Editing Episode 620: Hammerfall, Part Two

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[[Episode 620: Hammerfall|Part 1]], [[Episode 620: Hammerfall, Part Two|2]], [[Episode 620: Hammerfall, Part Three|3]], [[Episode 620: Hammerfall, Part Four|4]], [[Episode 620: Hammerfall, Special Features|Special Features]]<br><br>


Nika scowls at Rina. Why does her engineer always want to blow stuff up? Nika looks down at the dress she's wearing and says, the sarcasm heavy:<br><br>

'''Nika:''' In my skirts?<br>
'''Rina:''' There's enough room under there for an SMG, what are you talking about?<br>
'''Kiera:''' I say we go out the door your dad just came in from.<br>
'''Rina:''' Mama, is there another way out through his workshop?<br>
'''Natalia:''' That door leads to our suite and beyond that there is another door but—<br>
'''Rina:''' Good. Let's go then.<br>
'''Natalia:''' But it goes to the same hallway.<br>
'''Nika:''' (to Natalia) Can ''you'' answer the door?<br>
'''Kiera:''' While we go through the other door.<br>
'''Rina:''' If they don't see us, we're not here. C'mon. Let's go.<br><br>

Natalia takes a step forward.<br><br>

'''Natalia:''' I can. Do you want me to answer the door? I can but once I open it … (trails off)<br>
'''Nika:''' If they come in with a phalanx of guards, we're up the creek.<br>
'''Rina:''' (nods at the suite) I say we hide in there. What would you do? Just stand here?<br>
'''Nika:''' I'd go out the window myself.<br><br>

Rina's close to a window. She looks out, checking for ledges, drainpipes, brickwork—anything to perch on or hold on to. All are present. She and her crew could creep out and balance on the ledge or climb down to the ground 30 feet below … but her parents are old and may not be able to do anything so physically dangerous. So the windows are not a viable option.<br><br>

Nika looks at Natalia.<br><br>

'''Nika:''' Under what conditions are you actually being kept here? Are you under any threat at any given point? Besides the threat to your son?<br>
'''Natalia:''' What more do they nee—<br>
'''Nika:''' Are they ever physical with you?<br>
'''Natalia:''' No. They would not hurt us.<br>
'''Nika:''' If you lock the door to keep out an overzealous fan you kicked out a few minutes ago, would you be in any trouble?<br>
'''Natalia:''' That has never happened. I don't know.<br>
'''Kiera:''' It did just now.<br>
'''Rina:''' It's how I got in.<br>
'''Natalia:''' Maybe not. I don't know.<br><br>

All of which is pointless—the lock on the door clicks and the handle begins to turn.<br><br>

Kiera is closest to the inner door, being at the piano. She leaves off trying to get Feodor inside and ducks into the suite alone, closing the door behind her.  Rina is at the window and is too far away to follow her crewmate and Nika is even farther.<br><br> 

'''Nika:''' Fake it!<br><br>

Rina stands her ground and starts gushing at Natalia, playing the Otaku fan girl to the hilt. Nika ducks behind the hinges of the hallway door. Once the door opens, she'll be hidden behind it. Not much in the way of an advantage but it's better than getting caught out in the open. It's well enough that the crew has decided on their course of action, because a few seconds later, the door is opened wide. <br><br>

'''Rina:''' Oh my gosh, omigosh, you're here! I can't believe it! I've listened to your recordings for years and I just never thought I'd be able to see you in person. I'm your biggest fan! Could I have your autograph?<br><br>

Rina starts doing the pocket macarena and fishes out a pen and a scrap of paper from somewhere and holds it out to her mother. Rina has her back to the door and turns around when she hears the door open. Two armored guards march in bearing new-ish tech weapons. Some sort of stunners, maybe. Standard security gear. Rina looks at the guards, then looks at Natalia, and says in a very small voice:<br><br>

'''Rina:''' I'm sorry. Is there a charge for the autograph?<br><br>

Rina turns right around and continues gushing as if knowing she's about to be dragged off any minute as a nuisance.<br><br>

'''Rina:''' Your opening aria in ''Eugene Onegin''. It made me sob for joy … (sighs) … It was beautiful.<br><br>

Anna briskly walks in.<br><br>

'''Anna:''' Madame Tigranova. What has happened here?<br>
'''Natalia:''' Just some fans.<br>
'''Rina:''' Ohhh, have you heard her sing? She has the voice of an ''angel''.<br>
'''Anna:''' (dry) Oh, yes. They should be fans.<br><br>

And she keeps on gushing. They should record Madame Tigranova's voice. Everything and always. Hers is the voice of the century. When she dies, a light will have gone out of the Heavens and …. so on and so forth. From her hiding spot behind the door, Nika watches all of this unfold and stays silent and still.<br><br>

'''Anna:''' (to Rina) So you are a fan?<br>
'''Rina:''' (tearing up) Her most ardent fan. From afar. She doesn't know I'm alive. <br>
'''Anna:''' So. Where are your friends?<br>
'''Rina:''' I'm sorry. I … I heard her voice and just had to get here. I ran so fast I must have left them behind. She was singing her scales …. (Bliss!)<br>
'''Anna:''' Yes.<br><br>

Anna turns to the guards.<br><br>

'''Anna:''' Tell security we have two lost girls. Have them brought to security so we can make sure they are okay. <br><br>

Anna is no dummy. She checks behind the door and finds Nika. <br><br>

'''Anna:''' Oh. There's one. One that got lost. Hiding behind the door? Come out, come out. Don't be afraid.<br>
'''Nika:''' (timorous) They've got guns.<br>
'''Rina:''' (blinking) Oh. They do. <br>
'''Anna:''' And all of your guns are still in that crate. That must be troubling. <br><br>

No point in pretending anymore. We're boned.  Rina looks at the piano, looking for something to throw. The instrument is free of anything, the lid down. However, all around the room are a multitude of tables and display cases with crystal pieces, vases of flowers, and bric-a-brac. Chairs liberally dot the room. Mere steps away. Impossible to reach under gunpoint. In addition, throwing something might cause one of the guards to shoot her parents by mistake. Rina takes a few cautious steps back from the piano, putting herself between her mother and the guards. If the bullets start flying, they'll hit her first. Nika answers Anna calmly.<br><br>

'''Nika:''' Yes. Well. It seemed the best way to get in and make sure our friends were all right.<br>
'''Anna:''' Your friends?<br>
'''Rina:''' (to Natalia) I wasn't lying when I said I was your most ardent fan. <br>
'''Anna:''' Yes. I imagine you would be.<br><br>

Anna pulls out a slip of smart paper, activates it, and pins Rina with a look as she reads.<br><br>

'''Anna:''' Daughter. Irina. Is that right? Thought to be dead.<br>
'''Rina:''' Well, you can't believe everything you read. Reports lie.<br> 
'''Anna:''' (still reading) A traitor to the people.<br>
'''Rina:''' Lie.<br>
'''Anna:''' Well, I'm sure you'd like to be able to tell your side of your story to the authorities.<br> 
'''Rina:''' I doubt they'd be interested in hearing it.<br>
'''Anna:''' I'm sure they'd be interested in having you.<br>
'''Nika:''' Why? She's not the only deserter. They're not interested in the rest of them. Why are they interested in her?<br>
'''Nika:''' Well, the rest of them haven't broken into official government buildings and tried to—<br>
'''Rina:''' Oh, really? If I recall correctly we were invited in. We didn't break anything.<br>
'''Anna:''' Invited in? Under false pretenses.<br>
'''Rina:''' So you didn't do your background check. That's not our fault.<br>
'''Anna:''' Perhaps we should let a court decide. I am not a judge. But you are right to throw yourself at the mercy of the justice system.<br><br>

At this last, the guards trade a look and chuckle. Anna deigns not to notice. Natalia speaks up and her tone is conciliatory.<br><br>

'''Natalia:''' Anna. I heard she was alive and begged her to come. It was my fault. She probably had some foolish idea she could rescue me but there's no harm done. No one has been hurt. We are still here. <br>
'''Anna:''' Certainly. There's something going on.<br>
'''Nika:''' Yes. Rina wished to make sure her parents were all right.<br>
'''Anna:''' After how many years? If she were interested in that, she would have tried earlier. There's got to be something else going on.<br><br>

Anna taps the smart paper and reads from it again.<br><br>

'''Anna:''' I've sent some feelers out about … a shuttle registered a vessel ''Equinox''. Landed here. Had some interesting background on it. It was recently owned by a man by the name of Potemkin. Are you familiar with this man?<br>
'''Rina:''' May that bastard rot in hell.<br>
'''Natalia:''' I don't know a Potemkin.<br>
'''Rina:''' Thank your lucky stars, Mama.<br>
'''Anna:''' I find it interesting that you should come into possession of his vehicle and relatively shortly after come to visit the Enclave. <br>
'''Nika:''' Why? Does he have ties here?<br>
'''Anna:''' Of course.<br><br>

Of course. Is there ANY slimy pie he didn't have his fingers into?<br><br>

'''Nika:''' Really?<br>
'''Anna:''' You seem so ignorant of these things. Of course, you're just a fan who wanted to come see—Oh! I know! You're not a fan, you wanted to join me—no, no, You're actually here to rescue or to visit her mother. Yes. There are so many stories. Tell me the one that you think I'll believe. <br>
'''Nika:''' In point of fact, I had no idea that Potemkin had any ties here whatsoever.<br>
'''Anna:''' Of course not. And did you even know that the famous Natalia Tigranova was here? Probably not, right? You were just lured here by this … friend of yours, trying to take advantage of your innocence. It is difficult to be a girl in the 'Verse. I understand what it is like.<br>
'''Nika:''' (yeah, right) Uh-huh. <br>
'''Anna:''' Sadly, my official responsibilities keep me from accepting this story on face value. But we have ways of finding out exactly what you're here for.<br>
'''Rina:''' (to Natalia) She's a bitch but I like her.<br>
'''Anna:''' Well, if I did not have such fondness for your mother, you would not get away with that sort of speech the first time. Any fondness will not protect you a second time.<br><br>

Meanwhile Kiera's looking around the room she's in. It's a tiny living room, about 10 by 10, with a short stub of hallway leading to likely a bath and a bedroom. A window takes up most of the wall on the outside and a door to the hallway is on the wall opposite. The view out the window is the normal street fronting the outside of the building. The street is broad, necessitating a fair bit of running to reach the hiding places on the other side, but at least if she dove out the window, she wouldn't be landing in the exercise yard of the local garrison. Small comfort, but Kiera will take what she can.<br><br>

Elsewhere, in the south wing of the building, Joshua and Arden are negotiating the maze of service corridors and rooms two floors below. There are small rooms and bedchambers and workshops here. The hallways are clear but they twist and turn. It really is a maze down here and there are no maps mounted to the walls to show you where you are. Nothing so helpful as a fire evacuation plan, nope. As for finding our target ….<br><br>

'''Arden:''' Do we have any idea how to find these people? What's their last name?<br>
'''Joshua:''' Tigranov. But we're not going to be able to ask around for them.<br><br>

Joshua looks for a servant, finds one, and asks: <br><br>

'''Joshua:''' New delivery for … (apparently from memory) … Tigranov? Where are they?<br>
'''Servant:''' Ah, they are workers here? Or guests?<br>
'''Joshua:''' Guests, here. I think. I'm new. It doesn't strike me as worker delivery. Where are guests kept?<br>
'''Servant:''' You should ask the Chief Valet.<br><br>

Oh great. More authority. Just what they want to avoid. Joshua thanks the man and keeps on going through more corridors twisty and turny, going deeper into the bowels of the building. On the way, Arden murmurs to Joshua.<br><br>

'''Arden:''' Can't you use your Reading ability to find someone who would know?<br>
'''Joshua:''' I can't treat them like the yellow pages. <br>
'''Arden:''' No, that's not what I mean. Usually in a hotel or a prison or a stallag, there's one person who has their finger on the pulse of what's going on and knows everyone.<br>
'''Joshua:''' Yes, I understand that. Even then, I get images of things. I get a picture of the room where they are and that doesn't help us any, because I don't know where the room is.<br>
'''Arden:''' Right now I'd like to talk to the person who has his finger on the pulse.<br>
'''Joshua:''' That's the Head Valet, I'm almost certain that's who we're going to see.<br>
'''Arden:''' But he's in authority and we don't want authority.<br>
'''Joshua:''' Anyone who has their finger on the pulse is going to be authority.<br>
'''Arden:''' Not necessarily.<br>
'''Joshua:''' Really? <br>
'''Arden:''' Yeah. <br>
'''Joshua:''' Who are you thinking about who has their finger on the whole place who's not in a position of authority?<br>
'''Arden:''' You'll laugh at me.<br>
'''Joshua:''' I won't laugh at you.<br><br>

You know, the one person who knows everyone and everything OUTSIDE official channels in the servant hierarchy. Joshua sighs and they keep moving, hoping to find a way out of the service area and into the guest wing. He decides to revise his story to state he's here for a pick-up instead of a delivery in case they get questioned. Because they aren't actually carrying any laundry to deliver. <br><br> 

Joshua finds the Chief Valet's office and walks in to find the  man sitting at a desk. Joshua starts spinning his cover story and as he does, he Reads him.<br><br>

'''Joshua:''' I'm lost. I'm new on the job and I'm looking for … Tigranov? Some sort of pick up. I don’t know what it is. I assumed it was some sort of dry cleaning?<br><br>

Joshua gets a sense of :: Security? :: and looking past the Valet's shoulder, Arden sees a computer screen with a blinking red dot on it. The Valet looks very nervous. Arden moves to the door. Joshua sees the Valet moving to open a drawer beneath his desk. Security button? Joshua punches the man to keep him from sounding the alarm, KO-ing him with a single punch to the jaw. Add one more unconscious person on the list of things to hide. Arden leaves the door and lends Joshua a hand.<br><br>

'''Arden:''' You got to stop doing that.<br>
'''Joshua:''' I know but I had to stop him before he punched the alarm button.<br>
'''Arden:''' There's a little red flashing thing on his computer you might want to check out.<br>
'''Joshua:''' Yeah, he was actually thinking about security.<br> 
'''Arden:''' I'll lock the door.<br><br>

Joshua takes care of the unconscious Valet while Arden checks the computer. It numerous windows open, books on the servants' quarters, along with a few other things: ''parade in Anna's honor, Anna's birthday party, etc''. One of the windows says Security Alert, Level Two. Arden clicks on the alert for details. Two messages: Two Females, approx. thirties, Caucasian, somewhere in East wing. ?One female? location still unknown. <br><br>

Arden tries to hack into the computer to cancel the security alert. He types in a hack and the multiple windows start winking out. The alert disappears and Arden quickly pulls up a floor plan of the building to find out where the heck the rest of the crew are. The shortest way would require going across the courtyard outside and going through a door at the far end. Joshua and Arden elect to stay inside to stay under cover. Joshua gives the floor plan a glance, Arden takes the Valet's key card, and they get moving again.<br><br>

They come out of the service area into a whole different world. The ceiling soars 15, 20 feet overhead. The floors are parquet wood and marble with jewel-toned carpets. The walls are tastefully done in buttercream yellow and robin's egg blue, trimmed in white and gold. Crystal and paintings and flowers abound here. It's rather like Dorothy stepping through her front door into Oz, the difference is that marked.  Joshua and Arden make it to the second floor and open a door that is one long mirror reminiscent of Versailles.<br><br>

They see two men in suits standing near a door a little more than halfway down the hall. They're wearing suits. They are armed. Joshua and Arden keep walking forward. They've got their uniforms on, they have their story prepped. When they are about 50 feet away from the men, Joshua starts getting an uneasy feeling. It intensifies with each step closer he takes :: Something is not right :: Joshua whispers to Arden.<br><br>

'''Joshua:''' Who are those creepy guys?<br>
'''Arden:''' What creepy guys? (looks) They are sorta creepy.<br><br>

Joshua's having trouble even looking at them and it's ruining his composure. Closer and closer he walks and harder and harder comes that horrible feeling of '''wrongness''' off those two. Joshua tries to cover it by adopting a subservient, eyes-averted deference but auggh! the creep factor is making his skin crawl. <br><br>

'''Joshua:''' (to self) God, I ''hate'' them … They aren't Roskov but ''I hate them''…<br>
'''Arden:''' (whispers) Roskov?<br>
'''Joshua:''' ''Roskov''.<br><br>

It's too much for him. Joshua turns around in his tracks and makes tracks back the way they came. Arden tries to stop him, then follows. Uh, Joshua? This catches the attention of the two creepy guys and one of them breaks away to investigate. Joshua is compelled to keep on going and he's not stopping until he feels safe. Which probably isn't going to happen, since Creepy Guy #1 is now closing the gap between them.<br><br>

'''Creepy Guy #1:''' You there. Stop.<br><br>

Arden stops. Joshua keeps on going for a second and falters and stops. There's a quality to the man's voice making him obey. Nevertheless, Joshua grips the hem of his uniform tunic. The compulsion to ''run!'' is still there, but now it's being thwarted by the Creepy Guy's command and Joshua has to transfer that tension somewhere. When Creepy Guy #1 draws even with Arden, Arden pulls out the Valet's key card and presents it to him. Joshua can't turn around to face the Creepy Guy, but backs up to him.<br><br>

Creepy Guy halts and stops to look at the card Arden's holding out and Arden snaps out a mean upper cut when the man gets close enough. Creepy Guy moves out of the way and there is no hiding the ''wrongness'' now. Creepy Guy bends backward at the knees and goes flat for a second as Arden's fist pounds nothing but empty air, then he's up again in a flash that defies the laws of physics, blindingly fast. <br><br>

Inhumanly so, as a matter of fact. <br><br>

It doesn't take a genius to realize that this guy is one of the Elect forces Omar Tennison told us about. Creepy Guy calls over his shoulder to his partner.<br><br>

'''Creepy Guy #1:''' Go for the other one.<br><br>

Creepy Guy #2 pokes his head into the door and announces into the Tigranov salon:<br><br>

'''Creepy Guy #2:''' [[Episode 620: Hammerfall, Special Features#HOW TO SPEAK RUSSIAN|''Komandir'']]. We have company.<br><br>

He ducks back out and closes the door, going for something down the hall. Rina watches the man closely when he came in, hoping that it isn't Nikolai. It isn't.<br><br> 

'''Anna:''' All of you. Up against the window. <br><br>

The guards with the weapons point us in the right direction and Nika starts edging from her position by the door for the indicated spot. Rina does the same, walking backward, her arms at half-mast at her side, keeping as much of herself as possible between her mother and the threat of those weapons. Feodor looks a bit puzzled at this development but starts moving for the windows as well, the piano's bulk shielding him from most of the room. <br><br>

Nika eyeballs the guard she's passing, sizing him up. He's got some sort of electronic weapon. Might be a stunner. Might be something nastier. No way to tell at this point. Should she get the drop on him and grapple? Or do as the man says? Flicking a glance at Rina, she can see her friend is playing human shield for her parents. No help coming from that quarter then. Kiera, meanwhile, has taken a turn around the room beyond and realizes that while she might be able to slip away, she'll be leaving her friends and crewmates behind. And that is something she's reluctant to do. Damn. Now what?<br><br>

Outside in the corridor, Creepy Guy #1 has Joshua turn around to join Arden. Creepy Guy #1 has a gun pointed at Arden and not wishing Arden to come to harm, Joshua moves to do the man's bidding. Joshua has his hands in the classic hands-up position and he steels himself to keep his eye on Creepy Guy #1, waiting for a chance to make his move. From his position to the side, Arden sees Creepy Guy #1 aim his gun to shoot Joshua. Arden briefly wonders if there is a way to use the Creepy Guy's inhuman reflexes against him. Some sort of obscure martial arts move maybe? Or perhaps distract him? As Joshua draws nearer, Arden steps into Creepy Guy #1's guard, attempting to foul the man's gun arm and get that gun away from him. At the very least misdirect his weapon.  He's only got a split second to move. <br><br>

Arden succeeds in redirecting the weapon but isn't successful in getting the upper hand. Creepy Guy #1 moves quick as lightning and twists Arden's arm up behind his back. Swish! and Arden's trapped.<br><br>

Kiera hears the scuffle filtering in from the hallway and dares not investigate. So far, no one knows she's here. If she stays hidden, she might have the element of surprise working in her favor when the time comes to make her move. She sits tight, fuming at the situation, but sits tight. <br><br>

Nika gives the guard at the door a wide berth, playing the part of the cowed civvie afraid of being shot by accident, keeping the same difference away from him. Oh God, please don't shoot me … Nika edges slowly around him for that window.<br><br>

Out in the hallway, Creepy Guy #2 pulls out a knife, and starts closing the distance for Joshua and Arden. One gets the distinct impression he loves his job a little too much and the wrongness coming off him is, impossibly enough, even stronger than the other guy. He's smiling sick little smile, toothy and feral, with evil intent behind his eyes.<br><br>

Back in the salon, Rina's got her mother backed up as far as the woman can go. The guard is right there in front of her, about ten feet away, weapon up and aimed right for her. There is an occasional table at Rina's left hip, with a vase of flowers and knickknacks on it. Without looking aside, Rina reaches out and grabs the first thing to hand off that table and throws it as hard as she can at the guard in front of her to distract him. It works. The guard tracks the object coming for him without thinking and shoots it with burst what looks like lightning. '''ZAP!'''  The vase coruscates with the charge and goes to smithereens on the floor. Water and flowers go everywhere. Rina lunges forward, going all out and leading with her fist, aiming straight for the one spot the man hasn't any armor: his unprotected face. She lands a solid punch and the man goes down, out like a light. Rina grabs his weapon.<br><br>

Across the room, Anna watches this unfold avidly. Behind her, the other guard hears the weapon discharge and moves to shoot Nika. She's kept her eye on him and she's not without fast reflexes herself. She dodges his shot and disarms him, lickety-split. Three seconds later, she steps back and she's got his weapon. <br><br>

'''Nika:''' Thank you!<br><br>

Nika spins and shoots Anna in the back. The lightning bolt hits her dead center and Anna goes down screaming. Apparently the weapon fires a charge that causes excruciating pain.<br><br> 

In the hallway, Joshua is spurred on by the blood curdling screams and despite his skin crawling reaction, runs right at Creepy Guy #2. Creepy Guy #2 lunges with his knife and Joshua twists out of the way and keeps right on going past the man: ''Bye!'' Joshua fetches up against the wall, right next to the salon door.<br><br>

At the sound of combat, Kiera decides she's waited long enough. She opens the hallway door a crack and peers out, trying to get a handle on the situation. If nothing else, she can come around and reenter the salon from the hall. Everyone inside will be engaged and she'll get the drop on them from behind. Instead, she sees two men in suits, 35 and 60 feet away. They're both armed and they're both going for her crewmates. Joshua's just avoided a vicious knife slice by a cat's whisker and Arden looks like he's going to be in serious trouble in a second. The Suits also haven't noticed her. Time to break their concentration. Kiera fills her lungs and yells.<br><br>

'''Kiera:''' '''HEY!'''<br><br>

Back in the room, Nika moves into position to cover the guards and Anna with her weapon, and does some yelling of her own.<br><br>

'''Nika:''' '''EVERYBODY STOP!'''<br><br>

In the corridor, the Creepy Guy on Arden brings his gun up to shoot Arden, who he's got in a submission hold. Of course, Arden isn't going to take this lying down. He tries to twist out of the hold and slam Creepy Guy into the wall. He struggles but doesn't get away, the gun goes off, and Arden is hit in the side. Luckily, he's wearing his mesh and only takes stun … but he can kiss his hearing on the left side goodbye for the next little while. Arden catches Joshua's encounter with Creepy Guy #2 from the corner of his eye. And now Creepy Guy #2 looks like he's coming Arden's way.<br><br>

'''Arden:''' I could use a little help here.<br>
'''Joshua:''' I'm working on it.<br>
'''Arden:''' Yeah? You're running in the wrong direction.<br><br>

In the salon, the remaining guard fumbles for his gun and Nika pivots and shoots him with the agony weapon. <br><br>
 
Anna has made it as far as the door and she's the first thing Joshua sees when he opens it. The agony coming off the two people in the room hammers his mind hard and Joshua's unable to do anything more complicated than maybe walking or talking, but at the moment can't do much of both at the same time. He manages to grab Anna by the arms and the hammering his mind suffers intensifies.<br><br>

D'oh!<br><br>

Forcing himself to move despite the pain, Joshua gets a grip on Anna and drags her out of the room. She'll be excellent leverage to get the Creepy Guys to stand down. Kiera runs out of the suite, hell bent for leather, intending to cover the distance between her and Arden and the goons.<br><br>

Arden is still pinioned by Creepy Guy #1 and he's getting desperate. He pulls a feint and wonder of wonders, the goon falls for it. Hard. Arden twists out of the grapple hold and wins free.<br><br>

Joshua pulls Anna into a stranglehold. She's still screaming and Joshua yells at the men with Arden.<br><br>

'''Joshua:''' Creepy Dudes! I will break her neck unless you put down your weapons!<br><br>

He gets a grip on her hair and makes sure they see it.  Creepy Guy with the knife doesn't stop but starts for Joshua. Kiera body slams into him at a dead run. The knife gets her with a nasty slash.<br><br>

Nika sees the guards are neutralized, Joshua has Anna in hand, and she turns to Natalia.<br><br>

'''Nika:''' You better get Grigoriy. We need to go.<br>
'''Rina:''' And Papa.<br><br>

Nika looks at the guard she's shot. Amazingly, he's remained upright, screaming and writhing in place. Nika wants to render him unconscious rather than kill him, so she aims a kick at his head to put him down for the count.  By some twist of fate or plain bad luck, she misses and she kicks the door shut instead. The momentum of her kick carries her right around and she falls flat on her face to the floor. The guard screams and writhes on.<br><br>

Rina marches over and knocks the man out as Nika picks herself up off the floor.<br><br>

'''Nika:''' Damn, that was so lame.<br><br>

Arden attempts to step inside Creepy Guy #1's guard, getting in too close for the man to use his gun, and disarm him. The man shoots and misses Arden but Arden isn't able to gain the upper hand. Help!<br><br>

Joshua's still got Anna in his grasp. He yells his ultimatum again, pushing Anna in front of him. Creepy Guy #2 just smiles. Kiera moves behind Joshua—she's no dummy. She's safer with him than tangoing with Creepy Guy #2.  Behind her and Joshua, Nika opens the door, and they both step back toward it. Nika's standing in the doorway, however, so they don't get very far. <br><br>

Which is unfortunate, since they have front row seats to Creepy Guy #2. They watch as he licks Kiera's blood off his blade. The light in his eyes is hideous—there is something horribly wrong with the man. As to the danger Joshua poses to Anna, Creepy Guy #2 either doesn't give a flying flip or he's interested in watching Joshua make good on his threat. It's hard to tell, really. That guy is seriously messed up. Kiera hisses at Joshua to give her a gun. Joshua says he doesn't have one. Nika orders them both to step back. <br><br>

Down the hall, Arden finally evades Creepy Guy #1—despite the inhuman reflexes—And they circle each other warily. Joshua still has Anna and he tightens his grip on her, calls out again.<br><br>

'''Joshua:''' Drop your weapons. <br><br>

Nika opens the door to the salon and steps out with the agonizer gun. She brings it up and aims it at the Creepy Guys.  Creepy Guy #2 pauses. You can see him thinking about it. Keep the knife and get shot by the agonizer? Drop the knife and live? Joshua and Nika both intensify their stances: he tightens his grip around Anna's neck, she braces and squeezes the trigger just short of the break.<br><br>

Creepy Guy #2 drops his knife. It hits the floor with a clatter. Down the hall, Creepy Guy #1 steps back and holsters his weapon. Kiera grabs the knife. Nika calls over her shoulder.<br><br>

'''Nika:''' Irina. Your parents. Brother. ''Now''.<br>
'''Rina:''' Yes, Ma'am.<br><br>

Back in the salon, Rina starts herding her parents to the door.<br><br>

'''Rina:''' Mama. Papa. Let's go. Where's Grisha?<br>
'''Feodor:''' Ah … I think he's on the … the second floor—on the third floor. Of the main building.<br><br>

Outside in the hallway, Kiera has a suggestion about Anna.<br><br>

'''Kiera:''' Let's take her with us. I like collecting redheads.<br>
'''Rina:''' We could gag her.<br>
'''Nika:''' Actually I was thinking we could make her call to get him brought here.<br><br>

Good luck with that. Anna isn't screaming anymore but she's still incapacitated. Despite his neck hold on Anna, Joshua looks appalled.<br><br>

'''Joshua:''' What did you hit her with?<br>
'''Nika:''' This. Seems to be effectively a very huge taser.<br>
'''Kiera:''' Ooh. Could someone please shoot Happy McSlasher halfway into his next life?<br>
'''Joshua:''' They're going to stand down, because I have their boss.<br>
'''Creepy Guy #2:''' What is your plan, Smart Man? What is your plan now?<br>
'''Joshua:''' The plan now is to get the other person we came for. And then we're going to depart this building.<br>
'''Creepy Guy #2:''' And you will bring her as a hostage?<br>
'''Joshua:''' As a hostage, yes. I'm not going to kill her unless something forces it. I would prefer there to be as little bloodshed as possible.  <br>
'''Nika:''' We will release her when we are clear.<br>
'''Joshua:''' I gather you are not big on the lack of bloodshed thing, given the liking of the bloody knife thing, but if we get clear then you'll get her back.<br><br>

Creepy Guy #2 thinks on this for a beat or two. Anna bites back a moan and manages to speak. <br><br>

'''Anna:''' (weak) Do you … seriously just want the old … singer and her painter son?<br>
'''Rina:''' And my father. And my brother in the Tower.<br>
'''Joshua:''' (to Rina) Yeah. We have that covered.<br>
'''Anna:''' All right … Let me make a call …<br>
'''Joshua:''' If it ends being a bad call …<br><br>

He tightens his grip on her. She holds up a personal comm.<br><br>

'''Anna:''' Security, bring … Mr. Tigranov to the lobby … (to Joshua) … That way.<br><br>

We make our way down to the lobby, carefully, slowly, maintaining our grip on Anna. Grigoriy Feodorovich Tirgranov is waiting for them there. Like her parents, he's older than Rina remembers. He looks alarmed at seeing his parents in the company of strangers.<br><br> 

'''Grigoriy:''' Mother, Father, are you okay? What's happened?<br>
'''Rina:''' We're getting out of here.<br>
'''Natalia:''' Yes. We should just go.<br>
'''Anna:''' (recovering) Where are you going to go now? How are you going to?<br>
'''Joshua''' What? You mean how are we going to leave the building? I'm pretty sure we're going to walk out.<br><br>

After all, we still have Anna hostage. <br><br>

'''Anna:''' Where are you going to take me? Where are you going to drop me?<br><br>

Rina thinks to herself: ''Oh, about a hundred feet up''. She keeps that comment behind her teeth. There is a short discussion amongst the crew. When do we let go our passport out of here? When we get to the spaceport and we're all loaded on our vessell, as Arden suggests? No, when we take off, as Kiera suggests? Arden protests. No way are we taking her with us and pushing her out the door as we take off!<br><br> 

'''Nika:''' Okay, shut it.<br>
'''Anna:''' (dry) I see you've all planned this out well. What are you going to do? Before I take another step.<br>
'''Nika:''' We are letting you go. We just want to leave. We have no interest in how you run your Enclave or anything else you are doing.<br>
'''Joshua:''' If you can look at me and tell me that there will be no reprisals, that you will let us go, let everyone in this group we want to take go, and get on our ship—<br><br>

Arden interrupts and Joshua tells him that we'll discuss it, and turns back to Anna.<br><br>

'''Joshua:''' — and leave. With no reprisals from your end on us, and no reprisals from your end on anyone else here in the Enclave for the actions that happened here today, we will let you go free of harm.<br>
'''Anna:''' Very well. But if you return here …<br>
'''Joshua:''' Understood.<br>
'''Anna:''' You have my word.<br>
'''Arden:''' But—<br>
'''Joshua:''' (to Arden) ''I know''.<br>
'''Nika:''' (to Rina) Go now.<br>
'''Rina:''' Yes, Ma'am.<br>
'''Anna:''' You have one left.<br>
'''Joshua:''' We do have one left.<br><br>

Joshua Reads Anna to see if he's lying:: ''She's just waiting for a chance to get away and burn us.'':: Arden leans over to Nika and whispers to her what he's been trying to tell everyone: ''The Tower is empty. There's no one there''. Nika looks sideways at him: ''Seriously?'' Luckily, Rina is too busy with her parents and brother to notice the exchange. Joshua gets a grip on Anna's arm and takes her with us. She protests and digs her heels in.<br><br>

'''Anna:''' I thought we had a deal.<br>
'''Joshua:''' Really? You had no intentions of following through with that.<br>
'''Nika:''' (agreeing) Yeah, no. Okay, let's go. You'll be allowed to go at the shuttle pad.<br>
'''Anna:''' Do you think they'll let ''you'' go at the spaceport?<br>
'''Kiera:''' (steely) Sure they will. You'll make sure of that.<br>
'''Arden:''' You better hope they do.<br>
'''Anna:''' I have no control over the spaceport. Since it's in the Hebrew sector.<br>
'''Arden:''' Well, then I guess you're screwed.<br>
'''Anna:''' There's nothing I can do.<br>
'''Arden:''' You're screwed.<br>
'''Anna:''' No, we'll all be. Perhaps you should—<br>
'''Arden:''' I don't think you care about us. I think you care about you. ''You're screwed.''<br>
'''Anna:''' I don't want to die but I have no control over—<br>
'''Arden:''' You have a suggestion?<br>
'''Rina:''' Let's go. We'll work it out on the way.<br>
'''Anna:''' I'll give you a head start.<br>
'''Arden:''' You're coming with us.<br>
'''Nika:''' Arden.<br>
'''Joshua:''' I don't want to be put in this position … (sighs) … You are a foul evil creature and I still don't want to kill you but you are putting us in a position where we're going to have to end up killing you. It seems against all self-interest. And it drives me insane.<br>
'''Kiera:''' See, if you didn't stop to think about it and let me kill her, everyone would be happy.<br>
'''Joshua:''' I wouldn't be.<br><br>

Enough already. We're wasting time. Anna's guards have already arrived at the lobby and they've got us surrounded. We're going to need Anna as a hostage to get out alive. Why are we even debating this? Let's go.<br><br>

We take her with us. The guards move to shoot and Anna stays them with a hand gesture. We all pile into the van and drive for the shuttle pad where ''Lagniappe'' is waiting. And it's there we decide to change the plan a bit: once we have flight clearance and we're struts off the ground, we'll let Anna go. Furthermore, before we even get off the ground, we call ahead to ''Equinox'' and order Beglan to take off and rendezvous with us in the Black. That will keep Anna from calling ahead and landlocking our ship. <br><br>

We spin up the engines. We secure our passengers. We lift off.  Twelve feet off the ground, Rina shoves Anna out ''Lagniappe's'' hatch into the arms of her men down below.<br><br>

'''Rina:''' [[Episode 620: Hammerfall, Special Features#HOW TO SPEAK RUSSIAN|''Da svidaniya, shliuska'']] bitch!<br><br>

Which earns her a slap across the head from Natalia Tigranov. She ''deserved'' it, Mama, Rina snarls back. While this is going on, Kiera asks Arden how he's feeling. About what? he asks. Kiera has to rephrase it so as not to reveal to strangers that he's got a ghost living inside his head. Just how is his … state of being … doing in this situation?<br><br>

'''Arden:''' Fine. <br>
'''Kiera:''' No, I mean your ''state of being''.<br>
'''Arden:''' (groks) My state of being is fine, too.<br>
'''Kiera:''' Good. Cuz I'm not. ''Fix this''.<br><br>

She lifts her shirt to show him her knife wound, courtesy of Creepy Guy #2. Arden puts Kiera in a spare passenger chair and gets to work. Of course, he cannot work without running his mouth and as Nika flies us out of atmo into the Black, he lets the cat out of the bag.<br><br>

'''Arden:''' In case you didn't realize it, she's not keeping anyone in the Black Tower. She's doing something else with them.<br>
'''Rina:''' What? ''What!?'' <br>
'''Nika:''' (flying) Rina, sit. Arden, shut up! I understood exactly what you said to me.<br>
'''Arden:''' You should have relayed that to me then.<br>
'''Kiera:''' (to Arden) You're not working on me and this hurts. Stop talking to them. Make me feel better. Thank you.<br><br>

Joshua takes his fiancée in hand before she can go ballistic. She's livid and rigid in his hands, but she's coherent. Barely.<br><br>

'''Rina:''' Where is he?<br>
'''Joshua:''' I know where he went.<br>
'''Rina:''' Where did he go?<br>
'''Joshua:''' (how to say it?) You see those two guards? The creepy … mental … elite forces?<br>
'''Nika:''' They're experimenting on all of them. Anyone who disagrees, baby.<br>
'''Joshua:''' She's sending them to the Alliance to become their elite troopers.<br>
'''Rina:''' (slowly) Are you talking about the Elect? That Omar … ?<br>
'''Joshua:''' Yes. Yeah, that's what I'm talking about. The Tower's completely empty. It's a way to make it look like she's not sending them off to the Alliance. And that's probably why the Alliance is happy to let her to do whatever she wants down here, cuz she's sending a nice supply of potential elite troopers ... I'm sorry.<br><br>




[[Episode 620: Hammerfall|Part 1]], [[Episode 620: Hammerfall, Part Two|2]], [[Episode 620: Hammerfall, Part Three|3]], [[Episode 620: Hammerfall, Part Four|4]], [[Episode 620: Hammerfall, Special Features|Special Features]]<br><br>
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