The dodging means that the blocky boulder of concrete and metal does not hit Dairine's shield head-on, but at an angle. 

There is quite a bit of momentum in the makeshift projectile, more than the shield is rated to handle. Most of it ends up in the walls and floor, as it was designed to do, but the excess bleeds off into Dairine directly, and given that it was at an angle, she finds that her swoop has considerably more spin than she might have intended. 

It does carry her much closer to Jesse, though, if Dairine is able to notice this with the room spinning rapidly around her. 

She'll notice! . . . eventually. First she needs to stabilize, which she does by landing in a crouch that turns into what looks like an incompetent attempt to breakdance but does get her into the room's reference frame. Now where is Jesse and did she get shot because Dairine fucked up.

Jesse is... having her own problems.

Dairine makes for a great distraction, and the intensity of combat is great for making her nearly impervious to the guilty voice in the back of her head scolding her for letting a twelve-year-old draw fire on her behalf, so all in all she's taking down the Hiss fairly methodically with only occasional brief breaks for internal screaming.

Except.

That fucker up there, the one that keeps throwing things, can dodge. It's incredibly obnoxious. She's seen the same pattern before and it was obnoxious then and it's obnoxious now. She's trying to take advantage of his distraction, but he keeps nipping out of the way of thrown objects at the last second, then throwing things back at her which she has a lot more trouble dodging.

All of which is to say that when Dairine sees Jesse, she's just in the middle of being lightly clipped on the shoulder by a chunk of concrete. They can be buddies!

Oh good Jesse's still upright and moving! Love to be upright and moving. And if she runs right over to Jesse then they'll both be under the shield again.

Good things about this situation: Jesse is shielded and not suffering the guilt of making a child be her distraction in combat.

Bad things about this situation: The Hiss can concentrate fire on both of them undistracted now, and the shield still isn't rated for those chunks of concrete.

Jesse tries to focus on the flying throwing dodging guy, because he's the biggest threat as long as nobody's threatening to explode on her. Nobody's threatening to explode on her, right?

The twisted humanoids aren't exactly intended to be stealthy, but what with all the other distractions, it seems that they went unnoticed until Jesse took stock of everything around her. Now that Dairine is on solid ground once more, rather than circling underneath their inaccessible target, they're once again slowly floating closer to her, and are getting concerningly close. 

She tries a spell to hold the stealthy floating guys still. If it works she can try extending it to the dodging guy.

Once the spell takes effect the twisted humanoids almost immediately come to a stop just a few feet short of Dairine. They continue to push forward, and are held back by an equal and opposite force. 

The dodging guy has significantly more luck in avoiding the spell effects -- the quick swoops seem to confuse the spell logic some, and the opposing force has a tendency to stop them a very short distance into his dodge and knock them too far back in the other direction, only to stop them from going the other way. This leads to some highly erratic movements, the center of which moves very slowly in one direction or another. But while this still makes the entity harder to hit than a stationary enemy, the dodging knocks them into bullets most of the time, and so the issue very quickly becomes moot. 

Once that entity is wrapped up, and the exploding enemies are shot, the rest is very easy to mop up. 

In the center of the floor, where the enemies were fighting, is a familiar-looking tape circle, surrounded by reflector dishes and other equipment, most which have been toppled or knocked aside by the recent hostilities.  

Time to do my job, I guess.

She puts her hands in the middle of the circle and focuses.

There's a pause, and an angry noise in the air, as clouds of dark multicolored smoke writhe and churn. 

Then a pulse of air and force, and the air is empty of smoke and red -- the ruddy light is dispelled and the unnoticed oppressive feeling in the room suddenly disappears. 

The blocks of concrete sticking out from each other and the walls and ceiling and floors retreat back and away, forming seamless surfaces despite the previous misshapen existence. Among other things, a large doorway is revealed, making it as a way to the NSC Coolant Pumps. Several previously hidden very large blue pipes travel into the wall above the door, and branch off into the room they're in in various directions. 

"That was immensely cool," Dairine pronounces with the confidence of an authority on immense coolness. "Were you communicating with the building, or just acting on it?"

I can't exactly tell her you're doing most of the work.

"Not sure," she says. "I... guess you could say I was scratching its back. Helping it do something it couldn't do by itself. I could be wrong, though. I don't have a good way of knowing how the building feels about it."

"I could try talking to it. After we fix the reactor." Because Dairine is a mature adult who does not get distracted from important jobs by talking to everything.

"After we fix the reactor," she agrees, smiling slightly. "First things first."

Okay. NSC Coolant Pumps, here we come?

Through the door is not more brutalist concrete building, but an underground cave corridor, appearing naturally formed. The ground is rough and uneven, and covered in dirt and dust. Blue pipes follow along the slightly twisting passageway for a hundred feet or so before the dripping and narrow cave walls give way to a larger, more open area, full of metal scaffolding and even more pipes. 

As they approach the metal structure, there is a muffled bang, and the ground slightly jerks under their feet, along with the walls and the ceiling and everything else. The world shakes for but a moment before stilling, dust falling from the ceiling as the muted rumbling of the shockwave affecting all the rooms around them fades into the distance. 

"...don't like that," she comments quietly.

"Me neither." She doesn't stop walking.