Mr. Bennet / HRG
The painting behind Linderman, while talking to Nathan, is Anatomy Lesson of Dr. Nicolaes Tulp by the Dutch Golden Age painter Rembrandt Harmenszoon van Rijn.
In the 'real' world, this painting is housed in the Mauritshuis museum in The Hague, the Netherlands.
At the beginning, Isaac is painting without his eyes turned white.
When Peter and Sylar are in the apartment and Peter turns invisible, Mohinder is lying on the ground. Sylar raises shards of glass and looks around the room for a significant amount of time that Peter would be able to see what he was doing. Mohinder did not end up with any glass in him, so why didn't Peter lie down on the ground too? Or get some other protection. He can fly too, so why not hide against the ceiling?
As stated, Sylar has super-hearing powers. Even if Peter didn't know that, he probably didn't want to make too much noise... it would be easy for Sylar to find him then ;)
Why did Matt fight so hard to break that pipe off? The coupling directly above his hands is a type intended to be fairly easily unscrewed to separate pipes. Also, the coupling is already mostly loose. All Matt had to do was twist it slightly with his finger and the pipes would have been separated. At most he might have needed to break the bottom of the pipe off, which would have been much easier as there would have been play in the pipe to give him leverage.
note: No one ever said he was a plumber. He possibly just didn't know.
When Sylar and Peter fight in the apartment, Peter renders himself invisible to give himself the advantage over Sylar. Peter is facing Sylar as he disappears. Sylar then uses his mind to shoot a barrage of shards of glass around to find where Peter is. When one of the pieces of glass hits Peter, Peter reappears, only this time he is facing away from Sylar.
It's not weird at all. Since he's invisible, he can walk all over the apartment without being seen. We can also assume that Sylar shot the barrage of glass in Peter's direction on purpose, since he has super-hearing ability now.
Previous episode finishes with Sylar cutting Peter's head and his fringe falling to the ground. In this episode Peter keeps all his hair on its place.
Actually Sylar does take part of Peter's fringe whilst he's cutting his head open, it's just seen from a different angle than the one at the end of the previous episode.
The Cafe Mr. Bennet, Matt and Ted are at is the Burnt Toast Cafe which is the same one where Hiro and Ando met Charlie in Chapter 8: Seven Minutes to Midnight. The older waitress in this episode was previously seen serving Ando.
When Sylar is stepping over Isaac, the paintbrushes that he forced into his feet are gone in that camera angle view.
Linderman: This isn't just a collection of art. This is a road map. These artists envisioned a brighter future: peace, prosperity...
(Claire is losing her patience with Angela Petrelli)
Claire: (to Angela) I haven't seen Peter or met my father yet.
Angela: Neither of them is in a position to be anything to you right now. Be sensible.
Claire: By shipping me off to Paris?
Angela: For now, yes. I'll be taking you there myself. You'll have a chance to grow up and develop into someone who can make her own choices, and then if you choose to come back and join this madness like I once did...at least I will have given you the option.
Claire: So you're like me?
Angela: I regret a lot of the choices I've made in my life. You're getting the benefit of my experience.
Claire: (snappily) Whether I want it or not.
Angela: You get that mouth from me.
Nathan: That's your idea of a brighter future? (points at painting of nuclear explosion)
Linderman: What if I was to tell you that it was?
Nathan: I'd say you were a lousy humanitarian.
Linderman: I said people needed hope. But they trust fear.
Nathan: This is crazy.
Linderman: This tragedy will be a catalyst for good, for change. Out of the ashes humanity will find a common goal, a united sense of hope – couched in a united sense of fear.
Angela: I cared about you a great deal. Perhaps not in the traditional sense, oatmeal cookies and school plays, but I did what I could. My husband and I made arrangements for you.
Angela: Then that fire happened and Nathan just assumed you were gone, so…
Claire: So you let him.
Angela: It was the right thing to do. You needed to be protected.
Claire: Trust me, I don't need protecting.
Angela: Because you can grow back your bones and spit out bullets? You have no idea, Claire. The life your abilities would bring you? You deserve better.
D.L.: Everywhere you go, people die. Cash, cars, hurting people for the fun of it….Hell, you didn't turn into Jessica, you turned into your old man.
Jessica: Don't you dare…
D.L.: I'll die before I let you do to Micah what he did to you.
Goon: Miss Anderson. Mr. Linderman has asked to see you right away.
D.L.: If this is the life you want, you need to get Micah out of it. You can say goodbye tonight.
Sylar: I'm not finished with him yet.
Sylar: Interesting, can't wait to try that one.
Linderman: There's six and a half billion people on this planet; that's less than .07%. Come on, that's an acceptable loss by anyone's account.
(Claire walks into the room while Nathan and Angela mourn Peter)
Nathan: (voice breaking) Claire?
Claire: I know you don't want me here. I just want to see him. I came all this way.
Angela: Let the girl have her moment.
(Nathan and Angela leave the room)
Matt: (to Ted) You always talk about how you want to die, yet you fight like hell to stay alive. Some part of you wants to live, and for that, we need Bennet!
(Mr. Linderman and Micah meet for the first time)
Linderman: It's a great pleasure to meet you, Micah. (he shakes Micah's hand)
Micah: Thank you.
Linderman: How would you like to save the world today?
(Micah looks at "Jessica," who smiles at him)
Claire: (to Peter's seemingly lifeless body) I didn't even get to know you... You're the only one who ever made me feel safe. I thought you were like me.
(Claire strokes Peter's head, eventually pulling the glass shard out of the back of his head; Peter coughs loudly)
Linderman: That's alright, gentlemen. I want to greet this young man, myself. It's a great pleasure to meet you, Micah.
Micah: Thank you.
Linderman: How would you like to save the world today?
Issac: You can't fight the future.
Nathan: (looking at a painting of Hiro) I know this man.
Mr. Linderman: Oh great, if you see him tell him I want my sword back.
Nathan: He said he needed it to save the world. A lot of people seem to be saying that these days.
Peter: Maybe if Claire is here, I don't blow up. Maybe she's here to save us.
Future Hiro: You.
Mrs. Petrelli: (To Claire) You get that mouth from me.
Hiro: Oh no...it's the future.
Ando: What happened?
Hiro: The bomb. We didn't stop it. I failed. So many people must have died.
Ando: Hiro. You have your sword now. You have your power. You can teleport us back...so we can fix this. And get us out of here. I don't like the future.
Hiro: No. If this happened then we must have done something wrong. We must find out what mistakes we made. Then we can go back and stop it. Mr. Isaac. He will know what to do.
Ando: You said Mr. Isaac was dead when the bomb went off. Because of the brain man.
Hiro: You're forgetting. In the past, the brain man got caught, remember? Mr. Isaac could still be alive. Come on!
Ando: I'm confused.
Isaac: I finally get to be a hero.
Peter: You saved my life.
Claire: Guess we're even now.
Linderman: People think I collect art. What I really collect are lives fixed in paint. A perfect moment capturing an entire existence, made immortal. A monster's fight to survive...and live to kill again. A mother willing to fracture her own soul to protect her child. Youth's struggle for innocence, despite life's cruelty. The double-edged lies needed to sustain a double-edged life. A wandering hero's pure joy at success. And his darkest hour, when all the world seems lost. All perfect moments frozen in time. Alone, each tells a single story. Together, they can tell the future.
(Nathan is uncovering a painting of him, Claire knocks on door)
Claire: Your mom said you wanted to talk to me?
Nathan: I did, I do. Come in. Please.
This should've happened a long time ago, under better circumstances. It shouldn't take someone nearly dying for the two of us to finally meet.
Claire: You know, you don't have to this. Pretend to be nice to me.
Nathan: I'm not pretending. Claire, most people think the worst of me and I've probably given them a good reason to, but I want to do better. I want to be there for you. (pauses) But I can't. Not now.
Claire: Of course.
Nathan: I'm sorry, but there are things happening now that I don't expect you to understand. I barely understand them myself. I went into politics for the chance to do something good, to have a chance to help. To be a part of something big. And in order to do that, I have to-
Claire: The election. Can't have some illegitimate daughter popping up in front of the cameras.
Nathan: I need to win.
Claire: You need me to leave. Paris with my grandmother.
Nathan: She warms up.Sort of. It's just one week.
Claire: And then what?
Nathan: And then you come home to your family. Okay? (Claire and Nathan hug)
Sylar: You really can paint the future. Just like the professor said. Fantastic.
Isaac: You're late.
Sylar: I guess you know why I'm here.
Isaac: You're the one who's going to kill me.
Sylar: That's true. (Isaac looks calmly at him) This is usually the part when people start screaming.
Isaac: I tried fighting the future, it's too big for me. Maybe you can do better.
(Ted, Mr. Bennet, and Matt have escaped)
Mr. Bennet:(in the Burnt Toast Diner) I recommend the cherry pie.
Matt: Shouldn't we keep a low profile?
Mr. Bennet: They won't come after us in a public place. They wouldn't risk it.
Ted: How can you be so sure?
(Mr. Bennet looks at him expectantly)
Matt: Point taken.
Mr. Bennet: Eat up. It's a long road ahead.
Ted: Forget it, I'm getting the hell out of here.
Mr. Bennet: They will find you. As long as they have that tracking device, you'll never be safe.
Matt: Neither will Claire.
Mr. Bennet: Look. This is well protected, but we can get to it. Destory it. No more bagging and tagging, no more looking over your shoulder, we can end it all.
Ted: Where is this tracking system?
Mr. Bennet: New York City. We're leaving on the next bus.
Matt: Is this where Linderman is?
Mr. Bennet: Where did you get that name?
Matt: From your boss, Thompson. He was thinking about sending us to see this Linderman guy, I figured that must be who you're working for. Wait a minute. You didn't know that? You're trying to take down your organization, you don't even know who signs your checks?
Oh my god, you're middle managment!
Ted: So what's that supposed to mean?
Matt: What it means it, he's a shlub.
Mr. Bennet: Linderman isn't in New York, he's in Las Vegas.
Matt: So this is really Linderman Linderman, the mobster who owns all the casinos? What does he have to do with all this?
Mr. Bennet: Apparently more than I knew.
Matt: I say we go to Vegas, we take the fight to Linderman-
Mr. Bennet: NO. We stick with the plan. We take out the tracking system, then whoever's left standing can go after Linderman.
Ted: New York. I've always wanted to go-
Lynette: You boys ready to order?
(Peter is holding the piece of glass Claire pulled out of his head)
Peter: What do you do with something that killed you?
Nathan: You could put it underneath your pillow. (pauses) I don't know what I would've done.
Peter: Don't think about it. I didn't die.
Nathan: Yeah, but if you had... I don't know who I am without you.
Peter: Of course you do. You're Nathan Petrelli. Top of his class, valedictorian, most likely to... you're that guy with me or without me.
Nathan: Who says I'm not all that because of you? Most of what we are is what people expect us to be, and if you take them away, nothing means anything.
Peter: It's a good thing I can't die, then.
Peter: Oh, I got that from Claire. She can regenerate.
Nathan: No matter what happens?
Peter: I think so.
Nathan: What about the painting? If you explode, I mean if that happens, you could survive it?
Peter: Doesn't really matter, does it? I mean, if I go nuclear, if I blow up New York, you know how many people are gonna die?
Peter: Talk to her, Nathan. She wants to know her father.
Nathan: I can't deal with that right now.
Peter: She's not just some girl, she's your daughter. You know that Mom wants to send her to Paris? You can't let her go. Don't you get it? Claire's the girl I saved in Texas, save the cheerleader-
Nathan: Save the world, I get it.
Peter: And she turns out to be your daughter. YOUR daughter. Look around. Everything I said is happening is happening now. And maybe if Claire's here, I don't blow up. Maybe she's here to save us. Talk to her, Nathan. We need her.
(Angela Petrelli walks in)
Peter: About what just happened, Nathan and I need to talk to you.
Angela: It's okay, I know. I knew before either of you did.
Matt: (To Ted) You're always talking about how you wanna die. Yet you fight like hell to stay alive.
Linderman: The request was a courtesy, dear.
Jessica: Send anyone you want. You're not touching my son.
Linderman: We all have our roles to play in the events to come.
Nathan: What could you possibly know about healing?
Linderman: (Touches dying plant, then waves hand in front of it slowly as the plant heals) A few things.
There were no new appearances of the symbol in this episode.
There were no new heroes introduced in this episode.
International Air Dates:
Germany: February 13, 2008 on RTL2
Czech Republic: May 8, 2008 on Prima
Slovakia: September 1, 2008 on Markiza
Music Featured In This Episode:
"Heroes" by David Bowie
The special effect connected to Candice's power changes in this episode. Originally, she would blur out, disappear, and reappear as another person. Now the special effect is just a straightforward morphing effect. (The effect was even changed in the beginning recap when Candice transforms from Mrs. Bennet.)
Ted Sprague: Ted can now generate EMPs by burning "bright" instead of hot.
Sylar: Sylar can now paint the future.
This is the second episode where someone other than Mohinder does the intro narration. In this episode, the intro is narrated in first person by Mr. Linderman.
During a scene between Mr. Bennet, Matt and Ted in a diner towards the end of the episode, Mr. Bennet comments that they (the diner) do "fine cherry pie". This is a quite could be a reference to the famous diner of "Twin Peaks" (1990), who also specialized in "damn fine cherry pie".
When Isaac is impaled on the floor of his apartment, he is in the famous Vitruvian Man position as drawn by Leonardo da Vinci. Da Vinci's drawing, like Heroes, is an exploration of the human being.
Thompson: I just got through with this Graham Greene I was reading.
Henry Graham Greene was an English novelist, playwright, and short story writer who lived from 1904 to 1991. He is known for clear, realistic plots that explore the internal dilemmas of his characters as they face the moral and political issues of the modern world.
Current Episode Title: ".07%"
The name of the episode, ".07%" is with reference to the percentage of the world population that will die if New York City blows up. In this scenario that would be about 4.550.000 people.
Issac: Promise you won't post any spoilers?
A small nod to the mass-spreading of spoilers for Heroes on the internet, television, radio, magazines and newspapers.
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