This story takes place shortly after we learn that Nathan is Claire's biological father. Imagine that there is a missing episode between that and this story. Here are some notes to catch you up:

After Meredith calls and informs Nathan that their daughter, Claire, survived the fire and has just come to see her, he acts indifferent and tells her that he can't have anything to do with her, as he is running for Congress and is married with children. He keeps up his search for Peter.

Mohinder goes to Nathan, again pressing the fact that he needs to study Peter. Nathan informs him that Peter is still missing, and asks if he knows anything. Mohinder says that he does not, and Nathan contacts Simone.

After coming home, Jessica murders two policemen who come to take Micah in to custody for being caught on camera robbing several banks in the Las Vegas area (at this time Micah is at school, and D.L. is out job searching.) She drives out to the middle of the desert and buries the bodies.

Claire, on her way to see her birth mother again, is stopped by a man who calls himself Linderman and tells her that he is her birth father. He says that Meredith told him Claire survived, and he wants to talk to her. Claire goes with him, at first reluctantly, but when she sees that he has an ability, she believes him. We never really see his face; it's usually covered in a shadow. However, when he leaves briefly for a meeting, she finds a piece of paper in his office referring to the PrimaTech Paper Company, and immediately suspects he has lied to her.

Hiro and Ando continue the search for the sword, and eventually find it in a personal gallery of Mr. Linderman in Las Vegas, NV. They have a meeting with Linderman, and Hiro tries to explain the importance of the sword without spelling it out. Linderman laughs in their faces and tells them to get lost. They steal it, but some of Linderman's henchmen see them, and chase after them.

Peter, having discovered that his emotions are the key to his power, continues training with Claude. He still keeps himself hidden from his family and friends, but is still unable to use his powers on command.


THE JOURNEY

(We see flashes of Claire running from the man she believes is her father, Linderman, he screams after her "You can't escape me; I can follow you anywhere…Peter is waking up from his hallucination, he looks at the calendar and sees that it is November 3…Jessica/Nikki is in a car she stole, racing through the desert; look on her face is that of Jessica…Hiro and Ando hurry quietly out of the large building that is Linderman's Montana headquarters)

Mohinder's voice: We are all on a journey. Whether towards our dearest hopes, or away from our deepest fears, we are constantly moving; inching towards the moment where we can finally take control of our own lives. Humans as a species desire for this constantly; control. And, though it often seems futile, we continue. We continue to hope, we continue to fear; we continue to exist. And, God willing, we will continue to do so.

(cue intro)

(Claire runs out of the Montecito and catches a cab; asks to be taken to the airport.)

Claire: (somewhat out of breath) Airport, please.

(as the cab pulls away from the sidewalk, Claire closes her eyes and leans her head against the window, beginning to cry.)

NEXT SCENE

(Peter wakes up with a start; he has just passed out and had another premonition of the bomb going off. He is breathing heavily and is sweaty, the calendar says that it is November 3. He stares at it for a second before standing. He is in a darkened apartment. Claude enters from the side, carrying a plate and eating a sandwich)

Claude: Well, good, you're awake.

Peter: Uh, what happened?

Claude: You passed out. (taking a bite)Trying too hard to concentrate your empathy; you know, you wasted quite a bit of time.

Peter: I had another vision.

Claude: (taking a bite) Blow up again?

Peter: (frustrated) Look, this isn't a joke!

Claude: (placing the sandwich back on the plate and taking a step toward him) Don't push it, kid. Your passing out is wasting a hell of a lot of time-

Peter: What? Like I'm doing it on purpose?

Claude: I don't know! You're weak, and with every passing second, you only prove that fact further. I'm wasting my time. (turns to walk out)

Peter: No! (Claude stops; Peter rubs his own forehead in anxiety) Please, give this a chance. (Claude turns and looks at Peter)…It's my only… chance.

Claude: (sighs) What did you see?

Peter: Pretty much the same thing… only, it was more… realistic.

(Claude continues watching him; waiting for him to continue)

Peter: There were real… people. And, I felt it… It was this, this… intense pain. (walks to the window, and looks out) And, I caused it.

Claude: (walks to stand by him) You won't… just quit this passing out thing. (walks back to his sandwich)

Peter: (still looking out the window; almost to himself) Yeah, I'll try…

NEXT SCENE

(Nikki/Jessica is in the car, looking baleful. She is speeding down the highway through the desert. Suddenly, Nikki takes over and she slams on the brakes. She is breathing deeply and looks around her, as though she is seeing her surrounding for the first time. She looks down at the blood-soaked clothing in her lap)

Nikki: (starting to cry) No! No… this wasn't supposed to happen. (looks in the rearview mirror)

Jessica: What did you think would happen, Nikki? You said you wanted to see Micah and D.L, so I did what it took.

Nikki: (crying) You weren't supposed to kill anyone

Jessica: Oh, wah, wah… stop crying! Be strong for once; keep driving, our son needs us.

Nikki: (shakes her head) No… I'll hurt him-

Jessica: Shut up! Do you really think I'd hurt him?

Nikki: You already did.

Jessica: (rolls her eyes) Dammit, you know that was an accident.

Nikki: I can't risk it again… you're out of control-

Jessica: I wouldn't have to be if you'd learn to be strong. Take control, Nikki!

Nikki: (now crying into her hands) I can't.

Jessica: Exactly… and that's, why you have me.

Nikki: (looks back up at Jessica… suppressing her tears) I don't need you.

Jessica: Wanna bet?

(Nikki looks past Jessica's image and sees three cop cars racing towards her, sirens blaring)

(Jessica takes over Nikki's body)

Jessica: Don't worry, little sister. I forgive you. (smiles menacingly)

NEXT SCENE

Claire gets out of the cab and pays the cabbie. She quickly walks into the airport and walks up to the front desk

Desk Lady: Hi there, young lady. How may I help you?

Claire: (digging into her purse) Hi, I need a ticket to New York City, please.

Desk Lady: (types on the keyboard and views the screen) Um… when will you be leaving?

Claire: As soon as possible?

Desk Lady: Oh… I'm sorry… All flights to New York are booked up for a week.

Claire: How is that possible? Aren't there, like, three airports in the vicinity?

Desk Lady: (looks up at her) I'm sorry, dear. We're only flying to New York with one airline at this time… And it's all booked up… Would you still like to book?

Claire: Uh...no. (breaths deeply, frustrated) Is there a bus or train station nearby?

Desk Lady: yes. There's a Greyhound station, 200 South Main Street.

Claire: Thanks. (turns and runs out. Hails and steps into a cab)

Cabbie: Where to?

Claire: The Greyhound station.

(The next thing we see, Claire is stepping up to the bus station desk)

Desk Man: Where to?

Claire: New York City.

Desk Man: Okay (types and eyes the computer)

Desk Man: Next bus leaves in 10 minutes.

Claire: Perfect.

Desk Man: Okay…that'll be $195

Claire: (as she hands him the cash) Um… do you know how long it will take to get there?

Desk man: It says here it will take about… two and a half days.

Claire: (taking the ticket) Two and a half days?!

(Desk man looks at her weirdly)

Claire: Fine… thanks.

NEXT SCENE

(Hiro and Ando silently sneak out of the Linderman building, Hiro holds th sword in his hands gingerly. It is dark outside, and the ground looks wet, like it has rained recently.)

Ando: I cant believe this is happening. I'm a fugitive-

Hiro: Shh! (looking around him, checking for people) They'll hear you.

Ando: (whispering as they run down the street) Where are we going?

Hiro: back to New York.

Ando: Are you crazy? New York is going to blow up; I don't want to blow up.

Hiro: (stops and turns to face his friend) A hero does not run from his destiny. (turns and continues running)

Ando: I'm tired of you saying that. (follows him) Everytime you say that, I almost di-

(We hear a man's voice call from behind them)

Man: Hey!

(Hiro and Ando stop and turn to see five men, all dressed in black, and all employees of Linderman, running towards them, wielding flashlights and guns)

Ando: (looking hopelessly at them) Damn.

Hiro: Come! (grabs Ando and starts running again)

Ando: (groans)

(Hiro and Ando take off down the nearly deserted street, the men chase after them)

NEXT SCENE

(Claire holds her bag as she moves in a line of passengers through the bus. It is packed. Eventually, she finds an empty seat next to a girl who looks to be about 17 with a messenger bag in her lap. The girl is wearing headphones and is digging through her bag)

Girl: Dammit… where the hell-?

Claire: (still standing) Um, excuse me?

(The girl is still digging through her bag)

Claire: (louder) Excuse me?

(The girl stops digging and removes one headphone, looking up at Claire)

Girl: Sorry… what?

Claire: Um, I was just wondering if anyone's sitting here?

(A notebook sits on the empty chair, and the girl grabs it, making room)

Girl: No, go for it.

Claire: (moving to sit) Thanks.

(she sits and adjusts her bag so it is resting in her lap. She sighs and rests her head against the chair, closing her eyes)

Girl: Rough day?

Claire: (opens her eyes and looks at the girl. She has continued to rummage through her bag) Sorry?

Girl: I said 'rough day?' You just seem… anxious.

Claire: Yeah… I guess. (looks at the the chair in front of her)

Girl: (after a few seconds) Ahhh!

(Claire can't help but dignify her neighbor's triumphant 'ahhh!' with a glance; the girl has pulled a copy of Chandra Suresh's book, Activating Evolution, out of her bag)

Girl: You ever read this? It's fascinating… this guy Suresh, (she motions to the back cover) he says that humans are evolving again. He thinks there are people out there who can like… fly. How cool would that be? To fly?

Claire: (responds almost reluctantly) Cool…

Girl: Yeah… (begins talking almost as though Claire isn't there) sometimes I wish I could fly…

Claire: I feel ya.

Girl: (talking to Claire again) Yeah. Too bad this stuff isn't real. I mean… telekinesis? Flight?… It's only fantasy…

(Claire smiles to herself, turning her attention back to the chair in front of her)

Claire: Yeah… too bad.

Girl: Still, it's a good read.

NEXT SCENE

(Matt and Janice Parkman are excitedly preparing a 'romantic' dinner together, smiling and laughing as they move around their kitchen)

Matt: (he has been mixing salad as Janice stands beside him cutting bread. He stops and grabs her, kissing her deeply)

Janice: (laughingly) Matt! Stop! If you keep that up we'll never finish this dinner.

Matt: (smiling adoringly at her as she continues cutting the bread) I'm sorry, I'm just… a baby!

Janice: Sweetheart, it's been a week!

Matt: And I can't be excited!? It's our first kid!

Janice: Of course you can be… and thank God you are.

Matt: Why wouldn't I be excited?

Janice: (slams the knife down in mock frustration and turns to him, smiling) You need to stop doing that! I didn't say anything!

Matt: Sorry (returns to fixing the salad)

(she continues too, and no one says anything for a couple of seconds)

Matt: (stopping) No but seriously, why wouldn't I be excited?

Janice: Matt! (moves past him to put the sliced bread on the table) Can we not do this now? Please, not now.

Matt: (moves to her) Janice… no secrets. Remember?

Janice: I can't keep secrets from you, remember? You're constantly in my head-

Matt: I told you, I can't control it-

Janice: (slams her fists to her sides in frustration. When she speaks it is clear that she is trying to stay calm) Matt… honey. Please. Can we please just enjoy this lovely dinner we slaved over?

Matt: Fine. (Returns to the salad)

(Janice watches him, upset)

NEXT SCENE

(Nathan is pacing back and forth in Peter's apartment, clearly worrying. He holds his cell phone in one hand, and his other hand runs through his hair. Simone is on the phone in the background, and Mohinder is thumbing through his father's book)

Simone: (hangs up and walks to Nathan) Hiro and Ando still haven't made it to Las Vegas… I'm worried

Nathan: yeah? (stops pacing and looks at her) and I'm worried that my entire campaign was all for nothing because my little brother can't keep his dreams separate from reality.

Simone: (walking towards him, her arms crossed across her chest) I thought you said you believed in him.

Nathan: (breaths deeply in frustration, turns away from her) Dammit. I don't know what I believe anymore. I shouldn't be worrying about this shit. I should be worrying about saying the perfect speech and picking the right tie-

Simone: Is that all you care about?

Nathan: (turning back to her abruptly, throwing a hand up in aggravation) Yes!

Simone: He's trying to save the world…

Nathan: (calming down) I thought you said 'no one can paint the future,' so how can he be saving the world, and from what?

Simone: (looks away) I don't know. (looks back) But he really believes in it… and Hiro and Ando and Isaac, too. Why shouldn't we?

Nathan: Lets see… a daydreaming nurse, a former drug-addict, and two random Japanese guys… you're right. Lets just jump right on that bandwagon.

(Simone glares at his sarcasm)

Mohinder: (stands up and moves to them, after having watched the quarrel) Look, either way, we need to find him-

Simone: (to Nathan) You don't care about him at all, do you?

Nathan: (pauses, looking, for a moment, deeply troubled. But as soon as it comes, the look is gone.) Look, just help me find him, okay? (Dialing a number on his cell) The press is going to have a field day when they realize my suicidal younger brother is missing.

(Simone rolls her eyes and moves back to the phone. She just stares at it as Nathan starts talking to someone on his phone)

Simone: (picking up the receiver) You're heartless, you know?

Nathan: (covers the speaker of his phone with his hand) And it's gotten me further than Peter's compassion has gotten him. (returns to his conversation)

(Simone stares at him in momentary shock. Mohinder shakes his head and returns to reading.)

NEXT SCENE

(Peter and Claude are staring in a mirror, neither has a reflection. Peter turns to Claude, looking hopeless)

Peter: I can't do it. I can't control this… its too big.

Claude: Quit whining; now! You have to focus-

Peter: Jesus! I've been focusing. I've been focusing so hard I'm surprised I haven't had a stroke. (turns back to the mirror; still no reflection)

Claude: That would certainly fix your blowing up problem, wouldn't it?

Peter: I'm starting to think that's our best bet-

Claude: You're not giving up… not after I've wasted all this time trying to teach you.

Peter: I haven't gotten it yet! What makes you think I'll get it in the next four days? I am going to explode.

Claude: (grabs Peter by the shoulders) Listen to me. You can get this… this power is yours for a reason… you can handle it. Anyways, you did it once.

Peter: (looking away) No, no I can't-

Claude: Peter! Stop… I told you before, I wont allow you to kill innocent people. Now, focus.

Peter: (sighs and turns back to the mirror)

Claude: Good, now breathe.

Peter: (shuts his eyes and breathes deep… tries 'focusing,' he is straining)

Claude: no! Stop! Don't you listen?

Peter: You told me to concentrate!

Claude: Right! I told you to concentrate, not burst a vessel.

Peter: What-?

Claude: You're trying too hard. Focusing just means focusing on those stupid, childish emotions you relate to those people whose powers you're trying to control; feel it, take control of it.

(Peter looks at him, confused. Claude turns him back to the mirror)

Claude: Just breathe…go on.

Peter: (breathes again and closes his eyes for a second)

(He is focusing and breathing for a few seconds when, his reflection flickers in the mirror for an instant then disappears)

Peter: I did it! I did it! (turns to Claude) I did it?

(claude nods)
Claude: Don't get overexcited… keep going. It's going to take more than a flicker in that mirror to keep you from turning into a bomb (moves to sit on a chair, facing Peter)

(Peter turns to the mirror and goes to try again)

NEXT SCENE

(Claire has been sleeping, but wakes with a start when the bus stops and several people brush past to get off)

Claire: (still half asleep) where are we?

Girl: Parowan, Utah.

Claire: (turns to girl, stretching) Where?

Girl: (smiles) Middle of nowhere… you were out for a few hours.

Claire: (looking around at everyone moving around)

Girl: hey, we're here for about an hour… I'm gonna go to that little shop (points out the window to a small shop just inside the bus station) and find some sustenance, if you'd like to come.

Claire: Uh, sure.

(the next thing we see, the two girls are walking out of the shop onto the now crowded sidewalk, heading to the bus. Claire is holding a muffin and a small coffee, and the girl is holding a croissant and a bottle of juice. Claire notices a hawk, sitting on the bus, almost watching her.)

Claire: Do hawks live around here?
Girl: Um… sure, I guess… I don't know. Why?

Claire: No reason… So, I'm sorry, I feel so rude, but… I didn't get your name-?

Girl: (smiles) No worries, its Gabrielle. And yours is-?

Claire: Claire.

Gabrielle: Cool.

Claire: So, where are you headed?

Gabrielle: New York… you?

Claire: Same… why are you going? If you don't mind my asking.

Gabrielle: (shrugs) I don't really know… I guess I'm just taking advantage of my newly attained freedom… I got on the bus in San Francisco, and I just feel the need to ride all the way through.

Claire: Sounds scary…

Gabrielle: yeah, I guess it is. Why are you going?

Claire: (as they walk up the stairs of the bus) There's just someone I have to see.

Gabrielle: (after taking a drink) Hmm… very enigmatic.

(They sit and eat for a moment)

Claire: You have family in New York?

Gabrielle: No… maybe… I don't know.

Claire: (lowers her food into her lap and looks at Gabrielle) Sorry?

Gabrielle: (eyes Claire, almost suspiciously) Why are you so interested?

Claire: (quickly turns her attention back to her food) Sorry! Just… I was curious. I guess I haven't had much positive contact with anyone in a while-

Gabrielle: Positive contact?

Claire: (pauses) Well-

Intercom: We will be leaving the terminal in five minutes, please be seated and secure all personal objects.

Claire: It's a long story (leans back in her chair)

NEXT SCENE

(Jessica pulls the car over as the three cop cars frantically race after her. She smiles to herself and waits for them to surround her. Six cops, two from each car, jump out and hide behind their doors, wielding guns)

Cop 1:Nicole Sanders! Step out of the car and keep your hands where we can see them!

Jessica: (out the window) Alright… you don't have to yell. (begins unbuckling her seatbelt, but stops)

Nikki: (struggling to take control) Stop this! Please… I can-

Jessica: (fighting back to keep control) Nikki! I'm doing this for you! For Micah!

Nikki: (straining to shake her head and keep from crying) No you're not! You can't hurt them-

Jessica: Yes I can, and I will. We have to get back to Micah-

Nikki: No! Stop, please-

Jessica: You're pathetic! Let me do this!

Nikki: I don't need you-

Jessica: Yes, you do!

(by this time, the cops are exceedingly nervous and confused, as they watch Nikki argue with herself. They still hold their guns pointed at her)

Cop 1: (clearly nervous) I said, step out of the car! Now!

Jessica: (to Nikki; still struggling to unbuckle the seatbelt) After all I've done for you-

Nikki: All you do is hurt people!

Jessica: it's the only way!

Nikki: no-

Jessica: Now, let me do this.

Cop 2: Get out now! Or we shoot!

Nikki: Jessica! Please-

Jessica: Quit whining! You can't do this alone!

Nikki: (crying now) no-

Jessica: Give…me…control!

(she pauses for a few seconds, a blank look on her face. When she smiles at Nikki's defeated reflection in the mirror, we see that Jessica has, again, taken over)

Jessica: Good girl. (calls to the cops) Hold on! I'm coming! (back to Nikki) This is the only way, and you know it.

(she steps out of the car and puts her hands on her head)

Cop 2: (the cops are still standing by their cars) Get on the ground!

Jessica: No, I don't think I will.

Cop 2: I said-

( Suddenly, we hear a thunderstorm of noises; a gunshot, men and women screaming, the sounds of bodies being ripped apart, bodies being flung against cars, more gunshots, more screaming, and soon… silence. The camera pans in on Jessica, now covered in blood and holding a gun loosely in one hand; she smiles to herself, looking around at the mutilated bodies of the six officers. She turns to Nikki's horrified reflection in the window of one of the blood-covered cars)

Jessica: Couldn't have done that on your own, now could you?

(she brushes a strand of bloody hair out of her face, breathes in victoriously, and steps back into her car, speeding away down the empty road)

NEXT SCENE

(The five men have caught up to Hiro and Ando. They are circled around them, and one man steps forward)
Man: Did you really think you'd get away?

Ando: (to Hiro) Now what?

Man: Mr.Linderman can't have you running off with priceless pieces of his collection, Mr. Nakamura. Now, give me the sword, we're taking it back to Las Vegas where it belongs.

Hiro: (to Ando) Don't worry, I'll try my power.

Ando: (to Hiro, they back away as the man moves closer to them) I thought it wasn't working.

Hiro: (to Ando) I have the sword now! (tries; he doesn't have to strain as much as he did previously)

Man: (to Ando) What's he doing!? What's he- (he, along with all the other men and Ando freeze completely. Hiro looks very proud of himself, but grabs Ando and begins dragging him away. He has almost made it around a corner when they unfreeze, and one of the men reacts quickly, shooting at them. Hiro drops the sword and it slides into towards the men due to the concrete being wet and slick. Ando takes his hand and starts pulling him away from it)

Hiro: No! The sword-

Ando: Leave it, run!

(Hiro allows himself to be pulled away as the men reach the sword)

Mohinder's Voice: Yes, we are all on this journey; Away from the beginning and towards our end.

(We see Jessica again speeding down the highway, with Nikki's reflection watching her, helpless, from the rearview mirror)

Mohinder's voice: Even as obstacles block our path, we carry on. Moving, sometimes slowly, to the destiny we know is ours.

(Claire is watching Gabrielle sleep; it is raining outside the bus. She smiles and looks down at her hands, lost in thought)

Mohinder's Voice: Even as fear is determined to cripple us, we somehow find the internal strength that allows us to once again regain control. And so we try.

(Peter is still practicing control over his empathy in the mirror, as Claude stands behind him, watching)

Mohinder's Voice: We hope with all hope that the direction in which we are heading is the right one, and wait for the moment when we will truly know. But will we ever get there?

(Nathan is alone in Peter's apartment; Simone and Mohinder have left. He is sitting on a small couch, holding his head in his hands. We can't see his face, but when he looks slowly up at a picture of him and his brother on an end table, we see that he is deeply worried, possibly he has been crying.)

Nathan: God, why now?

END