7076/Dollhouse: Sunil Bakshi (II)

Dollhouse: Sunil Bakshi (II)
Date of Scene:	25 July 2021
Location:	Orlando, Florida
Synopsis:	Team M enters the warehouse and encounters a clay statue which came to life, a ninja with ribbonmancy and ultimately it was their hearts that won through the Bakshi mind control. They also caught Bakshi trying to flee and shot him with an ICER. Mission successful.
Cast of Characters:	Nebula, Melinda May, Daisy Johnson, Sharon Carter, Jane Foster

---

Nebula has posed:
    The four quinjets fly smoothly through the air. Off in the distance is an amusement park, a big amusement park. So big its surrounding areas include a small town and industrial areas. One old industrial area has been forgotten and there HYDRA has taken root. 'The Orlando Operation' as Dr. List described it when he gave control of it to Sunil Bakshi.

    One large warehouse is where all the action has been taking place. Parked outside of it is a slightly differently designed quinjet to the ones that SHIELD uses. The same design that attacked Afterlife. There is a pilot in its seat though the engines are off and two more HYDRA agents in black armor carrying a stretcher with a person on it in to the quinjet. The person is strapped down and hooked up to an IV.

    Bobbi's voice cuts through as the quinjets circle and come in for a landing just out of earshot. "We don't know what's inside. There's something in there jamming electrical signals. But we have a fair idea from satellite surveillance that this is the place they're making a HYDRA Inhuman army - brainwashed. If we can help these people we will."

    "But keep in mind, even our Agent House turned on us and had no control over her actions. This new breed of mind control is deadlier, more complete, harder to detect. Defend yourselves."

    "Our target today is Sunit Bakshi. He has made the Inhuman weapons HYDRA intends to use to attack New York City. We need him alive and we need to know what he knows or else our job next week will be even harder. But most of all - we need to shut this operation down. For good."

    "Team B, for Bobbi, will take the east entrance. Team M for May will take the west entrance. If we fork vertically - Team M will go up. Team B will go down. This is a joint STRIKE/SPOT/Operations mission. Consider this our trial by fire for next weeks operation to stop HYDRA from quite literally taking over the entire country. Good hunting."

Melinda May has posed:
"You heard the woman," May says to her companions, as she sets her jet down and swings out of the pilot's seat. "Load up on ICER rounds, but don't be afraid to use lethal force if it's warranted." She'd prefer to save the Inhumans, if she can. But her priority, ultimately, is to ensure they don't remain soldiers in HYDRA's war against freedom and free-will.

Killing Daniel in the Framework, rather than letting him fall into the Doctor's hands was a mercy. It's entirely possible killing these victims, too, may be a mercy, in the end. She just hopes she doesn't have to find out.

Fleetingly, she considers just what Boltagon would think of this operation -- and her involvement in it. She knows... or believes she knows what the Afterlife survivors would think. In the end, though, it doesn't really matter. There's a job to be done.

"We go in quick, quiet, by the book. Stay in pairs, no one goes in alone. Clear each room, clear each floor, watch each other's backs and stay on comms. Be prepared for anything." It's all she can offer them as she finishes loading her own weapons and gear and heads to deploy the ramp. "I'll scan as far as I can and let you know what I sense, but I can't promise to catch everything. To stay on your toes." She takes a deep breath. "Alright. Move out."

Daisy Johnson has posed:
It wasn't unusual for Daisy to be a chatter-box during their quinjet trips for these missions. It was good for the nerves or so she said. Though it also came down to Daisy's need to get along with others, to help them soothe their own nervousness. Today though?

Radio silence.

She hadn't even made that traditional question to May of 'Can I drive the quinjet this time?', she having gone most of the trip in silence, a roil of emotions battling inside her. Anger and determination, a focused blade that was ready to do what needed to be done to stop these experiments on HER people. She checks and re-checks the straps on her uniform, then looks at her hands, trying to find that harmony she normally does when she lets herself loose into the Song of the Universe, her powers. But it's not coming today.

Eventually her voice is heard when teams are put in place and they are assigned to the west entrance, "Roger that." simple. Her eyes go to the map of the facility and then to the others and she offers a brief nod.

A earpiece is placed on her ear and she moves to get out.

Sharon Carter has posed:
Sharon heard her loud and clear. Main priority was to apprehend the target, keep confrontation down to a minimum, avoid death if you could help it. If not? Sharon shakes her head as she begins her personal check, making sure the vests fit, the ICERs loaded, her own glock ready. Various knives that line the pockets of where they need to be supplied and a pair of brass knuckles that fit upon her fingers for the non-lethal portion of this jam.

"Good copy." Sharon says to May, performing one more self check before she moves out behind Daisy. "You alright?" She asks, just to make sure.. before her ICER is withdrawn from her holster to be put at the ready, waiting to see who branches off where and which way she herself should go.

Jane Foster has posed:
Thanks to the work of one Margaret Carter, backed up by Bobbi Morse, one of SHIELD's wayward assistants has come home. To be fair, this is not the grand reunion of an agency with the institution that is Steven Rogers, nor even a former Winter Soldier. Among the depleted ranks, the woman codenamed "Stargazer" isn't incredibly significant. But Jane Foster is here, along for the ride with arguably one of the finest pilots in the organization. Good, no fear of getting sick. The tension in her is thick enough to cut with a knife, even though she wears a neutral look and reviews a tablet that keeps flickering on and off. It was at full charge when they left. It does not seem to be so now, complaining grievously at her proximity until she finally opts to leave the useless thing tucked away.

ICER rounds, check. ICER, check. The mention of lethal force brings the brunette's head up to glance at May, then over to Daisy. Her expression doesn't change much, except for a trickle of regret possibly skimming over dark chocolate eyes before she turns back to checking her gear. As it stands, all's quite straightforward; boots, pants, jacket zipped. When it comes to the comms, they seem to be holding up better than the tablet is. "Got it," she tells May. Her voice is soft, a little weary perhaps.

She doesn't hold the anger that others might. Reaching out her hand to catch Daisy's arm if the hacker allows, she says, "We've got this." With a gentle certainty present there, it might be meant to assure her. 'We?' Maybe. She nods to Sharon, reinforcing that concern in a good way. A swift look around is standard casing, really.

Nebula has posed:
    Four more SHIELD agents from the other quinjet join May's flanks. They're dressed in black tactical with helmets on and rifles at the ready. These are the new STRIKE, the ones that passed the loyalty tests. The ones who definitely aren't HYDRA.

    One of them runs ahead to the door and places a device on the lock. With a small beep the door opens and reveals inside a long white corridor. Off of it, room after room. The first few are empty. The next is filled with furniture haphazardly stacked. Lots of chairs and desks. Once upon a time this warehouse had a life.

    But now, as the next door opens up in to a room that has living people in it, it is a place of torture. Seated on a recliner chair, strapped in, unable to escape, is a man who is sweating hard, shivering from the exertion, watching a big screen flashing images of war and death and the words HAIL HYDRA every other frame in rapid succession. There is audio of whales playing which seems odd and the smell of freshly cut grass.

    There's oddly also a statue of a demon, made of some kind of clay, standing in one corner. The statue is an odd choice - he's holding a modern assault rifle but is not wearing armor. Perhaps a prop from a ride once upon a time being used to hold a weapon.

    The terror from this captured individual is palpable for May and Daisy can feel vibrations inside that clay that feel extremely strange. Like listening to someone speak underwater but for a heart muffled in clay.

Melinda May has posed:
May can sense Daisy's anger and turmoil. In many ways, even without Daisy's influence, she shares it. Then again, this this the first time she's had any chance since escaping the Framework to confront HYDRA. Moreover, it's the first time she's had to do so when Inhumans were involved. So... yes. As with Daisy, this is personal.

She just happens to have developed a whole hellva lot more control over her anger than almost anyone else. Indeed, all the emotions she's sensing are being sublimated into some form of anger for her. It's what's keeping her in command of her abilities. One day, she's really going to have to find another way to do that.

"Shut this shit down," she snaps, when they enter the room. Hell, almost before the words are out of her mouth, she's taking aim at the screens and the speakers, firing off lethal rounds with a rifle, rather than her ICER to obliterate the technology.

The statue doesn't escape her notice, but neither does it attract her attention the way it might Daisy. "Make the victims comfortable," she says, "don't release them unless we're sure they're no threat. We can bring a clean-up crew in to help us with them after we've secured Bakshi." It's a smart tactical decision.

She knows Daisy won't like it.

Daisy Johnson has posed:
"No, but I will be." Definite intention on those words when Daisy looks Sharon's way even as she feels the comforting hand of one of the Furiae on her arm. She forces a smile to come to her expression and nods at Jane. In thanks, and perhaps also glad to have the other woman here. "I am glad to have you with us again, Jane." and then she gets her game face on.

They had a mission to do, and it was time to get serious.

She moves along with the rest of the group, swiftly, a well-trained, oiled machine that SHIELD is no matter how much Hydra may want to take them down. And as they get into the room ...?

She has to close her hands into fists to control those vibrations from coming out at seeing how these people are being handled but then ..., the statue.

"That's no statue.." she announces. But instead of going for the attack? She tries something different, an old trick she developped with Bobbi's help. Let's see if she can dismantle an assault rifle like she did with a gun. She focuses on the weapon, it starting to vibrate as she tries to break it apart to it's smaller pieces.

There's a quick look given to May at those last orders. She knows it's a sound decision, which is why she makes no comment, no matter how much she may not fully like that.

Sharon Carter has posed:
Placed behind anyone, Sharon would let them know of her presence by a simple tap to the shoulder each time they clear a minor checkpoint. A stop and go, pat upon the shoulder that the rear is clear, and on. Each corner and bend in the hallway was covered with an aim down, shoulders remaining upright and eyes lined to shoot non-lethals on sight just to disable. Seemed empty, but usually not.

As the door opens to view, Sharon's brows go low, keeping her emotions deadened to remain unproblematic, but there was a tiny hint of disappointment that leaks out..

As May delivers the order, and Daisy does her work, Sharon holsters her ICER and moves towards the victim, careful with a reach towards his juggular to feel for the pulse. "Jane.. anything to assist? His pulse is racing.." If the victim could be calmed for now, perhaps his heart wouldn't explode from the clear disconnect.

Jane Foster has posed:
Jane's asked a loaded question and moreover, she knows it. How could Daisy -- or May -- be happy coming into this situation? False platitudes about outcomes probably deserve a withering stare or radio silence, but they aren't meant to be Hallmark-level comfort. The brunette taps the earpiece secured under her hair, and waits for the strike team to do their work. Interfering there really won't do her very much good. A thumbs-up answers Daisy's opinion on two of three Furiae riding again.

Maybe the rust will flake off.

She eyes the statue with a look of distrust, murmuring, "Leave enough for me to take a sample back to the lab for spectral analysis. We can get a bead on where it originated from." That might not be much use now, but the scientific mind turns. It's the medical one that guides her closer to the victim, shadowing Sharon with a hand on her ICER but no need to draw it. If not quite the calibre of Jemma Simmons in the medical field, she sure as hell could work in any of the city's main hospitals as a resident. A few moments checking vitals and how strapped down the poor man is gives a brief assessment: "He is suffering from the ordeal they put him through, though he isn't in immediate danger. The best option would be a sedative for the meantime."

A case at her hip is plucked open, a variety of sharps and vials applied. Two quick flicks of a vial settle the clear substance, and she pulls one of the needles with an alarming steadiness. Drawing up the sedative is a quick matter, and she traces down the arm to the vein. "Hold him just above the elbow. Pressure is going to help. This will at least ease the discomfort. I'm sorry, friend, you'll need to hold on a little longer," she says, calm as anything, delivering the medication with a prick and a slow, smooth push. After that? Anything hooked up to the bastard at least gets disconnected, pinched off or dialed down to a near zero drip. Jane doesn't treat pointy objects or random medications lightly!

Nebula has posed:
    "Yes ma'am!," two of the STRIKE force accompanying them say and move toward the far end of the room to pull the plugs out of the walls.The man in the chair is breathing heavily. He slowly turns his head in confusion as he looks at Jane. She's not meant to be here.. and he finally shuts his eyes when the footage and audio are cut off.

    As the gun in the statues hands begins to jiggle and shake, so does the statue suddenly move. The weapon falls apart but the clay becomes animated and .. sharp.

    Long spikes shoot out of it impaling the two SHIELD agents that dared come close. The agents twitch and struggle for a moment before the clay man twists and throws them back toward the group of SHIELD agents.

    Daisy can also feel something whistling through the air from a room next door. May can sense them too. And Jane, for her hidden abilities, can tell something is amiss. That sixth sense is tingling for Sharon.

    Razor sharp tendrils of ribbon shoot through the walls and attempt to entangle and cut, slicing through SHIELD body armor as if it were nothing. They whip about wildly and the wall gets pulled away to reveal a young asian woman, Ren Kimura, dressed in dark armor and heavy makeup.

    One of the more problematic Inhumans in the framework, Ren is an expert partial artist, but also a 'ribbonmancer'. She isn't taking pleasure in the moment - she looks all business. Standing behind her is a startled scientist, one who was flagged by SHIELD a long time ago as a potential danger - Kenneth Turgeon. He jumps seeing the wall rip away and picks up a radio, "Bakshi.. it's SHIELD!"

Melinda May has posed:
The spikes slam out and May finds herself dropping to the floor to avoid them, which means that when the wall shatters and the ribbons whistle, she is out of the immedate line of fire. Still, she rolls to her knees and, ICER sliding into her hand takes aim first at the ribbonmancer and then at the scientist. Two shots fly towards the other Asian woman. Even if she doesn't go down -- and May 'remembers' her well enough to know she won't go down easily -- the shots should distract her long enough May can hit Turgeon. Most scientists (her SHIELD teammates notwithstanding) don't tend to score high on the dexterity index.

"<<Morse,>>" she snaps into comms. "<<Bakshi knows we're here.>>" Might as well give her the heads up, if she hasn't already figured that out.

May then shoots to her feet in a violent explosion of movement. Her goal is twofold: See if she can break enough of one of those clay spikes to use as a weapon against Ren, and then wield it like the staff she, once again, left in a vault back at the Playground.

Because the rage staff was her HYDRA self's weapon of choice.

Daisy Johnson has posed:
"Back..!" Is the urgent call she is giving the Agents. But she doesn't do it in time to prevent them from getting hit by them. She can only hope they were not hit on any vital spot. Her hands lift up when the Agents are thrown back like rag dolls, using her powers to slow their fall, her control having improved substantially now that she has been training with her Mother and with Fu.

Purpose fills her now. Not just to find Bakshi but also to save these Inhumans. And the best way to do it? To take them down fast. "We will help you.." she whispers, ducking under the explosion that comes from the bursting wall, jumping over the fallen Agents and then boosting herself forward.

Her objective is two-fold, to distract the clay creature long enough for May to get that spike out but also to keep it's attention on her. As she flies towards it she focuses her power on her fist, prepared to deliver a vibration-shattering punch against it, letting out a shout.

Sharon Carter has posed:
Sharon sticks by Jane as she lets her do her work, keeping close in that bubble yet out of the way should the Doctor need to move suddenly. Her eyes lift to watch along the room, ready to move to pick up the pieces, one foot already placed in front of her as a deep frown curls her lips. She was always told to feel it, and when she did?

Listen.

The breaking of plaster and possible metal has Sharon doubling back in time with Daisy's call, falling flat upon the floor and rolling in hopes to take Jane down with her. Safely, of course.

If she managed to take Jane down and she was deemed safe, Sharon would reach for the victim within the chair, hoping to roll him onto the floor, no apologies with the roughness. "Sorry!" She manages to squeak out, one arm moving to shield the head of the victim as she keeps her back towards the fight. She was trying to shield him as best as she could, all the while attempting to drag herself, and the poor soul towards the door.

"I need cover!"

Jane Foster has posed:
When dealing with injecting something into her patient, Jane doesn't have the liberty of dashing out of the way or taking cover. Neither is the poor man free from fire, friendly or otherwise. She grabs him with an attempt to haul the sedated patient to the floor. It doesn't dawn on her Sharon will do the same thing, so twice the effect at tearing at any straps and dragging him back to stay firmly away from the collapsing statue and the opening door. At least two agents fighting for his life won't lead to a heap of limbs.

The STRIKE agents impaled in a bloody mess and hurled summarily across the room force her down protectively, body hunched over his, hands over her neck.

It's not clear the outcome of Daisy's work has the desired effect as she tries to peek past the chair. "I'll stabilize them if I can. Go!" she tells Sharon quickly. Her living patients need her more than the entangled ribbons require dodging. Really.

Then she creeps back as efficiently as one can to reach the bloodied and battered man, to cut off the flow of blood by doing the one thing a healer does. Gentle efficient gestures deny death this one. That one.

Nebula has posed:
    The comms whistle back in to May's ear as the intensity of the interference jamming signals increases. The sound of ... lightning cracks? echos through the building. From the other side, the sound of gun fire too. The other team has engaged HYDRA as well.

    The clay man is too slow to stop May snapping off a piece of him. The spikes retract and he roars at Daisy as she charges in with that vibration enhanced munch. She hits him alright. Normally that punch would go right inside of him and he'd take advantage of that.. but instead, his entire being begins to vibrate from head to toe and rippling waves spread across his exterior.

    The clay man explodes against the wall, shplat. And for a brief moment, it seems he might be done. But.. the clay begins to clump back together and an arm reaches out and grabs at Daisy's throat trying to strangle her.

    The victim in the chair gurgles a moment as he's flung down on to the ground by Sharon. His red eyes going wide as the combination of drugs send him on an absolutely wild trippy trip. His angel, Sharon, holding him, dragging his ragdoll limp body across the floor as strange sounds fill his ears. He murmurs to her.. then a little louder, "I'm.. I'm ready to comply... I'm ready." He sounds desperate. But she gets him back and out the door.

    The agents gently placed to the ground by Daisy are groaning in pain. Bleeding from their arms and legs and chest. They might bleed out if they don't get help and they are in no condition to save themselves. Jane has them, getting them to cover and trying to work on their bleeding wounds. For the briefest of moments, Jane could see the cloud of death starting to spread over them, but as she intervenes, she can see it shrink away.

    Kenneth, yes, he is no fighter. He is literally holding a test tube in his hand as he is hit by the ICER round. His legs give out and he flops over dramatically on to the floor. If Bakshi won't talk, odds are Kenneth will.

    The threat from Ren is violent and fast. The ribbons whip about trying to find May behind cover even as Ren flips out of the way of the returned first. She runs toward May and a ribbon slices through the table in her way and lunches in to a flurry of attacks.

Melinda May has posed:
May uses that spear she's acquired to control the ribbons that come her way. She is fast, she is confident, and she shouts with each harsh blow and sweep of her body and weapon. It adds power to her, channels her anger. And if some of that power leaks out, it's as an indomitable will that doubtlessly bolsters her comrades and, just maybe, stands a chance of shaking her enemies. Or, more specifically: This one enemy.

"I know you," May says, dancing around ribbons. "Who you were. Who you could be. A defender. Protector. Not this. Never this." It's amazing, actually, how graceful the senior agent can be, moving lightning, surefooted and almost prescient in her management of the other Inhuman's attacks. It's not any special power that lets her do that. It's years of practice and the determination not to let HYDRA repeat what it did before.

So, yes. Her power is calling to Ren. Willing her to remember. No telepath. An empath, willing her to remember herself. It means that May has to channel the anger away from herself. Reflect something different, instead. Anger may fuel her, but anger is not what she projects. Not now.

"Fight them, Ren! I know you can. I've seen you do it." Moreover... May defeated her then. She can do it again, here. She just doesn't want to have to...

But that doesn't mean she won't.

Of course, it's during all this that the comms start working again... Which means everyone will hear that, likely as not, hear the conviction in her voice and sense her will to see the woman freed. No power needed to transmit that. Just good old fashioned human empathy.

Daisy Johnson has posed:
Splat? Oh no ... For a moment Daisy wonders if she unleashed too much power. It wasn't exactly her intention to have someone explode but ... That brief pause is enough for that clay hand to wrap around her neck, holding her up in the air and she gasping out. Hands go up to her neck and to that hand to try and release herself from the grip but all she manages is a choke..

There's a wince out of her, black spots in her eyes as she knows it won't take long for her to lose consciousness...

She focuses on the others around her. Fighting to save the Agents' lives even at the expense of their own safety, focusng on May's voice that tells them to fight .. Sure, it's directed to Ren but she takes them anyway, fingertips gripping tighter on the clay hand around her neck and she lets herself immerse in the Song, starting to attune herself to this clay man, a WOOOMMM sounding in the room as her focus attempts to find that shatter point so as to have the man's grip break off. And hopefully leave an opening for it to be taken down.

Sharon Carter has posed:
'Go!'

And Sharon does just that. It was an odd way to get away, upon her side, dragging the poor man out of the door with each inch and grunt that she can. She grips him tight, does not let go until the sight of perdition is far.. far away.

As he speaks, Sharon shakes her head, teeth gritted until she's clear from a good portion of the mayhem. With him still upon the floor, she whispers harshly into his ear.

"Then LIVE. THAT is your mission! Life your life as a FREE MAN. Don't give up!"

With the young man pressed against the wall, Sharon does nothing to hide him. They've already cleared that hallway and the danger lies forward, at least that's what she hopes. Rising from her position upon the ground, she retains that crouch, nearly crab walking towards the mayhem, rising to press back against the door, a quick peek in to survey the damage and..

"Fuck."

Sharon had to think fast.. fast enough that she dives to the floor again, hoping to not be hit by any whirling ribbon-like blades or any sort of debris, only to snag the fallen chair in her rapid crawl towards Daisy to fling at the clay monsters middle as a means of distraction.

Jane Foster has posed:
An uncomfortable exchange dances between the men lying on the ground, two in a bad state and a third hovering on the threshold of a happier place. Performing triage on the warehouse floor stands as one of the dirtier duties Jane has had to perform, something that a few plasters and surgical super-glue won't resolve nicely. Getting her hands bloody is a given as she pulls out the combat application tourniquet from the case at her belt. It tears open with a hiss, and she routes the band around the agent's injured leg almost at the groin. Too bad, friend, dignity's out the window.

Slotting the band through the buckle, she pulls tight until not even a pinkie slips under. The tacky adhesive almost immediately starts melting in to seal up some of the wound, smeared around as designed. With her other hand, she winds the windlass rod and locks it in place. One down, another massive hemorrhage to go.

The second band's plucked out, a third at the ready to deal with the chest wound and the other leg wound. See Jane open the tourniquet. See Jane wrap the tourniquet. See Jane throw her full body-weight into an arm-bar that keeps the jagged wound from bleeding too much while she winds loving SHIELD tentacle arms of healing into place.

"Come on, agent, stay with me. Agent May might even give you a week off to patch up." That cool spray used to seal up wounds would be nice right about now, but she has to stop the bleed fast, and her hands cramp around the shrapnel-studded forearm to hold it down. Assessing for fatal damage trying to sneak past her takes no time at all.

She's in there suffering right along with them, bleeding out on the floor and shaking from the system failures being slowly righted, while the brunette astrophysicist extracts two wiggly pieces of clay that would sever a vein as easily as nerves. A shot of agony blooms, and the tourniquet sealant rubbed over it starts to work. It's surely not doing anything to her gloves. "Look up here. Right at me. I'm not going anywhere." Her manner is calm, despite the madness. Partly skindeep; May might be responsible for solidifying purpose, or might draw on it as needed. "Your arm will sting bad for five seconds when the gel activates. That tells you it's knitting you together. On five. Four."

Counting the beat, together, her hand holds his and the other man's beside her. Each pulse, a step away from death. Her own, reflected, twice over.

Good reason to work well as ribbons surge and clay explodes, vibrations rumble, and none of it quite touches her.

Nebula has posed:
    The first agent Jane tends to is shaking all over from the internal shock and bleeding. The field first aid is saving his life. Agent Fields, he's level 4 and only just promoted. The second grips Jane's shoulder tightly and groans in pain as his wounds are tended to, "Thanks.. Foster..," he grunts. Agent Hishimoto, a more seasoned agent and one who has the presence to grit his teeth and say, "I thought you were dead. So glad I'm wrong."

    The ribbon ninja dances with May. As smooth as May is, Ren is as youthful. The ribbons make for an extra complicated battle, especially when Ren twists them and snaps the clay construct in half. The ribbons wrap about May's head, their edges razor sharp.

    Ren sneers behind her mask and then lowers it. She stares May in the eyes challengingly and even as she does so, they begin to soften. That empathy is penetrating her heart. The ribbons quiver in the air and she pulls them back and away from May's neck.

    Turning she gags and shakes her head, "What am I doing..." She turns back to May and lifts up her hands, "I'm sorry. Please. I don't know what came over me. Or.. where am I?" She looks down at her clothes, "What am I wearing?" The ribbons flop to the ground harmlessly.

    The clay arm grips tighter and tighter even as the rest of San begins to reform. The clay man looks like he's stepping out of the wall and back on to the ground as the vibrations shimmer up his arm and the clay breaks apart, releasing the grip.

    He looks down at his broken arm and it reforms. Frowning the Inhuman's fist becomes hard and he punches Daisy in the chest with all his considerable might. San looks at the agents on the ground, at Foster protecting and tending to them, then back to May and how Ren suddenly stopped fighting. A chair hits him in the stomach and he doubles over for a moment, then reforms and stares at Sharon. This isn't going the way it was meant to go. His voice is like a growling dog as he says, "Ren...." He turns and he starts to make a run for it. He heads up some stairs to the roof.

    The comms, back, cut through with <<This is B-Team, we're under the warehouse, train station, no sign of Bakshi>> from Bobbi.

Melinda May has posed:
May holds her breath as the ribbons envelop her. But as her plea finally... actually... works, and they drop away, she drops to her knees, the spear acting more as a leaning stick than a weapon. "You're in a HYDRA facility," the Cavalry tells her, giving a wry, humourless smile. "Not your fault. But... Bakshi. Where is he? We need to take him into custody."

Turgeon might be a good substitute, but May wants Bakshi. And she has a hunch ClayMan is heading straight for him. "Stay here," she tells the ribbon ninja. Then, to her team. "I'm heading for the roof. If Bakshi's not below, the only other place he'll be is up." Probably heading for a helicopter, if one hasn't already evacuated him.

"<<Heading to the roof.>>" she repeats for Bobbi's benefit. "<<Watch for air support.>>" Then, her ICER is back in hand and she's racing inadvertently after the other Inhuman... hopefully with Carter or Johnson on her tail.

Daisy Johnson has posed:
As that hand finally breaks and Daisy is back on the ground she gasps for air, a thumbs up given at Sharon and at her help in driving San away. "Thank you." she rasps. She casts a look over her shoulder to where Jane is saving the Agents' lives but then Clayman is on the move, with May after him. She looks towards Ren. "We will bring you to Afterlife when we can but now, please help us in keeping them protected.."

For they have a Bakshi to catch.

She starts running off after May, quick... And if they get to any walls in the way or otherwise closed doors? They may get an encounter with a vibrational blast to open way for the 'gang' to pursue.

Sharon Carter has posed:
"Oooo.." Sharon says as San looks down at her. She was fully expecting some sort of retribution in hitting him. But nothing. Sharon looks to Daisy wide eyed, then immediately nods her head towards the thumbs up. It was time to go.

Rising to her feet, she -starts- to head off in that direction but.. they got this. If Bakshi wasn't going to be at the top, someone had to secure the next in line.

And that was Kenneth.

"Jane.. need a sedative.." Sharon says as she reaches Kenneth, even if he's down, she was going to make sure that he remained that way. She reaches to grab his arm, hoisting him up with it tugged over her shoulder to drag him near to the fallen STRIKE agents. It may be an abuse of medicine, but this was the last thing we need. "He's our contingency."

Jane Foster has posed:
"Agent Hishimoto, tales are greatly overrated. Certain research became impossible after eviction," she says, and every shred of that statement rings ironically true. Precise details happen to be lacking, but having a lengthy conversation while completing triage intervention, stage one, is just not helpful to anyone. She flinches down when the ninja gets within a few dozen meters, May working to distract Ren from filleting the non-combatants as well as anyone. "Though thank me after. Still have to get you back to the hall, along with that scientist. Don't go pulling any heroics."

That warning might also apply to herself. Reasonably it could be applied to any of them considering bad ideas.

Seeing the damage to Fields' leg is worse than his shoulders, the conventional drag holding his legs stationary to her body ends up being a bit messy but effective. His boots get elevated and therefore circulation focused on his heart is a win. Calling no one to aid her, she tries to get him stable as she moves into a crouch. "This isn't going to be fun, I'm afraid. Arms over your chest, lifting on three." Three, two -- and she goes, scrambling, low and down. "They still serve stale bread and plastic masquerading as cheese in the cafeteria?"

Effort this is. Without an assist, pulling a deadweight agent hardly comes easy but the basement floor is smooth enough to retreat strategically halfway to within reach of where chair-prisoner man is. She drops Fields' legs very slowly, turning him onto his side in a recovery position. "Hishimoto's turn, you stay here and count to ten. Say it outloud. I'm listening and back in ten, got it?"

Damn straight she is, because she's willing to dive on her belly and scramble in an unglorified all fours crawl to get the other STRIKE agent, but sliding him on his back isn't an option. He gets a modified carry that frankly looks horrendous and involves stumbling a lot. He outweighs her by thirty kilograms, easy. "You get to be my recommendation for this year's reviews. Proof I can haul a pack over... oof, hang on, hang on."

They both go down deliberately beside Fields. Then second stage, hauling Fields around the corner and then Hishimoto. <<We have eyes up there?>> she asks, mildly tense. The sedative to bring to Sharon takes much less time to prepare and get going. "Understood. We'll get him out of here, and keep all of you comfortable."

It's all //very// exciting. Just like watching golf when May and Quake are a fighter pilot sortie, or Carter a fencing match.

Nebula has posed:
    The wind whips about on the roof of the warehouse. Sunil Bakshi has only just made it up here himself. Wearing an expensive suit and a well maintained haircut. He sees San coming up behind him and frowns. He makes faster across the roof and presses a button on a fob.

    A HYDRA quinjet decloaks right there on the roof. They missed it - it was hidden and low power. The engines kick on and it prepares itself for take off. Bakshi says to San, "Stop them." He points back toward the staircase.

    San pauses, conflicted. He already fought them for Bakshi and it didn't work. One of them vibrates him! Frowning a moment, he turns back and runs toward the stairs when the doors blast open and he's knocked sideways. His body starts to slide down the side of the roof top.

    With Sharon and Jane tending to the wounded and capturing prizes; May and Daisy can see Bakshi's back as he places a foot on the hanger door ramp of his personal quinjet.

    He pauses and looks back at San sliding down the roof top and tsks, "Well...," he says to May and Daisy, holding up his hands, "It seems you've.. how do they say it.. 'got me'." His British accent, received pronunciation, tinged with amusement. "You realise this is but a small _temporary_ victory."

Melinda May has posed:
"Shake it apart," May tells Daisy, referring to that quinjet -- just in case Bakshi gets any funny ideas about escaping. She looks Bakshi in the eye, recalling so much from the FW. Her ICER comes up. "You know something?" she says to him. "I've never liked you."

Two shots fire out of the muzzle of her ICER before the words are even fully out of her mouth. Her aim is true. They'll hit him between the eyes. For just a moment, he looks terribly surprised. Or maybe affronted. It's hard to tell with smarmy pricks like him. Regardless... he falls in a heap.

They can interrogate him when he wakes up.

Because damned if they don't have a facility that needs cleaning up now. Her gun stays trained on him, but she speaks into coms. "<<Morse. We got him. Repeat. We've got Bakshi.>>"

Daisy Johnson has posed:
There's a choice here between saving Clayman and breaking apart the quinjet. And perhaps showing where her priorities are Daisy reaches out for San, hands gesturing as she attempts to push him 'up' from that side of the building so as to land safely on that rooftop.

They may be brainwashed, but she knows her purpose. To find and bring these Inhumans back to Afterlife. "Easy.." she tells San before glancing at May and then to the fallen Bakshi. She smiles at her.

First part of the mision had been accomplished.

Nebula has posed:
    Sunit Bakshi is pretty sure he's never met May before, but he doesn't really have the opportunity to retort as he is hit by the ICER rounds and drops where he stands.

    San digs his clay in to the roof top, forming claws but they scratch along the surface. As he scrambles, almost running out of time, daisy scoops him up with the wubwubs. Dangling awkwardly for a moment he blinks a few times at Daisy. "Easy,..." he growls back to her.

    Looks can be deceiving and so can the ears, but Daisy can feel his heart is slowing. With clay feet on solid roof he walks back up towards her and offers a hand, "San." His other hand rubs the back of his neck. "Sorry for .. trying to kill you .. and those other guys .. I'm not usually a violent person. I'm not sure what came over me."

    He looks over at Bakshi on the ground and then twitches, "No. I know what came over me. He did. I hate him," he says as if this were an extreme statement to make. San seems to have quite a gentle nature - his actions earlier clearly at odds with his personality. "Are they going to be okay?" he asks about the agents downstairs.

    <Cleanup crew has arrived. We have a lot of Inhumans down here and captured HYDRA too. They're headed around to your side too. Good work on Bakshi. Wrap things up, we're done here.> Bobbi replies over comms to the M-Team.

Sharon Carter has posed:
Jane was busy, Sharon understood that. So if it was allowed, Sharon would give Kenneth the sedative to keep him under wraps. Its not like at this point in time, somewhat surrounded (he could think it), that he was going to go anywhere. It just saves on the conversation he'd want to have if he were to wake up in that moment. "Thanks.."

Hearing on the comms that mission was successful, Sharon grins. <<We've got extra.>> They would know what that means, at least.

<<Need an extra pair of hands. Two gurneys for the injured and a few more to collect the evidence.>> Just what was in that vial Kenneth was holding?

There was no expectations for Jane, Ren or Sharon to carry out the injured where they could help it. But after those requests, Sharon reaches into her back loop to retrieve a ziptie, turning Kenneth to his stomach to tie his hands behind his back whilst he's sleeping.

"One day, Foster.. oooone day.. I am not going to be sensible and get into a knock-down, drag-out fist fight with someone. Just you watch."