2007-05-03: Saving Heidi: Come With Me If You Want To Live

Starring:

Elena_icon.gif Heidi_icon.gif Peter_icon.gif Nathan_icon.gif Eric_icon.gif Gene_icon.gif

Summary: The thrilling conclusion. Nathan, Elena, and Peter arrive at the location where Heidi is held. Lots of bullets fly. Heidi finds out that her husband and her brother-in-law are mutants.

Date It Happened: May 3, 2007

Watch For: EPIC DEFENESTRATION! Elena's first overload, why you should never believe in ghosts, and why you should never, ever, ever get Gene angry (hint: he has a Terminator, and he knows how to use it).

Saving Heidi: Come With Me If You Want To Live


Near the New York Waterfront, New York City

She's still walking, a little bit ahead of the Petrellis, and looks over her shoulder at Peter to see if he can pick up anything from the birds hanging around the buildings. Twilight is descending upon the city, the sun's fading glow winking over the horizon in those final moments before dark. Elena fingers her signature, cherry-red phone in her pocket, looking more and more apprehensive as the time comes. What if he doesn't pull through this time? What if that moment with Jaden had been a one-time thing? What if…

Her phone vibrates. She stops walking to pull it out quickly and flip the top of her cellphone. Her eyes fall on the address that had just been transmitted to her.

"-Yes-," she says, a renewed sense of hope and determination etching into the delicate face as she turns around to look at Nathan and Peter. She holds out her cellphone, screenside to them. "Near the waterfront. But it's a bit aways from here….I think…" She pauses.

She looks at the street.

She groans.

Are they SERIOUSLY going to ride to Heidi's rescue IN A CAB?

Nathan is only half listening to what, apparently, the birds are telling Peter. What do pigeons know about directions? Instead, he tries to play out all the different scenarios that could possibly occur in his mind, and too many of them end badly. He should just get Dayton's number, agree to meet with him, get this straightened out even if it means leaving Heidi with these bastards for who knows how long. Maybe if they had let him talk to her, maybe he might have agreed… maybe he still should.

But then Elena speaks up, holding up her cellphone with the address displayed on the little screen. And how the hell could she do that? Nathan looks to Peter, as if for confirmation that this is credible (looking to the guy talking to pigeons for credibility? oy), before giving a restless shrug. Stepping off the precipice of safer possibilities.

"Fine," he says, then follows Elena's gaze to the road. Oh, great, cabs. He can't help it. He looks reluctant. "I could call for a car…" he mutters.

Well, the pigeon theory doesn't pan out, much as Peter had said it probably wouldn't. Too long of a wait. The pigeons have moved on, or don't recall one moving shiny black box over the dozens of shiny boxes, even if most of them happen to be yellow. Looking towards the young woman as the phone rings, he hopes to hear good news, and looks relieved when she speaks positively, also drawing on her renewed sense of hope as she turns the cellphone towards them, "Yeah— that's quite a walk, and I'm not sure exactly where it is…" It seems he trusts this, though.

Which means the cab would be a good idea, even if— the chances of getting one very fast might be slim. As Nathan brings up the alternative, he reluctantly nods, "We could do that, if you don't mind the questions… It'll probably take as long to get a cab as it would for your driver to get here."

And then they wouldn't pull up to her rescue in a cab. The only faster method of travel? Flight. But after his crash into a trash can… he's not about to be the one to suggest it.

Fine? FINE? HE was the one who said he didn't want to leave his wife in the hands of armed jerks overnight. Elena's eyebrow ticks slightly in irritation, but she turns away before anyone else could see it. That won't help Heidi. And while she doesn't even have anything remotely resembling a plan, the very least they could do is check out the building and see if there was anything, a way in the building, and notify…..she didn't know. SWAT team or something. New York had its own branch, didn't they?

She walks up to the sidewalk and lifts a hand to flag a cab. It wasn't all that bad now, but this was New York, and it might take a while. Still, they might get lucky. Meanwhile, while she tries to get one, she'll let the Petrellis discuss what they want to do. After all……they were the veterans when it came to saving people.

Yes! /Fine/! Though really, Nathan completely doesn't notice Elena's irritation, taking out his cellphone to dial the usual number he does when he wants a car to magically appear and whisk him away. He tilts his head towards where the Latina is attempting to flag down a cab. "Whatever comes first," he says. Because piling into a New York taxi on a rescue mission may not be ideal, but if it's faster, it'll do. It's a quick conversation, simply rattling off the address of where they are now along with a 'no, not the limo, actually, just a car' before hanging up. They're used to that by now, as well as being used to Nathan not even being there despite the call. They just take it out his account and everyone wins.

He does, however, shoot a look up to the darkening sky. "I know where that building is," he says, glancing now towards his brother, raising an eyebrow. "This whole evolution thing has to come in handy sometime, doesn't it?" He's only half-joking, really, but he is sort of looking at Peter like 'well, what do /you/ think, Mr Crash Landing?'

Noticing the look on Elena's face, even as she turns away, Peter thinks back on what caused it, and then realized it was his brother's tone, probably. Oh, right. He's so used to his brother's moods he didn't even give it a second thought. As they call on the driver, and begin flagging the cabs, he catches his brother's new question and blinks. Openly. This wouldn't be the first time, or the last time, that they've flown to the rescue. And not the first time today, either. Running a hand over his mouth, he glances towards the hispanic girl for a moment, and then suddenly nods. "Let's go."

From the smile that spreads, he's actually /pleased/ by his brother's suggestion, as he adds on, "I'll take Elena." He's flown with people before, so it doesn't seem like a big deal to him. He flew Elle a few times when they'd first escaped. "I'll see you there," he says with an incline of his head. Stepping over to the young woman, he grabs her arm and pulls it down from where she's flagging and says, "The taxi's already here," as he starts to pull her in the direction of the alley way. "I promise not to crash land this time."

Fine. FINE? She's still dwelling on that a little bit, but when her arm is pulled to the side, Elena blinks at Peter in confusion. "Peter, what are you doing? I'm trying to get us a—" But she's cut off as she is pulled towards the alley. She is a little confused, still, until she sees Nathan follow them, and exchange a look with his brother. And then, she pauses. And then, she remembers when Peter crashlanded into the trashcans behind her.

Oh….dear.

Don't worry, Elena. You trust him, remember? With every fiber of your being. EVERY LITTLE CELLULAR SHRED OF YOU trusts Peter Petrelli. Every little shred….that she might be reduced to if he screws up.

Oh god. What the hell was she doing? Is she actually agreeing to being Superman'd to Heidi's rescue?

"Peter….are…are you sure?" she says apprehensively. "I mean, I've never…" Never flown. NOT EVEN ON A PLANE. And how was she going to do this? Is she going to be carried bridal-style? Koala'd on his back? Potato-sacked? What?

Maybe Nathan should suggest /he/ carry Elena, but in truth, he sort of wants to go fast. And Peter can't crash land every time, right? Right? Glancing between the two younger superheroes, as it were, Nathan arches an eyebrow, and shrugs. "Lesson one," he says, doing up his jacket and glancing over his shoulder, wary of witnesses. "Don't— do what you did earlier." So helpful. He doesn't really wait for a response, just crouches slightly and— disappears. The ascent into the near-nighttime sky is /fast/, either way, enough to make the dried leaves and trash on the ground flutter and skitter.

And Elena is left staring after Nathan. "…………awesome…" she whispers, her lips parting a little bit in awe. That, and Nathan's got a really cute butt.

For an old dude.

"You've never— It'll be fine. I've flown with people before, and you don't weight much," Peter says softly, glancing back towards his brother and twitching slightly along his eyebrow before he watches him disappear into the sky. Oh well. Stepping closer to the teen, he does the one manuver he knows fairly well, he wraps her in a hug, arms slipping under her own. "Really, just— hold on to me, and I'll hold on to you. You might get nausious, but control it if you can. I won't do anything fancy except fly and land…" No loops in the sky, no skimming buildings, no drastic changes in direction, besides the first one.

"Close your eyes if you need to," he adds, before his hold around her tightens, and then… up they go. He can easily look over her shoulder, just as she could look over his, and he goes in the right direction. Now he just hopes he can find a place to land close enough to the building… cause Nathan's already out of sight. Show off.

Oh crap. OH CRAP. She's doing this. She's REALLY DOING THIS. Oh god. Oh god. She wished she had Desiree's power, because if she had a single inkling that Heidi was going to get kidnapped in front of her today, she would've gone to the bathroom in the store, because all the nervousness was making her wish she went before even -attempting- this crazy expedition. And when the younger Petrelli brother steps up to her to hug her, Elena's arms wrap around him…..and squeeze tightly. She's nervous. "I can handle the nausea," she says, her voice hoarse from her nervousness. "Just…..just concentrate. You'll be fine. I'll do what you ask."

She grips him tighter. And squeezes her eyes shut. Why, oh why can't they just take a cab?

But just because she's nervous doesn't mean she's not thinking. In fact she's done her best thinking when she's under stress. So before Peter takes off, she rests both her feet on the top of his for support. And he's right - Elena doesn't weigh very much.

And then they're off! She bites back a scream. It was like getting on a new rollercoaster at Six Flags for the first time. It was different then. She loved rollercoasters. But rollercoasters were attached to something and they had harnesses that bolted you down. All she had was Peter.

Oh well.

At least he played hockey.

Minutes into the flight, she braves opening one eye….and when she sees the stars wink at her, and the lights of New York, they open fully, eyes wide. "……..wow…." she murmurs. The fear bleeds out of her. Wait till they land, though.

The flight….doesn't take very long. They had no traffic to deal with, and the news choppers don't see them, THANKFULLY. Somewhere down below, a certain, infamous FBI agent is having coffee with his lovely, red-haired partner when his eyes scan the horizon….and he gapes, his coffee dropping into the pavement in a stunned, dramatic slow-motion gesture.

The building will come into view…it is dark, save for a few rooms with lights near the top. And it looks gutted. Near the docks, in a not particularly good neighborhood, there are missing windows, and lots of heavy construction equipment parked in the 'courtyard' right in front of the office building. Looks like someone was renovating the place into new office spaces, or even a hotel. It was a building that stretched upwards - not quite a skyscraper, but it was no slouch either in terms of the height department. If one squinted, a few shadows would be seen walking past the lighted rooms.

Down below is a wide street, and a few alleys. Further to the front of them is the ocean, and the dockyards that line it.

After Condormanning his way across New York, only pausing to turn and make sure Peter can see him and knows where he's going, Nathan drops down silently in the nearest abandoned alleyway, stumbling just a little. Good thing no one was around to witness that one. His gaze goes up to the sky, looking for Peter and Elena, as he tries to come up with a plan. A plan would be really good. He sneaks towards the mouth of the alley, peering out just to see a slice of the street before the building. It would be pretty badform for anyone to notice him, so he tries for stealthy.

Meanwhile, a man pulls up in a Mercedes, somewhere completely different. He scans the sidewalk for Mr. Petrelli, and, not seeing the former politician, he sighs and gets out his newspaper. He'd finish off the sports section before giving up again.

Through most of the flight, Peter can only barely spot Nathan, much less see him clearly. Only when they get to the water front, and the man slows to land, that he's sure that the speck in the sky is his brother, and not a really fast bird. (Or a condor.) Elena might catch a hint of a smile from the young man whose carrying her, if she could look at him, but she'll feel a squeezing of his hand on her clothes as an indication that he heard her murmur. "Almost there," he responds, slowing down himself and straightening back out, so they're standing upright again. Lowering a few meters away from his brother, THIS land is without the usual bumps. Maybe he's failed on enough of his landings lately. Or maybe he really is better when someone else is with him, and he has to concern himself with their safety.

With his feet firmly on the concrete, and her standing on them, he begins to loosen his arms so she can step back, but doesn't just let her go. She might have wobbly feet. It'd be rude to just let her go. "That wasn't so bad, was it?" he asks, shifting enough to look her in the eyes, giving one last hint of a lopsided grin, before he looks around to see his brother. His expression goes serious quickly enough.

She braces herself for the landing. Peter would feel her tensing a bit. But Elena keeps her eyes on the stars, and the choppers in the distance, and the freight boats pulling in from the water. The skyline recedes, they go lower….and lower….until they do a smooth landing. She blinks. She's ALIVE! When her feet touch the ground, she looks down at the ground in wonder, almost disbelieving that she had been, for a few minutes, off it. She had been flying. - Flying-. She could feel the adrenaline in her blood, making everything sharper, everything clearer, and when Peter shifts to give her that lopsided grin. She looks back at him wide-eyed.

"Now -that- was awesome," she tells him, expelling an exhale she didn't know she was holding, and she gives him a fired-up grin. After that…..she feels like she could take on the world, considering how jacked up her system is at present with the excitement of being on air.

Testing her feet, she slides away from him, and looks up at the building. She checks the text, and then the building. "….I think that's it. That's odd though…" she murmurs, frowning as she takes a few steps to join Nathan at the mouth of the alley. "…there's no security. Usually there would be to keep loiterers out. Too much liability if a piece of a building falls down and crushes a trespasser."

She looks at Nathan, and then at Peter. Sure enough, the building is quiet. The doors are already set up, and it's eerily quiet. The only rooms that seem to be occupied are the top floors, where there is light and a few shadows are moving about. But she is right, there is no security - nobody guarding the construction site in its crucial stages of development. A sinking feeling can be felt deep in her stomach. They didn't…..did they…? But at least a few floors look unoccupied. They could at least come up and listen in. Right?

Nathan sinks back into the alleyway, despite the fact that there aren't any guards visible. His line of sight angles upwards towards those lit up rooms, and the urge to just storm in is incredibly tempting. If Heidi's there… He draws a breath, looks towards Elena and Peter. "I want to go in there," he says, making his intentions plain. "I don't know what will happen after that, but I want to know exactly what I'm dealing with. If we can just…" He trails off, and focuses on Peter. "That thing you do," he says. You know. /That thing/. It takes a little willpower to voice the ridiculousness out loud. "The whole invisibility thing. How does that work."

"I'll take you again when it's not a life or death situation," Peter adds to the young woman, giving her a squeeze on her arm before he moves to look out the alley with his brother. No guard. Lights on in the top floor. There's definitely some thoughts of using invisibility to get up and take a closer look, even before his brother brings it up. There's a hint of a worried glance, and a second one towards the teenager. "It's invisibility. I— I know I can extend it to one other person I'm touching, but I've never— I don't know if it would work with two. Two people might be… too much." It sounds unsure, though. Then again, does he ever really know how well his abilities work half the time?

"Peter, give it a try." If he's been training with Cass, perhaps Peter has improved his focus. After all, like she told him before, she had a theory that there was always a common root when it came to a person's abilities. "If not, I can lag behind the two of you, find some place to hide and work my magic while you guys try and figure out what's going on." She looks determined. There were only two of them coming in, she's not about to let them go without insurance. "As long as I'm close enough."

Nathan nods once to Peter, in impatient encouragement. Either way, it gets him closer to finding out what the hell is going on, so he waits, expectant for Peter to test out this theory. "May as well give it a shot," he adds.

Taking a slow breath, Peter reaches over to grab onto Elena's hand, and then reaches to take his brother. There's a long pause, while he thinks of the infuriating, pigeon-loving invisible man… and the sheath of invisibility falls around him, and then extends outward over the two of them. By the time it ends, he opens his eyes and glances between them. "You both can still see me, right?" Somehow, in his mind, he can tell he's invisible, and if they can both see him, they should be as well. If they had a mirror, they could check… but… "We're invisible, if you both can. Just be careful about noise— okay? We shouldn't try to talk once we're inside."

"Right," Elena murmurs. And just before she takes a step further, her phone vibrates. She drags it out of her pocket and looks at the text, and a …..strange look overtakes her face. Hesitation, it looks like she's torn about something seeing just who was trying to contact her even as she looks at Eric's name on the LCD screen. She shakes her head, and kills the power, slipping it back in her pocket and sending a quiet apology…..and a prayer that he won't worry too much the way he always gets when she doesn't answer her phone.

Hand in hand, she follows the leader - which would either be Peter or Nathan in this case.

When they slip inside the gutted lobby, they would find elevator shafts…not real elevators. Looks like they weren't set up yet. In the entire building, there's only one that's functional. She looks at the shafts, and the functioning elevator, and then up the ceiling. She looks at the Petrelli brothers.

Here's the rub - get on the functioning elevator, get off in a lower floor from where they saw the lights, and take the stairs the rest of the way…or fly through the shafts?

She directs her thoughts to Peter, who she knows can read minds and can transmit them to others.

For a moment, Peter disappears, and then comes back into being. Nathan knows a brief moment of sinking feeling, thinking it failed, but… okay, so they're all invisible now? Really? Nathan looks around doubtfully, because he doesn't, you know, /feel/ very invisible. He'll just have to trust it.

You know. Playing superhero would feel cooler if you weren't holding hands with your brother when you were doing it. This is likely the least of Nathan's worries, but it deserves to be noted.

Inside the building, Nathan glances towards the empty elevator shafts. He heads towards them, tugging as necessary, and peers up inside them. Well. It's /a/ plan. He backs up a pace and looks around for stairs, however, glancing towards the other two. As for telepathic exchanges, he's clueless at this point.

The hallways are pretty quiet all together, with no sounds of guards or the like. Though they will hear their own footsteps, especially if they're not good at being stealthy. Which Peter actually isn't good at, as might be noted. There's two choices, and he can see them just as plainly as the other two can. The shafts, or the functioning elevator. Flying might be dangerous, though. He clipped the side of a building and broke his arm…

It shouldn't be too surprising when he squeezes their hands and lifts the one holding Elena to point towards the functioning one. At least this way, they don't have to fly, and they can remain invisible. It also means they stay hand in hand, but…

It just seems safer, okay!? Last thing he wants to do is crash into the side of an elevator shaft while carrying Elena. He'd never forgive himself.

She nods, and follows where Peter leads them. Elena pushes the button of the elevator, and it descends down into the ground floor. It's…quite a bit of a wait, as the last people who used it were on the top floor. Hopefully no one saw the lights flicker and the little old fashioned arrow twist downward to indicate the elevator going down on all levels. Finally, there's the tell-tale ding, before the doors open for them.

She follows both Petrelli brothers inside once they're both in. She squints. Which floor…which floor….finally, she hits 17. The lights they saw coming in were active near the top. So she chooses somewhere below the estimate. She hopes she picked right.

The elevator ascends again….and when the double-doors open, it is dark. It's almost difficult to see, unless Peter managed to absorb Eric's power because that had a side benefit of seeing in the dark. But to the rest of the low level peons, the hallway is gutted and empty. It branches from left to right - the windows are shattered on this floor, and the wind whipping across the opening give a quiet, whistling noise now and then through the hall….like this setting wasn't creepy enough.

The fire escape was to the right of them, leading to the higher floors. So far there is nothing. Looks like whoever's got Nathan's wife really liked the penthouse level.

Nathan glances back at the elevators, clearly nervous. Hopefully, whoever are on the upper floors didn't hear that, but the silence of no one approaching is telling. He leads the way to quietly head for the upper floors, a chain of him, Peter, then Elena, towards the fire exit. Please let them actually be invisible. He looks back to see if anyone is noticing anything, or wishing to go in a different direction. In his other hand, he now is holding his handgun. Not necessarily because he actually plans to use it, but should everything go horribly awry, it would be nice to have. He may not have a 00 faith in powers, but he's pretty sure guns are still valid.

There's a shake of Peter's head as they step out of the elevator and Nathan looks back. He has no other preferences, to be honest. As far as he can tell… he's still invisible, and they should still be too. But as long as they're invisible he can't do much else. No mind reading, no thought projection, no lightning bolts thrown from his hand. His brother may have a weapon, but he's currently unarmed— and his hands are full too. He glances towards the handgun his brother carries, and lets him lead the way, glancing back behind him to check past Elena, before he continues leading her along. At least if they come from the front, he'll be able to guard her, somehow. Fire escapes… he just hopes they're finished and bolted down good. He'll find out when they step onto them.

The fire escape is, thankfully, all built - the construction crew probably left it alone considering the fact that only one of the elevators are working. And then, up they go, towards the twentieth floor. When they pass the 19th floor, however…. they would hear sounds. Elena pauses from walking, and looks towards the door leading into the 19th floor hallway. What was that? They sound like bootsteps….and they were coming closer.

She flattens herself on the wall, even though she knows that they can't see her. Not yet, anyway. Peter seems to be holding on to all of them just fine, keeping the shroud of invisibility up.

The door swings open, and an armed man dressed in jeans and a black sweater looks around, narrowing his eyes suspiciously. He doesn't have a ski mask on this time, so they can see his features clearly. This man, Heidi would recognize, if she were down there, as the Bearded Guy with No Neck. He has a Sig Sauer P226 in his hand, and a Desert Eagle in another, squinting suspiciously at the hallway.

"Burt, what the hell?" says a voice somewhere in the hallway. "Whatchoo lookin' at?"

"…….I thought I heard something," grunts Burt, giving another sweep, before closing the door again, none the wiser.

Yet another predicament. That means -two- floors are occupied. The question, aside from how many were there, was in -which- floor they stashed Heidi.

Christ. Well that answers as to whether they're invisible or not. Nathan just breathes for a moment and then casts an exasperated look at the other two, frustration not necessarily directed at them. Screw this whole no talking thing, but Nathan keeps his voice very low indeed, barely above a whisper. "Peter, you and Elena go on and check out that floor," he says, grip loosening on Peter's hand now, whether he likes it or not. "Stay out of sight and I'll do it the old fashioned way."

Letting out a breath when they aren't seen, Peter feels a lot better over all. He must not be messing up too bad if they somehow manage not to be seen. Glancing up above, and then down to the floor thier on, he ponders which one Heidi would be kept on quietly, until his brother's hand starts to loosen. In a panick, his hand grips, as if to keep him from getting away, and he looks alarmed at what his brother says, "But— Nathan…" The hand continues to hold on. As if that's a more valid form of communication than anything else. In a way, it is.

Then he sighs and looks back towards Elena, and gives her a nod, confirming that he'll be following his brother's lead. Again. When he looks back at his brother, he says, "Be careful… and good luck." Both are important. Both are necessary. A serious expression greets the older man, before his hand finally lets go. And both him and the hispanic girl vanish from sight, only to be heard going where they'd been instructed. Or at least he's leading them that way.

In the distance, a black object moves though the black sky. What? It's hard to make out the black object in the black night sky, one might say. Good, that's the point. With a sound that sounds like twenty buzzing flies (no louder, no softer), a ten foot copter emerges from the blackness to start flying around the building in a large circle that slowly spirals upward. While it has a large spotlight on it as well as a megaphone, the unmanned machine meant for assistance with crowd control, both remain unused for the time being. Rather, a single powerful lens scans the windows, capturing the action with a distinctive green tint. But who would be sending such a thing and why?

Let's SPLIT UP, GANG.

Thankfully Nathan wasn't wearing an apricot-colored tie, otherwise he will forever be known as Freddie by this point.

As both groups split up, what Nathan finds in front of him is more stairs. Stairs leading to the top floor. He doesn't hear anything - which may be disturbing, or relieving. But should he pull the door open a crack, he'll see that the hallway is empty. The hallway branches out two ways: left and right. Left leads to a dead end, the right has a couple of doors. They have Man and Woman signs on them, indicating bathrooms. What might be disturbing is that close to the doorframe to the women's bathroom, there's a smidge of blood left on the wall near it. There's only one woman, assumedly, in the building. Nathan can put two and two together probably that something happened.

There are some muted voices down the hall, muffled by a door. While there are several lining the hallway that branches to the left of him if he turned right from the fire escape, the noises seem to be coming from the double doors at the very end of the room. There a sudden, raucous laugh from beyond the double doors, chorused by several. Sounds like they're doing something in there, like playing poker or watching a game.

The doors suddenly click, and they start opening, any further and the older Petrelli might get spotted. Think fast, Nathan!

In Peter's end, given his invisibility, they're still pretty safe. Elena follows him as he leads the way. The 19th floor hallway looks just like the one above them, except they can actually -see- Burt leaning against the wall, smoking. Hey, the building's pretty preoccupied, you know. And there's nobody there but them so he keeps exhaling the cancerous gas. Before they could go any further, however….another man walks around the corner near Burt…..and spots the door opening BY ITSELF. "WHAT THE HELL, IS THIS BUILDING HAUNTED?" he yells all of a sudden, bringing up his own gun to point towards the door. And he looks serious about firing.

Oh snap. Things don't look good for the young Petrelli………

But Burt is -eyeing- the nearby windows, and catches sight of something moving out of it. "What the hell…?" He ignores the yelling about the ghosts. Because ghosts don't exist, and John is a moron for believing they do, so he peers out the window curiously. "I thought I saw something moving out there."

If he didn't feel invisible before, he feels /very very/ visible now. Nathan looks at the space where his brother and Elena were standing, and let's out a sigh. Okay, time to be a big damn hero. Heidi why the hell did you have to be kidnapped. Going as quietly as physically possible, Nathan ascends the fire escape up to the 20th floor. He pauses when a step starts to creak, and, with a little concentration, he hovers past the next few until he reaches the landing, gently touching down again. He presses his ear to the door, trying to pick out any sounds behind it.

And then there is a BIG THING IN THE SKY and Nathan sort of… ducks. Because that would be really helpful. Either way, it is motivation for him to go to open the door, because he really doesn't need /anyone/ to see him creeping along the fire escape of a supposedly abandoned building. Luckily, indeed, the immediate space is abandoned and after taking it in, he starts moving down the right-side hallway. Hyper-aware of his surroundings, studying the doors as possibilities, he does notice that smear of blood, and he takes a step towards it.

And then he /backs the hell up/ at the sound of a door opening, stepping back around the corner and gripping onto his handgun so tightly it's a wonder he hasn't accidentally fired the thing. He waits to see if he has to make a quick exit, or if it's just one person…

Heidi hasn't tried to escape again. It's been a little while since the altercation in the hall, but it still hurts; she can still sense the metallic taste in her mouth. Since she chose not to be cooperative, she's been tied again, but the fact remains that even if she wasn't, she probably wouldn't be moving. Lying on the floor across a disgusting sleeping bag, she's half-curled almost into a fetal position, because the slam to her stomach hurt /that much./ While the discomfort has diminished, it's likely that she's thrown up at least once since then - if not from the assault, then from the horrible smell.

She doesn't look really good. Actually, it probably looks worse than it is, mostly because - thanks to Steve Irwin - half her face is bruised, there's dried blood on her face from where she bit her own cheek, and… Well, understandably, she's been a little teary. It's been all she's been able to do to keep herself from just outright breaking down, but she's not going to let them see her lose it. Her clothes are a mess, her hair's tangled. She just wants to go home.

But at the same time, there's that look in her eyes - she's not without hope. In fact, she looks /pissed off./ The whole situation is degrading, it's frightening, she's scared half to death and she doesn't want to be. If there's an out somewhere to be had, she's looking for it, but since she almost found freedom that first time, she hasn't had the opportunity. Maybe someone out there is looking for her - maybe not. She hopes Nathan isn't going to concede to have a friend murdered to save her, but at the same time, she selfishly hopes that he does what they ask. Therefore, it's not the pain that she really hates these people for, it's the fact that they've compromised her morals without even trying.

A few feet from Heidi are several like-dressed men, muttering to themselves as they play poker on the fold-up table they brought with them. "You think he'll comply?" one says, throwing down his hand in a fold and looking up at the others.

"He better. Dayton needs to be taken out of the equation," another says, scrutinizing his cards. "Once that's done, half our assignment here's done. Then all he has to do is make a call to the Governor, see if he can't convince them to get our Prize out of Sing Sing."

"How's your Russian? Heard the guy can't speak a lick of English."

"Alright. So long as he knows who we are and get in the goddamned car once they let him loose…"

The Australian is busily typing in his silver laptop, scrutinizing the data scrolling up. He's typing a bit, so one thing's for sure - whatever he's looking at, it ain't YouTube.

Splitting up might not have been his favorite plan in the world, but at least he hopes his brother can take care of himself, and he can keep an eye on Elena. She's tougher than most people would give her credit for, he knows. Peter only landed a few punches on those bullies at the off road racing because she'd made them stumble around by upgrading their level of intoxication a few knotches. Doesn't mean he won't still protect her, though, as becomes obvious when he pushes open the door, and the man there freaks out. When the gun gets brought up in their direction, he starts, his hand gripping the young woman's again.

He's holding his breath, hoping the gun doesn't fire, and when John — the guy with the gun — turns to regard Burt — the guy looking out the window, he decides to make a move. Flinging his free hand up, he grabs the man with the gun with his mind and pushes him towards the one at the window. This breaks their invisibility almost instantly, causing them to fade back into sight, and he pushes her along, encouraging her to run away in front of him.

… what the hell is he doing exactly? He wishes he knew. No one ever claimed he's any good at planning things out. The extent of his planning is to keep himself between the potential bullets and the girl he's with. Maybe they'll keep looking out the window and wondering about the ghost that pushed the guy into the other guy and won't even see them? That too much to hope?

What the hell just happened? As John turns around to regard Burt, his mind clearing away from ghosts to the thing they could actually -see- outside the window, he looks at him perplexed. "What the fuck are you talking abou—"

This is when Peter makes his move. Without warning, John is suddenly -flying- towards Burt. There is a strangled, surprised cry. Was he just picked up and THROWN at his comrade? It certainly seemed like it! He didn't see what happened exactly, all he knows is that he's flying towards the big man, who turns around….to catch John right in the face. Both armed men go tumbling down when the Invisibility melts away from both Peter and Elena once he uses his powers……. leaving them in plain sight.

"….wh…YOU!" John yells, struggling to yank up his assault rifle and grope for the gun he dropped from the throw. Elena doesn't waste any time. When Peter gives her the nudge, she turns and runs, tugging him along with her, because there's no way in hell she was leaving him when they were spotted. Down the hall, there's another T, branching left and right. She makes a quick decision, and makes a left, still running as fast as her legs can carry her. There are several doors lining the hallway, and the very end has FIRE ESCAPE marked on it.

"FUCK!" John leaps to his feet, and dashes after the intruders. Burt scrambles on his feet as well, and gets on his radio…..

Leading us to the 20th floor where Nathan had just ducked and is gripping his gun. In the room where Heidi is being held, a sudden call of Intruders and Backup and 'There are two of them that we know of' filtering through the active radio in the room. The poker game suddenly ends. Three of the five men in the room leap from their seats, and dash to the double doors. They burst open, and they run down the hall….towards Nathan's direction. He lucks out, however, because they don't turn into the corner he was in….instead they're heading to the fire escape, the one he just took, and the one he -just- left, to go down and aid their comrades in the floor below them.

The double doors they left behind are wide open. One guard is left behind…..the Australian however is on the other side of the room, so he isn't visible. And right there, on the sleeping bag, bound and gagged and looking worse for wear….is Heidi Petrelli.

The situation isn't changing, but that's to be expected. Heidi is, in fact, wondering if she should try sleeping, or stay awake in order to potentially find another opening, but… She was actually pretty lucky the first time, and if she tries again, well… She just keeps imagining that knife that Aussie has, and how much that would hurt.

Then there's /hope./ Someone is in the building that shouldn't be, and while that doesn't necessarily mean rescue, it means distraction. The guys can't watch her and get rid of the intruders at the same time, right? Granted, there seem to be so many of them, but their minds are going to be on things like showing their uninvited guests the door. Or the barrel of a sawed-off shotgun or something - whichever.

Using her elbow, Heidi pushes herself into a sitting position, squeezing her eyes shut against the pain it takes to get that far. It feels like someone took needles and shoved them into all her stomach muscles, which makes doing anything other than lying down extremely difficult. She wants to see what's going on, and look toward the Aussie to see if he's still watching her, and—

Grunting in pain, Heidi drops back down to the sleeping bag. Yeah, she'll just lie here a little longer.

Well, that didn't work out as he might have hoped. They spotted them, but maybe they're providing Nathan with just the distraction that he needs… Peter will have to hope that it's the case. That she's upstairs and with a lot of other people, and that they'll— all chase after them. Now he's really put Elena in danger, hasn't he? With her pulling him along, he has to keep up. They can choose to go to the fire escape, or avoid it— But as they run, he flings an arm to the left and then to the right, hitting a handful of doors with a blast of TK. Might as well make this interesting, right? One of the doors flies right off the hinges, maybe even slamming into the opposite wall, while most just force open, knocking against whatever's in the way, usually a wall. And then there's a handful that creak, open. There's some tearing on the door frame on the ones that came open.

With those doors slammed open, he pulls the young girl up short, glances into one of them just enough to make sure it's empty, and then pushes on Elena until he forces her inside the room. "Stay here," he says, a rasped sound to his voice. Stay there. Where it's safe. Hopefully this will get her out of harms way for a short time…

…thank you, Peter. For doing your special thing. Nathan winces as the guards go running after something that can't not be Peter and Elena, and for the briefest of moments, he considers going after them. But when he very cautiously steps into the hallway, gun pointed at the ground in a very cop-movie like way, and angles a glance towards the door they came from… he sees Heidi. Right there. Bound and gagged and bruised and Nathan sort of wishes someone would see him right then, because then he'd have an excuse to hit something. There's nothing left to do now, Peter and Elena will just have to hold their own.

He takes a breath, and walks as quietly as he can towards the room, listening. Just get her and go. Except he can see at least one man left behind, and, being not exactly the greatest detective alive (that's Batman, remember), Nathan goes with the idea that maybe - MAYBE - he's the only one there. He can take on one guy, can't he? Just need to take the advantage.

Which is why Nathan /rushes into the room and at him/, attempting to basically just… slam him into the wall. A lot like walling, only with the aim to knock the victim down! Then knock him out if he isn't already! Fool proof plan! The Australian, naturally, goes unnoticed.

BAM BAM BAM BAM BAM. The doors are recked, some are blown off the hinges, and others crack open. Elena's still running - by now she's caught sight of the Fire Escape. She has the same thought as Peter, really. Hopefully this distracts the people upstairs, and if they just KEEP RUNNING, they can lead them all the way down the stairs….and it'll be easy to loose them considering just how many floors the building has. Of course, she also has no idea that there are others running down the OTHER fire escape, so perhaps going through the fire escape might not be such a good idea.

This is when she's halted, however, and pushed into a room. "Wh— what??" she hisses, shaking her head vehemently and grabbing onto his arm like a barnacle. "Peter you can't be SERIOUS! There's -more- of them com—"

"LIGHTS OUT, YOU SONUVABITCH!" John rounds the corner, and his pistols are up. Bullets fly, and all aimed at the younger Petrelli simply because his body is blocking his way from the -other- one. Who the hell ARE these people? They looked like kids! But witnesses are witnesses and he clearly can't have any of that. The group just killed an entire construction crew and one fat, Dunkin Donuts chugging architect, what's one Italian Pretty Boy to add to the mix?

Gunshots rip through the building, cracking through the landscape and easily heard in the 20th floor. But that floor is quite busy in turn. The remaining, visible guard has stood up from the chair, and walks towards Heidi as she attempts to get up….only to fall back down. He smirks, turning to the Australian and opening his mouth to speak…

Only to get UNEXPECTED PETRELLI'D. Nathan comes flying out of nowhere, barreling into him and the full brunt of his weight plus is speed forcing him against the wall. His head bounces off brutally against solid plaster and concrete, the thud loud and audible and the plaster cracking from the sheer force of it. The man didn't even have time to reach for his gun. He just crumples into a bulky mass next to where Heidi is lying.

The Australian jumps up from the chair he was hunched over, eyes wide as he sees Nathan….PLOW right into the guy. And Nathan has a gun. So the Australian whips out his, and shoves the table away brutally to give himself a clean aim.

Eyes partially open, Heidi struggles to hear what's going on, but since it seems to be a floor below, that's difficult. There's some thuds and crashes, which are muffled as they reach her ears through the floor, but she can't discern anything from them. With no idea what's going on, Heidi has the thought that the people who are in the building now might be worse than the ones who captured her. Which is a silly thought, but spare her a little paranoia at the moment - she's earned it.

Noises from the floor below intensify. Pressing her head against the floor, straining to hear, Heidi makes out the sound of weaponsfire and narrows her eyes. At the moment, she's really not at all concerned about the thug heading toward her, or the Australian at the computer or—

Holy crap, that's Nathan!

A "!!!" escapes through the gag. Blue eyes widen as her husband steamrolls right over the guard, which… Is honestly something she didn't think him capable of. Without time to really think about that, though, Heidi has to roll out of the way so she's not crushed, ending up on the bare floor where she sits on her knees. There's no way in hell she's lying next to some guy who smells ike booze and beer and like four years of grime buildup. Ew.

With the shock still fresh, she almost doesn't notice the fact that the Australian is standing up and taking aim; she can't let Nathan get himself shot on account of her. She tries to yell his name through the gag, but in the end, it's just a loud shout that sounds vaguely desperate.

IT WORKED. Christ. He knocked the guy out with ramming speed. If Heidi didn't think he was capable of that, well, actually, Nathan is also pretty startled. He turns to Heidi, stupid questions like 'are you okay?' threatening to burst out, starting to reach for her - but he sees her look towards somewhere behind him, that note of warning in her voice even if all words get lost, and Nathan reacts, the sound of the table getting shoved enough to drive the point home.

Spinning around, Nathan sharply points the gun at whatever his wife had been looking at, and narrows his eyes to see another man standing there with a gun in his hand as well. "Son of a bitch," he mutters. Too much to hope there was only one, right? He steps away from where Heidi is kneeling, keeping the gun trained on the other guy, sort of… waiting for him to make the first move so he can /avoid/ the hell out of it. And then make an awesome second move. This plan is just getting better and better.

"I mean it, I need you out of…" That's as far as he gets before the man screams, and he can't do anything else except shield the young woman at this point. She's clinging onto him— not hiding in the room, out of harms way, like he'd hoped. So he'll just have to hope he'll be back up and moving quick enough to do something about these guys.

Shoving guys across the room, slamming doors wide open… These are all aspects of telekinesis that Peter's pretty good at. There's another aspect that he could potentially do— only, evidence will show, he's not yet mastered it. Or even managed to get it to work at all, for that matter. None of the bullets that shoot down the hallway in his direction are stopped. Maybe he needs to be facing them to do it.

The first impact in his back jerks him forward against her, and the second and the third do more. Blood splatters against the wall in small drops, but none of the bullets exit into her, luckily. She'll hear a cough, and blood rises from his mouth, and he starts to lose his stance, falling into her, onto her, trying desparately to stay up long enough to shield her, or pull her down with him. None of the bullets hit his head, and he's not /dead/ yet… but there's many holes in his back now and a normal person might be dying. Either way, it's not pretty.

It was like seeing it in slow motion. Elena's eyes wide. At first she doesn't realize that all the red she was seeing came from something. It sinks in rather quickly as the dull roar of the gun reaches her ears, that each crimson bead was made of blood. Even as Peter staggers forward to shield her further despite the fact that his back was being riddled with bullets, she hears another sound, something shrill and piercing. It was strange, seeing someone gunned down in such a close proximity - someone who was close to her, no less. It forced her back to the night Eric got shot - only it was different. She didn't see him get shot, having been shoved down before Eric engaged the perp. This time she was seeing it full bore. It's only belatedly that she realizes that the other sound she was hearing is her, screaming.

His heavy weight lands on her. Elena's arms come up reflexively as he goes down. Her body curls inward, landing hard on her knees and the younger Petrelli draping over her even as his blood pours over her clothes. His name is screamed, over and over. She can feel blood from his mouth dribbling into her shoulder. She holds him up the best she can….but he's heavy, half sprawled on her, and on the floor.

"Oh god…oh my god. Oh my god!" She was so scared, she can't even cry. "Peter…Peter!" And then she hears them, the bootsteps, striding towards the doorframe as she stares at the body she's cradling, and then up at the shadow that looms over her from the doorframe.

"Nothing personal, kid," John remarks, raising the pistol to aim it downwards towards the kneeling girl's head. "At least you'll be joining him pretty soon."

She doesn't say anything….and slowly lifts her head. Kid. Kid. Kid. She can't be a kid. Not in this case.

She was bringing -everyone- in this floor down. Her dark gaze locks into the man looming over her. And what happens next….are screams. Pain boils like fire infused in blood, indescribable amounts exploding into the gunman's head as he goes down shrieking. She grits her teeth, clutching at Peter tighter as her body tenses, her eyes narrowing, seeking out the next human body….and finds it. Close. Screaming more of it, coming down from the hall where Burt, who was moving to assist John, drops on his knees and screams, bashing his head against the wall brutally in an effort to stop the madness.

The screaming takes the other team closer to the 19th floor, the door to the fire escape flying open. But one of them, the moment he steps into it….goes down as well, froth bubbling from his mouth as he rolls around, taken by some sort of reaction he didn't even know he had. The others, distracted by this next calamity, assist him.

This is when something goes wrong.

Pain explodes in her frontal lobe. Everything goes dark. Her head jerks back at the sudden force of it, one hand landing on the floor as her other hand, twitching uncontrollably, lifts up to clutch at her forehead. She bites back a scream, blood fills her mouth trying to hold it in. She is conscious at least, hunching over as fire scorches through her cranium.

Meanwhile, back at the 20th Floor….

When Nathan whips his gun around, the Aussie doesn't waste any time. He fires a round, aimed right for Nathan's gunarm to keep him from using the gun. While he's still smiling, and somewhat unhingedly at that - he's pissed, you see, but he's -internalizing- it….which probably makes things worse. "Well. Well. Well," he drawls, kicking aside the seat in such a violent force due to his restrained temper that it flies to the side of the wall and cracks. He keeps his pistol trained on Nathan as he stalks forward slowly. "Former Congressman Petrelli. No one told me you got a lil' cowboy in you."

He tsks softly. "I'm sitting here wondering just what exactly was so difficult about the instructions given to you. But I suppose mine part isn't to question why. It's too bad, I thought we had an understanding." He nods sagely, and says, oh-so-casually. "Looks like I'm wrong. Sadly, now I'm going to have to kill you."

He raises the gun to aim towards Nathan's forehead.

"And after I kill you? I'm gonna fuck your wife."

What else can she do, other than scream? Either it's the sound or the realisation that shots are being fired in such close proximity that she herself could be harmed as she kneels there helplessly. With her hands and feet tied, there's nothing she can really do to protect herself - can't get out of the way, can't do a damn thing other than watch all this happening while bits and pieces of her life come to mind - her marriage, her kids, the fact that things were just starting to go well again when everything just fell apart and turned her world on end. Why doesn't it stop now? Why can't they just wake up from the dream and get it over with?

She always thought that the idea that things happened in slow motion under circumstances such as these was patently ridiculous - a product of movie effects meant to illustrate the art within the film without the scenes flying by so quickly that they can't be appreciated. This, though… she finds it all slowly screeching to a halt as the Australian speaks, threatens to kill her husband, and—

No. No. Hell no. She'd rather be dead. In fact, given the fact that she's absolutely /certain/ that he'll follow through on his threat after Nathan's lying dead on the floor, Heidi figures she has nothing left to lose. Being taken captive she can live with, being physically hurt, sure. She's lived through it before. But the psychological trauma that would come from /this?/ Never.

It takes too long. She's sure he'll see what she's doing and put a stop to it. As he advances forward, she stares up at him, eyes as terrified as they are determined. And when he's close enough, she falls over onto her side and aims a kick at his shins. Bastard.

The gun drops to the ground, Nathan letting out a pained cry as the bullet goes through that arm. With a thud, his back connects with the wall behind him, hand coming up to grip over that wound, suddenly a lot less the conquering hero that slammed a guy into the wall and more the former politician who should have tried to talk his way out of trouble when he had the opportunity. Not quite defeated, however, he listens to what's being said, trying to keep pain, anger, frustration all contained.

The gun comes up, barrel pointed directly at his head, and Nathan feels cold. He's going to die. He's going to be kill and then—

No. No. Hell no. At first Nathan is incredulous, frozen in horror at what this man is saying he will do. And then, very much like slow motion, he sees the man stumble, Heidi's kick doing it's thing, the gun getting drawn away, pointed away, and Nathan snaps back to reality. And altogether snaps as well. Thank you, honey.

What happens next? Nathan launches himself from the wall, grabbing the thug in a tackle… and /keeps going/, the two men hurtling towards the window just behind. The sound of breaking glass and almost a vacuum as they both disappear through the now gaping glass window, and there's only the sound of chaos up above, because Heidi is alone in the room.

The good thing about regeneration? It works whether he's aware it's working or not. Though he's not breathing to great right now, his body pushes the bullets out one at a time. The metal falls out and clinks to the floor, though it could hardly be heard over the screaming. Hers, and everyone else's. All he does is groan a little, but even that is quiet in comparison. For a few momenst, the pain caused him to black out, vision turning blurry and dark, almost tunneled even. The screaming pulls on him, though he's not sure where it came from at first. Not until it stops, until she's coughing up blood, and until all the bullets have been ejected from his body, the wounds sealing over, does Peter realize what's happening— what Elena must have done.

Pushing up enough to glance back towards those in the hallway, practically dribble cups at this point, he he figures that this must have been something she did— tougher than he gave her credit for— whether he wanted to or not. Reaching for her shoulders as he kneels down, he tries to get her to stand, but ends up half dragging her, half carrying her, with his remaining strength, into the room he'd tried to shove her in before. "Elena? Elena, it's okay— I'm okay— you're going to be fine— you will— I can fix this," he says, sounding pained still, but determined, keeping his hands on her shoulders as he swings the door shut with TK. It won't stop them for long, but maybe any back up will be distracted by their buddies on the floor, or check the rooms with open doors first. He tries to smooth back her hair and lift her face up. This— it's completely different from what he'd have gone through— did she do too much? Did it backlash? Is it an overload? At a time like this, he wishes that he'd have asked her for advice on her ability. But he's /felt/ her use it on him, and he knows basic body chemisty… maybe— just maybe— he can do this now. With her there, it's a lot easier for him to feel how she makes him feel.

Reaching out to her, he tries to find what's wrong, find the imbalance… and /make it right/.

The Australian is impeded, just a little bit, by the kick swung from underneath him, Heidi's bound legs finding purchase. Having not expected that, he stumbles forwards…..and right into the hands of the angry Petrelli, who grabs the thug…..and keeps going. He's propelled backwards….and is kept going. "What the HELL ARE YOU DO—" he yells, and feels the impact. It was as if everything goes in slow motion, with the angry Italian politician bumrushing him yet again…..and then, the crack. The crash. Shards of glass explode all around him. There is a yell, a loud scream……only for him to realize the scream was on his own mouth.

And he goes down. Down with the Flying man. Down from the 20th floor still grappling the Congressman. This was so…unbelievable. Incredulous. There's NO GOING BACK FROM THIS.

"You MORON!" he snarls, and pulls his fist back to -deck- Nathan from mid air. "YOU KILLED US BOTH!"

Oh if he only knew.

Back in the 19th floor, Elena is dragged from the ground, Peter still regenerating from his wounds, and her head hanging heavily, her hair on her face. She doesn't respond, even as she's dragged into the room. The door closed. It won't hold them for long - there had to be more of them than this. She could only hope….whatever the hell this is would pass. Whatever the hell this is would get her to function yet again. She tries to right herself up, to use her powers….but nothing works. Nothing works.

"Peter…" she croaks. "Peter…"

When he tilts her head up and pushes her hair back, the first thing he'll see are her eyes. They are wide open……..but colorless. Not unlike the blues he gets when he's painting an Isaac Mendez portrait, except they were more gray than blue. Her pupils are shrunk, and unresponsive. He'd know what happened even before she says the next words…

"I….I can't see…" she says, her breath hitching as she tries not to panic, her hand groping around in front of her as she's moved into…some place. Everything was dark. "I can't see….oh my god, I can't see…!"

As he uses the ability taken from her, he'll find out a few things. Some very drastic things. To her credit, she doesn't cry. Not yet. She's still in shock.

However, before Peter can fathom a plan to fix her, the door is kicked down, the two remaining, healthy guards…followed by the one having frothing fits earlier, level their guns towards Peter and Elena.

Either it worked, or she's already dead, because she can't imagine that Aussie wouldn't turn the weapon on her as soon as she tried to interfere. Since she's still breathing, Heidi can guess that she's still alive, and peripherally remembers the fact that her legs did make contact with something. In summary, she seems to have done exactly what she intended to do, and fully expects to hear the thud of her captor hitting the floor. If she's lucky, he'll crack head on the floorboards and pass out.

But the thud never comes. Since everything seems to be moving so slowly, a lot of thoughts run through her head at that point, most of them circling around her imminant demise /and/ Nathan's, but the sound she hears is breaking glass.

And Heidi looks up just in time to see Aussie and husband go tumbling out the window.

But… He! He can't! He can't just!

She struggles, trying to get out of the ties, but just like every other time she's tried, it's useless and the plastic bonds hold, just like they're supposed to. Heidi desperately wants to get to the window, she has to see for herself to know for certain that he's gone. No one can survive a fall from this high up, but maybe she could have… Could have done absolutely nothing. Her struggles cease, and she just continues facing the window, tears welling in her eyes as she realises the fact that if he's not dead, he's going to be /so hurt/ and— she just can't handle it. Tired, hungry, in pain, Heidi has finally reached her breaking point — So now that she's alone, she's just going to say a quiet prayer and hope to God that he's somehow okay.

Running 'JUDGMENT DAY' program… Please wait.

Suddenly, sound and light erupt from the copter. The light is near building, more so to those used to dark lighting. The windows shake, not from physical assault, but from the powerful bass that is emitted from the microphone, deep drums beats following the ring of a dismal church bell. This goes on for thirty seconds as something else begins to move in the building adjacent. The music is loud, but that's the point, the plotter behind this attempting to draw the gunfire toward the copter that is now flying backward and upward at a slow rate.

Suddenly there is a sound of two objects being launched from the building, sounding like it was something powered by high presses. A couple moments pass before the wall on the 19th floor shake as a pair of 'CUNK's can be heard right above one of the bigger windows. Hopefully, it will be the bad guys that hear and investigate this noise if anyone does at all. If someone does check out what is going on from the building a bit away from them, they might have to look up to see something. A pair of powerful inch wide steel cables appears to be firmly lodged into the wall by some sort of powerful steel claws.

Inspecting the claws might distract from the real issue, an object moving from the nearby building to the one where the action is taking place. The copter begins to emit trumpets from the sound system as an object in black shoots down the lines with surprisingly fast acceleration, coming from a window on the 30th story. If the thugs know their science, they'll be able to swiftly figure out this thing had some nice momentum behind it or has a bit of mass. They might have trouble seeing that it's actually a humanoid figure dressed in biker's leather sliding down, but they will be able to get a good look at the rubber soles of the size 11 boots before they crash through the window.

Regardless if there were people on the other side of the window, the person begins rise up from the crater in the floor made by the heavy impact, seemingly not caring about the destruction about him or where he landed. But who is it wearing those cheap sunglasses and pulling out a metal tee ball bat? Oh my gosh! it's the Governor of California, here to help a fellow Republican politician with super powers! Wait, that can't be right, but the figure DOES look a lot like Arnold, just from a much younger time.

Meanwhile in a Mustang that looks like it was bought after the recent Transformer movie, Gene sits in a car, working hard on a laptop with an intense look on his face. Despite his fears, not actually being the one shot at makes it a lot easier to take. "Before you say anything, Eric, yes, I am a Geek god with a lowercase 'g'. No, we are staying here because I don't want to get shot while killing people."

Nathan and the Australian spiral together, arcing towards the ground - perhaps going faster than gravity would have dictacted. If Nathan is going to kill the man, he is going to /kill/ him /properly/. The Australian gets a good hit it, to his credit, but it barely loosens the grip Nathan has on him, and both men spiral only faster, the world spinning out of control around them.

And then Nathan let's go, and hovers in still motion, watching the thug just drop away. Heart thudding, he can only do that - just watch, before slowly, he rises in the air, turns back to the building and flies back towards the broken window. The timing is lovely as the music starts thrumming through the air, the bass making things vibrate.

To Heidi, the room is empty for a good half a minute, before abruptly, Nathan seems to swing back inside. The dramatic entrance is hindered, foot catching on some remaining glass and he stumbles onto all fours, but safely inside the room. He's breathing hard, a cut on his face from the impact of the broken glass window bleeding away, his right arm now dark with blood… but he's not splattered on the ground. So that's a positive.

In a kind of limping, desperate crawl, he makes his way towards Heidi, removing the gag before simply holding her close, whether she likes it or not.
"I'm sorry Gene, I can't hear you, I'm following your killbot," Eric Walker's responce is said though the miniture comm system in his ear as he is alread /gone/ from the very nice car. He's already up in the building somewhere. Infact he's decided that the best entrance for the building is the hole that said killbot just made. Having heard Gene's plan he made his /own/ plan as well. He's even humming along with the music. He can't really help it. Of course he'll stay out of the way of anyone that might shoot him, and keep Arnold between him and them after he comes down the same rope, though not with /near/ the speed that the killbot had.

He pauses a moment, then when he's sure no one is shooting at him he pats the Governator on the shoulder. "…thanks for the door." He murmurs to him before he kneels there on the floor and looks around. Hrmmmm. "…now…where is Elena?" He asks Gene though the comlink.

Pause.

"…and is there any other badguys around?" So he's not thinking stright. His mind if filled with images of Elena's bullet riddled corpse stareing accusingly at him. Followed by images of Ramon shooting him repeatedly in the face for not taking his daughter out on a date before she got killed.

Angry Dad is a HUGE motivator.

She's blind. Oh god. Peter can /feel/ a lot of what's wrong with her, deep in his mind he can feel it. Maybe he can fix it with time— he hopes he can fix it with time. Unfortunately time is not something these men seem to want to give him. Removing a hand from her, he starts to raise it towards them… right as the loud music starts playing. What the /hell?/

He recognizes it. He had been tweleve when the second Terminator came out, and it had been a huge movie. It's very recognizable. And hopefully it will distract the guys with the guns as long as it distracts him. The cavalry has arrived? That, or some idiot on the same floor just started playing their stereo at max. With a freaking subwoofer. It takes a moment, there's a huge crash into the building— okay, NOT a stereo— and he uses this to draw on a sudden emotion, and he does the most logical thing. What he'd been intending to do in the first place, actually. He grabs the one who's further inside the room with his mind, and /throws/ him through his buddies and out into the hallway.

/Get out of my office/. Governator? He doesn't see him /yet/… but he's likely to. The badguys should all be sprawled neatly in the hallway, in perfect bowling over position. And certainly visible to the man who followed after.

Peter? He's standing up, and getting ready to do more to them, until they're unconsious… and /really/ hoping the calvary isn't for /these guys/.

"What the hell is that noise?"
"Holy—"
"What the FUCK- !!!"

The Governator crashes through the window, the trio turning to gape at what the hell just plowed through the wall. And then, the guns raise. To Gene's credit, the machine looks human - so they naturally think a few bullets will get him down. This is, however, when Peter acts. One man is grabbed by sheer force of angry telekinesis, and is thrown….through his buddies' bodies. All three are telekinetically SHOVED out through the room, right in the path of Gene's killbot and Eric.

'Where are the bad guys,' Eric Walker said.

Looks like they just made an appearance, sprawling on the ground -right- at the path of Gene's lean, mean, Straight From James Cameron's Movie Machine.

"SHIT!" One guy has the presence of mind to sweep his assault rifle up…and starts firing at the killbot.

Oh if he only knew.

"That answers my question!" Eric calls as he scrambles for cover out of the way of the gunfire, and drops a globe of darkness over the three guys with guns. Time for a sudden freak power outage to steal the lights from the guys with the guns. "Um…get em! I'm gonna find our friends!"

As for Elena…she hears something very loud….and the Terminator theme. What's sad is….she doesn't know if it was Gene OR Jaden that's blaring the famous song. "…………………………………….." There are no words. She doesn't even have to SEE to KNOW that whatever's happening, her -crew- was responsible. Somehow. The Terminator theme was a dead giveaway. She gropes for the edge of the desk, and moves to stand up, only for her head to explode in pain yet again. Nails dig tiny grooves into the wood as she chokes back a sob, her hand lifting up to clutch her head and grip it tightly. She'd rip out her own hair just to get the pain to stop.

Somewhere out there, she anticipates that Nathan is hitting the ground about now, and the thought makes her sick to her stomach. Maybe it's a good thing that she couldn't get up, because that's something no one should ever have to see. What is she going to do now? What's going to happen to her and the boys?

Maybe she shouldn't have started thinking along those lines so quickly. As she cries, she watches the window, hoping beyond hope that somehow, Nathan caught onto a ledge or something and is now trying to climb back in somewhere. The rate they went through, though, she doubts it, but she can't stop staring. And all her watchfulness is rewarded when he returns, flying through the window, stumbling like an awkward teenager, and—

Backing up her train of thought, Heidi realises that she's not seeing things. She's one hundred percent certain that she just saw her husband /fly through the window./

The expression on her face? Wide-eyed shock, then confusion, which cycles to something close to terror, all in turn. The fear is very real - Heidi is only human, and she can't fathom what she's just seen. Was it a hallucination? Is this some sort of joke? this can't be Nathan! Shaking her head when he comes close, she tries to push herself away. No, no, don't touch her! YOU'RE A MUTANT OR SOMETHING!!! But when he takes the gag off and holds her, she /knows/ that, at least for this moment, she can put the trepidation aside, because this is something so badly needed that she can't deny herself. He's here, and despite the smell of blood and dust, and the building's own musty scent and the lingering stench of smoke, she can smell /him,/ and that in itself is comforting. He's warm. Close. Here.

Leaning heavily against him, Heidi sobs.

"It's okay. I'm here, honey, it's okay, Heidi…" Nathan says, breathlessly, clinging to her as much as he holds her, almost rocking them both. They're suspended there for a few moments, despite the noise and drama going on below them, and Nathan pulls away, studying her eyes before he sees the blackish-blue bruises on her face, holding her shoulders and what apologies /in the world/ can make up for this? For what she's been through and what she's just witnessed? All his careful secrets, practiced speeches of truth that he never got to play out… it all hangs in shreds.

He's moving, trying to undo the ropes at her wrists and ankles with shaking hands. "We'll… we gotta go, before the others—" More gunshots from below, and Nathan curses. "God."

Okay— definitely not their calvary. While they fire at— whatever it is that's out there, he returns to Elena's side, trying to pick her up— as the lights in the hallway go out. What…? The lights don't go out enough that he doesn't see Arnold Freaking Swarchenegger mowing down the people he'd just put into the hallway. And not only that, he could swear he's running through bullets. "…what the hell…" Peter says, staring wide eyed, before he reaches and physically picks the young woman up, cradling her against his chest like a rescued damsel from a story book.

"We're getting out of here— I'll fix you when we're clear…" Oh hell, he needs to check on Nathan. Damnit. What if he didn't get Heidi? What if they got /shot?/

Carrying the young woman cautiously, he heads for the darkened hallway, hoping desperately there's not a second Terminator, maybe one made of melty metallic stuff, running down to take him down…

This is so crazy—

And hey, look, Eric, there's your friends!

"Oh god, oh god…I hope they didn't come in here…" Elena whispers. She didn't know who came, she only knew it was either one or some of her crew, and she doesn't want them shot! And then she hears footsteps walking closer to her, and she is lifted up. She clutches at the nearest support she could find, which happens to be Peter as he's sweeping her legs off the ground. When the world goes dark, she doesn't notice….because she can't see anything. "What about…your brother…?" A stray tear or two slips from her eyes, realization that she -can't- see finally bleeding through the shock. She takes a deep breath. She doesn't sob. No way. She can figure this out later.

But she lets Peter carry her. It was safer anyway, considering the fact that he can see, and she can't. She also won't slow them down, considering she doesn't weigh much and Peter was athletic in his own right. He just can't fight very well. Her heart was still hammering in her chest though. It was so dark. She can't see. How was she going to help everyone save New York now???

Meanwhile, even as Peter steps out through the hall, he'll see something LARGE and moving quite quickly barrelling past him, and right into the globe of darkness Eric had created around the thugs. From the globe of darkness, the rest of the kidnappers go flying….making several holes through the wall as they're just plowed through the plaster. And then, it stops - to await more of Gene's orders, but it looks like all of the threats are neutralized.

This is also when Eric spots Peter and Elena. Thankfully with his nightvision eyes, he can see in the dark.

Eric Walker said he was going to find his friends. Thats what he's doing. While the Killbot takes the random gunfire and then wades into the darkness after the shooting kidnappers. He scrambles through the doors where they came from his eyes flashing into that reflective shine that indicates that he can see in the dark. He notes movement from the corner of his eyes, spinning towards it to make sure that its not more guys with guns and notes that no! Its not more guys with guns! Its a guy(singular) with a girl(singular and wounded) and wow…he knows them both!

Appearing out of the darkness slowly as the shadows fade away, as not to alarm the pair of them Eric flashes them a wry grin. "Suprise. T-1000 brought friends." He says. "Hi Peter, hi Elena…" Pause. "…you've looked better."

The quip is because in his mind he's says 'OHMYGODOHMYGODOHMYGODI'MNEVERGONNAGETHERINTOBE—-' and that just really isn't a good greating that isn't. Then the noble and good part of his brain beats down the part that has that evil thought with a stick. He blinks a moment though taking it all in and glancing up higher.

"There's a car downstairs, I'll take her if you want to check on everyone else." He offers the younger of the pair of brothers.
It's not /okay!/ None of this is okay! She can't even put into words how this lacks /ANYTHING RESEMBLING OKAY!/ Normally she can at least figure out a logical explanation for things she doesn't understand, but none of this makes any sense at all. When Nathan pulls back, Heidi's eyes are impossibly wide, afraid, and despite the fact that - as soon as the ropes are untied - she's clinging onto his sleeve as if she'll never let go, she's also trying to back away at the same time.

Her position reaches a point when the pain in her stomach is too much, and the hand that's holding Nathan's sleeve is suddenly folded around her middle, while the other one braces against the floor for support. For the moment, she grits her teeth, eyes squeezing shut to expel more tears. She doesn't want him to touch her now, but it's not really a conscious decision /she/ is making. Really, Heidi wants nothing more, but, for once in her life, she's being completely irrational.

When she looks up, her expression is, at first, nigh unreadable, but it's not long before it resolves itself back into that wide-eyed horror - where she's not even sure where the emotion is coming from. It just /is./ Sniffling, glancing quicly behind her to make sure no one's standing there waiting to attack her, she slides back across the floor on her hands and knees, never taking her eyes off Nathan.

She just has one question now. "What are you?"

The young man who steps out of the shadows is easily recognized, and for some reason— hey /can see/ a lot better than he should. Sees him even before he steps out, which is why he's not startled at all. Absorbing an ability, an all, even if he may not be able to recall it later, does grant some advantages. "T-1000… that— nevermind," Peter says, deciding he isn't sure he /wants/ to know. Maybe one day he'll put together the kid who had R2D2 following him around with this cultural character, but right now… he just wants to find his brother and sister-in-law and get Elena somewhere safe so he can fix what she's done to herself— what he did to her in a way. He should have made her stay behind and gone without her. It would have been safer.

There's an odd twitch of his eyebrow, perhaps from stress. It seems like he's hesitating handing her over. "She— don't take her too far. I still need to fix her— heal her," he explains, before— he moves closer and passes her over. "I'll be down there once I find my brother and his wife." His voice is determined, quiet— and then an instant after, he adds on, softer toned, "Take care of her."

With that said, he leaves them and hopes him and the… T-1000… can protect her. He's running for the fire escape and hoping to make it upstairs. Without Elena, he's no longer caring about looking where he's going. He can get shot as many times as he needs to to get to his brother and his brother's wife.

Nathan doesn't get to his feet, watches as his wife backs away and asks that question. He holds a hand out for her, but then withdraws it. He's not stoic, not right now, just weary looking and hurt. "I don't know," he says, very honestly. "Please, don't…" Don't what? Don't hate him? Don't fear him? There is no fair request to ask right now. He's almost forgotten as to how they got into this room, what few actions have brought them here, what must and could be occurring on the floor beneath them. For now, it's just him and his wife.

Nathan finally gets to his feet, swaying just a little onto his heels, but otherwise… he moves to pick up the gun he dropped, using his left hand and arm, the right remaining folded against him. Flicking the safety on, he pockets the weapon, then extends his hand to his Heidi. "We can't stay here," he explains.

She's passed onto Eric, Elena feeling the change of hands as she slumps against Eric. "Be careful," she tells Peter quietly, even if…..she's only looking at where his voice was coming from and not him directly. And then, she looks over at Eric. "…how did you….?"

Answers will be forthcoming later. But Eric does what he's asked. He nods to Peter, and taking Elena with him, he turns to hurry down the hall and -away- from the building. His priority is to get her out of the hot zone, and not just because he was asked to.

She could feel her head slump heavily, her chin against her chest. She tries not to think about the blindness. She tries not to, but when they both get to the outside of the building, Gene's car peels out from the hiding place to stop right across the street. This is where she's carried. The urge to cry was overwhelming, but she ignores it. Instead once she's safely inside and once Gene starts asking how she was, and how everyone was, and staring at her tear- streaked face and the eyes that JUST DIDN'T LOOK RIGHT, she manages to smile, hug them both, and murmur about how happy she was that they came.

The tears can come later when she's alone.

But! "You—" She points to the wound in Nathan's arm, the fear very slowly melting away as she realises that even if he can fly, he's also bleeding profusely, and that /bothers her!/ Don't /what/ is a good question indeed. Heidi's not even sure she knows what she's not supposed to do! But if she could just think for a /second…/

He's offering a hand, which she stares at instead of taking. Hopefully Nathan will forgive her for being belligerant /just this once,/ because Heidi simply can't wrap her mind around all of this. She hurts. Not as much as it hurt when she broke her back, but at least that time, she wasn't beaten and threatened with rape. The damage from this is much more than just what Nathan can physically see. Then again, when you wind up paralysed, that takes a toll on you, too, but…

This is just different.

"I don't-" She looks back toward the broken window, then back up at Nathan. "I don't know what to do!" she pleads. One hand tentatively raises off the floor, but she doesn't take his yet. She knows very well that this is the man she's cared about for many years, but—

"You never— S— said anything. You never" She looks back toward the window again, fully expecting the other guy to come flying through, as well. "Y-you never told What. How? I can't"

His brother is right. They can't stay here.

Peter gets onto the floor they're on, and comes running, yelling out, "NATHAN!? HEIDI?!" loud enough their names could be heard over the music, assuming it's playing on loop. As well as any screams or rampaging done by the T-1000. Skidding to a hault, he finally spots the two, looking relieved— but winded, terribly winded, even pale. And— did I mention bloody? Yeah, that too.

"You're both okay— thank God." Glancing around, he doesn't even think twice about what he's doing when he turns to scan her hallways, looking for the people that might still be up there. That's not the problem, though. The problems are /bullet holes in his back/. Blood shimmers fresh around the holes, so there's no doubting that the bullets found purchase, but he's not walking like someone who'd been riddled with more bullets than 50 Cents has. He just looks winded, like someone who's ran quite a lot. When he looks back, he MIGHT look a little pale, but doesn't look feverish.

"We have to go. There's cars downstairs. Back up arrived, but— Heidi, you're— did they do this to you?" he suddenly says, noticing the bruises on his sister-in-law's face, stepping forward worriedly.

When there is trouble, when there are women that need saving, Gene Kensington doesn't sleep. He waits.

He's behind the wheel of the classic, well-kept interior of his classic Camaro. Eric crawls over to the passenger seat to shut off the Terminator music, and a blessed silence descends over that side of New York. This was a bad area anyway, a lot of things and people get shot at, so it's not surprising, and a little distressing, that no one's called the cops yet. This was a neighborhood where people were more concerned over their own skins than getting into trouble.

Eric soaks a handkerchief with water, and gently presses it on Elena's face. She takes the cloth from him, and wipes at her skin. She tries to keep her face averted, of course. She has way too much pride to let anyone see her eyes at the state they were in. She could feel the waves of worry eminating from both of them.

"I'm sorry," she tells them both quietly. "I got reckless."

Her father is never. Ever. EVER letting her leave the house again.

The hand drops. Nathan just shakes his his head at the broken questions presented to him. He knows what she's feelings, but there's only so much he can say. "If you'll let me explain after we…"

But there's no time to get that sentence out, head whipping around at the sound of Peter's voice. Oh good. He's alive— ish. He's bloodied up, true, but standing. Nathan reaches out, hand that was extended for Heidi now landing on Peter's shoulder. "Can we get out of here?" he asks, very business-like, if a little wounded. As for where Elena is… he has to assume she's either safe or, you know, dead. Either way. "Before they bring more?" Behind them, the broken window tells it's own story as to what went down here.

Distracted by Peter's arrival, it suddenly occurs to Heidi that if Nathan's some sort of mutant, it might just run in the family. Genetics? Yeah, she studied that a little. And the fact that he's totally soaked in blood but seems completely fine doesn't escape her attention, either. The sight of him causes a whimper, quiet and confused, as she stares up at /him/ now.

Wondering.

Yes, she saw those bullet holes when he turned around to look into the hallway, and /THERE WERE WAY TOO MANY./

"I— I—" is all she manages to say before her already shakey grip on emotional stability just crumbles under her fingers like she's been holding onto a sandcastle. The change in her expression is instant, breaking from terror and trepidation to disconsolate in less time than it takes to blink. And… she just cries. If Peter and Nathan want to get her out of here, now would be an excellent time.

…Oh man, he didn't mean to make her cry. Peter glances towards Nathan, and reaches up to touch the hand on his shoulder. "You— might have to carry her. But be careful with her, until I can look at her." She might have internal bleeding or something… but he doesn't say that. Instead he just gives a brief, "We're not going to a hospital, unless you want to explain… what happened here." How the Terminator showed up to save the day. Or how his brother got riddled with almost a dozen bullets and is walking around just fine. Or how Elena went blind, or… "Elena's in the car downstairs with someone else she knows— a friend. Let's go— hurry…"

With that said, he's moving back to the hallway, and hoping his brother follows with the wife.

Barely hearing Peter now, Nathan simply nods. "No hospitals," he agrees, watching as his wife simply… breaks. In a way he can't immediate fix. Peter is already out the room by the time Nathan stoops to pick Heidi up. His good arm goes behind her shoulders, the injured one beneath her knees but otherwise, he manages to hold her, even as he grunts in pain upon lifting her up off the floor. Once standing however, it's fine, and he cradles her to him, kissing her temple whether or not she still fears him, and following Peter out. Only now does he feel some semblance of shaky relief, holding Heidi tightly as he walks.

Whenever they get down to the Camaro, they're all waiting for them….Heidi's going to have to sit on Nathan's lap at the back of course, but Gene's behind the wheel, with Eric manning the police scanners making sure that the coast is clear. Both look up - and in Nathan and Heidi's eyes, they're all….kids. Very young, perhaps in their very early twenties or their very late teens.

"Where are we headed?" Gene asks, starting the car and feeling the purr of the well-kept engine under the hood.

Elena is in the backseat. She can't see the Petrellis at all, but she does, in her insistence…..wear a pair of sunglasses. At -night-? This kid's -weird-. Her head is resting against the backrest, lolled on one side….but in hearing the direction from where footsteps are coming from the open window, she turns to that direction. She can -fake- sight, at least, being the perceptive girl that she is, and she flashes the returning Petrellis a cheerful smile.

"All set?" she asks, making room for them in the car by…feeling the seat and scooting over. She can fake cheerful too. There's also blood on her….but it was Peter's. She herself doesn't appear wounded.

Maybe she's too tired to be afraid right now, or too numb, or something. It's uncharacteristically impossible for Heidi to keep track of how she's feeling at the moment. She allows Nathan to pick her up, doesn't flinch when he kisses her, and even wraps an arm around his neck to help him hang on. She'd /love/ to stop crying at this point, but she just can't, even while trying to concentrate on the fact that she's been rescued and is now being taken away from this place. No hospital? But she's in /pain!/ She needs to see a doctor! And Nathan has a bullet in his arm and also can fly and that's probably something he should have looked into or something—

Oh GOD.

To the car, though. She's pretty easy to carry, doesn't struggle, which means getting her and Nathan both into the car might be— well, easier said than done, one would imagine. But as soon as she's there, she turns a blank expression toward Elena. Of course, Heidi doesn't know the girl is now blind, but she realises something incredibly important. Unable to put it into words, she shifts in Nathan's lap so she can wrap her arms around the younger woman. If it hadn't been for her — Heidi has no idea how, but Elena's the only one who could have told Nathan and Peter where she was.
Hey, he knows that kid. Peter stares at Gene for an instant, before he shakes his head. Well. That explains it. …Not really, but it sort of does. "Better get Arnold out of there, too," Peter says as he gets into the back seat, pushing the smaller girl into the middle, and reaching up to touch her face. Reaching out again, he tries to find what's wrong with her, thinking of her, feeling what she's always made him feel— and trying desperately to find the break, what she's lacking, what would be needed to fix what's wrong with her. She can use her ability without touch— he's not quite as skilled.

The hand drops from her cheek and takes her hand in his own instead, scooting close to make enough room for his brother and the wife, while he closes his eyes and tries to fix this. He can't wear himself out to the point of no return, not before he can fix Heidi, but with her just on the other side of Elena, he can reach over and take her hand next— and do the same thing he's trying to do now. With a different ability.

He's not falling asleep, he's consentrating, trying to walk an invisible roadmap of Elena's internal systems, to find what's wrong with her, to bridge the gaps— to fill in the blanks… Please let this be something he can fix.

There's no protest from Nathan when Heidi goes to cling to Elena. Well maybe a bit. He keeps a grip on her, as if afraid to let her go, but otherwise, he allows the moment. He slams the door shut behind him. "/Drive/," he orders… whoever. He doesn't know these people. Doesn't care. He leans right back into his seat, and can only wish he could have been the hero he had always wanted to be - the one that doesn't need /flying/ and /superpowers/ to make a difference. He should have just pulled the trigger. Because now it's all a mess.

But he has his wife back, physically, at the very least. Keeping an arm wrapped around her even as she leans over, Nathan settles in to his seat, and glances over at Peter. "Don't outdo yourself," he adds, another instruction. He, of course, isn't aware of Elena's blindness either.

A callused hand is on her cheek, the dark lenses hiding her ruined eyes from view as Peter uses her own ability on her. Her brain, her body, they tell him the same thing he had managed to surmise earlier. Her state at present was confusing, her natural state of homeostasis unbalanced, and a portion of her brain was currently inactive - probably why she was blind. Something had been shut down, that needed to be revived.

When Peter takes her hand, and scoots over, she pauses, feeling a slight tingle in her palm. He was trying to do something. And trying to do something right now. Her other hand lowers to cover on top of his that is holding onto her hand, and she shakes her head at him. ~You're tired. It can wait~ is thought at him.

She could hear a woman crying, and a small frown softens the smile on Elena's mouth, the cheerful facade fading a touch. "….wh….what's…?" The question isn't completed however, because she can feel slimmer, feminine arms wrapping around her shoulders. "M….Mrs. Petrelli….?" she wonders, confused. Why was she crying? What was wrong? Was she hurt? So she slips her hand from Peter's so she could hug the woman back. "….I told you, no?" she says lightly. "I wasn't just going to leave you." It's said so innocently, repeating the words she told Heidi when she was helping her pick up her dropped groceries in the parking lot.
Gene doesn't respond of course. He adjusts the rearview mirror to peer at the rest of them, and nods to Peter. "The chopper will handle pickup," he says, tapping a few buttons on the portable console he carried with him. And then, shifting gears, he turns the wheel to peel out of the sidewalk, and drive AWAY.

For awhile, Heidi just remains practically draped over Elena before she draws back because of her own pain. She can feel it, a sickness in her stomach like it's really badly damaged, and there's a really awful black and blue blotch across her stomach. Internally, it's pretty bad, since getting hit that hard in the stomach is going to do some damage. It certainly wasn't enough to kill her, but enough so that Aussie could assure that she wasn't ever going to be able to run away again.

Her face looks worse than it is. It's mostly the bruise for falling against the van floor and then being slammed against the wall, but she bit her cheek pretty badly, too.

For the first time in hours, Heidi manages a smile. Despite the fact that her husband and brother-in-law are mutants (And so is Elena, she just doesn't know yet) Heidi feels safe. "You said," Heidi states, voice small, not quite child-like, but approaching it. It's also tired, still shaken. Afraid. Pausing for a moment, she leans her head up against Nathan, fowning as she spots the fact that he, too, is injured. She noticed it before, but now that she's had a few seconds to calm down, it becomes a concern. Frowning, she reaches for the bullet hole, holding her hand over it as if she's going to stop it from bleeding.

"I love you," she says quietly, finding his eyes. They'll need to have a chat, but considering the fact that she's about to pass out, that'll have to wait.

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