Fight or Flight
Fight or Flight
New York—MATT, MOHINDER and MOLLY’s apartment
MOHINDER voiceovers while MOLLY burns up with fever. MATT mostly wrings his hands or looks helpless.
MATT: We should take her to a hospital.
MOHINDER: No, we can’t do that, because I say so. Go and find your father.
MATT: But he scares me!
MOHINDER: He scared MOLLY, too, but she faced him.
MATT: I know! ANGELA PETRELLI knows him! She’s not nearly as scary as he is!
MOHINDER: Are we talking about the same ANGELA PETRELLI?
MATT: (Not listening) Ok, I’ll be back soon! Don’t let MOLLY die!
New Orleans…the Burger Bonanza
MONICA: A guy came in, and I hit him, and he went away.
OFFICER LANDRY: And you’ll testify to that?
OFFICER LANDRY: (Is disappointed)
Ireland—Wandering Rocks Pub
PETER and CAITLIN are schmoopy.
WILL: Yeah, we fished a guy out of this container the other day.
ELLE: And where is he now?
WILL: In the Wandering Rocks, all alone apart from CAITLIN.
ELLE: Great, thanks!
WILL: Hang on, why do you want to know?
ELLE: I’m an amnesia fangirl.
New York—Police station
NATHAN: You can’t talk to my mother without me!
MATT: She didn’t tell me anything.
NATHAN: Yeah, cos I wasn’t there.
MATT: I’m going to talk to my father.
NATHAN: I’ll come with you.
MATT: Fine. Hey, maybe you can… (Makes Hiro’s ‘flying’ gesture)
NATHAN: Hell no!
RICKY and an UNIMPORTANT MAN come in. PETER and CAITLIN are making out.
RICKY: CAITLIN, this is still a working pub, yeah?
CAITLIN: When was the last time you saw a customer in here?
RICKY: Bugger off, I need to talk to PETER.
CAITLIN obediently buggers off.
UNIMPORTANT MAN: Some American chick’s been all over the docks looking for you.
UNIMPORTANT MAN leaves.
RICKY: I’ll help you out with that.
PETER: Two days ago you tried to kill me.
RICKY: And now you’re me boy! Go and make out with CAITLIN some more, and don’t tell her about this.
New Orleans—Burger Bonanza
CAMILLE: MONICA, what the hell?
MONICA: I just didn’t want him to come after me.
CAMILLE: No, I mean with the karate!
MONICA: I don’t know, I think my body is changing and I just seem to be able to…you know what? I’m going to get some sleep.
Philadelphia—Maury Parkman’s apartment
NATHAN: OK, time to face your fears and arrest him.
MATT attempts to knock on the door, but can’t quite bring himself to do it.
NATHAN: Come on, don’t think of him as your father. Think of him as the guy who terrorised my mother and tried to kill your not!daughter.
MATT breaks the door open.
MATT: OK, everyone shut up!
He handcuffs MAURY.
MATT: Now get out of MOLLY’s head, stop terrorising ANGELA, and tell me who killed KAITO?
MAURY: Who, why and what?
NATHAN picks up a photo from the desk…it’s MAURY, with the HELIX daubed over his face.
MATT: Let go of MOLLY.
MAURY: No, I can’t. I’m protecting myself.
MATT: From a twelve year old?
MAURY: Look, everyone in that photo used to work together to try and save the world, and…
MATT: Skip the history lesson, ‘Dad’!
NATHAN: Just read him and let’s go.
MATT tries, but the feedback nearly knocks him on his ass.
New Orleans—DAWSON house
MICAH plays the piano as MONICA arrives home.
MONICA: My mom used to play that.
MICAH: I could stop…
MONICA: Nah, it’s nice to hear.
She sits next to him.
MONICA: I miss my mom.
MICAH: Yeah, I miss mine, too.
MONICA: But your mom is still alive!
She starts playing along with MICAH, not looking at her hands.
MICAH: Oh, you play too?
MONICA: No, of course not. Why would you as….
She notices what she’s doing, freaks, and runs away.
New York—the three Ms apartment
MOHINDER dials his phone.
MR BENNET: (From phone) Yes?
MOHINDER: MOLLY’s getting worse, so I’m taking her to the Company.
MR BENNET: Don’t do that.
MOHINDER: I am.
He hangs up.
MAURY: I’m sorry I left you.
MATT: No, we’re not talking about that.
NATHAN: Tell us about the group.
MAURY: Well, we thought we could do good, but then some of them went bad. I can show you, I have all the stuff back here.
He heads for a back room. MATT follows him, ending up in a cell. NATHAN follows them both, ending up on the roof of the DEVEAUX building, post-explosion. Clearly something odd is going on.
Back in the real apartment, MAURY whistles calmly and leaves.
(All dialogue in Japanese)
ANDO and a MUSEUM CURATOR work on the scrolls left by HIRO to make them readable.
CURATOR: Where did you get these?
ANDO: I found them.
CURATOR: I will help you!
The CURATOR helps repair some of the damaged scrolls, and he and ANDO begin reading.
HIRO: (From 1671) Dear ANDO, how are you? I am fine. Here in 1671 everything is going fine. KENSEI is learning to be a warrior and he and YAEKO are falling in love. It’s great.
New Orleans—DAWSON home
MONICA studies some more tomato roses.
MONICA: Gah! With the sneaking up on people!
MICAH: Sorry. I just came to tell you I know you’re a freak. Like me!
MONICA: I am not!
MICAH: Sure you are. My parents were, and you are somehow related to me, so you are too. You can do anything you see.
MONICA looks down at the tomatoes.
New York—The Company
MOHINDER watches MOLLY breathe.
BOB: You need to go into the field now. Leave your daughter here. We’ll take care of her.
MOHINDER: I think I won’t, thanks.
BOB: That really wasn’t a request.
He hands MOHINDER a taser.
MOHINDER: I don’t use weapons.
BOB: Hmm? I couldn’t hear you over the sounds of your object lesson.
NIKI storms in, throws MOHINDER aside, and tries to strangle BOB. MOHINDER hits her with the taser.
MICAH and MONICA test out her power and have lots of fun.
PETER and CAITLIN step inside.
PETER: Oh look, you paint!
CAITLIN: Yes, I like to paint.
PETER: I’m going to open the box.
CAITLIN: Go for it.
He finds his passport and a plane ticket from New York to Montreal, along with a photo of him with NATHAN.
PETER: Seriously, where was I carrying this stuff? I was wearing trousers.
He looks at a blank canvas, blinks when he sees a picture on it, and starts painting. CAITLIN tries to stop him, but his eyes film over and he’s unmovable.
ELLE surprises RICKY by standing quite still in the middle of the pub, not hiding behind anything.
ELLE: I’m looking for that American who doesn’t know anything.
RICKY: George Bush isn’t here.
RICKY: Don’t know what you mean.
ELLE quietly melts the lock on the door, smiling.
New York—the Company
BOB checks NIKI’s eyes. She’s tied to her bed.
NIKI: I’m sorry about before, but I’m not evil now. Honest.
He wanders off and MOHINDER goes to untie NIKI.
NIKI: Don’t do that! They’re going to fix me.
MAURY’s apartment, Roof of the DEAVAUX building, and Wherever MATT’s cell is
NATHAN sees his burned self. MATT sees first JANICE and their CHILD, then a guard. Each of them beats up on their imaginary enemy for five minutes while the audience screams “You’re fighting each other!”
Turns out they’re fighting each other. They discuss this for another five minutes before wandering off to go save BOB.
(All dialogue in Japanese)
ANDO continues to read the scrolls.
HIRO: (V/o from 1671) We are preparing to attack White Beard, so the love story has to stop for a while. Tonight we lonely three attack and we…
ANDO: And we what? AND WE WHAT?!
CURATOR: The next scroll is not yet repaired!
ANDO flounces off.
New Orleans—DAWSON home
MONICA watches a martial arts movie, copying the moves. MICAH watches her.
MONICA: Why do we have these powers?
MICAH: We just do.
MONICA: If you’re not going to help me find some answers, go to bed.
He does. MONICA turns off the movie as someone knocks on the door.
MOHINDER: MONICA DAWSON? I have some answers for you.
Ireland—outside the Wandering Rocks
ELLE is on her cell.
ELLE: (To phone) No, no prob…well, no, I mean I had to ki…I could sti…can I please fin…I’m coming home, geez!
PETER finishes painting. The picture shows him standing with CAITLIN outside some building, somewhere.
CAITLIN: If you’re going to randomly manifest abilities, could you manifest useful ones?
CAITLIN’s phone rings. CAITLIN immediately breaks down.
CAITLIN and PETER burst in. TUKO is kneeling over RICKY’s very, very dead body.
PETER: OMGthis is all my fault! Somehow. I will make this right.
CAITLIN: This scene is NOT ABOUT YOU!
She proceeds to cry a lot.
To be continued…