COMPANY HIDEOUT - SAN ANTONIO, TEXAS - 11:25 P.M.

There is an old warehouse near an old highway and an old, closed-down gas station. An ambulance is parked in front of the warehouse, as well as two black cars.


Inside, in the locker room, Audrey Hanson stands at her open locker. She is wearing a black bra, black pants and sneakers. She is still a little wet and has a towel around her neck. Running water is heard from the showers behind the lockers. Hanson pulls out a shirt from her locker, she puts it on and she buttons it up. Hanson pulls out a black business suit jacket from the locker and puts it on. As she puts it on, a folded piece of paper falls out from the pocket. Hanson looks down, noticing the paper. She crouches down, grabs the paper and unfolds it. Hanson stares at what's printed on the paper, stunned. Hanson stands up and she looks left. She sees no one there. She looks to her right. Again, she sees no one.


The women's locker room flies open and Hanson walks out into the hallway of the factory's first floor. She walks down the hall and notices Noah is walking to the shut door of an office.

HANSON: "Hey! Bennet!"

He stops and turns his head to Hanson.

HANSON (CONT'D): "What the hell is going on?"

NOAH: "I just got out of the shower, getting decontaminated after our radiation exposure. Benson's still getting cleaned up."

HANSON: "No. I mean, who is this guy that's been sneaking around and giving me all of this information?"

Noah gives her a look of realization.

NOAH: "That masked man left you another message, didn't he?"

HANSON: "See for yourself."

Hanson hands the folded piece of paper to Noah. He takes the paper, unfolds it, and looks at what is printed on it.

Upon closer, look the paper has a picture of Matt Parkman printed on it, the same as in the email she was sent. Five words are printed on the paper below Matt's picture: KIRBY PLAZA, MIDNIGHT.


HOTEL ROOM - NEW YORK - FRIDAY, 12:30 A.M.

Geoffrey sits at a table for two with Angela. The folder she had given him is lying open on the table. Geoffrey looks at the photos held to pages by paper clips and the notes printed on the papers inside the folder.

ANGELA: "This is your man, isn't it? This Carlton Caine?"

GEOFFREY: "I never knew his name. In custody, he was just another number. Eight-zero-one-zero."

ANGELA: "And you never bothered to question the signifigance of that? Why that number was chosen for him? Why he was held captive in the same compound you were assigned to?"

GEOFFREY: "What's that got to do with anything?"

ANGELA: "Everything, Officer. There's more to this prisoner than you or I know. From what I've learned, he's been working for a secret government department for years. From what we gathered from his last sighting, he's been called into active duty."

GEOFFREY: "By this secret department of yours? I don't buy it."

Geoffrey looks at the papers on the table.

GEOFFREY (CONT'D): "What was he doing, anyway?"

ANGELA: "Hunting down his own kind, Officer Hart. He gives his victims a chance. Be recruited or be killed. We've already had a confirmed death toll of six hundred and two people in the past seventy-two hours."

Geoffrey looks at Angela and raises an eyebrow.

GEOFFREY: "His own kind? What do you mean by that? Like criminals?"

ANGELA: "Hardly. He's... rather gifted, Officer. He's going after people with certain talents."
Geoffrey pauses. He shakes his head.

GEOFFREY: "I don't get any of this. Why do I get the feeling you're not answering all of my questions?"

ANGELA: "I'm telling you what you need to know."

Angela looks down at her beeper. She notices the number and she looks up at Geoffrey.

ANGELA: "I have to go."

GEOFFREY: "Yeah? Well, I'm not done asking questions."

ANGELA: "Oh, yes, you are. For now. You have until six o'clock tonight whether you want to know the answers, or be kept in the dark. It's much safer for you if you don't know the whole story, Officer Hart. But I have the feeling you won't give up on your search so easily."

GEOFFREY: "What do you mean, safer? Are you threatening me?"

ANGELA: "Quite the contrary. I'm trying to make sure you stay alive. Your role here is bigger than you think, Officer. You just don't know it yet."

Angela stands up, walks away to the exit and opens the door. She steps out and shuts the door behind her. Geoffrey looks down at the papers on the table, looking unsure.


DESERT - BOTSWANA, AFRICA - 10 A.M.

An enormous tent, almost like a circus tent, is a few miles from an enormous dune in the desert.

Hiro, Ando, Claire and Matt stand within the huge tent, with rubber mats laid on the hot sandy ground. Usutu stands nearby and looks at the quartet.

MATT: "What are we doing in here? Are we going to see a circus show or something?"

USUTU: "This is the start of your training, prophet. I have recruited a new friend of mine to help the four of you. He is going to show all of you how to further your hand to hand combat skills."

ANDO: "What friend?"

Usutu turns around and a man steps into the tent. The man is in his late-30s, bald, has a goatee, and has a lean muscled physique. He is holding a bo staff in his hands. This man is CURTIS ADAMS. He speaks in a thick British accent.

MATT: "And you are?"

CURTIS: "Curtis Adams. Our mutual masked friend sent me to help you."

CLAIRE: "That masked man? Is he doing this? Is he why Matt and Hiro can't use their powers?"

CURTIS: "Patience, Claire. All of your questions will be answered at the proper time."

Curtis holds up a bo staff.

CURTIS (CONT'D): "For now, I must show you how to fight. You have very little time."

MATT: "Time? Time until what?"

Matt walks towards Curtis.

MATT (CONT'D): "What is this all..."

He is interrupted as Curtis quickly crouches, swings his bo staff low and hits Matt at the ankles. Matt is knocked down and lands flat on his back. Curtis holds the bo staff to Matt's throat, keeping him down.

CURTIS: "Your training starts now, Mr. Parkman. You may have answers later."

Curtis looks up at Ando, Hiro and Claire.

CURTIS: "May I have a volunteer?"

Ando and Hiro exchange stunned looks and then they look at Claire. Hiro gently pushes Claire on her back and she stumbles forward. She looks back at Hiro. Hiro and Ando take a few steps back.

HIRO: "Good luck."

Claire glares at Hiro. She looks at Curtis, and heaves a SIGH.


THE COMPANY, NEW YORK - 8:30 A.M.

Within the clinic in the Company, Peter lies asleep on his bed. A woman's hand reaches out and brushes the hair away from his face. Peter awakens and opens his eyes. He looks groggily to his right and eyes Angela, who is seated by his bed.

PETER: "Mom."

ANGELA: "I tried to come sooner. I had work to finish."

PETER: "You don't need to explain. I'm just glad your here."

Angela eyes Peter with a sad smile. He gives her a look of concern.

PETER: "You look exhausted."

ANGELA: "I haven't slept. I can't go to sleep. I haven't slept since Monday." (pauses) "Dr. Suresh told me what happened to you. About your friend who came back."

Peter looks across the room. Caitlin is sitting on a nearby chair, still asleep.

ANGELA (CONT'D): "He said she sat here all night, watching you."

PETER: "She's a good woman, Mom. I tried to find her, months ago. But I couldn't. That masked man, the one from the Beeman Warehouse. She said he brought her here."

Angela gives Peter a look of concern.

ANGELA: "Does she know who he is?"

PETER: "No. Nobody does. Nobody's seen him without the mask on."

Angela looks at Peter, a bit relieved. Peter notices her look.

PETER: "What?"

ANGELA: "Nothing. I just...for a while there, I was worried we wouldn't be sitting here talking like this again. Even if you are in a hospital bed."

Peter smiles at his mother. Angela holds his hand. She returns the smile. Their pose is the same as the pencil drawing that Matt had made in Africa.

ANGELA: "You look hungry. I'll go bring in some breakfast for you and your friend."

Peter nods, still a bit groggy. Angela gets up and walks to the door. She opens it and walks out into the hall. Peter shuts the eyes, hears the door close, and SIGHS. A hand reaches out and is set down on Peter's shoulder. He opens his eyes.

PETER: "That was pretty quick, don't you..."

He suddenly stops as he sees a familiar man standing in front of him. It's Louis. He smiles at Peter.

LOUIS: "Remember me?"

His hand starts to glow and so does Peter. He looks strained and starts to twitch. Peter's mouth gapes open in a silent scream as he starts to writhe. PETER SCREAMS in agony from Louis's touch...


Peter's eyes pop open as he SCREAMS and he quickly sits up on his bed. Louis's presence was just a nightmare Peter was having. Caitlin GASPS as she's awakened from Peter's SCREAMING and he holds his side. Caitlin gets up and goes over to Peter's bed.

CAITLIN: "Peter!! What is it? What's wrong?"

Peter looks at Caitlin, breathing hard and soaked with sweat.

CAITLIN: "It's all right. I'm here, Peter. What did y' dream?"

Peter looks at Caitlin a moment, out of breath. She sets her hand on his face and he closes his eyes. Peter heaves a SIGH.


In the lab, Mohinder stands at his desk and holds his cell phone to his ear.

MOHINDER: "Peter had another nightmare. He remembered a man that he saw in the warehouse."

TRACY (on the phone): "He did? Was it that masked man that got us to go outside?"

MOHINDER: "Not likely. This one was a man in his 50s, bearded... He didn't remember his name, though. When he put his hand on his shoulder, Peter said he felt something inside of him, like it was affecting his cells."


NEW ORLEANS, LOUISIANA

Tracy is walking down a sidewalk in an old neighborhood and holds her cell phone to her ear.

TRACY: "His cells?"

MOHINDER (on the phone): "He said his whole body was in pain, that he felt everything inside of him breaking down."

Tracy stops walking and gets a look of nervous realization.

TRACY: "Wait a minute. You don't mean..."


At the Company, Mohinder sits at his desk.

MOHINDER: "I think that there's a common link between you and Peter. That man, whoever he was, touched Peter and he said he felt like his whole body was exploding. He recognized it as the same feeling during the explosion and that he let out that inhuman scream."

TRACY (on the phone): "My memory about that night isn't so good, and I don't remember anybody touching me. Do you think he was the one who affected my powers back there?"

MOHINDER: "It's possible. Angela Petrelli is calling in a sketch artist to question Peter about the man he saw in the nightmare. If we can identify him, it might give us some answers."


Tracy looks at a two-story house with a black roof and red curtains on the windows.

TRACY: "At least it's a start. But why did Peter only lose his abilities after he was touched? My ability was killing me and my cells were breaking apart."

MOHINDER (on the phone): "I'm not certain. When we find the man from Peter's nightmare, we may find out what the full extend of his ability is."

TRACY: "Whoever that man is, if he is the one who messed with my ability back there, I want to be there when we bring that bearded son of a bitch in."

MOHINDER (on the phone): "Calm down, Tracy. We don't want to do anything rash, and you can't let your anger cloud your judgment."

TRACY: "My judgment's just fine, thanks. Look, I've got an appointment to keep. I'll call back when I've found out where our old friends are now."


Mohinder hears the other end of the phone hang up.

MOHINDER: "Tracy, wait... Tracy?"

He only hears the dial tone. Mohinder SIGHS and hangs up his phone.

MOHINDER: "I hate it when she does that."


Tracy walks to the two-story house. She walks up the steps of the front porch and towards the front door. Tracy knocks on the door and waits a moment. The door opens and Tracy lets out a smile, looking a bit uncomfortable.

TRACY: "Hi. I know we haven't seen each other much, but... I really need your help."

There is a familiar African-American woman standing at the front door. It's NANA DAWSON. She nods at Tracy.

NANA: "Come on in."


LIEBER PAPER FACTORY - AUSTIN, TEXAS - 9:00 A.M.

In his office, Noah sits at his desk. Benson and Hanson stand nearby. Benson is reading a folder filled with several pages stapled inside it.

BENSON: "Telepathy...teleportation...cellular regeneration."

Benson looks up at Noah and raises an eyebrow.

BENSON: "Empathic mimicry? You can't be serious."

NOAH: "All of these abilities are not only possible, they're real. Certain people each have a specific power of their own. Some are more powerful than others, a select few can have more than one ability."

Benson looks at Hanson, skeptical.

BENSON: "You can't expect me to believe we have a bunch of super-powered people running around, do you?"

HANSON: "How do you explain the creep last night that had pulsating energy over his hands?"

BENSON: "You don't think he was the guy who exposed us to the radiation in there, do you?"

NOAH: "It wouldn't be the first time. A few years ago, I knew a man named Ted Sprague. He had a similar ability. A friend of mine who had a then-uncontrollable ability managed to copy his power, and when he lost control over it, he almost destroyed New York City."

BENSON: "I'm not buying it. I admit, I don't know how he made his hands glow like that last night, but people with super powers don't exist outside of TV, movies and comic books. Tell 'im, Hanson."

NOAH: "Yes. Tell him, Audrey. Tell him about your old partner, Matt Parkman. The policeman who could hear people's thoughts."

Benson turns around and looks at Hanson.

BENSON: "Wait a minute. That guy that's missing... He can hear what people are thinking?"

HANSON: "Yeah. Yeah, he can."

BENSON: "Do you have any idea how crazy that sounds?"

HANSON: "I know. But I need you to believe me on this, partner. Everything Bennet's been telling you is true."

Benson looks at Noah. Noah's cell phone rings. He reaches into his pocket and pulls out his phone. It rings again, and Noah pushes the talk button and holds his phone to his ear.

NOAH: "This is Bennet." (pauses) "Yes?"

Noah pauses, listening. He frowns. He turns his head aside in disbelief.

NOAH: "I can't believe it."


KNOX WAREHOUSE - SAN ANTONIO, TEXAS

A bald man, mid-40s man sits behind his desk in his office, wearing a business suit. For now, this bald man is known as THE BOSS. He notices the Invisible Man standing in front of him, wearing a trench coat and fedora hat.

BOSS: "Why are you wearing those again?"

The Invisible Man paces back and forth.

INVISIBLE MAN: "So you know where I am. We have a little problem with that man you told me about. Petrelli, right?"

BOSS: "He's a valuable individual. With his ability and our training, there's no telling what he could accomplish under our care."

INVISIBLE MAN: "Well, you're not going to care about him much longer. Petrelli's of no use to you anymore. At least, not in terms of his ability."

BOSS: "What do you mean?"

INVISIBLE MAN: "I overheard a man, Suresh, say that he had studied Peter's blood sample. Whatever power or powers he had, he's not special anymore. He lost his ability."

The Boss narrows his eyes.

BOSS: "Louis."

INVISIBLE MAN: "I thought he was supposed to suppress his ability long enough for us to take him in."

BOSS: "Indeed. We were lucky enough he survived the explosion at the Beeman Warehouse. But since Louis can break apart the stability of a person's ability and their very cells, he must have destroyed Peter's power once he grabbed him."

INVISIBLE MAN: "Hmph. Thanks for the unnecessary plot exposition about my old partner's ability. I'm well aware of what our boy Louie can do."

BOSS: "I'm well aware of that. And I don't care much for sarcasm."

The Invisible Man stops pacing. He turns his head to face the Boss.

INVISIBLE MAN: "Sorry. Didn't mean for it sound offensive."

BOSS: "That's quite all right. I have a fondness for you and your talents, young man. You've been faithful to me for all this time. That's why I want you to go after our next two targets."

INVISIBLE MAN: "Name it. Where am I headed off to next?"

BOSS: "First you're going with my men to Kansas. There's a man I need you to pick up from his apartment, named Bruce Norton. I don't have a photo of him or know if he has an ability. All I know for sure is that he knows of our... history. I want him brought here, unharmed, and questioned. Once you've found Mr. Norton, you will go back to New York. There's a policeman who was left alive back at the prison where Carlton was locked up. He's got no ability that I know of. Seems to be an ordinary guy. Despite that, he's been giving us too much trouble."

INVISIBLE MAN: "Why couldn't you just tell me about this over the phone? Why did I have to fly all the way back here?"

BOSS: "To collect more men to assist you, of course. And besides, this case is a bit important."

INVISIBLE MAN: "Oh, I get it. So it's another body you want them to find in the body of the river? I told you. I don't do killings."

BOSS: "I'm well aware of your limitations and your bothersome conscience. No, I just want him brought here. You might say I want to give him sanctuary. Is that all right?"

INVISIBLE MAN: "Hey. Your orders are good enough for me. You've got your reasons, I won't pry and try to find out why you want what you want. That's the deal. What's his name?"

The Boss hands the Invisible Man a photograph. He holds it up and looks at the photo. The photo is of Geoffrey.

BOSS: "Geoffrey Hart. Surely, you remember him, don't you?"

The Invisible Man stares at the photo for a few seconds. He lifts his head up and nods.

BOSS: "I knew this assignment was perfect for you. Try not to hurt him when you catch him, and make sure that he's comfortable."

The Invisible Man tips his hat.

INVISIBLE MAN: "You're the boss."

The Boss smiles. The Invisible Man grabs his fedora with his transparent right hand and throws it across the room. He unbuttons his trench coat, removes it and lets it drop to the floor. The Boss hears footsteps walk down the room, the door to his office opens and then it slams shut behind the exiting Invisible Man. The Boss smiles.


West walks down a sidewalk, his hands in his jacket's pockets, and he walks to an old apartment building. He's wearing a headset.

WEST: "I still can't believe you talked me into this."

ANGELA (on the headset): "You know that we need all of the help we can get. Have you got the room number?"

WEST: "Yeah, I've got it. Two-o-seven. Are you sure we can trust her?"

ANGELA (on the headset) "I'm certain. Just remember to offer her the same deal I gave you. We can't afford to have her turn us down."

WEST: "Right, right. I'll call you back when I have an answer."

He taps the button of his headset and shuts it off. West walks to the apartment building and stands at the front door. He opens the door and walks inside.


West walks up the stairs and to the building's second floor. A mid-40s, Latino LANDLORD stands at his side.

LANDLORD: "She's in room 207. I'm a bit surprised you wanted to see her. Sandra doesn't get much visitors. Do you know her?"

WEST: "Not really well. We only met a couple of times. I just needed to talk with her about work."

LANDLORD: "Hmph! Good luck! Ever since the recession got worse, she lost her job at the auto dealership and hasn't been able to find a new job since. Even the burger joint down the road couldn't hire her. Hasn't been able to pay her own rent in two months, but the poor kid's been having her folks pay for her stay here."

WEST: "Well, that's why I'm here. You might say I've got a job opening for her."

The Landlord smirks as they reach room 207. He pulls up his master key and unlocks the door.

LANDLORD: "Hey, if it means getting paid on time and in full, I know I'd like that angle too."

The Landlord unlocks the door and it suddenly opens on its own. The Landlord notices a broken vase on the floor through the doorway.

LANDLORD: "What the hell?"

The Landlord pushes the door all the way open. The apartment is trashed. Chairs are knocked over, the curtains are torn, the dining table is on its side... West and the Landlord look inside in shock.

LANDLORD: "Sandy?"

The Landlord walks in and looks around the apartment. West follows him in and the Landlord runs for the bedroom. The door has been knocked off its hinges and is on the floor of the bedroom.

LANDLORD: "Sandy!!"


In the lab of the Company, Angela removes her headset and turns around. She looks at Suresh, who is seated at his desk and typing on his computer. Angela walks towards his desk and Mohinder glances up at her.

MOHINDER: "How is our young friend holding up?"

ANGELA: "He's asking a friend of mine for help. Since West is away, I need you to keep an eye on Peter for me. There's someone I need to go see."

MOHINDER: "When will you be back?"

ANGELA: "As soon as I have some answers. Just keep doing whatever you can to find that woman for me."

MOHINDER: "I've been checking every database in the system. I haven't found any records on her. No address, no phone numbers, no email addresses."

ANGELA: "I suggest you try checking the prison compounds in the state, Doctor. Her talents are precisely what we'll need for this assignment. Call me back when you have something."

Angela turns and walks to the door. She opens the door, exits, and closes the door behind her. Mohinder types a name in the Search box of a web site page. The name is Doris Whitney Williams. He clicks the Search icon with his mouse and a list of files appear on the screen. A list of names quickly go by from top to bottom.

MOHINDER: "Who are you, Miss Williams?"


KANSAS - 10:30 A.M.

Gabriel Gray/Sylar walks down a stretch of road, his hands in his pockets. He turns around and sees a red Ford Focus drive towards his direction. A bald, pudgy DRIVER is at the wheel. Sylar sticks out his thumb. The driver doesn't slow down. He just drives right past Sylar. Sylar turns around and notices the car drive away. He smirks and waves his hand. The car screeches to a halt. The bald, pudgy driver puts his foot on the gas. Nothing. He unbuckles his seat belt, opens the driver's seat door and gets out. The pudgy driver sneers at his car.

DRIVER: "Damn. And I just fixed this puppy last week."

The Driver turns around and looks at Sylar.

DRIVER: "Hey! Buddy!"

The Driver walks over and stands by Sylar.

DRIVER: "Hey! You got a cell phone I can borrow by any chance? Must've left mine at home."

SYLAR: "Yeah, I've got a phone."

DRIVER: "Good, good! Would you mind handing her over?"

SYLAR: "To the guy who drove past me? You didn't even give me a lift."

DRIVER: "Aw, come on, pal. It doesn't make a difference now. She won't start."

The engine of the Ford Focus suddenly revs. The Driver turns around, startled. Sylar smiles.

SYLAR: "Yeah, she will. Just not for you."

The Driver steps towards Sylar, but his feet suddenly stop. The Driver looks down and tries to move his legs. They can't. The Driver GRUNTS as he tries to move. His legs won't budge. The Driver looks at Sylar, upset.

DRIVER: "What the hell's going on?"

Sylar calmly strolls by and over to the car.

DRIVER: "Hey! Hey, that's my car, you creep!"

The Driver GRUNTS as he struggles to move his legs. Sylar gets in the driver's seat, closes the door and buckles up. Sylar turns the car around and aims it right at the frozen Driver.

DRIVER: "Hey! What are you doing?"

SYLAR: "Don't be stupid. I'm driving."

The Driver's eyes go wide with fear.

Down the road, a white van drives down the road. A blonde WOMAN in her late 20s is in the front passenger seat and a bearded MAN in his 30s, seated at the wheel.

WOMAN: "Would you just ask for directions?

MAN: "Hey, it's not my fault the G.P.S. won't start up."

They hear the Driver SCREAM in the distance. Seconds later, there's a sickening CRUNCH.

WOMAN: "What on Earth was that?"

MAN: "Sounded like it came from over there."

The Man turns to the right and notices Sylar driving the Ford Focus. He slows down and stops the car.

MAN: "Hey, buddy, did you hear that? What happened?"

SYLAR: "Just some moron who got out in front of my car. I'm lucky that I managed to swerve away from him."

WOMAN: "Thank God you didn't hit him. You got lucky."

Sylar smiles and nods.

SYLAR: "Yeah. I got real lucky. You might want to turn around. The road's blocked off up ahead."

MAN: "We will, thanks."

Sylar nods and drives off. He drives off down the road and the Man turns the wheel of his van, turning it around.

MAN: "Well, we know which way we won't be going to next."

WOMAN: "Guess so. Can we at least find a place to pick up some food?"

MAN: "Sure, sure. I'll see if we find a restaurant or something."

As the van drives off down the road, they don't notice a dead body lying in the distance. It's the Driver, run over and with blood oozing from his nose and mouth. A look of horror is frozen on his face.


In the sub-basement level of the Knox Warehouse, Sandy is seated on a bed in the clinic. She's wearing a hospital gown and she has bandages on her shoulders, her left bicep, her wrists, her palms and her right ankle. The door to the room opens and Darius walks inside. Sandy looks over at Darius as he sits on a chair near her bed.

SANDY: "I didn't expect to see you in here."

DARIUS: "Well, the Boss wanted me to check up on you. You got roughed up pretty bad back there, Connors."

SANDY: "I've felt worse."

DARIUS: "That ain't the point. You can't keep being the sacrificial lamb. You got to start learning to take care of yourself."

SANDY: "I can take care of myself just fine, as you already know. It's Summers that couldn't take any more abuse back there."

DARIUS: "Summers is dead."

Sandy looks at Darius, stunned. She gives him a sad look.

SANDY: "Summers is..." (pauses) "When?"

DARIUS: "Last night. Turns out he was more roughed up than we thought. You put yourself through hell for him for nothing."

SANDY: "It wasn't for nothing."

DEVON: "He knows that."

Sandy and Darius turn around. DEVON MARSTERS - late-30s, blond and lean muscled - walks into the room, wearing a business suit and purple neck tie.

DEVON: "I'm sure Tompkins here is just upset, Sandy. Summers was a good man."

DARIUS: "Uh-huh... Whatever. Look, you two want to chat, that's fine. I got better things to do."

Darius stands up and walks out. He shuts the door behind him.

DEVON: "Don't mind Darius."

SANDY: "Right. I'm sure he's just a big old teddy bear."

Devon smirks and sits on the same chair Darius did.

DEVON: "He's right, you know. You do care too much. You're very protective and brave... but your conscience is your biggest weakness. You've got to learn when to step in and when to step back."

SANDY: "Sir, I understand what you're saying. But with all due respect, I'm not going to stop trying to 'step in' and do the right thing. I'm sure anyone else would've done the same thing in my place."

DEVON: "That's just my point. Most of the people here wouldn't have done what you did. You're a rare person, Sandy. That's why we want you to join up with our team. With your talents and the proper training, you have no idea just how valuable your presence could be to this unit."

SANDY: "You can't be serious. Do you really think I'd fit in here?"

DEVON: "Why not? Where else are you going to go? Back to your meager little apartment? Searching for a new job to give you a minimum wage paycheck? Getting a lecture from your parents about how much money you owe them for paying your bills and rent? This is where you belong. This is the life you should have. Good pay. A nice home. A steady job with benefits."

Devon holds his hand out to Sandy. She moves back.

SANDY: "I've seen your 'benefits', Mr. Marsters. How soon can I get back to my 'meager little apartment'?"

Devon gives Sandy a grim look. He SIGHS.

DEVON: "Tomorrow morning. You need to rest up first."

Devon stands up and walks to the door. Devon opens the door, and then he stops. Devon looks over his shoulder at Sandy.

DEVON: "It's a shame. You could've been the first member here with a real sense of honesty. You have so much potential, Sandy."

Devon turns and walks out. He shuts the door behind him. Sandy looks down at her hands. Blue neon grid-lines appear on her hands and the pupils of her eyes glow red.

SANDY: "That's what I'm afraid of."


At the clinic in the Company, Peter is now wearing a T-shirt, jeans and socks. He's seated on his bed and tying the shoelaces of his sneakers. Angela walks in and notices Caitlin at his side.

CAITLIN: "You've got to take it easy, at least. Do y' know how stupid this is?"

ANGELA: "What the hell is he doing? He should be resting."

CAITLIN: "Don't look at me. I've been tellin' 'im the same thing for the last five minutes."

PETER: "I've been in bed long enough. I'm not going to lie down on my butt and have another helping of get-well grape Jell-O. If I'm talking to this sketch artist, I'm doing it out of bed."

ANGELA: "Peter, you've just had a serious accident and had major surgery."

Peter nods and picks up a black jacket from the end of his bed.

PETER: "I know. I'm well aware of the bruises and the stitches I've collected since Tuesday night. I'm doing just fine, thanks."

He puts on the jacket and GRUNTS from the movement of putting it on. He falls down and lands sitting on the bed, holding his left side.

CAITLIN: "Peter!"

ANGELA: "Obviously."

Angela nudges Peter over and lies him down on his back.

ANGELA (CONT'D): "Now shut up and lie down before you pop a stitch or..."

Peter gently brushes her hand aside and he sits up. Peter rubs his side for a moment and he looks at Angela.

PETER: "It's all right. I don't have any way to instantly heal my way out of this one, but I'll be okay. Is the artist here?"

Angela looks at Peter for a moment and then he looks at Caitlin. She gives him a look of concern and sets her hand on his shoulder.

ANGELA: "He's right outside. I'll send him in. But you will take it easy."

Angela turns around and walks to the door.

PETER: "Wait."

Angela turns and notices Peter's smirk.

PETER: "I don't think you two have been properly introduced, right?"

Angela smiles. Caitlin stands up and looks at Angela.

PETER: "Mom, this is Caitlin. Caitlin, this is my mother, Angela."

CAITLIN: "Tis a pleasure."

She shakes Angela's hand.

ANGELA: "It's nice to meet you too. Peter's told me a lot about you in the past." (turns to Peter) "I'll go get that sketch artist."

Peter nods and watches as Angela walks to the door.


AFRICA - 5:30 P.M.

Back in the enormous tent, Ando, Matt and Claire are seated on a training mat. Curtis and Hiro are practicing fighting moves with their bo staffs. Hiro manages to block a few of Curtis's swings with his staff, and manages to successfully counter-attack with a swing of his own staff. Curtis smiles.

CURTIS: "You're doing pretty well."

HIRO: "I learned how to use a sword."

CURTIS: "Good."

With a quick twirl of his bo, Curtis disarms Hiro of his staff. With the same twirl, Curtis sweeps his staff low and hits Hiro behind the ankles. With a startled CRY, Hiro goes down and lands on his back. He GROANS from the impact and Curtis holds his staff at Hiro's throat.

CURTIS: "But you still need some practice with a staff."

He moves his bo off of Hiro's throat and holds his hand down. Hiro smiles and takes Curtis's hand. Curtis helps Hiro up to his feet and Usutu walks towards them. He hands his bo staff over to Hiro and they resume training. Usutu walks over and sits next to Matt. He joins the others and watches as Curtis and Hiro train.

USUTU: "You're all doing well so far."

MATT: "I still don't understand why we had to be here and training like this. I just hate being left in the dark."

USUTU: "You are not in the dark yet, Parkman. Things are about to get much darker in the days to come."

MATT: "You mean the eclipse?"

Usutu stays silent. Matt looks at Usutu, puzzled.

MATT: "What aren't you telling us?"

Usutu sadly smiles.

USUTU: "Watch your friend, Parkman. You might learn a few tricks."

MATT: "Why?"

USUTU: "You're up next."

Matt looks at Curtis and notices he has disarmed Hiro again. Hiro again goes down with a startled YELP.

MATT: "Perfect."


NEW YORK - 12:30 P.M.

In the hospital, Dawn walks into the third floor's hallway. She stands at a water bottle and fills her styrofoam cup with water. Dr. Lieber walks down the hall and to Dawn.

DAWN: "Oh, hi, Doctor. Are you all right."

DR. LIEBER: "Yeah, I'm fine. Just been a long day, that's all. Are you going on your lunch break?"

DAWN: "In just a moment. I need to check in on a new patient first."

Dawn walks down the hall and turns into room 324. She opens the door and steps inside.

Dawn walks into room 324 and over to the bed of a man, seated on a bed. It's Samson Gray, clutching his oxygen tank.

DAWN: "Now, don't worry. Dr. DeVries will be in to see you in a few moments. Is there anything I could get you?"

SAMSON: "No, no. Not really, Dawn."

DAWN: "Excuse me?"

SAMSON: "Your name tag."

Dawn eyes her name tag and then Samson.

DAWN: "Oh, right. Duh."

SAMSON: "It's all right. I'm kind of glad to have you as my nurse. I heard you were one of the friendlier nurses in this hospital."

DAWN: "Is that so? Well, thanks for the compliment."

SAMSON: "No problem. The nurse I spoke to a moment ago said your last name was Williams. Your mother wouldn't happen to be D.W. Williams, would she?"

DAWN: "Why do you ask that?"

SAMSON: "Well, she's an old friend of mine. She smiles just like you do. I've been looking for her the last two weeks with no luck. How is she?"

DAWN: "She's doing well. I haven't seen her in a while."

SAMSON: "Do you know where she is?"

Samson starts COUGHING. He COUGHS HARDER.

DAWN: "You're looking pretty pale, sir. I'll go get the doctor."

Samson waves his free right hand and the door slams shut. Dawn turns around and Samson clutches his oxygen tank with his left hand.

SAMSON: "I'd rather see you."

DAWN: "How did you do that?"

Samson makes his right hand into a fist. Dawn is sent flying back by his telekinesis and hits the door. She struggles to get down, but can't. Samson gets up, walks to Dawn and stands in front of her.

SAMSON: "Your mother. Where is she?"

DAWN: "Let me go!"

He puts his right hand over Dawn's mouth.

SAMSON: "Shh... It's safer if you don't scream. When I take my hand off your mouth, I suggest you tell me what I want to know."

Suddenly, a fist hits Samson from behind on the back of the head. Samson collapses to the ground, unconscious, and Dawn falls to the floor. She notices Julie is behind Samson's unconscious body. Julie walks over and helps her up.

JULIE: "Don't talk. Just come with me."

Julie and Dawn quickly run out through the open side door to the room.


AUSTIN, TEXAS - 12:00 P.M.

In the food court at the mall in Austin, E.S. and David are seated at one side of a booth. Held under his arm is his 9th Wonders! comic sealed in a comic bag.

E.S.: "This whole thing sounds completely insane. You know that, don't you?"

DAVID: "Well, she has to know about this. Besides, you have to admit, this whole thing has been pretty weird."

E.S.: "I dunno. I've seen weirder things. After all, I hang out with you, right?"

DAVID: "Oh, very funny. Would you take this seriously for two little minutes?"

Kristen walks over to the booth and sits on the other side.

KRISTEN: "Okay, the food will be ready in a few minutes. We're order number 9."

She notices E.S. and David are flashing forced smiles, looking innocent.

KRISTEN: "Okay. What's wrong?"

DAVID: (through gritted teeth) "What makes you say that?"

KRISTEN: "Because you're talking through gritted teeth, for starters."

Sarah walks into the food court and looks around, wearing a zipped jacket over her waitress uniform. She looks glum. E.S. notices Sarah's arrival and he waves at her.

E.S.: "Hey! Over here, cuz!"

Sarah turns and notices E.S. waving at her. She gives him a sad smile. Sarah walks over and sits at the booth next to Kristen.

SARAH: "Hey, guys. How have you been?"

E.S.: "Pretty good. I'm glad you made it."

E.S. notices Sarah's sad smile.

E.S.: "What's wrong?"

SARAH: "It's Uncle George...He passed away last night."

E.S.: "What?"

Kristen sets her hand on Sarah's shoulder.

KRISTEN: "I'm sorry."

SARAH: "When I got home from work last night, I saw my mom waiting for me at the door. She's taking this really hard."

DAVID: "Oh, man."

At the food court, the COOK at the Villa Pizza looks out at the seated customers.

COOK: "Order nine!!"

KRISTEN: "That's us. Excuse me."

Sarah gets up and moves away. Kristen gets up and out of the booth. She walks over to the Villa Pizza shop and Sarah sits back down at the booth.

SARAH: "So what was so urgent that you had to talk to me in person?"

David and E.S. exchange awkward looks. They look back at Sarah.

E.S.: "Well... you might have a hard time believing us on this one, Sarah. It's pretty unreal. I mean, I'm not even sure I really believe it."

SARAH: "Try me."

DAVID: "Well, uh... do you remember how we told you about that white bubble thing they had shown on TV?"

Sarah nods.


In the clinic of the Company, Peter sits on the bed and looks at the mid-30s, blond SKETCH ARTIST in front of him. He is sketching on his sketch pad. Caitlin stands nearby, with her arms folded over her chest, and watches Peter.

PETER: "He had dark brown hair, kind of wavy. Like it was combed over to the left side."

The sketch artist continues drawing on his notepad.

SKETCH ARTIST: "Did you see any distinguishing features on his face? Any scars or tattoos?"

PETER: "He had one scar. Kind of a small zig-zag scar, above his left eye."

The sketch artist continues working on his drawing. He sketches for a few moments and then he stops. He looks up at Peter.

SKETCH ARTIST: "Anything else?"

PETER: "No. That's everything, I guess."

The artist shows the sketch to Peter.

SKETCH ARTIST: "Then is this the man?"

Peter looks at the sketch of the man on the photo. The drawing is an exact match of Louis's face. Peter narrows his eyes.

PETER: "Yeah. Yeah, that's the guy."

There is a knock on the open door. Peter turns his head and watches as Angela walks inside.

ANGELA: "Have you finished?"

SKETCH ARTIST: "Yeah, we just finished. This is the man your son said he saw."

The artist shows her the drawing of Louis. Angela stares at it.

SKETCH ARTIST: "Do you recognize this man?"

ANGELA: (flatly) "No."

Peter notices his mother's grim look. He looks at her in disbelief.

PETER: "You don't?"

Angela looks at Peter.

ANGELA: "No."

Angela looks at the sketch artist as he rises from his seat.

ANGELA: "Take that photo down to the main desk. I want that drawing copied and sent off. I want everyone available looking for this guy, but do not approach him. From what my son told me, he is extremely dangerous."

SKETCH ARTIST: "Yes, ma'am."

Angela steps aside and the artist exits the room.

PETER: "Where have you been?"

ANGELA: "Picking up an old friend from the airport. He's agreed to help us."

CAITLIN: "Who's that?"

Angela steps aside. The Haitian walks into the room.

HAITIAN: "Hello, Peter."

Peter smiles at the Haitian.


Over in Austin, Noah walks with Benson and Hanson to the water tower. A mid-40s, Mexican-American POLICE CAPTAIN walks over to the approaching trio.

HANSON: "What's going on?"

CAPTAIN: "We thought you might want to see this. It was hidden near the tower."

The Captain walks off and leads the trio over to the water tower. He crouches down at a hole dug in the ground and at the large projector buried in the ground. He pushes a button on the side of the generator. A dim white bubble of light forms over the generator.

BENSON: "What the...?"

CAPTAIN: "Remember that bubble of light that people saw here a few days ago? Well, we found out what caused it."

HANSON: "Isn't it a little small?"

CAPTAIN: "Just watch, ma'am. Now this will really get you."

The Captain turns a dial on the back of the generator. It grows twice its size.

CAPTAIN: "Turns out it can reach as tall as the bubble shown on the news. The only problem is, we don't know who left it here. There are no fingerprints, no footprints, nothing."

BENSON: "Who would create such a thing?"

CAPTAIN: "Who knows? It looks like something a special effects guy would make for a movie."

BENSON: "Well, thanks for bringing this to our attention. What happens to the projector now? Are you taking it as evidence?"

CAPTAIN: "As soon as we can get the damn thing out. It looks like it's bolted down or something. I need to check. Excuse me."

The Captain walks off and towards a small group of cops nearby. Benson stands up and looks at Noah. Noah looks on, stunned.

BENSON: "Oh, yeah. That's really super-heroic. And a huge waste of time. We'd better go."

NOAH: "Not yet we can't."

BENSON: "Why not?"

Benson turns around. Time has been frozen. Nobody moves. Benson walks over and towards the cops. None of them move or blink. Benson turns around and walks to Noah.

BENSON: "What the hell happened?"

Time unfreezes. Everyone continues whatever they were doing before time stopped, unaware that they'd been frozen. Noah looks at the tower.

NOAH: "I don't believe it."

Noah walks over to the tower. He grabs a large, wide envelope that has been taped onto it.

HANSON: "Where did that come from?"

Noah looks at the envelope. The word BENNET is typed on it in big, bold letters.


Back in the clinic of the Company, Peter and Caitlin are left alone. Caitlin sits by Peter's bed and holds his hand.

CAITLIN: "So what happens now? Without your powers, what are you going to do?"

PETER: "I'm not sure. I thought I might find a new job. Maybe I can get hired as a paramedic. What about you? Are you going back to Ireland?"

Caitlin smiles at Peter and she gently squeezes his hand.

CAITLIN: "Sorry, boyo. You ain't gettin' rid of me so easily. What I want is right in front o' me."

Peter smiles.

PETER: "It's good to see you again. I've missed you so much."

CAITLIN: "Don't worry about a thing. Whatever happens next, we'll do it together. Right?"

He nods at her. Peter leans forward and kisses Caitlin. She closes her eyes as she kisses him and she wraps her arms around him, gently. Peter stops and flinches.

CAITLIN: "I'm sorry. I didn't mean t'..."

Peter puts his arms around her and smiles.

PETER: "It's okay. I'm okay."

She smiles. Peter holds her hand.


Back at the mall, Sarah and Kristen look at E.S. and David. Two large pepperoni pizzas are set on their table, with only a few slices left uneaten on both pizza pies. The leftover slices of one pepperoni pizza is missing tomato sauce.

DAVID: "And then a minute later, we saw the same energy bubble on the news report on TV. It was the weirdest thing."

Kristen and Sarah exchange looks of doubt. David's excited look fades.

DAVID: (disappointed) "You don't believe a word I've said."

KRISTEN: "You mean you're surprised we didn't?"

E.S.: "But it's the truth! You have to admit, even David and I don't have the imagination to make up a weird thing like an energy bubble in town."

SARAH: "Then why did I have to be here in person for this?"

David smiles, getting excited again. He hands her the 9th Wonders! comic book.

DAVID: "Ah-ha! There lies your proof!"

SARAH: "A 9th Wonders comic book?"

DAVID: "Just look on the third page, please. I promise, it'll prove that we're not kidding."

Sarah looks at David and he gives her a pleading look. She looks at E.S. and he nods. Sarah SIGHS and takes the comic. She opens the bag and pulls the comic out.

SARAH: "I must be crazy."

DAVID: "Trust me, Sarah. Things haven't gotten crazy yet."

Sarah looks at David and E.S. She smiles and shakes her head. Sarah opens the comic book.

MOHINDER (NARRATES): "Is there such a thing as fate? That our lives have already been planned out for us without our knowledge?"


In the lab of the Company, Mohinder looks at his computer as it continues its search.

MOHINDER (NARRATES): "How much control over our lives do we actually have? Are there certain people that we are supposed to meet?"

The screen reads SEARCH RESULT FOUND. Mohinder smiles.


Noah, Benson and Hanson walk away from the water tower and to their parked car.

MOHINDER (NARRATES): "Are there certain clues given to us to tell us what we were meant to know?"

In the distance, the masked man watches from behind the tower. The police present do not notice him. They don't see him.


In Africa, it is now night. Matt, Hiro, Claire and Ando are seated on the training mat. They have towels around their necks and are sipping water bottles, resting. Usutu and Curtis stand nearby, watching with a smile.

MOHINDER (NARRATES): "Are there certain skills that we need to learn that are necessary for our survival?"


In Kansas, Sylar drives away in his newly acquired car. He smiles smugly as he looks at the exit road ahead.

MOHINDER (NARRATES): "Are there certain roads that we have to follow that will lead us to where we are supposed to go? And if so, is that destination the place we were meant to go, but not where we wanted to go?"


In the food court of the mall in Austin, Sarah opens the 9th Wonders! comic and flips over to the third page. Sarah freezes as she looks at the illustrations in the panels.

SARAH: "I don't believe it."

The second panel is a drawing of Sarah, looking out of her bedroom window as the energy bubble occurs in the distance. Kristen notices the drawing and looks stunned.

MOHINDER (NARRATES): "Whatever lies in store in our lives, that is meant for us to discover. Though some discoveries are safer than others."

Kristen and Sarah look up at E.S. and David, stunned.

DAVID: "So what do you think now?"

Sarah doesn't answer. She looks back at the comic and stares at the illustration of her.