119: .07%

Transcription by Intrepid (intrepidly002@yahoo.com)

FADE IN:

[TITLE CARD: HEROES]

MOHINDER: (v.o.) Previously on "Heroes" ...



[INT. (NEW YORK) ISAAC’S STUDIO]

(We move about the studio and pass a couple of paintings – one of Niki/Jessica looking over her shoulder, another of Peter flying.)

LINDERMAN: (v.o.) People think I collect art. What I really collect are lives fixed in paint.

(We pull back and pass the table with drug paraphernalia on it – a syringe, a bent spoon and a lighter.)

(Isaac is in his studio painting.)

LINDERMAN: (v.o.) A perfect moment capturing an entire existence, made immortal.

(He’s painted himself dead on the floor in a pool of blood with his head cut open.)

(A far view of Isaac shows him standing in front of a half dozen paintings all of his death, of him dead or of him suffering.)



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

(Mohinder talks with Sylar.)

MOHINDER: What you've done is not evolution, it's murder. What I am doing ...

(Mohinder raises the gun and points it at Sylar.)

MOHINDER: ... is revenge.

(Sylar closes his eyes.)

(Mohinder shoots.)

DISSOLVE TO:



[CU: PAINTING]

(Isaac’s painting of a man in a baseball cap standing in the doorway.)

LINDERMAN: (v.o.) A monster's fight to survive ...

CUT BACK TO:



[INT. MOHINDER’S APARTMENT]

(Sylar stops the bullet mid-air. The bullet clatters to the floor.)

(Mohinder puts the smoking gun down.)

(The binds around Sylar’s wrists snap off.)

LINDERMAN: (v.o.) -- and live to kill again.

(Sylar stands up. Mohinder swallows. Sylar walks toward Mohinder.)



[CU: PAINTING]

(A split-screen painting of Niki on the left and Jessica on the right.)

LINDERMAN: (v.o.) A mother willing to fracture her own soul to protect her child.



[INT. (LAS VEGAS) SANDERS RESIDENCE]

(DL talks with Jessica.)

DL: Don't lie to me anymore. You told me she was gone. Now which one of you is in control? Niki? Jessica?

NIKI/JESSICA: I'm not so sure.



[CU: PAINTING]

(Claire is on the steps of the amphitheatre, a large shadow looms over her.)

LINDERMAN: (v.o.) Youth struggle for innocence, despite life's cruelty.

(CU of Claire.)



[INT. (NEW YORK) PETRELLI RESIDENCE]

(Claire meets Angela. The Haitian stands in the background.)

CLAIRE: Who are you?

ANGELA PETRELLI: I'm your grandmother.

FADE OUT:



[CU: PAINTING]

(An over-the-shoulder view of Mr. Bennet.)

LINDERMAN: (v.o.) The double-edged lies needed to sustain a double-edged life.

(OPPOSITE VIEW of the same painting.)



[INT. (ODESSA) HOTEL BATHROOM]

(Mr. Bennet is surprised as he overhears "Sandra’s" phone conversation.)

"SANDRA": (to phone) He is going to be a problem. Why don't we do it right now?

(CUT TO: Thompson and several men are standing behind "Sandra". "Sandra" and the room warms back into CANDICE WILLMER.)

(She closes the cell phone.)

CANDICE WILLMER: Sorry.



[INT. PRIMATECH PAPER CO. – OBSERVATION ROOM]

(Thompson leans toward Matt, who is seated in front of him. Candice sits next to Thompson.)

THOMPSON: What do we think?

MATT: (sighs) He's telling the truth. He doesn't know where Claire is.

(In front of him, he looks at Mr. Bennet through the observation window.)

CUT TO:



[CU: PAINTING]

(Hiro and Ando stand under the bloodied HOMECOMING banner.)

LINDERMAN: (v.o.) A wandering hero's pure joy at success.



[INT. (LAS VEGAS) HOTEL & CASINO – LINDERMAN’S MUSEUM]

(Hiro holds the sword up.)

HIRO: (shouts) Yatta!

(BANG! The guards outside the door try to get it open. The heavy curator’s desk is in front of the doors. Hiro hurries down the stepladder.)

(The doors are almost open.)

(With his hands on Ando’s shoulders, Hiro and Ando both vanish.)



[EXT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP – FUTURE]

(Hiro looks around at the devastation.)

LINDERMAN: (v.o.) And his darkest hour, when all the world seems lost.

(Hiro walks to the edge of the roof.)



[CU: PAINTING]

(Two paintings – the floor mural of the explosion in New York City and the first painting of the burning bus and car from a suicide bomb in Israel.)

OVERLAYS OF VARIOUS OTHER PAINTINGS

LINDERMAN: (v.o.) All perfect moments frozen in time. Alone, each tells a single story.

(The painting of a burning man.)

(The painting of Isaac with his head cut open and face frozen in pain and fear.)

LINDERMAN: (v.o.) Together they can tell the future.

FADE TO
END OF PREVIOUSLY ON



[EPISODE TITLE]
CHAPTER NINETEEN
".07%"



[INT. (ODESSA) PRIMATECH PAPER CO. – BENNET’S CELL]

(TOP VIEW DOWN. Mr. Bennet sits on the cell bed, his back up against the wall. His jacket is off and at his side on the bed.)

CAPTION:
PRIMATECH PAPER COMPANY
ODESSA, TEXAS

(The cell door opens and "Claire" runs in. She’s wearing her cheerleader uniform. Mr. Bennet sits up.)

"CLAIRE": I am so sorry.

MR. BENNET: Claire?

(She puts her hands on his shoulders.)

"CLAIRE": It's all my fault. I tried to do what you said, but they caught me, and now –

(She hugs him.)

"CLAIRE": I'm so scared.

(Mr. Bennet stops. He pulls her away from him and looks at her.)

"CLAIRE": What is it?

MR. BENNET: You. You're not--

"CLAIRE": Not what?

MR. BENNET: Not you.

("Claire" smiles at him. She warps and changes back into Candice. Mr. Bennet stares at her. Thompson appears in the doorway.)

THOMPSON: Why don't you leave us alone, Candice?

CANDICE: Are you sure? (She strokes the side of Mr. Bennet’s face.) I can show him things that would make him tear his eyes out.

(Thompson steps into the room.)

THOMPSON: You've got more important matters to take care of.

(Candice leaves. Mr. Bennet sits back up against the wall.)

THOMPSON: Things okay in here?

(Thompson closes the door.)

THOMPSON: Do you need anything? I just got through with this Graham Greene I was reading. I'll bring it.

MR. BENNET: How was it?

THOMPSON: Ended bad.

MR. BENNET: I don't know where Claire is. None of these games can make me tell you what I don't know.

THOMPSON: I'm going easy on you. The only reason we haven't ... taken it up a notch, is ... because of friendship.

(Mr. Bennet grins.)

MR. BENNET: Friendship?

THOMPSON: I brought you in, vouched for you ... and how do you repay my kindness? Attempting to destroy the company?

MR. BENNET: You asked me to betray my daughter.

THOMPSON: You got too close. And then you got sloppy.

MR. BENNET: I saw what your girl Candice can do. Maybe you're the one who got sloppy. Maybe I'm exactly where I want to be.

THOMPSON: You're on death row.

MR. BENNET: If you were gonna kill me, you would have done it by now.

THOMPSON: I'm just waiting for the order. That's how we do it here. We follow orders.

(Thompson heads for the door.)

THOMPSON: I'll see about getting you that book.

(Thompson leaves the room. The door slams shut behind him.)

CUT TO:



[INT. (LAS VEGAS) CORINTHIAN HOTEL – LINDERMAN’S MUSEUM – DAY]

(Nathan looks at the various paintings on the walls in Linderman’s museum as he walks through it with Linderman.)

CAPTION:
CORINTHIAN HOTEL
LAS VEGAS

NATHAN: Japanese feudalism. Renaissance, Baroque, Mayan, Persian. 20th Century. You must bring all your first dates here, huh?

(Linderman chuckles.)

NATHAN: What do you do with all this?

LINDERMAN: I protect it. I shield it from a greedy and dangerous world.

NATHAN: (nods) You push the cultured façade long enough, people forget you're a criminal.

LINDERMAN: When my day of judgment comes, Nathan, I'll be remembered as a humanitarian. I care about the world. I just want to save it. To heal it. And to do that, I need you.

NATHAN: What could you possibly know about healing?

(Linderman turns and looks at a dead plant on the table behind him. He rubs the plant’s leaf and closes his eyes.)

(As Nathan watches, Linderman waves his hand in front of the dead plant and the plant slowly perks up.)

LINDERMAN: (softly) A few things.

(The plant continues to revive, the dead flowers regain their color and former beauty.)

FADE TO:



[TITLE CARD: HEROES]

FADE OUT.
END OF TEASER

(COMMERCIAL SET)



FADE IN:

[INT. (ODESSA) PRIMATECH PAPER CO. – MATT’S CELL]

(Matt Parkman is lying on a blanket on the floor. A food tray is in front of him. It consists of a sandwich, some carrot and celery sticks. A large cockroach is on the celery.)

MR. BENNET: (v.o., thoughts) Parkman.

(Matt twitches.)

MR. BENNET: (v.o., echoy thoughts) Parkman, wake up.

(Matt wakes up and looks around.)

MR. BENNET: (v.o., echoy thoughts) They're just waiting ...

MATT: You gotta be kidding me.

MR. BENNET: (v.o., thoughts) They're coming for you.

INTERCUT WITH:

[INT. BENNET’S CELL]

(Mr. Bennet sits on the bed, his back to the wall.)

MR. BENNET: (v.o., thoughts) They're just waiting for the order.

(Matt gets to his feet and looks around. He looks out the glass window.)

MR. BENNET: (v.o., thoughts) And then you're never coming back—not to your wife, or anyone else you care about. They'll never see you again.

(Matt steps back to the center of the room and looks up at the ceiling.)

MR. BENNET: (v.o., thoughts) We don't have much time. If you can hear me, and if you can trust me, bang on the pipe.

(Matt grabs the metal food tray, listens around the area, then bangs on the pipes in the room.)

MR. BENNET: (v.o., thoughts) Good man. If you follow everything I say, you might not die. You may want to argue, but luckily this is a one-way conversation. Can I count on you?

MATT: I hate him.

MR. BENNET: (v.o., thoughts) (firmly) Yes or no?

(Matt bangs on the pipes.)

(Mr. Bennet looks down at his hands.)

CUT TO:



[CU: PAINTING]

(A comic-drawn Hiro rescues the Japanese girl with the red ribbon in her hair from an on-coming truck.)

(Nathan is looking at the painting.)

NATHAN: I know this man.

LINDERMAN: Well, 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.

LINDERMAN: (chuckles) Well ... we all have our roles to play in the events to come.

(Linderman turns and walks. Nathan turns and follows him.)

LINDERMAN: You know, this isn't just a collection of art. This ... is a road map. These artists envisioned a brighter future. Peace, prosperity.

NATHAN: That's your idea of a brighter future?

(Nathan walks over to Isaac’s painting of the explosion in New York City.)

(Linderman whispers in Nathan’s ear.)

LINDERMAN: What if I was to tell you that it was?

NATHAN: I'd say you were a lousy humanitarian.

LINDERMAN: I was a lot younger than you when I discovered my power. And there were others too, like me, who discovered theirs. We were all confused. And we found each other. Together, we tried to make a difference to the world. And for a while, we did. It was beautiful. And then, some of my ... friends ... they lost their way. They used their powers for personal gain. And all the good that we'd done was -- well, it amounted to nothing. And I learned that healing one person at a time was just not enough. We needed something -- something to pull it down on course. Something big.

NATHAN: And that's what you think this is?

LINDERMAN: People need hope, Nathan.

NATHAN: An explosion of that magnitude would destroy half the population of New York City like that.

(He snaps his fingers.)

LINDERMAN: There's six and a half billion people on the planet. That's less than point-07-percent. Come on, that's an acceptable loss by anyone's count.

NATHAN: By anybody's count?

LINDERMAN: Look, 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. And it is your destiny, Nathan, to be the leader who uses this event to rally a city, a nation, a world. Now you look deep into your heart. You'll know I'm right.

NATHAN: Look, I don't mean to toss a wet blanket, but if you haven't noticed, I'm down in the polls. I'm not gonna get elected to Congress, let alone the White House.

(Linderman pulls out another painting -- this one of a man who looks like Nathan standing in what looks like the White House Oval Office.)

LINDERMAN: Do you think I'd leave that to chance?

(Nathan stares at the painting.)

NATHAN: If you know all this, then you also know that the exploding man is my brother Peter.

(We linger on a sketch of the exploding man.)

LINDERMAN: As I said, we all have our role to play. Peter's curtain call will come the day after you're elected.

NATHAN: You're insane. You know that?

(Nathan turns and heads out. We linger on Linderman.)

CUT TO:



[INT. (ODESSA) PRIMATECH PAPER COMPANY – BENNET’SCELL / MATT’S CELL]

(Mr. Bennet sits on the bed.)

MR. BENNET: (v.o., thoughts) Now, all that banging has alerted the guards.

MATT: What?! You told me to signal you.

MR. BENNET: (v.o., thoughts) Don't worry, it's a good thing. Now look for the rusted pipe.

MATT: Pipes.

MR. BENNET: (v.o., thoughts) It should be the one closest to the window.

(Matt looks around and finds the pipes.)

MR. BENNET: (v.o., thoughts) A couple of hits will loosen it. Hurry up -- a guard will be there. You've got three minutes.

(Matt hits the rusty pipe with the metal food tray. He makes a lot of noise. Mr. Bennet listens to the pounding from his cell.)

(Matt tosses the metal tray aside and works on loosening the pipes with his hands. He grunts and pulls at the pipe.)

MATT: Come on!

(He looks nervously over his shoulder at the door, then goes back to work on the pipe.)

MR. BENNET: (v.o., thoughts) By now you should have removed the pipe. The guard will be coming through the door any second now. Signal when you've knocked him out.

MATT: (mutters) Yeah, I'm working on it, I'm working on it. Come on, come on -- unh!

(Finally, the pipe comes loose. Matt laughs. He pulls the pipe out and runs to the door.) )

(The door opens.)

(Mr. Bennet waits quietly in his cell.)

CLANG!

(Mr. Bennet smiles.)

(Matt stands over the body.)

MR. BENNET: (v.o., thoughts) Grab his pass, and head into the hall.

(Matt tosses the pipe aside and grabs the guard’s pass.)

(Mr. Bennet waits.)

CUT TO:



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

(Peter knocks on the door and pushes it open. It’s completely dark inside the apartment.)

PETER: (o.s.) Suresh?

(The IV stand and a chair are on the floor. Peter steps into the dark apartment.)

PETER: Suresh?

CAPTION:
SURESH’S APARTMENT
BROOKLYN

(He looks around.)

PETER: It's Peter Petrelli.

(There’s no answer. He looks around.)

PETER: Mohinder?

(He continues looking around the apartment and walks near the wall map. Something hits him on his head and he scratches his head absently.)

(He looks at his fingers and more blood drops on his face, hitting him over his eye. He rubs it away with the back of his hand and looks up.)

(Mohinder is bleeding and pinned to the ceiling.)

MOHINDER: (whispers) Sylar.

(Peter looks around. He turns around and comes face to face with Sylar.

SYLAR: I remember you.

(He telekinetically pushes Peter up against the wall, pinning him there. He grabs Peter’s chin and looks at him.)

SYLAR: You're like me, aren't you?

(Peter breathes rapidly. Sylar turns Peter’s head this way and that as he looks him over.)

SYLAR: I'd like to see how that works.

(He brings up his finger and starts slicing Peter’s forehead.)

(Peter screams. Blood drips down into his eyes. Blood drips to the floor.)

(Sylar continues to slice open Peter’s forehead. Right before his eyes, Peter’s wound starts to heal. He’s surprised.)

(Peter stops screaming. He stares at Sylar. Sylar stops cutting Peter and stares back, suddenly aware that this one is different.)

(Using telekinesis, Peter pushes Sylar away from him.)

PETER: Unh!

(Sylar is flung backwards. He smashes into the bookshelf at the other end of the room. He falls to the floor and the bookshelf falls onto of him. He’s momentarily knocked out.)

(Mohinder falls from the ceiling and hits the floor with a thud.)

(Peter is also released from his position up against the wall. He lands crouched on his feet.)

(Sylar’s eyes open. Mohinder raises his head and looks at Peter.)

(Peter turns his attention to Sylar, who is standing at the other end of the room. Peter gets to his feet.)

SYLAR: No, no. (re: Mohinder) I'm not done with him yet.

(Sylar starts for Peter. Peter vanishes. Sylar looks around and doesn’t see him.)

SYLAR: Interesting. I can't wait to try that one.

(Sylar raises his hand slowly. Mohinder watches in horror as the broken pieces of glass on the floor rise with Sylar’s hand. Sylar pauses as he listens for or tries to sense Peter’s location in the room. The pieces of glass glisten as it hovers in the air in front of him.)

(With a flick of his fingers, Sylar pushes the glass away from him, shooting them outward like knives through the air.)

(Mohinder ducks.)

(Peter grunts and we hear the sound of flesh.)

(A single shard hangs motionless in the air. Then --

-- it turns red with Peter’s blood. As Sylar watches, Peter dematerializes, the piece of glass embedded in the back of his head. He falls to the floor with a thud.)

(Sylar watches him and smiles. He makes his way over to Peter, so engrossed and fascinated by Peter that he doesn’t notice the rumbling sounds getting louder and louder. He looks up --

SMASH!

(Mohinder rams the map board with all his might into Sylar, pushing him up against the wall and knocking him out. Sylar falls on the map board.)

(Mohinder gets up and crawls over to Peter.)

MOHINDER: My God. Peter?

(But it’s too late. Peter’s dead.)

MOHINDER: Peter.

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. PETRELLI RESIDENCE -- DAY]

(Claire is looking at some framed photos out on the table, while Angela comments from the back of the room.)

ANGELA PETRELLI: My two boys actually getting along. Nathan's wedding.

(The photo is of Nathan and Peter in tuxedos.)

CAPTION:
CLAIRE BENNET & ANGELA PETRELLI
MANHATTAN

ANGELA PETRELLI: He has two boys of his own now. And that handsome man is Peter. But you've already met him now, haven't you?

CLAIRE: He saved my life. He forgot to mention that we were related.

ANGELA PETRELLI: Oh, he didn't know. He didn't even know you existed.

(Claire turns around.)

CLAIRE: But you did?

ANGELA PETRELLI: Since you were a baby. Nathan's folly in Texas.

CLAIRE: And you kept me a secret?

ANGELA PETRELLI: 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.

CLAIRE: Arrangements?

ANGELA PETRELLI: Then that fire happened, and Nathan just assumed you were gone, so --

CLAIRE: So you let him.

ANGELA PETRELLI: It was the right thing to do. You needed to be protected.

CLAIRE: Trust me, I don't need protecting.

ANGELA PETRELLI: Because you can grow back your bones and spit up bullets. You have no idea, Claire. The life your abilities would bring you ... you deserve better. And that's why you have to go. Get you away, like we planned.

(Angela sits down. Claire faces her.)

CLAIRE: I haven't seen Peter, or met my father yet.

ANGELA PETRELLI: Neither of them is in a position to be anything to you right now. Be sensible.

CLAIRE: By shipping me off to Paris?

ANGELA PETRELLI: 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 stands up and straightens her skirt. She clasps her hands together in front of her.)

ANGELA PETRELLI: I regret a lot of the choices I've made in my life. You're getting the benefit of my experience.

CLAIRE: Whether I want it or not.

(Angela smiles at her.)

ANGELA PETRELLI: You get that mouth from me.

(She turns and walks away. We hold on Claire.)

CUT TO:



[INT. MOHINDER’S APARTMENT]

(Sylar coughs as he wakes up. He turns around and sees the laptop in pieces.)

SYLAR: The list--no!

(Sylar picks up a piece of wood and hits the laptop over and over and over again.)

SYLAR: (screams) Nooooo!

(He throws the stick aside and sees something. He crawls over and picks up a crumpled corner of the 9th Wonders comic book that has Isaac Mendez’s name, address and photo.)

ISAAC: (v.o.) (PRE-LAP) My editor needs these pages right away, so I called my best messenger.

CUT TO:



[INT. (NEW YORK) ISAAC’S STUDIO]

(Isaac puts a page in an envelope. The topmost panel shows Hiro wielding his sword.)

COURIER FANBOY: Oh, man! The new 9th Wonders. I've been dying to find out what happens to Hiro.

CAPTION:
ISAAC MENDEZ
MANHATTAN

(Isaac smiles as he picks up another sheet to put in the envelope. The topmost panel shows Mohinder’s hand holding a syringe and stabbing the back of Sylar’s neck.)

ISAAC: The latest, and the last.

COURIER FANBOY: Last?

ISAAC: Looks that way.

COURIER FANBOY: Why, what do you mean?

ISAAC: Never mind.

COURIER FANBOY: So what happens to Hiro in this one?

ISAAC: You promise you won't post any spoilers?

(The courier smiles and gives a weak nod. Isaac pulls out the cover showing Hiro in New York with the caption: Hiro in the Future.)

COURIER FANBOY: The future? How do you come up with this stuff?!

ISAAC: It's a gift. Speaking of which --

(Isaac picks up his sketchbook and gives it to the courier.)

COURIER FANBOY: Your sketchbook? Are you serious?

ISAAC: Hold on to it. It might be worth something someday.

COURIER FANBOY: Thank you.

(The courier takes the things and runs out of the studio. The door slams behind him.)

(Isaac looks at one of the paintings – of him on the floor in a pool of blood with his head cut open.)

(Another painting shows a gun on the floor near his dead body.)

(A third painting shows Isaac’s face frozen in a silent scream and the top of his head missing.)

CUT TO:



[EXT. (LAS VEGAS) SANDERS RESIDENCE – FRONT DRIVE – DAY]

CAPTION:
JESSICA SANDERS & DL HAWKINS
LAS VEGAS

(DL closes the car door. Jessica hugs the front porch post.)

DL: Working for a gangster like Linderman, pulling triggers for him.

JESSICA: Everything I've done, I've done for Micah.

DL: You keep telling yourself that.

(DL picks up the last bag and heads back to the back of the car. Jessica follows him.)

JESSICA: Hey, if it wasn't for me, Niki would still be in prison, Micah wouldn't have a mother, and you'd be all alone.

(DL angrily throws the bag in the back of the car.)

JESSICA: I don't remember you complaining.

DL: Niki, Jessica, whoever the hell you are, I'm done. I'm taking Micah, and you're never--

JESSICA: (interrupts) Careful how you finish that sentence.

DL: He's not safe as long as Linderman owns our lives. Not as long as you're around. Look at what you brought into our house.

JESSICA: What, money? Rent? Poor me. Nobody wants to hire a black ex-con.

DL: Everywhere you go, people die. Cash, cars, hurting people for the fun of it. Hell, you didn't turn into Jessica.

(A black car pulls up along the street and stops. A couple of Linderman’s men get out of the car.)

DL: You turned into your old man.

JESSICA: (whispers) Don't you dare.

DL: I'll die before I'll let you do to Micah what he did to you.

(Linderman’s man comes up the driveway.)

LINDERMAN’S MAN: Miss Sanders ... Mr. Linderman has asked to see you right away.

DL: If this is the life you want, you need to get Micah out of it. You can say good-bye tonight.

CUT TO:



[INT. (ODESSA) PRIMATECH PAPER COMPANY – HALLWAY – DAY]

(Matt checks the hallway. He steps out and closes the door behind him.)

INTERCUT WITH:

[INT. BENNET’S CELL]

(Mr. Bennet sits on the bed, his eyes closed as he concentrates.)

MR. BENNET: (v.o., thoughts) The first door on the right is the supply room.

(Matt goes down the hallway.)

MR. BENNET: (v.o., thoughts) Steal something less conspicuous.

(Matt opens the supply room door and grabs a brown shirt.)

MR. BENNET: (v.o., thoughts) Keep moving. You'll see an exit door before the hall.

(Matt continues down the hallway.)

THOMPSON: (o.s.) Orders came down.

(Matt ducks around the hallway corner, pressing his back against the wall. Thompson and a Primatech agent walk down the hallway.)

THOMPSON: We're moving Bennet, Sprague, and Parkman. Now make sure you gas Sprague's room before you put the IV in him. I don't want that man so much as dreaming.

PRIMATECH AGENT: What about Parkman?

THOMPSON: Put some tape on his mouth. I don't want to hear any more about his pregnant wife.

(They walk right past him. Matt continues on.)

INSERT: FLASHES OF MR. BENNET IN HIS CELL as Matt listens to what he’s saying. We don’t hear the conversation.

(Matt stops.)

MATT: You want to do what?!

CUT TO:



[INT. PRIMATECH PAPER COMPANY – HALLWAY / TED’S CELL – CONTINUOUS]

(Matt comes to a door. He uses a security card and swipes it in the reader. The lock beeps.)

(Inside, Ted sits on the bed. The door opens and Matt rushes in.)

TED: Parkman?

MATT: We gotta go. Quickly!

TED: Go -- how did you even get in here?

MATT: Bennet, he's got a plan.

TED: Bennet? Were you listening to him?

MATT: He told me to come get you.

TED: He could be leading you right where he wants you to go.

MATT: It can't be worse than the alternative.

CUT TO:



[INT. PRIMATECH PAPER COMPANY – MATT’S CELL – CONTINUOUS]

(The door opens. Thompson’s smile vanishes when he sees the guard on the floor. He presses the red button on the panel next to the door. The alarms blare.)

(He walks away.)



[INT. PRIMATECH PAPER COMPANY – TED’S CELL – CONTINUOUS]

(The alarms sound. Matt turns around.)

CUT TO:



[INT. (NEW YORK) PETRELLI RESIDENCE – DAY]

(The doorbell chimes. Angela answers the door and finds Mohinder standing out front.)

MOHINDER: Mrs. Petrelli?

ANGELA PETRELLI: Yes.

MOHINDER: I'm so sorry. It's Peter.

ANGELA PETRELLI: What about him?

MOHINDER: I found this address in his wallet. I didn't know where else to go. I couldn't leave him. He's dead.

SHORT TIME CUT TO:



[INT. PETRELLI RESIDENCE – ROOM – DAY]

(Peter’s body is on the settee. There’s blood from the cut on his forehead. His eyes are clouded white. Angela sits next to him while Mohinder paces.)

MOHINDER: He was killed –murdered -- trying to save my life. I was in over my head and --

ANGELA PETRELLI: Get out of here.

MOHINDER: (startled) I'm sorry?

ANGELA PETRELLI: Please leave ... now.

(Mohinder leaves the room and out the foyer. Claire comes down the stairs and sees him leave.)

(She sees Angela sitting with Peter’s dead body.)

CLAIRE: Peter.

(Angela stifles a sob. She puts her head down on Peter’s chest and cries.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. CORINTHIAN HOTEL – LINDERMAN’S MUSEUM -- DAY]

(The elevator doors open. Jessica and Linderman’s two guards exit and walk across the room.)

LINDERMAN’S GUARD: Mr. Linderman will see you now.

JESSICA: Linderman? You're kidding. Linderman doesn't see anyone.

(Jessica starts to remove her jacket.)

LINDERMAN: (o.s.) Not if I can help it.

(She turns around. Linderman is there.)

LINDERMAN: Fearsome Jessica, finally. Sweet Niki, yes, but you ... I never had the pleasure.

JESSICA: Hmm, you were due.

LINDERMAN: Well, we've both certainly come a long way, haven't we, since you borrowed that $30,000 and conveniently forgot to repay. Oh, by the way, uh, I've had to have that room repainted since your last assignment.

(Jessica puts her jacket over the nearby chair.)

JESSICA: What is this?

LINDERMAN: (shrugs) I need a small favor.

JESSICA: You're Linderman. When you need something, you send your boys. When it's something big, you send lawyers. This must be off the charts.

LINDERMAN: Eh. It's all a matter of perspective. I need to borrow your Micah briefly.

JESSICA: Borrow?

LINDERMAN: Yeah, well, uh ... that is, his talent. I want to help Micah achieve something monumental in his life. I had a plan in place that, until recently, began to unravel. I need your son to help me repair it.

JESSICA: Micah wasn't part of our deal. I don't want him involved in all this.

LINDERMAN: Understand, Micah is involved by the mere fact of his birth. Now, I've been, I think, more than fair to you. I mean, I helped you out of a tough spot. Spared you that long walk to the gas chamber even. So ... a chocolate milk, all the cookies you can eat, and I'll tell you what. I'll even make him a fresh sandwich myself.

JESSICA: (chuckles) If you need something from me, point and I'll shoot. Micah's off limits.

(Jessica turns and starts to leave.)

LINDERMAN: The request was a courtesy, dear.

(She turns around.)

JESSICA: Send anyone you want ... you're not touching my son.

(Jessica leaves. After a moment, Linderman addresses his guard.)

LINDERMAN: We'd better take out an insurance policy on Miss Sanders.

(He looks at the door where she left.)

CUT TO:



[INT. (ODESSA) PRIMATECH PAPER COMPANY – TED’S CELL – DAY]

(The alarms blare. The alarms are too loud for Matt to hear Mr. Bennet’s thoughts. Matt and Ted are in Ted’s cell.)

MATT: (shouts) The power grid!

TED: What does he what me to do, melt it?!

MATT: No, no, no, he says you've gotta --

(He hears something else.)

MATT: What the hell's an EMP?

TED: I don’t know!

INTERCUT WITH:

[INT. MR. BENNET’S CELL]

MR. BENNET: (v.o., thoughts) It's an electromagnetic pulse that causes a high-intensity photoelectron surge.

MATT: I don't know what he's saying, but he says it's not radioactive. He says it's clean.

(Matt and Ted head out of the cell.)

TED: But I don't know how to do that.

MATT: He said you'd say that. He says--

MR. BENNET (v.o., thoughts) & MATT (speaking): You have no concept of your potential. You can focus all your energy into one burst.

MATT: He says --

MR. BENNET (v.o., thoughts) & MATT (speaking): -- don't burn hot, burn bright.

MATT: (to Ted) Does that make sense?

TED: Did he say anything else?

(Matt listens for a moment. We hear Mr. Bennet speaking. Sorry, can’t make out the words.)

MATT: I shouldn't stand next to you.

(Matt steps away from Ted. Ted raises his hands and concentrates. A bright light bursts from his hands and fizzes out.)

(The alarms continue to blare.)

(He concentrates. His hands power up and a wave of energy emanates from his hands.)



[INT. MR. BENNET’S CELL]

(The lights go out.)



[INT. HALLWAY]

(Thompson is walking through the hallway when the lights power down. He stops and looks at the lights.)



[INT. HALLWA]

(Ted looks at Matt. The alarms are silent.)

TED: (whispers) The power's out, let's go!

MATT: No, no. We've gotta get Bennet.

TED: That guy is why we're in here.

MATT: He got us this far -- we owe him.

TED: I'm not going back in there.

MATT: They'll kill him!

TED: Yeah, well --

MATT: They're after his daughter. He's just trying to protect her. He is the one person who can take them down. This is our only shot to get our lives back.

TED: I don't have a life.

(Ted starts to walk away. Matt grabs him and pushes him up against the wall.)

MATT: Hey! You're always talking 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!



[INT. MR. BENNET’S CELL]

(The door opens. Matt and Ted find Mr. Bennet sitting on his bed. He turns and looks at them.)

MR. BENNET: That went better than I expected.

(Matt shakes his head. Mr. Bennet grabs his jacket, gets up and heads out with them.)

CUT TO:



[INT. (NEW YORK) PETRELLI RESIDENCE – ROOM – DAY]

(Nathan enters the residence. He’s carrying his suitcases.)

NATHAN: Ma?

(He drops his travel bags.)

ANGELA: (o.s.) Nathan.

(Nathan turns and sees Angela standing in the next room.)

NATHAN: Where is he?

(Nathan enters the room and sees Peter on the settee. He kneels beside Peter and starts to cry.)

ANGELA: He's gone, Nathan.

NATHAN: No, no!

(Nathan scoops Peter into his arms and buries his face in Peter’s shoulder.)

NATHAN: Peter! He isn't supposed to die this way. He's not supposed to die this way. He was wrong. Oh ... what do we do?

ANGELA: We hide it.

NATHAN: What?

ANGELA: Till after the election. Last thing he would have wanted was to bring you down with him.

NATHAN: Why does it matter anymore? Peter's dead. I'm not having this conversation.

(Angela doesn’t answer him. She looks past Nathan. Claire enters the room. Nathan looks up and sees her.)

NATHAN: 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.

(Angela leaves the room.)

(Nathan puts Peter back down on the settee. Peter’s eyes are still clouded. Nathan gets up and leaves.)

(Claire kneels beside Peter. She looks at him and gently strokes his hair.)

CLAIRE: I didn't even get to know you. You're the only one that made me feel safe. I thought you were like me.

(She stops and feels something. She turns Peter’s head the other way and finds a piece of glass in the back of his head.)

(Claire pulls the piece out.)

(Peter’s eyes immediately clear and he takes deep gasping breaths. Peter coughs and sits up. Claire holds the piece of glass and watches him with surprise.)

(Angela and Nathan are holding each other out in the hallway. Angela looks up.)

ANGELA: Peter.

(Angela stumbles back into the room. Claire smiles through her tears.)

(Peter catches his breath. Nathan and Angela can’t believe their eyes. They watch him. Peter looks at Claire.)

PETER: You saved my life.

CLAIRE: (smiling) Guess we're even now.

(We hold on Peter, alive and well.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) PETRELLI RESIDENCE – OFFICE -- DAY]

(Peter touches the tip of the bloody 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. I don't know what I would have done.

(Nathan is not talking about the piece of glass.)

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 -- (Peter looks at Nathan.) You're that guy with me or without me.

NATHAN: Who's to say I'm not all that because of you? Most of what we are is what people expect us to be. I mean, if you take them away, nothing means anything.

PETER: It's a good thing I can't die then.

NATHAN: (surprised) What?

PETER: Oh, I got that from Claire. She can regenerate.

NATHAN: No matter what happens?

PETER: I think so.

NATHAN: What about that painting? You explode. I mean, if that happened, you could survive it?

PETER: Doesn't really matter, does it? Think about it for a minute. If I go nuclear ... if I blow up New York, do you know how many people are gonna die?

NATHAN: Point-oh-seven percent.

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 that I saved ... in Texas. Save the cheerleader --

NATHAN: Save the world. I get it, I remember.

(Just outside the room, Angela listens.)

PETER: And she turns out to be your daughter -- your daughter! Look around. Everything I said is happening is happening now. It's real.

(His voice goes down to a small, hopeful whisper.)

PETER: Maybe if Claire's here, I don't blow up. Maybe she's here to save us. Talk to her, Nathan. We need her.

(They hear approaching footsteps. Angela steps into the room.)

PETER: About what just happened, Nathan and I need to talk to you.

ANGELA: It's okay, I know. I knew long before either of you did.

(Peter looks at Nathan. Nathan turns and looks at his mom.)

CUT TO:



[INT. (MIDLAND) BURNT TOAST DINER -- DAY]

(Mr. Bennet returns to the table and sits with Matt and Ted. Matt looks around nervously. Ted has the menu open and is using it to cover his face.)

MR. BENNET: I recommend the cherry pie.

MATT: Shouldn't we keep a lower 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 leans forward and looks at Ted.)

MATT: Point taken.

(Matt opens his menu.)

MR. BENNET: Eat up. It's a long road ahead.

(Ted closes his menu and starts to get up.)

TED: Forget it. I'm getting the hell out of here.

MR. BENNET: They will find you. As long as they have that tracking system, you'll never be safe.

MATT: Neither will Claire.

MR. BENNET: Look ... the system is well-protected, but we can get to it, destroy 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. (He takes out the tickets from his jacket pocket.) We're leaving on the next bus.

(Matt looks at the ticket.)

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 go see this Linderman guy. I just figured that must be who you're working for.

(Mr. Bennet is quiet as he thinks. Matt realizes something.)

MATT: Wait a minute. You didn't know that? (laughs) You're trying to take down your organization; you don't even know who signs your checks?! Oh. Oh, my God. You're middle management!

TED: So what's this supposed to mean?

MATT: What it means is he's a schlub, just like the rest of us.

MR. BENNET: (interrupts) Linderman isn't in New York. He's in Las Vegas.

MATT: So this is really Linderman, Linderman, the mobster who owns all those casinos? (Mr. Bennet nods.) What does he have to do with all of this?

MR. BENNET: Apparently more than I knew.

MATT: (nods) 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. And then whoever's left standing can go after Linderman.

(Matt and Mr. Bennet look at Ted.)

TED: New York. I've always wanted to go.

(Lynette walks up to them.)

LYNETTE (WAITRESS): You boys ready to order?

CUT TO:



[EXT. (LAS VEGAS) SANDERS RESIDENCE – DAY]

(The door opens. Micah and "Jessica" exit the house.)

MICAH: But why'd you have to pick me up so early today from school?

"JESSICA": Today's a special day.

("Jessica" closes the door and locks it. Micah turns and looks out the driveway.)

MICAH: Mom?

(Standing there are three of Linderman’s guards.)

"JESSICA": The man we're gonna meet, well, let's just say he changes all the rules.

("Jessica" and Micah walks down the front walk.)

MICAH: And he wants to meet me?

"JESSICA": He knows that you do the most amazing things. I told him he doesn't know the half of it. My son the genius.

MICAH: So I don't have to pretend about what we can do, like dad said?

(Linderman gets out of the car.)

LINDERMAN: That's all right, gentlemen. I want to greet this young man myself. (He walks over to Micah and introduces himself. He takes Micah’s hand.) It's a great pleasure to meet you, Micah.

(He chuckles.)

MICAH: Thank you.

LINDERMAN: How would you like to save the world today?

(Micah turns and looks at "Jessica". She smiles back at him.)

(Linderman chuckles.)

CUT TO:

("Jessica" watches as Linderman’s two cars drive away. She smiles and changes back into Candice.)

(Candice turns around. Jessica drives up in her red convertible. Candice walks past.)

CANDICE: Cute car.

(Jessica is quiet as she watches her go.)

CUT TO:



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

(The door is open, the glass shards still stuck in the wooden back. Mohinder is talking with someone.)

MOHINDER: You know why Peter Petrelli came here? He wanted my help. Instead, I got him killed.

THOMPSON: (o.s.) You did the right thing calling us.

MOHINDER: I tried to stop Sylar ... but I couldn't. I'm a scientist. I can't fight someone who defies the laws of physics.

(Thompson steps into the room.)

THOMPSON: You can. You just need help.

MOHINDER: You're not the one I called.

(Mohinder is holding the PRIMATECH business card in his hand.)

THOMPSON: Glasses, tall fella? He's no longer with the company. You know, you've been going about this all wrong, Professor. Trying to take on the science and the killer all on your own? What you're dealing with, no man should face without friends. Now, we can provide you with the resources --

MOHINDER: (interrupts) I didn't call about my research. The man who murdered my father and Peter Petrelli, he's still out there. That takes precedence over any academics. A person that dangerous must be stopped.

THOMPSON: I can assure you we have similar priorities. The best way to stop Sylar is for us to work together.

CUT TO:



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

(Isaac is painting. He finishes and drops the paint brush. He removes his headband and looks at the painting. It’s of Sylar standing over his dead body.)

SYLAR: (o.s.) You really can paint the future.

(Isaac turns around and sees Sylar in the studio.)

SYLAR: Just like the professor said. Fantastic.

ISAAC: You're late.

SYLAR: I guess you know why I'm here.

(Isaac walks toward Sylar.)

ISAAC: You're the one who's gonna kill me.

SYLAR: That's true.

(He looks at Isaac.)

SYLAR: 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.

SYLAR: Why me? Do you see some special future for me?

ISAAC: They stop you ... and you die.

(Sylar chuckles. He looks around at the other paintings.)

SYLAR: You painted all that too? Show me.

(Isaac doesn’t move.)

SYLAR: (shouts) SHOW ME!

(Isaac turns and looks at the handgun on the table. With a flick of his wrist, Sylar telekinetically flings the gun off the table.)

SYLAR: (chides) Now, now.

(Sylar flicks his fingers and Isaac is thrown backward onto the floor. Sylar looks to the side and flicks his fingers again. Two paint brushes rise up off the table and stab Isaac’s arms, pinning him to the floor.)

ISAAC: Ahh!

(Sylar steps toward Isaac.)

ISAAC: It's already gone.

SYLAR: Why don't you tell me all about it then?

ISAAC: I've seen enough of the future. I don't need to watch it happen. (coughs) I've wasted my life, destroyed everything good that ever came to me. At least I did one good thing before I died.

(With a flick of his fingers, two more paint brushes stab Isaac in the ankles, pinning him to the floor.)

ISAAC: Aah! You can't fight the future.

SYLAR: Neither can you.

(Sylar steps over Isaac and kneels at his side.)

ISAAC: It's all right. I finally know my part in all of this. To die here with you. But not before I show them how to kill you ... and stop the bomb. I finally get to be a hero.

(Sylar shakes his head.)

(He leans in close to Isaac.)

VARIOUS FLASHES OF ISAAC’S PAINTINGS

(Isaac screams.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) PETRELLI RESIDENCE – OFFICE -- NIGHT]

(The fire in the fireplace crackles. Nathan studies the bloodied glass shard. He sits up and turns around to face a large painting-sized package. He uses the glass to remove the wrapping. Inside is the painting of someone who looks like Nathan standing in what looks like the Oval Office.)

(Someone knocks on the door.)

(Nathan turns around as Claire walks in.)

CLAIRE: Your mom said you wanted to talk to me.

NATHAN: I did -- I do. Come in, please.

(Claire walks in. Nathan stands up.)

NATHAN: This should have 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 do this -- pretend to be nice to me.

NATHAN: I'm not pretending. Claire, most people, uh ... they think the worst of me, and I've probably given them good reason to. But I want to do better. I want to be there for you. But I can't.

(Claire looks up and nods.)

NATHAN: Not now.

CLAIRE: Of course.

NATHAN: I'm sorry, but there are things happening right now that I can't expect you to understand. I barely understand them myself.

(He walks around the desk.)

NATHAN: I got into politics for the chance to do something good. I have a chance to help--to be a part of something big. But in order to do that, I have to --

CLAIRE: (interrupts) The election. You can't have some illegitimate daughter popping up and waving at the cameras.

NATHAN: I need to win.

CLAIRE: You need me to leave. (He nods.) Paris, with my grandmother.

NATHAN: She warms up. (beat) Sort of. It's just one week.

CLAIRE: And then what?

(He walks over to her and puts his hands on her shoulders.)

NATHAN: And then you come home to your family. Okay?

(He hugs her.)

(We hold on the piece of glass on Nathan’s desk and then linger on the painting behind.)

CUT TO:



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

(Sylar’s hand is red – with paint or with blood – who knows. He’s painting, his eyes clouded white.)

(We pull behind Sylar to see that he’s painted a similar picture to the one Nathan has -- of a darker, sinister man who may be Nathan standing in what may be the Oval Office.)

(Behind him on the floor is Isaac pinned to the floor by his paint brushes, the top of his head cut open and nearby.)

(Near Isaac’s hand is the handgun.)

(We continue up toward the painting of the DEVEAUX BUILDING ROOFTOP with a devastated New York in the background.)

DISSOLVE TO:



[EXT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP – DAY (FUTURE)]

CAPTION:
FIVE YEARS IN THE FUTURE

(Hiro and Ando are on the rooftop. The sword is across Hiro’s back.)

HIRO: (subtitled) Oh no ... it’s the future.

(Hiro and Ando walk toward the edge of the rooftop to look out at the destruction.)

ANDO: (subtitled) What happened?

HIRO: (subtitled) The bomb. We didn’t stop it.

(They are both quiet for a moment.)

HIRO: (subtitled) I failed. So many people must have died.

(Ando looks at Hiro’s sword.)

ANDO: Hiro ... (subtitled) 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: (subtitled) No.

(He turns around.)

HIRO: (subtitled) 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.

(Hiro starts to leave. Ando follows him.)

ANDO: (subtitled) You said Mr. Isaac was dead when the bomb went off. Because of the brain man.

(Hiro smiles.)

HIRO: (subtitled) You’re forgetting. In the past, the brain man got caught, remember? Mr. Isaac could still be alive. Yes? Come on!

(Hiro turns and leaves.)

(Ando is confused.)

ANDO: (subtitled) I’m confused.

(He follows Hiro out.)

CUT TO:



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

(The door opens. Hiro and Ando walk into the studio.)

HIRO: (calls out) Hello? Mr. Isaac? Mr. Isaac?

(There’s no response. We see that the studio is darker. Things look very different. Hiro tries the light switch. It doesn’t work.)

(All around him strings hang stretched across from one end of the room to the other, intersecting in various points in the center. Various notes, photos and slips of paper are clipped to the strings.)

(FAR SHOT: The string covers the entire room.)

(Hiro walks into the room. It’s very different than when he last was there. Ando follows him inside.)

ANDO: (subtitled) What is all this?

HIRO: (subtitled) I think it’s ... a timeline.

(We see various items we recognize – an origami tsuru, a photo of Claire in her cheerleader uniform, a post-it with "SAVE THE CHEERLEADER," a photo of Isaac’s painting, the Primatech business card and a VOTE PETRELLI campaign photo.)

(Hiro ducks under the string and continues to look around.)

ANDO: (subtitled) A timeline of what?

(Hiro stops in front of an article paper clipped to the string. The headline reads, NYC DEVASTATED. He turns and sees another article with a photo of Nathan and the headline, "Our Strength in Dark Times.")

(He ducks under the string and continues looking around. He stops to read another newspaper article.)

(Off screen, we hear the metallic rasp of a sword being unsheathed.)

(Hiro turns.)

HIRO: Mr. Isaac?

(Hiro puts his hand on his sword handle. He ducks as he heads toward the back of the studio.)

(He unsheathes his sword and comes face to face with his future self – also brandishing his sword at him.)

(In the back, Ando has his gun out. His eyes widen and he lowers the gun.)

(Future Hiro glares at Past Hiro.)

FUTURE HIRO: You.

HIRO: Me?

(Past Hiro lowers his sword.)

FADE TO BLACK.



TO BE CONTINUED ...