It's A B-Movie


molly_icon.gif matt_icon.gif

Scene Title It's A B-Movie
Synopsis When Molly tries to find her father, Matt makes a preemptive move to secure her physical safety.
Date November 8, 2010


As the city burns and the sirens wail, Matt Parkman lies on his back in the Battery Park City Department of Homeland Security facility's infirmary. It isn't a large facility by any means - one part clinic and one part field hospital, it's meant to take care of relatively minor injuries while having the capacity to serve as a base for larger triage situations.

But he isn't the only one here.

With the riots, looting, and mayhem outside in the city streets, many wounded have been brought here for treatment, and each one of them is in uniform. So the Secretary has been moved into a corner, the monitors displaying his vital signs beeping steadily as the IV fluids drip into his system to keep him hydrated. Thankfully, someone had the foresight to close his eyes.

At last, Matt Parkman has gotten the vacation that so many have pushed for him to take.

Same goes for Molly Walker, who after helping Elle with her little problem. She's now up in her room, placing the five thousand dollars in cash into her bag and zipping it tight. That'll come in handy later, for sure. Sighing, Molly gets up and looks out at the window. She's pissed, she doesn't know where her dad is.. she's stuck in this damn building and-.

Wait.. did she really just think that. Of course she knows where her father is. All she has to do is look. Placing a hand against the window, she bows her head. Blonde hair falling into her face and she takes a deep breath. Daddy, I'm coming for you. She thinks before she leaves her body, honing in on her father.

It doesn't look like he's moved since Molly last checked in. At least, not until Molly's ability gets her inside the building.

But when Matt feels that soft, sugary texture that he knows is Molly, he snaps out of his pained trance. Molly. She can't have gotten out of Redbird. The building is far too secure, and Cardinal wouldn't do that to him. But if she's looking for him…

Matt isn't an idiot when it comes to teenage girls, and he can't risk having Molly risk herself by trying to get to him. So when Molly's mental presence reaches further, Matt reaches in response.

But his plan is not to touch.

His plan is to grab.

What the flying..?

Molly screams inside her mind as she loses control of her ability and is grabbed by her father. STOP STOP STOP!! She yells mentally as she leaves her body as it drops to the floor, it would look like she's sleeping.. and in a way she is going to be now.

She's felt this before, when her grandfather put her in this state and that her father would do this to her. Has Molly seething and obviously scared out of her mind.

It's a pity, because it's all Molly has at the moment.

When she regains her wits, Molly is no longer standing in her room inside Redbird Security Solutions. Instead, she's in her room. But not her room at the Petrelli Mansion, or even her room in Kirby Plaza. This room is her room in Matt's Dorchester Towers apartment. There's her pink and purple bedspread. Her shelf of books. Her desk. Her dresser topped with photographs and knick-knacks. Her posters on the walls. Her curtains on the window.

But outside the window, the city isn't burning. There isn't even a city. Instead, the view from what must be at least the second floor of wherever this is consists of a wide, sweeping lawn in dire need of care that leads up to a tall iron fence. Beyond that lies a dark wilderness, made even more frightening by the wind that howls outside, the rain that pelts against the window pane like tiny rocks, and the thunderclouds that darken the sky.

The young clairvoyant sighs and facepalms. "What the hell did I get myself into now?" she asks aloud before she looks out the window and her eyes widen before she runs to the door and opens it into the hallway. Molly blinks and looks around. "Hello??" she yells out as she makes her way down the hallway.

Her forehead begins to sweat and she looks over her shoulder. Why does she feel like she's in a 90's horror flick?

It might have something to do with the general decor of the place. The hall is narrow, and at regular intervals along the faded, dark wallpaper are brass light fixtures with frosted, bell-shaped glass shades. They flicker on and off, the faulty wiring crackling with the intermittent power fluctuations. There are other doors in the hall too, all wooden, all dark.

But when Molly follows the carpet runner around the corner, she catches a glimpse of a woman walking from one side of the hall to the other. She's older, with gentle, comley features and dark hair pulled behind her head. Leaving the door she's coming from wide open, she closes the one she disappears through behind her.

"Hey! Wait!" Molly knows she's not.. in the real world but maybe this lady is trapped with her.. which would mean that her father makes it a habit of trapping people in his mind.. Okay that doesn't sound right, so she must be a part of his mind. Which makes her even more fake.. so basically.. she's about to follow her dad whose dressed liked a woman who probably doesn't know that she's her dad. Um.. yeah.

Running to the door that the older woman closes behind her, Molly prepares to yanks it open and rush inside. "Look.. I know you don't know this but.." well damn, that door is locked. But the other one. Molly turns and peeks her head in the room. "Dad.. you have a fucked up head." She shakes her head and looks around the room. "Oh.."

It's one that Molly hasn't seen before, and for good reason. Matt's apartment in D.C. is nice, but it's only nice because of a maid service and a professional interior decorator. The room is empty enough of personal paraphenialia to be easily recognized as the sort of room her father would inhabit, given his tendencies to use bedrooms for sleeping and very little else.

But on the table sitting next to the king-size bed are a pair of photographs in simple black frames. One of Molly's pictures from the few months she spent as a private school student, and a picture of little boy who can only be Matt's biological son.

As she enters the room and looks around, the teen comes to the photos and she picks the one of the boy up. Her brother, not biologically hers but still. This is the closet thing she has to a real sibling, except Cole of course. Molly runs a finger over the face of Matt Jr. as she smiles faintly, she wishes to meet him soon.

"Dad! Let me out! Seriously, you're pissing me off!" she yells as she looks to the ceiling. "You're acting.. you're acting like your father." she says as she sighs and sits on the bed.

All Molly gets in reply is the creak in the ceiling. The sort that a footstep, or the shifting of furniture would make.

The storm outside rages, and a bolt of lightning cracks, striking one of the trees beyond the fence. Thunder rolls, loud enough to make the house itself feel like it's shaking. When the thunderclap has abated, the sound of a child crying and someone humming what might be a lullaby elsewhere in the house, perhaps across the hall, can be heard. The building groans, settling into the rain-soaked earth.

To Molly, it may seem like something out of a horror film, but unlike prisons crafted by Maury Parkman - the man who was only a grandfather to her by way of her adoptive father - this one was not designed for Molly in mind. It isn't intended to keep her.

More thunder, and the lights cut out completely, leaving what little light that shines through the windows to cast shadows on the walls. Shadows that might be people - people bending over gurneys and attending to others who lie as still as they can, biting back pain.

The shadow of a woman huddled in an office chair, being comforted by a colleague.

The shadows of families grieving, their mournful tears snatched away by the howling wind.

The shadow of a man with his head in his hands, his broad back arched and shaking with silent, guilt-ridden sobs.

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