2007-07-28: She and Him


DFKate_icon.gif DFPeter2_icon.gif

Summary: Peter returns home from his latest mission plus two children, but minus his team. His wife attempts to console him and shares her latest vision with him.

Dark Future Date: July 28, 2009

She and Him

Kensei Coalition House

Leaving his wife behind in a safe location is often the case when Peter Petrelli goes on raids. It's not that she isn't combat capable, but he's made it perfectly clear many times that her safety is far more important than the success of the mission. If it came down to getting her out and leaving everything behind— he would get her out. So sometimes it's best she stay somewhere safe. Like this upstate house, for example.

The raid today was to attack a detention facility and attempt to break out as many humans as possible and get them to the underground railroad to safety— a small team, consisting of a technology based Evolved (nicknamed Techie), one brute force Evolved (that they nicknamed Bruno), and Peter himself— hasn't been gone very long. In some cases, the longer they're gone, the better— in this case…

There's a shift in the air. A shimmer, and Peter appears out of nowhere, holding on to two people. Neither of these people were on the team. From the blood covering him… probably not a good run. His longer hair has fallen from the usual tie, hanging in his face and over his ears. Even the hair doesn't totally obscure the angry set to his jaw, the narrowed eyes. Not pleased. This happens often. The reason their group is so small. Very few people come back when a mission goes poorly. The people he's holding include an infant, and a young girl, practically a toddler, clinging to his leg and practically hiding under his coat. Not a total loss, from the looks of things, but he wasn't supposed to be teleporting the people he rescued here.

Coping is different things to different people. The visions of past and future have been more and more frequent and Kate Petrelli has taken to painting scenes from the psychic sight. She's working on the scene of a bloody massacre when Peter returns. She looks up from the painting to Peter. Her brush clatters to the floor and she sidesteps her canvas to dash to her husband's side. She stops just short of embracing him, watching his expression warily. "The children lived," she says quietly. Have to point out the victories amongst the tragedies.

"Five older kids too," Peter mutters in the deep voice he's accustomed to using before he tries to move towards somewhere to lay the infant down. It's crying now, and… infants don't seem to be something he can deal with too often. "Was able to get them to the safehouse, but when I went back for the rest…" His jaw sets as he fails to get very far with the girl clinging to his leg. "Will you— take— it." They have a few people here who can tend to the children, until he can get them to the safehouse so they can get on the railroad like the older kids, but… His voice has a cold tone as he continues. "We're down two members again— next time I'm taking the replicatants— we can lose as many of them as we need to."

"That isn't fair to Infinite." Kate takes the infant, cradling it against her chest with all the maternal instinct she possesses. Another reminder of what she wants and cannot have. "I could have helped." She doesn't pursue the line of conversation any further than that. "I'm glad you're home. You know how I worry."

"That's why he's here. Everyone has something they have to do." Peter says in the harsh and cold whisper, adding on, "If you'd gone, I wouldn't have been able to get these two out." The long haired man grumbles under his breath, reaching down to pry the girl off of his leg and carry her over to a chair and sit her down. She's shaking and crying, but at least she's alive. Too young to really speak— and she's not making any sounds besides the soft sobs anyway. Maybe she can't speak at all yet. ~Get in here.~ he sends a thought to the few people they have here, most of them humans who offered to risk their lives staying in certain areas, like Kensei's home, rather than the safety of the railroad. Once two appear, two women, he says, "Take the children and make them comfortable until I can take them to the safehouse." And they move to do just that with a wary nod. Most people don't like being around Peter when he's covered in blood and looking grim.

Kate hands off the infant, looking both reluctant and apprehensive to do so. Once the children are safely away from the blood and Peter's frosty demeanour, she approaches the leader. "What am I here for? Everyone has something they have to do, but I sit here." And attend the odd social function, putting on smiles and keeping an eye on her brother-in-law, the president. Not that Peter considers that what she's here for. She knows her husband's stance on any proximity to Nathan. "I feel useless. You don't even let me help care for the children." Because she never wants to let them out of her sight. Because she brings up the argument as to why they should start a family.

"That's not all you do, Kate," Peter says stiffly, reaching around in his clothes until he pulls out a hair tie to pull his long bangs back out of his eyes. This makes the tension much more noticable. "You're here so I have a reason to come back." The wedding ring on his finger catches some light as he forces his hair into place. The rips in his clothes, the blood, make it look like he got impaled by something, or hit by sharp scrapnel or rubble. The mention of the children, though, draws his eyes away, darkening, lip shifting a little. This is not an argument he's ever taken well. Best not to start it now. Which might be why he sets his jaw for a moment, before giving something, "Find me a target and you can come along."

"Peter…" Kate closes the distance between she and him, licking the pad of her thumb and then bringing it to his cheek to wipe away a smear of blood. "What happened this time? What did they come at you with?" She isn't sure she wants to know, but she'd rather he talk about what happened than keep it all inside.

As she smears the blood away, Peter moves, reaching up to cup one side of her face and pull her in closer, not minding the still fresh blood on his clothes and face and instead choosing to touch the tip of his nose against hers before he leans in. The kiss isn't gentle, but not completely rough either, and when it breaks he rests his forehead against her own for a long moment. "Nothing I couldn't handle." Doesn't mean the others could. "They collapsed parts of the compound. They wanted to capture me."

"They never learn, do they?" Kate smiles sardonically, catching her breath after the kiss. All this time and he still manages to catch her off her guard. "I'm glad you keep coming home," she whispers, lacing her fingers with his. "I don't know what I would ever do without you." Sell her soul for his safe return, most likely. "My vindictive and vengeful tendencies would only take me so far," she quips, "I'd run out of purpose."

"No— they really don't," Peter responds, with a hint of a smile finally forming on the corner of his mouth. Sure, they managed to take something from them anyway— they didn't get the prize. "You have me— and you have a purpose… and I won't let anything happen to you." Voice deep, the strain of the day is obvious. Even if he managed to escape with his life— Hand still on her face, he pushes back her bangs and trails fingers down her cheek, other hand squeezing her own. "Getting better at painting, I see," he adds, glancing towards the canvas for the first time.

Kate's lip trembles. The mask is broken. She tips her forehead to rest against his again and closes her eyes. She breathes in deeply, inhaling the scent of him. Of blood. The two are almost indistinguishable these days. "Yeah," she smiles shakily. "It's coming along." Like therapy. "Nowhere near as good as what you can do, yet. But it's a start. I just wish I had happier visions to paint. At least this way… they seem to plague my nightmares less." She cups her free hand against his face, a mirror of the way he touches her. "Peter, I…" She trails off.

"You have such a burden— your ability," Peter says, continuing to touch her face before he leans forward again to kiss her. Their similar heights mean that he doesn't have to shift his mouth too much to do this. "What is it? Did you have another one?" Visions aren't something he avoids entirely since the war ended, due to the undesirable side effect he still hadn't overcome at the time. Occassionally he still paints, or does other things, but her ability… fainting is something he can't afford.

Kate calms down a little when he kisses her again. "I was fixing a tear in one of your coats…" They're just a little resistance group, after all. They can't just go off buying a new coat every time Peter gets stabbed or shot at. "And I saw… you. But younger. But it didn't… feel like the past?" She sighs heavily and turns her head to the side to stare off at the wall, though her temple is still resting against his forehead. "Maybe I've finally cracked. I can't tell the difference between past and future anymore. Sometimes I feel like I'm losing my mind with each vision."

What she has to say makes Peter frown visibly, that hint of a smile wiping away. Fixing a tear isn't worrisome, really, it happens all the time, but the vision… and her confusion about it— that certainly seems to be. Jaw tightening, he leans against her and closes his eyes. Younger him that may not be in the past, but the future. "If you see anything else like that, let me know— and show me what coat you saw it on, too." It's almost a hint of an order, or at least the take-charge tone he sometimes uses.

"I locked it in my trunk," she informs him. Dutiful wife. "I didn't want you fainting when you went to dress. It kind of makes keeping a schedule difficult." If he's been avoiding visions, it's nothing compared to the great lengths Kate takes to keep her husband from experiencing them. Not after her first visions of this future - now their present - put her in a coma. The world can't afford Peter Petrelli in a coma.

"I wasn't intending to get a vision off of it," Peter says with a grunt, but he does nod at her precausion. If she's going to keep it locked away, he's not about to stop her. He stays in close, keeping his eyes closed, and then he sighs loudly. "I need to get those children to the safehouse with the others. Do you want me to drop you off back at the city base or do you want to hang around here a little longer?" Adam has been nice enough to supply a safer place to live, but they have other bases they can use, too.

"I'd like to go home," she confirms. Kate steps away to sweep her arm in a gesture toward her canvases. Her paintings. "I can't stand to look at them anymore." It's nice here. More quiet than the city. But it feels confining. Suffocating. Kate was never able to stay away from New York City for very long.

"All right," Peter keeps close to her, and then the area they live in changes around them, shifting dramatically. The paintings disappear. One home exchanged for another. This one far more personal, with many of their things. Possessions from their old life before, and their life now. One thing distinctly missing from the room… are analog clocks of any kind. There's digital clocks displaying the time, but that's the closest they get. "Welcome home," he adds, before finally starting to withdraw. "I'm going to change and clean up— then I'll make sure the children make it to somewhere safe." He could have let her stay to see the children off, but he seems to feel the less contact she has with children, the better.

Kate smiles faintly. She never had to tell him she refused to own a ticking clock. To this day, they still make her uneasy. Even though the reason for that fear is long dead. What she does have plenty of is mirrors. They make the space feel larger. More open. She takes her husband's hand and walks toward their bedroom. "Come on, darlin'," she drawls playfully, "Let me help you wash up."

Just briefly, there's that touch of a smile tugging on one side of his mouth. It almost shifts his eyes, even. The darkness and the intensity doesn't fade, but the smile, at least, is there again. Peter doesn't push her away, or let go. Though his voice is still deep and whispered in tone, he says, "If you insist, Kaydee," as he allows her to follow him towards the bedroom.

"I always insist." With a kick of Kate's foot, the door shuts behind them.

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