Épisode Pire cauchemar S02E05 - Heroes Saison 2

A Brooklyn Molly est couchée dans son lit inconsciente et fiévreuse plongée dans son cauchemar, Mohinder est inquiet et surveille son état accompagné de Parkman. 
Il reproche à Matt d’avoir demandé à Molly de retrouver son père alors qu’elle en avait peur. Il lui demande d’aller à Philadelphie afin de voir son père et qu’il trouve comment guérir Molly. Mais Matt ne veut pas prétextant qu’il ne l’avait pas vu depuis 25 ans et qu’il ne pouvait pas partir en laissant Molly dans cet état. Mohinder lui répond que Molly a affronté son pire cauchemar pour lui et que c’était à lui de l’aider maintenant, qu’il restera là et prendra soin d’elle pendant son absence. Matt se pose des questions, il se demande pourquoi son père figure sur cette photo et se dit qu’Angela Petrelli le connait forcément. Il embrasse Molly sur le front en lui promettant qu’elle guérira et s’en va.

A la nouvelle Orléans, Monica est interrogée sur son agression, elle  refuse de reconnaitre le braqueur qui n’était probablement pas à son coup d’essai. L’agent lui dit qu’elle pourrait être un héros si elle l’identifiait et si elle témoignait mais Monica ne peut rien dire.   

Caitlin ferme le bar au milieu de l’après midi, se dirige vers Peter et l’embrasse. Peter se sent bien et lui dit qu’il pourrait s’habituer et rester à Cork. Caitlin lui rappelle ses pouvoirs et lui dit qu’il faut qu’il découvre qui il est, qu’il a un passé, que des gens sont probablement à sa recherche.

Sur le quai une jeune femme blonde cherche Peter elle dit travailler pour une compagnie qui juge Peter dangereux et souhaiterait éviter des problèmes. Elle tombe sur Will qui ne se gêne pas pour lui dire où se trouve Peter.  Elle marche le long des containers laissant échapper de l’électricité de ses doigts.  

Matt Parkaman est allé interroger Angela Petrelli qui est encore au commissariat. Il tombe sur Nathan qui ne comprend pas pourquoi il n’a pas été averti des questions qui ont été posées à sa mère et qu’il ne voulait pas qu’elle soit traitée comme une criminelle.  Matt le rassure en lui expliquant qu’il avait une piste et qu’il allait chercher des réponses auprès de son père. Nathan souhaite l’accompagner. Matt l’en dissuade estimant son père dangereux en lui expliquant l’état de  Molly. Son père a le pouvoir d’entrer dans la tête des gens, pour lui tout est lié de Kento en passant par Angela. Nathan insiste pour l’accompagner Matt fini par céder en lui proposant d’y aller en volant.

 Le frère de Caitlin Riky entre dans le pub avec un homme, il dit à Peter qu’il veut lui parler. L’homme lui apprend qu’une jolie fille était intéressée par les containers et qu’elle le cherchait.  Ricky voyant les liens qui l’unissaient à sa sœur décide de l’aider. Peter ira se cacher dans l’appartement de sa sœur sur la colline jusqu’à qu’il lui fasse signe. Il le rassure en lui disant qu’il s’occupera de l’intrus, mais de ne rien dire à Caitlin pour ne pas l’angoisser.Monica est dehors perdue dans ses pensées Camille sa collègue sort et lui demande ce qui s’est passé, et comment elle avait fait pour faire une prise digne d’un karatéka, et surtout pourquoi. Monica lui dit qu’elle n’a pas de réponse qu’elle ne sait pas comme ça a pu se passer, elle lui dit qu’elle pense que c’est en regardant la télé, elle explique que son corps accomplit des gestes que son cerveau n’a pas commandé, et lui rappelle les tomates découpées en forme de fleur. Elle lui dit qu’elle veut être une fille bien, être la première de la famille à aller étudier à la fac. 

Nathan et Matt arrivent à Philadelphie devant la fameuse porte 9. Matt hésite, Nathan lui rappelle ce que cet homme a fait à sa mère et à Molly tout en lui conseillant de sortir son arme. Mais Matt hésite, il n’avait que 13 ans lorsque son père les a quittés sa mère et lui ! Il a peur de l’affronter ne sachant pas quoi lui dire. Nathan prend les devants et frappe à la porte, en lui disant que se n’était pas une réunion de famille qu’il ne s’agissait pas de son père mais d’un suspect. 
Matt finit par lui sommer d’ouvrir la porte sur ordre de la police, tout en la forçant.
Son père l’accueil avec un fusil leur demandant qui ils sont et que veulent-ils. Nathan appelle Matt par son nom, son père en apparence choquée lui demande ce qu’il fait là. Matt lui dit de poser son arme, de lui expliquer pourquoi il est dans la tête de Molly, de lui parler du meurtre de Kaito Nakamura  pourquoi Angela Petrelli le protège, tout en le désarment. Mr Parkaman dit qu’il n’est au courant de rien et qu’il possède une arme pour se protéger. Lui aussi a reçu une photo avec ce fameux symbole. Matt revient à l’état de Molly et lui demande pourquoi, son père lui répond qu’il voulait seulement se protéger car elle n’arrêtait pas de le traquer. Nathan lui demande de qui il se protège, il lui demande alors quel fils des Petrelli il est ? Nathan répond en lui disant que sa mère est en prison et qu’elle avait été menacée avec une photo de la même manière que lui ce qui prouve qu’ils se connaissent tous, il veut des réponses qui sont ces gens ! Voyant qu’il ne répondait pas aux questions et qu’ils perdaient du temps il suggère à Matt de lire dans ses pensées.
Son père se met à sourire, Matt en est incapable, son père a les mêmes pouvoirs !

A la nouvelle Orléans Micha joue du piano lorsque Monica rentre, elle le regarde jouer en le complimentant et se rappellent de leurs mères. Puis sans s’en rendre compte elle s'y met aussi. Micha lui demande alors si elle aussi savait  jouer, elle lui dit que non, elle n’a jamais appris. Elle joue de plus en plus rapidement et se lève d’un coup laissant Micha perplexe.

Le père de Matt enlace son fils en tentant d’expliquer pourquoi il était parti il y a 25 ans suite à l’arrivée de ses pouvoirs, il dit qu’il est fier que son fils soit dans la police. Mais Matt n’est pas là pour ça il veut tout savoir sur cette soi-disant compagnie. Il répond que leurs pouvoirs leur étaient juste tombé dessus, puis il lui dit qu’au début il pouvait seulement lire dans les pensées et que tout est devenu plus important, il lui propose de lui montrer en se dirigeant vers la pièce d’à coté. La porte se claque derrière eux laissant Nathan de l’autre coté.
Matt appelle son père lui demandant ce qui se passe, puis il est ébloui par une lumière et là il s’aperçoit qu’il est en prison, et qu’un gardien ouvre la porte, entre et le plaque contre le mur.
Nathan enfonce la porte et se retrouve sur le toit voyant une ville complètement détruite.
Le père de Matt prend la fuite.

A Tokyo Ando fait analyser les parchemins écrits par Hiro et demande de l’aide pour les traduires. L’homme accepte.  Hiro lui dit qu’il a du mal à réaliser qu’il aide le grand Takezo Kensei  afin de pouvoir sauver le père de Yaeko, il a l’impression de vivre dans un conte. Ils doivent trouver Barbe Blanche pour sauver le père mais aussi faire naitre l’amour entre Kensei et Yaeko.

Monica est entrain de faire des fleurs avec des tomates, Micha arrive et lui dit qu’il pense savoir pourquoi elle joue si bien du piano. Monica fuit son regard en lui disant de façon dédaigneuse qu’elle était probablement douée pour ça. Micha la coupe en lui montrant son pouvoir, en touchant la télé. Il lui dit qu’il pense qu’elle aussi a des pouvoirs et que c’est surement de famille. DL son père pouvait traverser les murs. Il lui tend une BD en lui disant que l’héroïne avait le pouvoir d’imiter les mouvements, Monica se rend compte que c’est exactement ce qu’elle fait, elle copie les mouvements qu’elle voit ! Micha lui propose d’aller essayer ses pouvoirs dans la rue.

Mohinder a amené Molly à la Compagnie, Bob Bishop lui dit qu’une autre personne a besoin de leur aide et lui demande d’aller sur le terrain pour la ramener. Mohinder refuse ne voulant pas laisser Molly mais Bishop lui dit que Molly est une priorité et qu’elle est bien surveillée. Il lui donne une arme électromagnétique.  L’alarme se met en route et Nikki fonce sur Mohinder et Bob, elle évince le premier en le poussant, elle attrape Bob par la gorge et le plaque contre le mur, Mohinder lui lance une décharge. 

Monica et Micha se promène en ville, elle regarde des filles et dit qu’elle a toujours été nulle au double dutch (corde à sauter), les filles la regardent en se moquant d’elle elle décide alors de leur montrer de quoi elle est capable.

Peter entre dans l’appartement de Caitlin. Il décide qu’il doit regarder ce qu’il y a dans la boite en disant à Caitlin qu’il l’aimait et que le contenu ne changerait rien, que sa vie est à Cork.
Il trouve son passeport, un billet d’avion New York Montréal et une photo de lui avec un homme qu’il ne reconnait pas. Nathan.
Il fixe une toile blanche et s’en approche ses yeux sont blancs et il se met à peindre. Caitlin est affolée ne comprenant pas ce qui se passe.

Au Pub Ricky fait la rencontre de la mystérieuse jeune femme. Elle lui montre une photo de Peter, il lui répond qu’il ne la jamais vu, elle lui répond que les dockers lui avait assuré le contraire. Il persiste à dire qu’il ne connait pas de Peter. Elle s’avance vers la porte pour la fermer et utilise ses pouvoirs, l’électricité sors de ses doigts.

Nikky est attachée dans un lit, elle s’excuse auprès de Bob pour son comportement, et dit qu’elle se sent beaucoup mieux, Bob la rassure en lui disant que les troubles du comportement étaient difficiles à guérir. Nikky le remercie, Bob s’en va. Mohinder se précipite voulant l’aider, elle lui dit qu’elle est là de son plein gré, qu’elle a même abandonné son fils pour ça et que la compagnie était la seule à pouvoir la guérir.

Nathan est toujours sur le toit et pense voir  Peter allongé sur le sol. Il s’approche et s’aperçoit que ce n’est pas lui. C’est Nathan lui-même le visage tuméfié, lui disant qu’il ne pourra pas lui échapper.

Matt est toujours en prison, un bébé pleure au milieu de la cellule, il appel le pour que quelqu’un s’occupe de lui mais n’obtient pas de réponse, il voit alors Janice, le portant. Il lui demande alors si c’est son fils alors qu’elle lu avait dit qu’il n’était pas le père. Elle lui répond qu’il le savait très bien qu’il l’avait lu dans ses pensées, qu’il allait l’abandonner qu’il est lâche comme son père l’a été pour lui. Puis elle sort. Le gardien plaque Matt contre le mur, il résiste et se bat avec lui.

Nathan est toujours confronté à lui-même ils se battent eux aussi. On s’aperçoit qu’en fait  c’est Nathan et Matt qui se battent l’un conte l’autre et que tout ça n’était qu’illusion.
Nathan frappe son visage, Matt lui dit de se réveiller. Ils étaient pris au piège par Mr Parkman, Nathan demande comment ils ont fait pour s’en sortir. Ils fouillent l’appartement et trouve le photo de Bob qui serait le prochain sur la liste.

Mohinder rend visite à Monica, il lui dit qu'il peut répondre à ses questions et surement l'aider.

La femme qui recherche Peter est dans une voiture, elle appelle quelqu’un en expliquant où elle était et qu’elle avait dû faire preuve de persuasion, elle explique qu’elle l’a éliminé ce qui n’est apparemment pas une bonne chose pour son interlocuteur.  Il lui donne l’ordre d’arrêter sa mission et de rentrer. Elle essaye d’en discuter puis acquiesce en disant « d’accord papa ».Peter finit de peindre une toile, il sort de sa trance et demande à Caitlin quelle est cette toile.
On les voit dans des rues ou le nom est en français, ils en déduisent que c’est l’endroit ou devait se rendre Peter,  Montréal.
Le téléphone se met à sonner, Caitlin apprend la mort de son frère.
Ils se rendent au Pub et trouvent son frère calciné. Peter la prend dans ses bras en lui disant que c’était sa faute et qu’ils en avaient après lui, qu’il allait les retrouver, qu’il ne pouvait plus se cacher.

FADE IN:

[EARTH (STOCK)]

MOHINDER (NARRATOR): Previously on Heroes ...

CAPTION:
      PREVIOUSLY

FADE TO:



FADE IN:

[EXT. (NEW ORLEANS) DAWSON HOUSE – FRONT YARD -- NIGHT]

(Niki talks with Micah.)

NIKI: I'll only be gone for a while.



FRONT PORCH

(The front door opens and Micah smiles.)

NIKI: (v.o.) This is your chance at a normal life.

NANA: Welcome to New Orleans.



[INT. DAWSON HOUSE – LIVING ROOM – NIGHT]

(Monica sees that Damon and Micah are watching the wrestling match.)

MONICA: Is that pay-per-view?

DAMON: Micah's some type of genius and rigged the cable.

(CUT TO: Micah has his hand on the back of the television set, his eyes closed in concentration.)

(CUT TO: On the television set, the wrestler does a "619" – where he grabs the ropes, swings around sideways and kicks his opponent – who is hanging over the same ropes – in the head.)

ZOOM IN to MONICA’S EYE as she processes the move she sees on the TV.

CUT TO:

[INT. (NEW ORLEANS) BURGER BONANZA – NIGHT]

(A customer forces his way into Burger Bonanza as Monica is locking up. He points a gun at her.)

LATE CUSTOMER: I'll take everything you got in the register!

MONICA: Okay, okay!

(CUT TO: Monica grabs the pole, swings around and kicks the customer. He goes flying backward through the glass, smashing it. He falls on the floor.)



[INT. (TOKYO) YAMAGATO INDUSTRIES – OFFICE -- DAY]

(Ando finds a secret compartment in the hilt of the Kensei sword. Inside, he finds several rolls of parchment.)

HIRO: (v.o.) (subtitled) Ando, I write to you from the greatest adventure of my life.



[EXT. (1671) -- DAY]

(Hiro writes on the small paper.)

DISSOLVE TO:

(Yaeko walks with Hiro, who is wearing Takezo Kensei’s armor.)

HIRO: (v.o.) (subtitled) Ando, I've met the most beautiful woman Japan has ever seen.

DISSOLVE TO:

YAEKO: (subtitled) Take off ... your mask.

(Hiro takes a step back and holds his hand up to stop her.)

CUT TO:

HIRO: (v.o.) (subtitled) I’m sorry, Ando. I can’t come home. Not yet.

(Hiro turns and runs to catch up with Kensei and Yaeko.)

HIRO: Kensei!

CUT TO:



[INT. (NEW YORK) ISAAC’S STUDIO – DAY]

(Bob talks with Mohinder.)

BOB: You don't realize how valued you are here at the company. (He puts a hand on Mohinder’s shoulder.) You're part of the family now.

LATER:

(Mohinder looks for the series of paintings.)

MOHINDER: (v.o.) I'm in over my head.

MR. BENNET: (to phone) As long as I'm alive, you will be taken care of.



[INT. (IRELAND) WANDERING ROCKS PUB]

(Peter uses his powers against Will and pins him up high against the wall.)

CAITLIN: Peter!

(Ricky shows Peter the box.)

RICKY: This here's everything you had on you when we found you.

LATER:

(Caitlin talks with Peter.)

CAITLIN: Your box or your life. You gonna open it, or what?



[INT. (NEW YORK) MOHINDER’S APARTMENT]

(Matt shows Mohinder the photo.)

MATT: Kaito Nakamura, murdered. Angela Petrelli, attacked.

MATT: (points) This is my dad. He may be the killer.

FADE TO:

(Molly interrupts Matt and Mohinder’s argument.)

MOLLY: I'll find your father.

(CUT TO: Molly is looking for Matt’s dad.)

MATT: Molly, what's the apartment number?

MOLLY: Nine.

MATT: Nine. Good girl. All right. Get out of there right now.

MOLLY: He sees me.

MATT: Get out of there.

MOLLY: Leave me alone! (screams) Aah!

(Molly passes out.)

MATT: No, no, no. Molly, please wake up.

FADE OUT.
END OF PREVIOUSLY ON



FADE IN:

[INT. (NEW YORK) MOHINDER’S APARTMENT -- NIGHT]

AN IV BAG

MOHINDER: (v.o.) When confronted by our worst nightmares, the choices are few: fight or flight.

(Molly is in bed. Mohinder holds her hand and tends to her.)

CAPTION:
      SURESH, PARKMAN, WALKER
      BROOKLYN

MOHINDER: (v.o.) We hope to find the strength to stand against our fears. But sometimes, despite ourselves, we run. What if the nightmare gives chase? Where can we hide then?

(Matt stands and watches at the foot of the bed. Mohinder dabs Molly’s forehead with a towel.)

MATT: Okay, when's she gonna wake up?

MOHINDER: I don't know, she's burning up.

MATT: All right, we gotta get her to a hospital.

MOHINDER: No hospital's equipped to deal with this.

(Matt sits on the edge of the bed.)

MATT: You really think my father did this to her ... in her nightmare?

MOHINDER: She used her ability to find him for you, and slipped into this.

MATT: She was so afraid. I never should have asked her to look for him.

MOHINDER: No, you shouldn't have. (Matt gets up.) But now you know where he is.

MATT: I can't just leave her like this.

MOHINDER: You have to. (Mohinder gets up.) If your father did something to her, you need to find out what and how to end it. You have an address in Philadelphia. She even saw his door.

MATT: I haven't seen the man in 25 years.

MOHINDER: Molly faced her worst nightmare for you. Do the same for her. Find him. I'll stay here with her. I'll do everything I can.

MATT: I don't even know what I'm dealing with. Why was he in that photo?

(He stops and remembers something.)

MATT: Angela Petrelli ... she knows him.

(Matt goes to the bed.)

MATT: You're gonna be okay. (He kisses her forehead.) I promise.

(He turns and leaves.)

CUT TO:



[INT. (NEW ORLEANS) BURGER BONANZA – DAY]

(Monica talks with Officer Landry as she cleans up the glass on the floor.)

MONICA: I was about to lock up when this guy showed up. He--he pushed his way in, shoved a gun in my face. Next thing I know he's flying through that glass.

CAPTION:
      MONICA DAWSON
      NEW ORLEAN

OFFICER LANDRY: You hit an armed man?

MONICA: I guess. Could've been a kick. I don't know; it all happened so fast.

OFFICER LANDRY: Is this the guy?

(He shows her a photo. It is.

OFFICER LANDRY: His name is Lonny Stills. He's a local gangbanger. He's already hit three other fast food joints in the area this month. It fits his MO.

(Monica looks over at Camille, who is shaking her head.)

MONICA: Like I said, it's all a blur.

OFFICER LANDRY: Look, I know you don't want to be a snitch. It's dangerous. But in order for me to get this guy off the street, I need somebody to step up and ID him. Be a hero.

MONICA: I'm sorry, I can't do that.

OFFICER LANDRY: You know, I can't help a neighborhood that won't help itself. You change your mind, you give me a call.

(He gives her his card and leaves.)

CUT TO:



[INT. (IRELAND) WANDERING ROCKS PUB -- DAY]

(Caitlin closes the pub.)

PETER: You closing up already?

CAPTION:
      PETER PETRELLI
      CORK, IRELAND

(She turns and heads over to him.)

PETER: It's the middle of the afternoon.

CAITLIN: I need a break.

(She kisses him.)

PETER: I could get used to this.

CAITLIN: Right, a guy who can throw a thousand volts out of either hand ... settling for everyday life in a pub in Cork. I'm not sure it suits you.

PETER: Why not?

CAITLIN: Peter, just because you don't remember your past, it doesn't mean you don't have one. Aren't you curious about who you are, or where you come from?

PETER: You've seen what I can do. There's a side of me that I can't control. Maybe it's best if I don't dig too deep.

CAITLIN: I know the kind of man you are ...even if you don't. There's only good in you. And I bet whatever's in that box will tell you the same thing.

(Peter looks at the box on the shelf behind the bar.)

PETER: Weren't you the one who didn't want me to look in that box?

CAITLIN: I only said that because you hadn't kissed me yet.

(He kisses her and picks her up.)

PETER: Now that you have, you done with me?

(He plants two kisses on her neck.)

CAITLIN: Mm ... gettin' there. (He turns and carries her to the back room.) After all, a pretty boy like you, there's bound to be someone looking for you—friends, a girlfriend.

PETER: Let 'em look.

(They kiss.)

(The door slams shut.)

CUT TO:



[EXT. DOCKS -- DAY]

(The place is busy as various containers are being moved around. Will steps out of a container.)

WILL: Like I told you, you're not gonna find him in there.

(He turns around. A blonde woman is looking around the empty container.)

ELLE: But you're sure it was him?

WILL: Yeah. Found him cuffed inside there a few nights back. Poor sap. Didn't know how he got there. Didn't even know his own name.

ELLE: Do you know where he is now?

WILL: Depends. Who's askin'?

(She shrugs and smiles at him.)

ELLE: Just me. I work for a company interested in keeping him out of trouble. Peter is a ... dangerous guy.

WILL: Ha. You don't have to tell me that. He's in town. Place called Wandering Rocks Pub.

(She turns and starts walking away.)

WILL: Hey, if he's so dangerous, sweetheart, why'd they send a little girl like you in all alone?

(She smiles, then turns the corner and walks out of his view. She runs her hand along the shipping container. Electrical sparks appear, causing the wood to leave burn markings.

ELLE: I can take care of myself.

FADE TO:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EPISODE TITLE]

      CHAPTER FIVE
      "FIGHT OR FLIGHT"



[INT. (NEW YORK) POLICE DEPARTMENT]

(Matt passes two officers.)

MATT: Bring her back to holding.

(The two officers leave. Nathan walks up to Matt.)

CAPTION:
      PETRELLI & PARKMAN
      MANHATTAN POLICE STATION

NATHAN: What do you think you're doing interrogating my mother without me there?

MATT: Relax. She didn't give me anything.

NATHAN: Of course she didn't give you anything. These people protect each other.

(Matt stops in front of the desk where an officer answering the phone gives him a message.)

NATHAN: My mother's not a killer. I'm not gonna have her sit in jail for a crime she didn't commit.

MATT: Neither am I. That's why I'm going to Philadelphia to see my father, figure this whole thing out.

NATHAN: Let me come with you.

MATT: No! You're not a cop.

NATHAN: Listen, I'm guessing this isn't official police business. So if I'm there, it won't really make a difference. Because officially, neither are you.

MATT: You don't understand. It's Molly. My father did something to her. She's in trouble.

NATHAN: What do you mean "did something to her"?

MATT: Come here.

(They step away from the reception desk to talk privately.)

NATHAN: Did what?

MATT: He got inside her head somehow. I don't know how he did it, but I think it's all connected -- to Kaito, to your mother. It could be dangerous.

(Nathan glances around him.)

NATHAN: I can take care of myself. Listen, I have to do this. Let me come with you.

MATT: Fine. We can probably get there faster. You know, 'cause you can, uh ...

(Matt nods upward at the ceiling.)

NATHAN: (no way) I'm not a cargo jet, Parkman.

MATT: Oh, please.

FADE TO WHITE:



[INT. (IRELAND) WANDERING ROCKS PUB -- EVENING]

(The door opens. Ricky and another man, a worker from the docks, enter. Ricky sees Peter and Caitlin kissing against the wall in the back of the pub.)

RICKY: I need to talk to him.

(They look at him.)

RICKY: Alone.

(Caitlin steps away.)

RICKY: (to the worker) Tell him what you told me.

WORKER: This American girl, she’s hitting all the boys on the dock, looking for a certain shipping container.

PETER: She say what she wanted?

WORKER: Yeah. You.

(Peter looks at Ricky.)

(The worker takes his beer and leaves them. Peter turns toward the bar.)

RICKY: No worries, boyo. I think I can help.

PETER: This is my problem.

RICKY: Not given what I just saw between you and my sister. (Peter nods.) You care about her, don't you?

PETER: Right now, she's the only thing in my life that means something.

RICKY: Caitlin has a flat up the hill. Go there and stay until I call you. I'll take care of your friend.

PETER: I could handle this myself.

RICKY: I don't doubt it. I've seen what you can do. But I've got an investment in you now and some little blonde's isn't going to scare me off. Now go on. And don't be telling Caitlin about any of this. She'll only worry sick.

CUT TO:



[EXT. (NEW ORLEANS) BEHIND BURGER BONANZA – DAY]

(Monica is sitting outside thinking about what she just did and she’s not happy about it. The back door opens and Camille exits the building to join her.)

CAMILLE: Monica. (She runs over.) Well?

MONICA: Well, what?

CAMILLE: Well, are you gonna tell me what that was all about?

MONICA: Uh, I just didn't want some crackhead looking for revenge. So I said I didn't recognize him.

CAMILLE: No, not that. I'm talking about the whole flying karate kick thing.

MONICA: Oh ... that.

CAMILLE: Mr. Lamont said he has never seen anything like it. How did you do that? More importantly, why did you do that?

MONICA: I don't know. I don't know anything anymore. Nothing makes any sense.

CAMILLE: Well ... where did you learn how to ...

MONICA: I think -- I think on TV. Something is happening to me, Camille. My body does things before my brain even knows what's happening. That thing with the tomatoes yesterday? (Camille nods.) Now this. It's like ...

CAMILLE: Like what?

MONICA: I was supposed to be somebody, Camille -- the first person in my family to go to college. Now look at me. You know what, never mind. I've been here since last night. I'm just gonna go home and sleep it off.

(She takes a step to leave. Camille stops her.)

CAMILLE: Hey, Monica. Everything's gonna be okay.

(She gives Monica a hug.)

CAMILLE: Oh. Okay?

MONICA: Yeah. I hope so.

(Monica heads inside.)

WHITE FLASH TO:



[INT. (PHILADELPHIA) HALLWAY OUTSIDE MAURY’S APARTMENT – DAY]

CAPTION:
      PHILADELPHIA, PA

(Matt and Nathan head toward apartment #9.)

MATT: All right, this is it. This is where Molly said we'd find him.

NATHAN: What are you planning, exactly?

(They stop in front of the door.)

MATT: Uh, I'm not sure.

NATHAN: You're not sure? He traumatized your girl. Has my mother terrified. You better get sure. Get your gun out.

(Matt nods.)

NATHAN: Come on.

(Matt raises his arm to knock on the door, but his demeanor has Nathan concerned. He puts a hand on Matt’s shoulder.)

NATHAN: Hey ... You okay?

MATT: When I was 13, my father ran out on us. I haven't talked to him. I haven't seen him. I've spent half my life thinking about what I'm gonna say to this guy if I ever got the chance. And now I can't even knock on the door.

(Nathan knocks on the door. Matt looks at him.)

NATHAN: You're welcome. Parkman, this is not a family reunion.

MATT: I know.

NATHAN: Okay. He's not your dad today. He is a suspect. Get your gun out.

(Matt puts his hand on his gun.)

MATT: (loudly) Police! Open up!

(Matt shoulders the door open.)



[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]

(Matt walks in. Nathan remains just inside near the door with his back against the wall.)

MAURY PARKMAN: (shouts) Who the hell are you?! (He cocks his gun.) I said who the hell are you?!

MATT: Put the gun down and I'll tell you.

NATHAN: Parkman.

MAURY PARKMAN: Matt? Oh, my God. W-what are you doing here?

MATT: Put the gun down.

MAURY PARKMAN: Not till you tell me what the hell you're doing here!

MATT: I want to know what you're doing inside Molly Walker's dreams.

MAURY PARKMAN: Who?

MAURY PARKMAN: And what do you know about Kaito Nakamura's murder?

NATHAN: And while we're at it, why is Angela Petrelli protecting you?

MAURY PARKMAN: Wha--?

(Matt knocks the rifle away, grabs Maury and twists his arm behind his back.)

MAURY PARKMAN: Aah! Ow! Wait! What are you, a cop?

(Matt pushes Maury face forward up against the nearest wall.)

MAURY PARKMAN: Aah!

MATT: Right now I'm not, so you better start talking.

(Matt handcuffs Maury. Nathan steps out and picks up the rifle. He empties all the bullets out of the chamber. Matt glances back at him.)

NATHAN: I'm good.

(Matt turns Maury around to face him.)

MAURY PARKMAN: Ow! You got it all wrong.

NATHAN: Ah. That why you're swingin' a shotgun?

MAURY PARKMAN: (motions) Because of that. On--on the desk.

(Nathan checks it out and picks up the photo. He shows it to Matt.)

MAURY PARKMAN: They're gonna kill me too.

(Matt looks down and sees Maury’s photo with the SYMBOL drawn in red over his face.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]

(Matt talks with Maury as Nathan looks around the small apartment.)

MATT: Tell me about Molly Walker. She's seen this symbol. She's seen you, and she calls you the Nightmare Man.

MAURY PARKMAN: She's looking for me.

MATT: Yeah, and she saw you looking back at her, and now she won't wake up. So whatever you did, undo it now.

MAURY PARKMAN: Sorry, I'm p-protecting myself.

NATHAN: Protecting yourself from who?

MAURY PARKMAN: Which one of her kids are you? You're the politician, right?

NATHAN: My mother is sitting in jail for Kaito's murder. They both received similar threats. Both taken from the same picture ... the same photograph. You were all connected.

(Matt releases him.)

MAURY PARKMAN: Your folks, Kaito ... Linderman, me, we found each other years ago. We -- we thought we could help people. Save the world.

(Matt slams Maury back up against the wall.)

MAURY PARKMAN: Oh!

MATT: The only thing you've ever wanted to save is your own ass.

MAURY PARKMAN: Still angry, huh, Matt? Feel better? Slapping the cuffs on your dad make you feel good?

MATT: Oh, it's starting to, yeah.

NATHAN: This is a waste of time. Just read his mind so we can get the hell out of here.

MAURY PARKMAN: What did you say?

(Maury looks at Matt.)

MAURY PARKMAN: You can...read minds? Yeah?

(Maury chuckles. Matt looks puzzled.)

MAURY PARKMAN: Go ahead.

NATHAN: Go on.

(Matt concentrates. He can’t get through. There’s massive feedback –

MAURY PARKMAN: Aah ...
MATT: God!

-- and backs away from the pain.)

MAURY PARKMAN: It's painful, isn't it?

MATT: How do you know that? Can you read minds too?

MAURY PARKMAN: See, Matt, you and I, we're not so different after all. Come on, unlock these cuffs. I'll tell you everything I know. I promise.

WHITE FLASH TO:



[INT. (NEW ORLEANS) DAWSON HOUSE – LIVING ROOM – DAY]

(Micah is playing the piano.)

(Monica opens the door and walks in.)

NANA: Isn't it wonderful? We've got a musician in the house again.

(Monica walks up to the piano and watches Micah for a moment. Micah stops playing.)

MONICA: Nobody's touched that thing since my mother died.

MICAH: Oh, I'm sorry. Nana said I could, but if--

MONICA: Oh, yeah. It's okay. Please keep playing.

(Monica puts her bag down and sits down next to Micah. He starts playing.)

MICAH: You must really miss your mom.

MONICA: Yeah, I do.

MICAH: I miss mine too.

MONICA: Oh, I'm sure she's fine. And missing you right back.

MICAH: She wouldn't even tell me where she was going.

MONICA: You gotta remember she cares about you. I know new things can be scary. My mom always said God doesn't give us anything we can't handle.

(Monica starts playing the same thing Micah plays, only a couple octaves higher. She doesn’t appear to notice doing it.)

MICAH: You play piano too?

MONICA: No. Never learned.

(She turns and watches herself play. She repeats the phrase over and over going faster and faster.)

(Suddenly, she stops. Spooked.)

(Monica gets up and backs away from the piano.)

MICAH: If you don't play, then what was that?

(She doesn’t know. Monica turns and leaves.)

CUT TO:



[INT. (NEW YORK) MOHINDER’S APARTMENT]

(Mohinder is on the phone. The phone rings.)

MR. BENNET: (from phone) Yes?

MOHINDER: (to phone) I've been trying to reach you for hours. Where have you been?

MR. BENNET: (from phone) I'm at work. Why?

INTERCUT WITH:

[EXT. (ODESSA) STREET]

(Mr. Bennet walks on the street as he talks on the phone. The Haitian is with him.)

MOHINDER: (from phone) It's Molly. She won't wake up, and her vitals are getting worse. I'm running out of options here.

MR. BENNET: (to phone) Take her to the hospital.

MOHINDER: (to phone) And say what? That she's trapped in a nightmare? No, I am taking her into the company.

MR. BENNET: (to phone) You can't be serious. These are the people we're fighting against.

MOHINDER: (to phone) Molly won't last. Not like this. They are the only people who can understand what's happening to her.

MR. BENNET: (to phone) Don't do this. The moment you trust them with what you care about most, they'll have you. Don't forget whose side you're on.

MOHINDER: (to phone) I'm on her side.

(Mohinder hangs up and goes back to Molly’s room.)

(HOLD on Mr. Bennet.)

CUT TO:



[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]

(Matt talks with Maury. He uncuffs Maury. Nathan sits in the chair and watches them.)

MATT: All right, you gotta tell us everything. Every crime. Everyone you've ever worked with. Everything.

MAURY PARKMAN: I'm so sorry. I'm so sorry I left you.

(He gives Matt a hug. Matt is uncomfortable and pushes him away.)

MAURY PARKMAN: It wasn't easy for me.

(Matt pushes Maury down in the nearest chair.)

MATT: Don't.

MAURY PARKMAN: I need to say it. When I found out I could read minds, it was a temptation, I was weak. I used people. I was a real scumbag. You ... a cop. I'm so proud.

MATT: You don't get to be proud. You don't get to be anything. Just answer the questions.

NATHAN: You said you tried to save the world. How?

MAURY PARKMAN: These gifts came out of nowhere. We just found each other, like we were connected somehow. We thought we were invincible. A few of us took that to heart. They started to do whatever they wanted. I did what I could to stop them.

NATHAN: Like what?

MAURY PARKMAN: (He looks at Matt.) This thing we can do, you and I. It only begins at reading minds. And then it becomes so much more.

MATT: More how?

MAURY PARKMAN: I--I can't explain it. (He stands up.) No, hang on. I got something I can show you. 'Cause it helped me understand it.

(He heads for the back rooms just past the kitchen.)

MAURY PARKMAN: Yeah, I got a bunch of stuff from back then.

(He points to the room doors.)

MAURY PARKMAN: It's--it's in here. Oh, come on.

(Matt sighs and follows him. Maury enters the room and turns off to the left.)

(Matt follows him inside.)



[INT. MAURY PARKMAN’S APARTMENT (#9) – BACK ROOM]

(Matt walks in and looks around.)

(The door slams shut behind him.)



[NATHAN]

(Nathan gets up and runs to the back room door.)

NATHAN: Matt?

(He presses his ear up to the door. Nothing. He tries the doorknob. It’s locked.)

NATHAN: (shouts) Matt!



[INT. MAURY PARKMAN’S APARTMENT (#9) – (MATT’S NIGHTMARE)]

(The back room is dark.)

MATT: (shouts) Dad? Hey, what's going on?

(The cell door opens. A shaft of light shines in from the outside. Matt turns away from the sudden brightness.)

(The guard opens the cell door.)

GUARD: (distorted voice) [(backwards speech) You know the drill, Parkman; hands against the wall.]

(Matt walks up to him.)

MATT: Hey, what the hell's going on?

(The guard steps forward, grabs Matt’s arm and slams him up against the wall.)

MATT: Where am I?

GUARD: (garbled) [(backwards speech) You abandoned your kid. You’re a dead beat, and now you’re gonna pay.]



[NATHAN]

(Nathan is kicking the backroom door.)

(He slams his shoulder against the door and it opens. Nathan enters the room.)



[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]

(Nathan stops. He finds himself up on the Deveaux Building rooftop post-explosion. PULL BACK to REVEAL the rooftop in shambles, the pigeon coop black and burned, the door hanging off the doorframe.)

(Nathan steps out onto the rooftop and can’t believe his eyes. It’s his worst nightmare.)

NATHAN: This is impossible. We saved the city.

(He looks out at the city around him. PAN AROUND Nathan to show the city in shambles. Large billowing black smoke rises out between burning buildings. The city is on fire.)



[MATT]

(Matt stands in front of his cell door.

MATT: Let me out! It's a mistake. I'm not supposed to be here.

(The sliding panel over the window in the door opens and the guard looks into the cell.)

GUARD: Yeah, no one's supposed to be here.

(He closes the sliding panel.)

(Matt shakes his head.)



[INT. MAURY PARKMAN’S APARTMENT (#9) – BACK ROOM]

MAURY PARKMAN: (v.o., thoughts) Pleasant dreams.

(Maury steps out of the backroom and closes the door. He grabs his jacket off the kitchen chair and heads out the front door.)



[INT. HALLWAY OUTSIDE MAURY PARKMAN’S APARTMENT (#9) -- CONTINUOUS]

(Maury closes the door and leaves.)

(He smiles.)

(CU: OF THE #9 YELLOW DOOR)

SMASH OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (TOKYO) MUSEUM OF CULTURAL HISTORY – RESTORATION DEPT]

(Curator Tatsuya Atsumi opens one of the Hiro scrolls.)

CAPTION:
      ANDO MASAHASHI
      TOKYO, JAPAN

(He looks at it under a magnifying glass.)

TATSUYA ATSUMI: (subtitled) Incredible. The ink and parchment look authentic.

(Tatsuya Atasumi talks with Ando as he studies the scroll.)

TATSUYA ATSUMI: (subtitled) Where did you get these?

ANDO: (subtitled) They were left to me by a friend. These are the more damaged scrolls. I must know what they say. Please, will you help me?

(Tatsuya Atsumi sighs.)

TATSUYA ATSUMI: (subtitled) To be the first to read these ... I think I can help.

ANDO: (subtitled) Thank you, sir.

VARIOUS DISSOLVES OF: Tatsuya Atsumi works to make the scrolls readable. He brushes a clear liquid on the writing and lets it dry.

TATSUYA ATSUMI: (subtitled) There we are. Let’s see, shall we?

(He puts the scroll under a camera and they can read it clearly on the monitor.)

HIRO: (v.o.) (subtitled) Dear Ando ...

(Tatsuya Atsumi looks at Ando. Ando chuckles.)

ANDO: (subtitled) It’s a common name.

HIRO: (v.o.) (subtitled) Dear Ando, I can’t believe I’m helping the legendary Takezo Kensei ...

DISSOLVE TO:

[EXT. (1671) – DAY]

(Yaeko is painting)

HIRO: (v.o.) (subtitled) ... accomplish the very trials I read about as a boy ... Battling the "Angry Ronin," climbing the "Frozen Waterfall," finding "The Single Crimson Peony."

(PULL BACK to show Yaeko is sitting outside and painting. There are several paintings lined up on the ground next to her.)

HIRO: (v.o.) (subtitled) Each trial brought us closer to rescuing Yaeko’s father ...

(She’s sitting on the side of the road.)

HIRO: (v.o.) (subtitled) It’s like living in a storybook.

DISSOLVE TO:

(Hiro and Kensei run up to her. They’re both exhausted. Kensei is carrying a piece of paper.)

HIRO: (v.o.) (subtitled) Only more tiring.

(Yaeko puts her painting down and goes to meet them.)

YAEKO: (subtitled) You have it? The final map to White Beard’s camp?

CAPTION:
      FEUDAL JAPAN
      1671

(Kensei has several pieces of folded papers. He and Yaeko open them up.)

KENSEI: (subtitled) Now we can find White Beard ... and rescue your father.

(Yaeko and Kensei put the open pieces of paper next to the others on the ground to complete the scroll.)

HIRO: (v.o.) (subtitled) It was all going according to plan.

(Yaeko and Kensei together complete the scroll. They’re holding each other’s hands. They turn and share a look.)

HIRO: (v.o.) (subtitled) The rescue ... And the blossoming love ...

CU: KENSEI AND YAEKO’S HANDS

HIRO: (v.o.) (subtitled) between Kensei and Yaeko.

(Hiro looks so sad.)

WHITE FLASH TO:



[INT. (NEW ORLEANS) DAWSON HOUSE – DAY]

(Seven tomato rosettes are on the cutting board. Monica stares down at the tomato rosettes she made. The melancholy piano tune echoes in her head.)

(Micah walks up to her.)

MICAH: Monica.

(Monica quickly throws a hand towel over the rosettes, hiding them from Micah’s view.)

MICAH: I think I know what happened with the piano.

MONICA: What can I say? Guess I'm just a musical genius.

MICAH: Or it's something else.

(She turns around and looks at Micah.)

MONICA: Look, it's been a hard couple days for me. In fact, it's been a hard couple years. So I think I'm just gonna take a nice long nap, and sleep it off.

(She walks past Micah on her way out of the room.)

MICAH: Monica. (She stops. Micah walks up to the TV in the kitchen.) Do you remember last night when I said I was able to rig the pay-per-view on the TV?

MONICA: Yeah.

(Micah puts his hand on the TV screen. He closes his eyes and concentrates.)

(The television set turns on by itself.)

REPORTER (MAN): (from tv) ... Construction, the rebuilding of downtown New Orleans in full swing. People are returning, and looking for a fresh start. Restaurants, retail--

(The television set turns off. Micah looks at Monica and smiles.)

MICAH: Well, I lied.

MONICA: How did -- how did you –

MICAH: I think it runs in the family. I mean, maybe not exactly like me, but -- my dad could walk through walls.

MONICA: DL?

MICAH: Yeah. And my mom ... Don't even get me started on my mom. But I think what's going on with you is more like this.

(He shows her a 9th Wonders!, issue #10, comic book. She looks at it and tosses it on the counter. The comic book cover reads, WHO IS ST. JOAN?)

MONICA: A comic book?

MICAH: Yeah. This is Saint Joan. She's a muscle mimic.

MONICA: A what?

MICAH: A copycat. Whatever she sees, she can do. That's just like what you did with me and the piano.

(Monica thinks about it.)

MONICA: A copycat.

(Then it makes sense. She removes the towel off the tomato rosettes.)

MONICA: Copycat.

(She picks one up and shows it to Micah.)

MONICA: Look at this. I shouldn't know how to do this. I saw it on TV.

(Monica smiles, relieved.)

MONICA: Oh, my God.

MICAH: So if this is really happening to you, maybe we ought to go test it out.

(Monica looks at Micah.)

CUT TO:



[INT. (NEW YORK) THE COMPANY – MOLLY’S ROOM]

(Molly is asleep and is hooked up to a heart monitor.)



[INT. THE COMPANY – HALLWAY OUTSIDE MOLLY’S ROOM -- CONTINUOUS]

(Mohinder stands outside the room watching her through the window.)

(Bob walks out and joins him. He’s carrying a file folder.)

MOHINDER: (sighs) I didn't know where else to go.

BOB: Oh, you made the right choice. We're going to do everything we can for Molly. In the meantime, we have someone else who needs us. And we would like you to bring her in.

MOHINDER: You're sending me into the field?

(He gives the file to Mohinder.)

BOB: Yes.

MOHINDER: Molly needs me here.

BOB: No, no, no. Molly is our top priority here, but we need you out there doing the good work you do, helping others like her. And..uh..you're gonna need this.

(He gives Mohinder a taser.)

MOHINDER: This is how you help people? By tasering them?

BOB: Well, that's just standard procedure to make sure everyone's safe. A lot of the people we encounter aren't in control of their abilities. But trust me, it's easier to ask forgiveness than permission.

(Suddenly a loud commotion sounds. Alarms blare.)

MAN: (o.s.) (shouts) Niki's loose, grab her!

(Mohinder turns to check it out.)

MAN: (o.s.) (shouts) Down the hall.
MAN: (o.s.) (shouts) Grab her.

(He turns the corner and sees Niki walking up to him.)

MOHINDER: Niki?

(She pushes him aside, throwing him up high against the wall with her super-strength. He grunts and smashes the glass. She turns to Bob, pushes him up against the wall, her hand around his neck.)

(He gasps for breath, his feet dangling helplessly under him, a foot above the floor. She continues to choke him.)

NIKI: Aah!

(Niki his zapped with a taser. She releases Bob and falls to the floor. We see Mohinder is the one who fired at her.)

(Niki is rendered unconscious. Bob gets to his feet, his hand at his own neck as he gasps for breath.)

MOHINDER: What the hell is going on here?

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (NEW ORLEANS) STREETS -- DAY]

(Monica and Micah walk along the street. There’s a lot of activity around them.)

MICAH: So do you want to try something really rad? Like a kick flip?

(He points to the boy on the skateboard going up a ramp. The boy kicks the skateboard and jumps off the ramp.)

MICAH: Slam dunk?

(He indicates the guys on the basketball court playing. One of them runs and slam-dunks the ball into the net.)

(Monica watches the girls double-dutch.)

MONICA: Well ... I always sucked at double-dutch.

(Monica watches them. The girls notice her.)

DOUBLE-DUTCH GIRL: You want somethin', lady?

(Monica continues to watch them. ZOOM IN on her eye as she processes the moves.)

(Monica glances at Micah. She goes for it.)

MONICA: Yeah. I want to jump in.

(Micah smiles as she heads over.)

MONICA: And don't call me lady.

(Monica looks at Micah, who encourages her. After a moment, she jumps in. The girls cheer. Monica copies their moves and has a blast.)

(Micah has a blast as well, laughing along with her at the discovery of her ability.)

WHITE FLASH TO:



[INT. (IRELAND) CAITLIN’S FLAT – NIGHT]

(Thunder rumbles outside. The door opens. Caitlin walks in and puts her folded umbrella down. She’s drenched from the rain pouring outside. Peter steps inside behind her.)

CAITLIN: It's not much.

PETER: I sleep in a pub, remember?

(He’s carrying his bag. Caitlin closes the door. Peter looks around the flat. He sees her paintings – a windmill and hillside road.)

PETER: You paint?

(He puts his bag down and takes his jacket off.)

CAITLIN: Well, it's what I do to relax.

PETER: These are amazing. (Caitlin puts her keys down and removes her jacket.) You're talented.

CAITLIN: Is that why you kidnapped me? So you could sort through me things? Don't start liking me less now that you're peeling away the mystery.

PETER: I just ... wanted to see where you lived. Lie on a real bed maybe.

CAITLIN: No one's stopping you.

(Caitlin goes to sit on her bed. Peter looks out the window.)

CAITLIN: What are you looking at?

PETER: Nothing.

CAITLIN: Then what is it that's on your mind?

PETER: You were right. (He turns and walks over to his bag.) Whatever I was, whoever I am ... I have to face it.

(He takes out his box. He goes and sits on the bed in front of Caitlin.)

PETER: Nothing that I find in this box is gonna change anything. Whatever my life was before, this is where I want to be now ... with you. Okay?

CAITLIN: Okay. Get on with it then.

(Peter looks at the box and sighs as he opens the box. He finds his passport and plane ticket.)

(He opens his passport.)

CAITLIN: Peter Petrelli?

PETER: From New York.

(She looks at the plane ticket.)

CAITLIN: Looks like you were leaving. This is an open ticket, New York to Montreal.

(He takes out a photo of him and Nathan.)

CAITLIN: Who's that?

PETER: I wish I knew. None of this tells me how I got here, what I'm supposed to do.

(Peter gets up in frustration. He turns and stops when he sees the blank canvass on the easel.)

(The white canvass morphs and changes right before his eyes – a picture emerges. Peter squints and heads over to the canvass.)

CAITLIN: What is it?

(He reaches out his hand to touch the moving picture and gasps.)

(He looks at the canvass, then grabs the pallet and squeezes out some paint on the board. Caitlin goes over to him.)

CAITLIN: Peter?

(Peter’s eyes are on the canvass and the picture he sees. He closes his eyes. When he opens his eyes, his pupils are white.)

CAITLIN: Oh, my God, Peter!

(Peter starts to paint.)

CUT TO:



[INT. WANDERING ROCKS PUB – NIGHT]

(Thunder rumbles outside. Ricky is carrying a box out from the back when he stops. Elle is there in the pub waiting for him.)

ELLE: You know, I've never been in an Irish pub before. Do you have haggis?

RICKY: That's Scotland, love. We have stew. And mussels. And stew. But I'm closing up.

ELLE: Oh, well ... Yeah, I was hoping you could help me. I'm looking for a guy.

RICKY: Best time for that's right after a football match. The fellas are locked out of their minds. Up for anything.

(She gives a weak, humorless laugh. She shows him a photo of Peter.)

ELLE: His name is Peter Petrelli.

RICKY: Never seen him before.

ELLE: Never seen him before?

RICKY: No.

ELLE: Cool. Thanks.

(She smiles and turns to leave. She stops.)

ELLE: The thing is, I talked to a few people from the docks. They said they saw him in here.

RICKY: I don't know what to tell you.

ELLE: Hmm. So either you're lying, or all those other people are lying. It's just kinda hard to tell who's lying, you know?

RICKY: Like I said ... I don't know this Peter. That it now?

ELLE: I guess so.

(She turns to leave.)

RICKY: Sorry I couldn't be more help.

ELLE: Yeah. So am I.

(Elle locks the front door and ZAPS it, melting it.)

(She turns and throws a beam of electricity at Ricky.)

CUT TO:



[INT. (NEW YORK) THE COMPANY – NIKI’S ROOM – NIGHT]

(Bob uses his penlight on Niki’s eyes.)

BOB: You gave us quite a scare.

(Niki is strapped in bed.)

NIKI: I'm sorry about earlier. I'm feeling much better now. Thank you.

BOB: We knew it wouldn't be easy. Multiple-personality disorder is a terrible affliction, but we're gonna get you well again. I promise.

NIKI: Thank you.

(Bob leaves. As soon as the door closes, Mohinder reaches for Niki’s wrist straps to release her.)

MOHINDER: I'm gonna get you out of here.

NIKI: I can't leave.

MOHINDER: Niki, you're a prisoner.

NIKI: I'm not. I came here on my own. I gave up my son to be here. I'm sick.

(Mohinder glances at the door.)

NIKI: I didn't think anyone could ever understand my problems. What I've done. What I'm capable of. These are the only people that can help me.

CUT TO:



[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]

(Nathan looks out at the burning city in front of him. Ash rains like flurries on the city. He stares out at the destruction, unmoving and in shock.)

VOICE: (raspy) Nathan.

(Nathan turns around. He sees another figure on the ground on the rooftop.)

NATHAN: Peter?

(The figure starts to get up. Nathan heads over.)

NATHAN: Peter!

(Nathan kneels down, a bright smile on his face.)

NATHAN: Peter, I knew it. I knew you could survi--

(The man on the rooftop looks at Nathan. He IS Nathan – scarred and burned, his features deformed and hideous.)

(Nathan’s smile fades.)

NATHAN: You.

(Nathan backs away.)

NATHAN 2: You can't run from me, Nathan.

INTERCUT WITH:



[INT. PRISON CELL – (MATT’S NIGHTMARE)]

(A baby cries.)

(Matt turns around and finds a baby on the floor.)

MATT: There's a ... baby. (shouts) Hey, you've gotta get this baby out of here!

(There’s no answer. Matt looks at the door.)

MATT: (shouts) Hey!

(The baby continues to cry. Matt turns around and finds Janice in the cell carrying the crying baby.)

MATT: Janice? What are you doing in here?

(Janice doesn’t answer him.)

MATT: Is that-- Janice ... Is that baby mine? You said I wasn't the father.

JANICE: But you read minds. You looked into my head and you saw the truth, but you still left.

MATT: No. No, I didn't. I didn't know.

JANICE: You left him. (She walks over to him.) Just like your father left you. Just like you're gonna leave Molly.

(She walks past him toward the door. The guard opens the door for her.)

MATT: No.

(She steps out of the cell.)

MATT: No, Janice.

(He starts to follow her, but the guard stops him.)

MATT: Janice! Hey --

(The guard slams him up against the cell wall.)

INTERCUT WITH:

[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]

(Nathan 2 pushes Nathan away from him.)

[INT. PRISON CELL – (MATT’S NIGHTMARE)]

(Matt falls on the floor.)

[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]

(Nathan 2 advances on Nathan. Nathan backs away from him.)

NATHAN 2: You're no hero. Everybody's dead because of you.

NATHAN: We have to stop it.

NATHAN 2: You can't. You don't want redemption. You want ignorance.

(Nathan 2 pushes Nathan backward toward the edge of the building.)

NATHAN 2: Let's go over the edge. You won't feel anything.

(Nathan 2 grabs the front of Nathan’s shirt and suit.)

NATHAN 2: You never do.

(Nathan turns and flips Nathan 2 onto the edge of the building.)

NATHAN: You don't know me.

NATHAN 2: I am you.

(Nathan 2 butts his forehead hard against Nathan’s head.)

[INT. PRISON CELL – (MATT’S NIGHTMARE)]

(Matt butts his forehead hard against the guard’s head.)

(Matt pushes away from the wall.)

[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]

(Nathan 2 punches Nathan in the face.)

[INT. PRISON CELL – (MATT’S NIGHTMARE)]

(Matt rams his head in the guard’s abdomen, pushing the guard all the way back to the far wall.)

[EXT. DEVEAUX BUILING – ROOFTOP – NATHAN’S NIGHTMARE]

(Nathan 2 rams his head in Nathan’s abdomen, pushing Nathan all the way back to the pigeon coop.)

(The guard hits the wall and grunts upon impact.)
(Nathan hits the wall and grunts upon impact.)

(Matt punches the guard low repeatedly in the abdomen.)
(Nathan 2 punches Nathan low repeatedly in the abdomen. Nathan 2 punches Nathan in the face.)

(Nathan turns and head-butts Nathan 2.)
(The guard turns and head-butts Matt.)

(Nathan and Nathan 2 grab each other, fall and roll on the ground.)
(The guard and Matt grab each other, fall and roll on the ground.)

(Matt straddles the guard and starts hitting him.)
(Nathan 2 straddles Nathan and starts hitting him.)

(Matt continues to hit the guard.)
(Nathan 2 continues to hit Nathan.)
(Matt continues to hit Nathan.)

(Matt stops. What the hell just happened?)

(The guard takes the opportunity in the break in Matt’s concentration and rolls them over to straddle Matt.)
(Nathan rolls over and straddles Nathan 2.)

(Nathan starts to hit Matt.)

(Matt tries to stop him. He grabs Nathan by his chin and pushes him away, but all Nathan sees is Nathan 2, not Matt. He starts to choke Nathan 2.)

(Nathan 2 laughs at Nathan as Nathan chokes him.)

(Nathan continues to choke Matt.)

MATT: Stop it, Nathan! Nathan, wake up! Wake up!

(Nathan hears Matt’s voice.)

(Matt concentrates on sending his thoughts to Nathan.)

MATT: (v.o., thoughts) (echo-y) Nathan ... wake up. Wake up. Nathan, wake up.

(Nathan sees Nathan 2.)

MATT: (v.o., thoughts) (echo-y) Wake up.

(Nathan 2 morphs into Matt.)

MATT: (v.o., thoughts) (echo-y) Wake up!

(Nathan sees Matt and lets him go.)

[INT. MAURY PARKMAN’S APARTMENT (#9) – LIVING ROOM]

(Matt and Nathan are on the floor in Maury’s living room. Matt pushes Nathan off him. Both men are panting.)

(Matt looks around and finds them back in Maury’s living room.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]

(Nathan sits up. Nathan is still getting his bearings.)

NATHAN: What happened?

MATT: Now we know why Molly calls him the Nightmare Man.

(Nathan sits up.)

NATHAN: You stopped it. How'd you do that?

(Matt stands up. Nathan gets up and helps him up as well.)

MATT: I don't know.

(Matt looks around the place as if he’s searching for something.)

MATT: Oh, he's gone.

NATHAN: What are you looking for?

MATT: We need to know where he went. Why he's doing this. Something to --

NATHAN: To what?

MATT: I knew this was a con. I knew I couldn't trust him.

(Frustrated, Matt throws the papers on the desk on the floor. Nathan takes a step back as he watches him.)

(Nathan looks down and sees a torn photo on the floor. Nathan picks it up. It’s of Bob and it has the SYMBOL in red over his face.)

NATHAN: I think I know where he's headed. That's Bob. He's one of them.

MATT: He runs the company.

NATHAN: Not for long. Looks like he's next.

WHITE FLASH TO:



[INT. (TOKYO) MUSEUM OF CULTURAL HISTORY]

(Curator Tatsuya Atsumi opens the next scroll under the camera. He and Ando read it.)

HIRO: (v.o.) (subtitled) So, we were on our way to take on White Beard ... and save Yaeko’s father. History was back on track ... But the battle with White Beard was going to put love on hold.

DISSOLVE TO:



[EXT. (1671) WHITE BEARD’S CAMP – DAY]

(Kensei, Hiro and Yaeko walk over the hill.)

KENSEI: According to the map, White Beard's camp should be right over this ridge.

HIRO: We should leave Yaeko here then. (in Japanese, subtitled) Yaeko, please stay here. For your safety.

(Yaeko hurries past Hiro to speak directly to Kensei.)

YAEKO: (subtitled) My father taught me well the way of the sword. I will not stay behind. I will fight with you to rescue him.

(Kensei looks at Hiro. He nods.)

KENSEI: (subtitled) As you wish ... my love.

(She takes his hand.)

KENSEI: (subtitled) We will defeat White Beard together.

(They walk to the top of the hill. Voices come from down below. They look out and see the land covered with tents.)

KENSEI: Right after we defeat his entire army.

(Hiro swallows.)

HIRO: (v.o.) (subtitled) Yes, Ando. Tonight, we will attack.

(CAMERA stops on each of their expressions.)

DISSOLVE TO:



[INT. (TOKYO) MUSEUM OF CULTURAL HISTORY (PRESENT)]

HIRO: (v.o.) (subtitled) Three of us against an army. I fear --

(And then it stops.)

ANDO: (subtitled) "Fear" what? (Ando looks down at the scroll.) What’s next? I can’t read the next words!

TATSUYA ATSUMI: (subtitled) These are still too damaged. I need more time. I’m sorry.

ANDO: (subtitled) But, I must know what happens next. With the army! With Yaeko! Does Hiro survive?

(Ando looks at Atsumi.)

TATSUYA ATSUMI: (subtitled) How would I know?

(Ando sighs in frustration.)

CUT TO:



[INT. (NEW ORLEANS) DAWSON HOUSE – LIVING ROOM]

(Monica is watching channel 46, the Living Room Channel. She’s watching a soap opera where two characters are kissing under a tree. She changes to channel #43, the Gulf News Channel, then to channel #53, the All-Cartoon Channel. She stops on channel #52, Brava. She watches the Weekly Martial Arts Movie.)

(She puts the remove down, watches the martial arts moves, then mimics them on the living room floor.)

(Micah walks in and smiles as he watches her.)

MICAH: That is amazing.

(She stops and looks at him.)

MONICA: Yeah. I know. But what do you think it all means? Having these -- these powers.

MICAH: I think it means that we're special.

MONICA: But why? I mean, all this time I've been praying to God to give me direction, to show me what I'm supposed to do with my life. Of all the things he could give to me ...

MICAH: Maybe we're supposed to do something with these.

MONICA: I just wish I knew what. It is way past your bedtime.

(He chuckles.)

MONICA: Hey, this is our little secret. Right?

(They lock pinkies to seal the promise.)

MONICA: All right.

MICAH: I know it's scary at first, but this is a good thing. I promise.

(She gives him a hug.)

MONICA: I'm just looking for some answers. That's all.

(He turns and heads to his room.)

(There’s a knock at the front door. Monica turns and goes to answer it.)

(She opens the door and finds Mohinder on the front porch.)

MOHINDER: Monica Dawson?

MONICA: Yes.

MOHINDER: I'm Dr. Mohinder Suresh. May I?

(She opens the outer door.)

MONICA: Can I help you?

MOHINDER: I'm sure you have lots of questions about what's happening to you. Well, I have some answers.

WHITE FLASH TO:



[EXT. (IRELAND) STREET – NIGHT]

(It’s raining outside a parked blue car.)

ELLE: (to phone) Hi. Yep. I'm fine. Weather could be better. No, not yet, but I will. He's here. Had to improvise a little, but ... (pause) No, I mean, I just had to use a little ... persuasion, that's all. (pause) For -- no, it was just some guy. And, I -- all right, I killed him, okay? What is the big deal? (pause) What do you mean? Now? (pause) This is my assignment. And I almost have him. (pause) What if I promise not to – (pause) Fine. I'll come home now.

(She starts the car.)

ELLE: (to phone) Sorry, Daddy. It won't happen again.

(She hangs up.)

(She drives away.)

CUT TO:



[INT. (IRELAND) CAITLIN’S FLAT – NIGHT]

(Peter’s still in his trance as he paints. He’s putting the final touches on the painting, then gets out of the trance. He looks at the painting. It’s of them – Peter and Caitlin – in front of a building door.)

PETER: What happened?

CAITLIN: I don't know. Apparently you're a genius of an artist too.

PETER: I painted that? How?

CAITLIN: How do you shoot lightning from your hands? All I know is your eyes went dead, and you couldn't be stopped. Until there was this. Is that us?

PETER: I don't know, maybe. What do you think this is?

CAITLIN: A church?

PETER: The street signs are in French.

CAITLIN: Could be Montreal. Like the plane ticket.

(Caitlin’s phone rings. She answers it.)

CAITLIN: (to phone) Hello? (pause) What?

ABRUPT CUT TO:



[INT. WANDERING ROCKS PUB – NIGHT]

(The doors burst open. Caitlin rushes in. She’s drenched and in a panic. Peter is right behind her.)

CAITLIN: (screaming) Ricky? Ricky!

(Peter grabs her and stops her from running over to Ricky’s burnt corpse. Tuko is kneeling next to the body.)

CAITLIN: (wailing) Oh, my God, Ricky! (crying) Ricky!

PETER: Look at me. Look at me. Hey, this is my fault. Okay, they were looking for me.

CAITLIN: No, no, no, no ...

(She hits him as she cries. Peter grabs her and they collapse to the floor.)

CAITLIN: (sobbing hysterically) Ricky ...

(Peter holds her.)

PETER: I'm gonna find 'em, okay? I'm gonna find 'em. I can't hide anymore. I can't hide.

FADE TO BLACK.


TO BE CONTINUED ...

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END OF EPISODE
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