sits next to her son)

MICAH: Do what?

NIKI: You need to be careful. All right?

MICAH: I'm just working on my computer. The logic board was bad. So I had to build a new one.

NIKI: (softly) A new one. Did anyone ever tell you you're the smartest little man on the planet?

MICAH: You do. All the time.

NIKI: What's this? (She walks over to another electronic item.)

MICAH: It's a penhole camera. It's for the eclipse. (Seeing his mother's confused expression, he continues.) The moon's gonna cover up the sun today. We're supposed to look at it at school.

NIKI: Speaking of which...you need to go get ready. We can't be late.

(A doorbell rings.)

NIKI: Go grab your stuff and wait by the back door, okay?

MICAH: Why?

NIKI: Just do it.

(The doorbell rings several more times as NIKI peeks out a window. She sees two large men standing on her front steps.)

(CUT TO: NIKI and MICAH rushing out the backyard.)

MICAH: Mom, what's going on?

NIKI: Never mind, just keep your voice down and stay close to me.

(The screen shows the two men breaking the front door open and barging into NIKI'S house. A second later, her and MICAH are shown speeding away.)

(CUT TO: ODESSA, TEXAS. Daytime. CLAIRE BENNETT is seen climbing up the steps to the top of an iron building. The screen is being shown as if from an ordinary video camera.)

CLAIRE: Is the camera ready?

(From off-screen comes the voice of ZACH. Meanwhile, CLAIRE is climbing over the railing of a platform several stories off the ground.)

ZACH: Yeah, almost. Hold on.(The camera pans out to show the distance from where CLAIRE is to the ground.) This looks like 70, 80 feet. This is so unreal.

CLAIRE: Okay, I'm good.

(CLAIRE lets go of the railing and falls, face first, to the ground. There is a large thud and ZACH begins to run with camera.)

ZACH: Oh, my God. Oh, my God. Claire?! Claire!

(CLAIRE stands up and relocates her shoulder back into its socket.)

CLAIRE: This is Claire Bennet. (breathing heavily) And that was attempt number 6.

(CUT TO: NEW YORK CITY. PETER PETRELLI is flying through the city. He is falling off the side of a building, and standing on the street below is NATHAN PETRELLI, looking up at him. Suddenly, PETER wakes up to a car horn honking. He is in a cab, and a bus is stopped next to him. On the side of the bus is a sign asking citizens to vote for NATHAN PETRELLI for Congress.)

CAB DRIVER: You get out here, yes?

(PETER steps out of the cab as the bus begins to move away.)

(CUT TO: NATHAN PETRELLI on the phone in a building in NEW YORK CITY.)

NATHAN: Mr. Linderman, I'm going to have to call you back in five minutes, okay? Thank you.

(He hangs up the phone as PETER walks towards him.)

NATHAN: You're late. I've got a fundraiser and a drinks meeting.

PETER: (anxious) It happened two more times. Sometimes I'm falling. Sometimes I'm flying. Sometime you're in 'em.

NATHAN: I don't have time for this now. (He grabs a briefcase and several papers and both begin to walk.)

PETER: They're not just dreams, Nathan.

NATHAN: Hold this. (He hands PETER his briefcase.)

PETER: I thought they'd go away, but they're not.

NATHAN: (to a man sitting at a desk) Tim, I need this back by 6.00, please. (He hands him the papers in his hands and pulls on his jacket.)

PETER: This morning, when I got out of bed, my foot hovered before it hit the ground. Hovered, for a split second. Like I was--like I was floating. I'm telling you, buddy. I think I can fly.

NATHAN: (speaking to a woman at another desk) These all undecideds? (He hands her a clipboard and begins to walk again.) Tell you what, you think you can fly? Why don't you jump off the Brooklyn Bridge? See what happens?

PETER: Maybe I ought to start with something...a little lower first. It's like, learning to walk.

NATHAN: You're serious?

PETER: Oh, I'm serious.

(The two walk outside.)

NATHAN: You need to snap out of it, Peter. See a doctor. Get some drugs. Do not pull a Roger Clinton on me, man. I'm eight points down in the polls.

PETER: This isn't about you, all right? Something is happening to me. And I have this feeling that you're the only person who's gonna understands this.

NATHAN: Why the hell would I understand that you think you can fly?! (His cell phone begins to ring.)

PETER: Because, you're my brother.

NATHAN: (On the phone) Mom, I can't talk--

PETER: What?

NATHAN: I'll be there in ten minutes. (hanging up the phone)

PETER: What'd she do now?

NATHAN: She got arrested.

PETER: Arrested for what?!

NATHAN: Shoplifting. 

(CUT TO: ODESSA, TEXAS. CLAIRE and ZACH are walking on a gravel road. ZACH is replaying the video of CLAIRE'S jump on his camera.)

CLAIRE: I'm so depressed.

ZACH: What? What are you talking about? Why? All right, besides the fact that it was so gross I almost fudged myself, this is the single coolest thing to happen to this town, in like, 100 years.

CLAIRE: Not if nobody finds out, it's not.

ZACH: Why'd you want me to tape it?

CLAIRE: I have my reasons.

ZACH: It's not like you're not going to be popular, anymore.

(They reach ZACH'S bicycle.)

CLAIRE: Popular? Who said anything about being popular? My life as I know it is over, okay? I've got the Bishop game next week, SATs in October, homecoming's three weeks from today, and I'm a freak show!

ZACH: You're being a little dramatic, don't you think?

CLAIRE: No, I don't think! I have busted, like, every bone in my body, stabbed myself in the chest, I've shoved a two-foot steel rod through my neck, and I don't have a scratch on me!

ZACH: Wh-what do you call that thing sticking out? (He points to a piece of wood in CLAIRE'S rib cage.)

CLAIRE: Ugh. Great. (She removes the wood and her side heals instantly.) Just give me the tape, okay?

ZACH: Sure. (He hands her the tape and she begins to walk away) Hey, I--I can give you a ride on my handle bars, if you want.

CLAIRE: (sighing) Look...thanks, okay? I'll talk to you in front of people at school tomorrow. Promise.

(CUT TO: An office in TOKYO, JAPAN. HIRO NAKAMURA is sitting in a cubicle, intently watching a clock on his desk. The ticking of the clock grows louder as HIRO concentrates harder on the moving hands. He begins to shake from strain, when, the second hand of the clock stops moving on the 5 and moves back a second.)

HIRO: (in Japanese) I did it! I did it! Whoo! (He jumps out of his office chair and runs through the aisles of the cubicles until he reaches ANDO MASAHASHI. They begin to speak in Japanese.)

ANDO: What now?

HIRO: I've broken the space/time continuum!

ANDO: Good for you.

HIRO: My clock. I made it go back one second. Using only my mind, my thoughts.

ANDO: Too bad you're not paid by the hour.

HIRO: I'm serious. This explains the subway this morning.

ANDO: It was fourteen seconds late. Big deal.

HIRO: The train is never late.

ANDO: Until you made it late...using only your mind.

HIRO: Yes. I have discovered powers beyond mere mortal.

ANDO: Right. You and Spock.

HIRO: Yes. Like Spock. Exactly.

(A man appears beside HIRO. Grabbing his ear, the man drags HIRO back to his cubicle.)

ANDO: Use your 'death grip', Spock! The 'death grip'! (Laughing, he turns his attention back to his computer. The camera pans up to show ANDO watching NIKI SANDERS.)

(CUT TO: MICAH SANDERS. He is reading a "9th WONDERS!" comic book. From another room comes a man's voice speaking with NIKI SANDERS.)

MAN: Your son is a very intelligent boy. (The camera focuses on NIKI and the man.) Gifted, actually. That's not the issue.

NIKI: His father's not around, and...sometimes I think he could use a bit of a stronger hand, you know? I work nights a lot, but, um...we can both work harder.

MAN: It's not about the work. The truth is, I just don't know if this school, is the right fit for him.

NIKI: But he's made friends.

MAN: I'm sorry.

NIKI: He's on the soccer team.

MAN: I'm sorry.

NIKI: I wrote a check for 25,000 dollars to get him into this snob-fest. I was told that that's what it took. That's on top of the tuition.

MAN: (opening a folder) About the tuition. Uh, your last three checks have bounced.

NIKI: Fine, take it out of the 25 grand that I gave you.

MAN: That was a donation. And it was very appreciated.

NIKI: Well, I want my money back. I want my money back...now.

MAN: The money went to the capital campaign for the new wing. It's already been spent.

NIKI: Then un-spend it.

MAN: I'm sorry. Maybe we can discuss an extension of the money that you owe, but I don't--

(NIKI jumps from her chair and grabs the man by his tie, pulling him closer to her.)

NIKI: I want my money back.

MAN: (hissing) That's...not...possible.

(A minute later, NIKI rushes out of the office, reaching for MICAH.)

NIKI: Come on, baby. Let's get out of here. We're too good for this lousy school.

(As the two near the door to the building, NIKI stops in front of a fish tank and sees a different version of herself staring back.)

MICAH: Mom?

NIKI: (to her reflection) Leave me alone!

(CUT TO: ANGELA PETRELLI. She is sitting in a conference room at a police station when NATHAN and PETER arrive.)

NATHAN: For God's sake, Ma. (He begins to pace the room)

PETER: (giving his mother a kiss) Are you okay?

ANGELA: They dropped the charges. I have to fill out a form. No big deal.

NATHAN: No big deal?! I'm running for Congress. Do you have any idea what this is going to do to me if it gets out? With our family's past. What could you possibly need so bad that you had to steal it? (ANGELA raises her eyebrows) Never mind. I don't want to know.

ANGELA: Socks.

NATHAN: Socks. (pausing) Dad left you a fortune. What are you thinking? (The camera pans down to show PETER holding his mother's hand) You know, it's been one ridiculous stunt after another with you for the last six months. Dad's gone. Just get over it!

PETER: You know what? Leave her alone! She's okay. That's all that matters.

NATHAN: (pulling out his cell phone) I gotta keep this outta the press.

(PETER stands up and opens the door.)

PETER: You know what, just get out of here. Go worry about your image. I'll handle this.

NATHAN: Yeah. Good. I gotta make sure this stays buried. Thanks a lot, Mom. (He leaves the room)

(PETER closes the door and kneels next to his mother.)

PETER: What were you thinking?

ANGELA: I just wanted to feel alive again. (She rests her forehead against PETER'S and both smile.)

(CUT TO: LAS VEGAS. MICAH and NIKI are getting out of a car and making their way towards a house.)

MICAH: I hate it here. She doesn't even have any books to read.

NIKI: Baby, I'll be right back. I'm just going to go pack up a few things.

MICAH: We should really go see Dad.

NIKI: What good would that do?

MICAH: He could help. He should know that someone's trying to hurt us.

NIKI: Your dad's not in any position to help us right now. Look, I made some mistakes. (She rings a doorbell) I admit it.

MICAH: Mom, what'd you do?

NIKI: Hey...I need you to know that I would never let anything happen to you. I promise.

MICAH: Mom, why'd you look at yourself like that in the fish tank?

(A door opens behind them.)

TINA: (sighing) How long?

NIKI: Just, a couple hours, tops.

TINA: There's some ice cream in the fridge.

NIKI: Go ahead.

(With reluctance, MICAH disappears inside the house.)

TINA: What happened?

NIKI: I went to see Linderman.

TINA: How much?

NIKI: 30.

TINA: You gamblin' again?

NIKI: No, it's just bills. I use the rest to get Micah into private school. They don't know what to do with him at public, and...(walking inside) I just needed them to think that we had money.

TINA: From the mob? I mean...Hell, Niki. You weren't born yesterday.

NIKI: It's just two weeks overdue. I mean, I thought that I could handle it, okay? Just, I'm under a lot of stress right now.

TINA: Gee, I wonder why?

NIKI: (whispering) I'm seeing things.

TINA: Like...

NIKI: Like, I keep feeling like someone's watching me.

TINA: Yeah! Linderman wants his money back, so he sent some mouth breather that's gonna put you in the hospital.

NIKI: No, it is someone else. It's someone that I can't see. Does this make any sense to you?

TINA: No.

NIKI: I'm sorry. You know what?

TINA: But I'll tell you what does--

NIKI: I shouldn't be telling you this.

TINA: No, let me tell you what does make sense. You need to come up with that 30 grand, plus interest, now. Or you gotta run.

NIKI: Watch him. (She rushes out of the house)

(CUT TO: TEXAS. A large fire is erupting from a crashed train. There are sirens and police officers surrounding the entire scene. CLAIRE and ZACH walk to the barriers set up and stop to look at the wreckage.)

ZACH: That is cool, huh?

(The camera pans out briefly to show several firemen attempting to hose down the fire.)

CLAIRE: How hot do you think it is in there? (She hands him the tape) Turn on the camera.

(Slipping under the barriers, CLAIRE runs inside the train and stands in the middle of the flames, unharmed. She spots a man trapped inside and helps him out of the train.)

FIREFIGHTER: Scotty! Scotty! Come on! (Himself and another firefighter run over to help the two. He throws his jacket on CLAIRE, thinking she's burned) Take it easy.

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

FIREFIGHTER: There's no burns.

(The firefighter's attention is diverted to the injured man and CLAIRE runs away from the scene of the accident.)

(CUT TO: BROOKLYN, NEW YORK. MOHINDER SURESH is walking into his father's apartement. The room is cluttered with books and papers and overturned chairs.)

LANDLORD: Man, I thought I was a slob.

MOHINDER: They were here, too. (walking swiftly through the room)

LANDLORD: What?

MOHINDER: Nothing.

LANDLORD: I got a guy who can clean this up for a 100 bucks.

MOHINDER: No, it's all right. I'll take it as it is.

LANDLORD: We rent by the week. I'm gonna need to know you can afford it.

MOHINDER: I have a job.

LANDLORD: Doing what?

MOHINDER: Driving a taxi.

LANDLORD: I'll get you an application.

(The landlord leaves and MOHINDER looks at some of his father's notes on the wall. A cockroach crawls by and he stomps on it with his shoe.)

(CUT TO: A painting of an eclipse. ISAAC MENDEZ comes into view. He is looking for a can of paint. When he finds a can that's full, he pulls the lid off as fast as possible and begins to spread the paint over a painting. In the background, a television is turned on.)

TV ANNOUNCER: In these uncertain times, the people of New York need a leader with real-world experience to selfless dedication. Nathan Petrelli. He served his country in Bosnia in the Army. District Attorney, he put criminals behind bars and established new laws.

SIMONE: (from off-screen) Hey. Oh, God, what? The silent treatment? (The camera turns to show her walking into ISAAC'S loft, holding a set of keys in her hands) Oh, boy.

(ISAAC takes the can of paint and pours it onto the painting.)

SIMONE: Isaac...What are you doing? What the hell is wrong with you?! (ISAAC picks up the painting of the eclipse and grabs another can of paint) Isaac! Okay, stop. (She moves in front of the painting) What are you crazy?

ISAAC: Clearly. I don't even remember painting these. I was high, okay? I lied to you.

SIMONE: Damn it.

ISAAC: I've been chasing for a month.

SIMONE: Well, then get yourself back into a program and make it stick this time. These are fantastic. (She holds up some of ISAAC'S sketches)

ISAAC: (franticly) No, they're evil.

SIMONE: What are you talking about?

ISAAC: What I'm talking about? (He picks up another painting and throws it on a table) Want to know what I'm talking about? You see this? (He points to the painting of a bus engulfed in flames) Suicide bombing in Israel. I painted it. Three weeks ago.

SIMONE: (taking the painting) Yeah, so?

ISAAC: (leaving the room momentarily and returning with a newspaper) So...that's this morning's paper. (He points to a photograph of a bus on fire) Look at the number on the bus.

(The camera focuses on the photograph of the bus, which has the numbers 009 on it. The camera then zooms in on the painting, which has the exact same numbers on the bus.)

ISAAC: This happened yesterday. (chuckling) Yesterday. (pausing) Something's wrong with me.

SIMONE: We'll get you help, Isaac.

ISAAC: I've tried that, twice. There's only way left, and you know it.

SIMONE: You can't go cold turkey. Not alone. I mean, let me help you. Please!

ISAAC: No!

SIMONE: I love you.

ISAAC: I'll drag you down with me. I swear to God I will. Just leave me alone. (SIMONE attempts to put a hand on his shoulder, but he backs away) Get out of here!

SIMONE: Okay.

ISAAC: (screaming) Now!

(Once SIMONE leaves, ISAAC focuses his attention on a news report on the television. It is showing the train wreck in Odessa, Texas.)

TELEVISION ANNOUNCER: An unidentified Samaritan witnesses describe as a young teenage girl ran into the flames and rescued the young lieutenant. Now, the train is registered to the Nuclear Regulatory Commission, and there has been no official statement yet on to just what was in the cars.

(The camera pans out from the television and focuses on a painting sitting next to the t.v. It is of a burning train.)

(CUT TO: The streets of New York City. PETER is walking on the sidewalk when he spots SIMONE getting into a taxi, clearly upset. He puts on a pair of sunglasses and calls for his own cab.)

PETER: Center of Central and Canal, please.

(Driving the taxi is MOHINDER, who gives a nod to PETER in his rearview mirror.)

PETER: (staring out the back window, he looks at the eclipse) Wow.

MOHINDER: Solar eclipse.

PETER: Yeah. (taking off his glasses) Yeah, I wonder if it's gonna be total.

MOHINDER: Not here, no. In some other part of the world, yes. A global event. Makes one appreciate just how small our planet really is. And we're all quite small really, aren't we?

PETER: What's your name?

MOHINDER: Mohinder.

PETER: I'm Peter. Let me ask you something, Mohinder. Do you ever...get the feeling that you were meant to do something extraordinary?

MOHINDER: I'm driving a cab, you may have noticed.

PETER: No, I'm not talking about what you do. I'm talking about you are. I'm talking about...being special.

(CUT TO: ODESSA, TEXAS. CLAIRE is walking along a set of railroad tracks while ZACH runs to catch up with her.)

ZACH: Hey! Hey, I can't believe you just left like that.

CLAIRE: Yeah, I know. I was there.

ZACH: But you saved that dude's life. It's okay.

(FADE TO: TOKYO, JAPAN. A group of office workers are on the roof of a building, exercising. Among them is HIRO, who stops and stares at the sky . ANDO attempts to get to his attention by giving him a shove, but HIRO ignores it and continues to look around.)

(CUT TO: LAS VEGAS, NEVADA. NIKI walks into her house, hesitant, and sees the living room trashed.)

(CUT TO: NEW YORK CITY. MOHINDER and PETER gaze out of the taxi at the eclipse.)

(CUT TO: ODESSA, TEXAS. CLAIRE and ZACH stop on the railroad tracks and stare at the eclipse.)

(CUT TO: TOKYO, JAPAN. A large cloud falls over the exercising workmen, and HIRO looks up to see the eclipse.)

(CUT TO: NEW YORK CITY. ISAAC is sitting against a wall in his loft, in apparent pain.)

(CUT TO: LAS VAGAS, NEVADA. NIKI picks up the penhole camera and looks at the eclipse through it. Behind her, a man has his back turned to her. He makes a sound and NIKI turns to see him. She tries to run out the front door, but another man grabs her from behind and pulls her back in.)

MAN: Welcome home.

(A few minutes later, the two men throw NIKI onto her bed in the garage.)

MAN: Get on there! 50 grand is a lot of money.

NIKI: Fifty?! It was thirty, even with interest--

MAN: Mr. Linderman wants to be nice about this. You should've read the fine print.

NIKI: Look, I have a son. I'm all he's got.

MAN: I'll tell you what I'm gonna do. You make what? 40 bucks for every twenty minutes you take off your clothes? Well, I'm gonna give you a chance to lower your debt a little. And see where it goes from there. (The other man sets up NIKI'S video camera and turns it on) Come on. Come on, show me what you got.

(NIKI reluctantly begins to undress.)

MAN: Lift up your shirt, baby. Oh, look at that belly. (chuckling)

(NIKI sees her reflection in a mirror and stops)

MAN: What's the matter, baby? We just got it getting good here. (He stands up and walks over to the bed) I said, what's the matter? (He slaps NIKI across the face)

NIKI: (furious) Screw you.

MAN: Screw me? (He leans forward to punch NIKI)

(CUT TO: A subway station in TOKYO, JAPAN. HIRO and ANDO are walking among a busy crowd, talking in Japanese.)

HIRO: The Yogis in India and the Aborigines in Australia, both can bend time and space.

ANDO: Fine, I'll humor you. Let's say you really do have this power. What do you do with it? Join the circus? No one ever got laid by stopping this second hand of a clock.

HIRO: As I develop my powers, I'll learn to bend space, too. Then I can tele-port myself anywhere on the planet.

ANDO: Like Star Trek.

HIRO: Yeah, like Star Trek. Every hero must learn his purpose. Then he'll be tested and called to greatness.

(HIRO and ANDO are next shown sitting at a table in a Japanese bar. Two men are singing karaoke in English in the background.)

ANDO: Where did you learn all this?

HIRO: X-men no. 143, when Kitty Pryde time travels...

ANDO: A comic book?

HIRO: Every ten year old wishes he had super powers. And I got them. Me, of all people. Last in my class. Last on the sports field. I'm not a loser anymore.

ANDO: Tell me one useful thing you could do with this power. Can you make money?

HIRO: A super hero doesn't use his power for personal gain.

ANDO: Then what good is it? Can you teleport yourself into the women's bathroom?

HIRO: I could teleport myself into the women's bathroom.

ANDO: (sarcastically) Great, then do it. I'll grab two more beers. (He walks away)

HIRO: (yelling after ANDO) I'm going to teleport. (He glances at the women's restroom and then closes his eyes, deep in concentration.)

(CUT TO: LAS VEGAS, NEVADA. A phone rings, only to be picked up by NIKI'S answering machine. On the screen is a hand flung over the side of a bed. The camera pans up and shows NIKI lying face-down on the bed. She sits up when she hears MICAH'S voice on the answering machine.)

MICAH: Mom, are you there? When are you coming to get me? I hate it here. You said you'd be back soon. Just come pick me up, okay?

(The camera pans out to show the entire room destroyed and sprayed with blood. On the ground is one of Linderman's men, and next to NIKI, on the bed, is the other man, a knife in his throat. NIKI jumps from the bed and grabs the video camera that is still on. When she turns around, she catches her reflection in a mirror. Her reflection lifts a finger to her lips, as if an effort to tell NIKI to keep quiet.)

(CUT TO: NEW YORK CITY. PETER'S cell phone begins to ring while he's in the taxi with MOHINDER.)

PETER: Hello.

SIMONE: (over the phone) Peter, it's me.

PETER: Hey, Simone.

SIMONE: Are you busy?

PETER: No, I was just heading home.

SIMONE: Listen, I need you to meet me at my Dad's.

PETER: Yeah, no, I can be there in ten minutes.

SIMONE: Okay, just hurry, okay?

PETER: Okay, yeah, I'll see you there. Bye. (He hangs up) You know, I'll hop out here, please. (He hands MOHINDER his cab fee) Thanks.

(Once PETER leaves the taxi, another man, MR. BENNETT, gets in.)

MOHINDER: Where to, my friend?

MR. BENNETT: JFK, please. (the camera focuses on the man's wire rimmed glasses. It is the same man who was in MOHINDER'S father's apartement in India.) Going home to my family. These business trips are wearing me out. Suresh, huh?

MOHINDER: I'm sorry?

MR. BENNETT: Your name, on your license there. That's Indian, yes? There was a Professor Suresh at the University of Madras. Geneticist. Interesting theories. Don't think he's teaching anymore. But you wouldn't know anything about that, would you? Probably lots of Sureshes where you're from. Like Smith. Or Anderson.

(MOHINDER abruptly turns down an alley and jumps out of the cab. He begins to run away as fast as he can, while MR. BENNETT calmly steps out of the backseat and watches his flight, smirking.)

(CUT TO: TOKYO, JAPAN. ANDO is returning from the bar with two beers when he sees HIRO being carried out of the bathroom by two bouncers. He begins to yell at them in Japanese.)

HIRO: Hold on! I'm not a peeping tom! (Passing ANDO) Yahoo!

(The bouncers throw HIRO into the alley. Shortly after, ANDO steps outside to meet him.)

HIRO: Did you see me? I did it! I was in the women's bathroom.

ANDO: Great. Now you're a pervert.

HIRO: I tele-ported myself!

ANDO: Enough! You can't break the space/time continuum!

HIRO: Fine, don't believe me. (He starts to walk away.)

ANDO: Hiro, there are twelve and a half million people in this city. Not one of them can bend space and time. Why do you want to be different?!

HIRO: Why do you want to be the same?!

ANDO: Because that's what I am. The same.

HIRO: It's what we all are. Homogenous. Yogurt.

ANDO: Yogurt?

HIRO: You don't understand. I want to be special.

ANDO: We are not special! We are Japanese!

HIRO: Fine. Stay here. Be just like everyone else. I wanna boldly go where no man has gone before.

ANDO: Hiro! That's right, you're special! You're "Super Hiro"!

(CUT TO: NEW YORK CITY. PETER enters MR. DEVEAUX'S room. He sees SIMONE running about the room in search of something.)

PETER: What are you looking for?

SIMONE: Morphine.

PETER: What for?

SIMONE: I need you to come with me someplace.

PETER: Where?

SIMONE: You'll see.

PETER: Look, there's something I need to tell you.

SIMONE: That is gonna have to wait.

PETER: No, look, I need to tell you about this. I need to stop living for other people. My whole life, I've no idea what I'm supposed to do. What I'm supposed to be. If I even have a destiny of my own.

SIMONE: I promise you we will talk about this later, okay? But right now I really need you to come with me. You're a nurse. You can give out a shot. (She hands PETER the morphine she found) You can help him.

PETER: Help who?

(CUT TO: ODESSA, TEXAS. CLAIRE is in the kitchen, washing dishes, as her mother, SANDRA BENNETT, enters the room.)

SANDRA: Thought we could go to the movies this Saturday. Maybe, try on some shoes at the new mall in Gardendale.

CLAIRE: Sure. (She pauses for a moment) I love you, Mom.

SANDRA: But?

CLAIRE: No buts, I just-- I just wanted to tell you that.

SANDRA: No, you think I'm trying to be your best friend again. Admit it.

CLAIRE: No, it's--it's all right. We can go to the movies together. It's no big deal.

SANDRA: I just miss you, that's all. (CLAIRE turns on the garbage disposal) I want to be your mom. I want to give you advice, but I don't want to push you away.

CLAIRE: I want advise, I do. (taking off her class ring) I won't push you away, I promise. (She drops the ring down the drain, and, forgetting that the garbage disposal is on, sticks her hand down to retrieve it.)

SANDRA: I just don't think you should be so worried about fitting in all the time.

(CLAIRE turns off the disposal and lifts her hand out of the drain. Several fingers are missing and the rest are covered in blood. Moments pass and the injured hand begins to re-grow the lost fingers.)

SANDRA: About being so popular. I don't want to see you make mistakes, like I did.(She turns her attention on CLAIRE, who quickly hides her hand behind her back.) I wanted to be someone more interesting than I am.

CLAIRE: You are interesting. You breed show dogs. Whose mom does that?

SANDRA: No. I wanted to hitchhike across Europe. Study art. (The camera pans down momentarily to show blood dripping on the tile floor) Fall in love with some poetry quoting Frenchman. (laughing) Not that your dad isn't wonderful. But my point is, you should know who you are and know that it's enough. 'Cause who you are is special.

(SANDRA and CLAIRE embrace. CLAIRE lifts her hand to the screen and it is fully healed and clutching her lost ring. From off-screen a front door opens and closes.)

MR. BENNETT: Sweetie, I'm home.

SANDRA: Your father.(She seperates from CLAIRE and leaves to meet her husband) Hey, honey.

(CLAIRE turns her attention back to the sink and sees Mr. Muggles, the family dog, licking at the blood on the floor.)

CLAIRE: Bad, Mr. Muggles, no! (After pushing the dog away from the puddle, she turns her attention the television and catches a few moments of the same program ISAAC MENDEZ was watching.)

SANDRA: I'm glad you're home.

MR. BENNETT: Oh, me too. I have such a headache. I slammed my head getting out of a taxicab.

CLAIRE: (hugging her father) Hi, Daddy.

MR. BENNETT: Hey, Baby.

(The camera pans closer to MR. BENNETT'S face, and the viewers see for the first time that he is the same man that was in MR. SURESH'S apartement.)

(CUT TO: TOKYO, JAPAN. HIRO is riding a subway, gloomy. The clock behind him reads 11:43. HIRO looks at an advertisement for New York and closes his eyes. The clock then begins to tick faster, increasing its speed each second, until the subway brakes and it stops at 1:00. The other passengers begin to move about, but HIRO stays in place. A second later, he appears in Times Square in New York City.)

HIRO: (throwing his arms out) Yatai!! (in English) Hello, New York!!

(FADE TO: ISAAC'S loft. PETER and SIMONE are walking towards the door, talking.)

PETER: I'm just saying it's impossible, okay? Nobody can predict the future.

SIMONE: I saw it with my own eyes, Peter. Isaac, I brought someone here to help! He's a nurse. Isaac. (The camera pans out to show a large painting of New York exploding on the floor of the loft.) Isaac? Isaac?

PETER: (stepping on a syringe) Simone! (He runs over to Isaac, who is lying on the floor, and checks his pulse)

SIMONE: Oh, God. Oh my God. Isaac.

PETER: He's alive. Call 911.

SIMONE: What have you done? Oh, God. He's overdosed.

(PETER, noticing something, stands up and walks toward on of ISAAC'S paintings.)

SIMONE: (on the phone) Yeah, I'm at 215 Reed Street, Number 7. I need an ambulance here immediately. He's ODed. No, no, he's conscious, just barely. (crying) I know. Listen, could you just come? Get here soon, please. (to ISAAC) Okay, baby. It's okay. They're sending an ambulance. Just hang in there, okay, baby? You're gonna be okay, I swear.

(PETER picks up a painting off the ground and sets it on an easel. Looking at it, he sees himself flying off a building.) 

(ISAAC tries to lift his hand, but it drops back to the ground.)

ISAAC: We have to stop it.

(The camera focuses on the painting on the ground. In the background, ISAAC repeats his warning.)

ISAAC: We have to stop it.

(FADE TO: A skyline shot of New York City.)

MOHINDER: (v.o.) This quest. This need to solve life's mysteries. In the end, what does it matter? When the human heart can only find meaning in the smallest of moments?

(FADE TO: PETER standing on top of a building again. He is looking around him, his arms raised outward and his eyes closed.)

MOHINDER: (v.o.) They're here. Among us. In the shadows. In the light. Everywhere. Do they even know yet?

(FADE TO: A taxi in an alley in New York City. The vehicle stops and NATHAN gets out, on the phone.)

NATHAN: All right, I'm here. (The cab drives away) Now what do you want? Peter?

(A cell phone crashes to the ground beside NATHAN. Putting his own away, he looks up and sees PETER standing on the edge of a tall building.)

PETER: I've been up here all night, thinking about this. Thinking about my destiny.

NATHAN: What you doing, Pete?

PETER: It's my turn to be somebody now, Nathan.

NATHAN: (anxious) Come on, Peter. Quit screwing around!

(The camera pans in on PETER'S foot, then his hand. As it pans out, PETER closes his eyes and raises his head. Still looking up, with arms spread out, he steps off the building and begins to fall. In slow motion, NATHAN watches his younger brother descend. Then, suddenly, he swoops up and catches PETER.)

NATHAN: Peter!

PETER: (grabbing ahold of NATHAN'S arm) You're flying, Nathan. You're flying. How did you--

(Both brothers are shown spinning awkwardly in the air.)

NATHAN: I don't know.

(PETER begins to struggle and he loses his grip, falling)

NATHAN: No! No!

(The camera pans in on NATHAN'S hand. Then the screen goes black.)
 

END OF EPISODE

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Transcribed by ALICIA for http://www.twiztv.com
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