Professional Documents
Culture Documents
-- Mate in Two --
Mary claims that there's a possibility she could've simply been
mistaken on which side the bullet wound was on. Apollo objects,
presenting either Athena's, Smith's or Marston's profile - saying
that if she just happens to be "unsure", then surely one of the
three witnesses would be able to testify on the matter. Mary
objects, saying that's unlikely - after all, the room was dark and
she was the only one that truly got a look at the body - nobody
would've been able to see the wound itself from just a general
look around - hence, Apollo is wasting his time! But Apollo
objects, saying that the lack of light isn't actually an issue and
presents the Mansion Floorplan, pointing to the hallway: the room
itself might've been dark, but there should've been light coming
in from the hallway so they could see the body. Mary objects,
saying that he can't really prove that, but Apollo says he can -
presenting either the Study Door, Arts' Body, Athena's, Smith's or
Mary's profile. He claims that since the reason they broke down
the door in the first place and concluded that something wrong
definitely happened was when they looked through the gap in the
door from the chain lock, hence broke it down. If they were able
to see the body in the first place from that, then they must have
been able to have a good view on the actual body! Mary tries to
still claim that the body still couldn't have been seen very well,
but Apollo objects, saying that she has no way of knowing if none
of them didn't see the body and calls everyone back to the stand.
Marston says he doesn't remember, as does Smith. Athena initially
trolls Polly, saying that Mary really was mistaken, but then
reveals that it actually was on the side she originally claimed it
was. So, Mary's argument is rebutted. But she has more...
[...] <- Shit goes down (the two above I already had written out
before and was too lazy to change, so if there are inconsistencies
with the stuff that's there, I do apologize)
-- Disappearing Acts --
Mary argues that considering the only way for her to cover up the
fact that the bullet came from the other gun (assuming she's the
culprit, of course), would've been by making the body disappear.
And, it HAD to have been done by her - if Apollo were to claim
anyone else was responsible, he automatically loses credibility in
proving her as the sole culprit behind this! But how could she
have done it?
Mary denies this being the case, but fortunately for Apollo, the
butler confirms this, adding that he actually gave the key to the
room to Mary for safekeeping at that time, as well. Armed, Apollo
goes back to the testimony, super-presenting Balcony + Bridge (it
will also be allowed to add Smith, Athena, the body and the key to
this, but the first two are the required ones) on the statement in
which Mary questions how the disappearance could've been done. He
claims that while everyone was away, she just opened the balcony
and threw the body in the goddamn abyss! Mary objects, saying that
the balcony itself wasn't over the abyss, but Apollo simply
doesn't care! She could've dropped the body from the balcony,
climbed down the balcony, dragged it and threw it over the edge,
then simply climbed back in!
But Mary decides to push on, pointing out other problems with that
scenario. For one, why would there be a reason to suspect
something would go "wrong", as Apollo says it, in the first place?
Apollo presents either Marston's profile OR Marston's Testimonies
(in regards to Marston's cracked skull, making him more likely to
get knocked out) or Arts' profile (in regards to Arts being a
former police officer and a force to be reckoned with). Mary still
has other issues - there would still be no guarantee Arts would
choose to head for the balcony instead of the door to make his
escape, but Apollo presents the Study door itself - the chain was
set at the time, wasn't it? Keeping that in mind, when faced with
a life-or-death situation, would one choose to escape with a
basically barricated way out OR try to get out in the open, where
there's a possibility of calling for help? Mary claims there was
no way they could've known that as a valid possibility and Apollo
agrees. In truth, there really was no way of knowing what method
of escape Arts would've used. But when you look at it objectively,
the second balcony option was the only one Mary could've covered
without getting caught - she couldn't have looked after the door
in an open hallway. If Arts escaped through the door and she shot
him there, the plan was as good as pointless, since they would've
then just shot him at the party (Edgeworth points out that's
unlikely, considering they never actually SAW him at the party,
but Apollo's more or less "you get what I mean - out in the open").
Mary considers that flawed logic, since that's going by the
assumption she actually KILLED anyone, but Apollo is stubborn.
-- Plan? --
Marston claims that Mary camping on the other balcony simply makes
no sense. He reminds the court that while he'd been planning to
kill Arts for a while, his actual movements that night were
entirely improvised! How could've Mary known in advance which room
he would've been waiting Arts in? (Pressing this particular
statement has Apollo suggesting that maybe she saw Marston
climbing the balcony and decided to set up at the other one, but
Marston dimissess it as unlikely, if not improbable, since it
would've resulted in far too many unexpected factors and
variables.) Plus, since he never really had a true "plan" for that
night to begin with, how exactly did she find out... anything?!
He can't.
Even if Marston knew the location of the mansion, why did he wait
until the party which he had no way of knowing was going to happen
in the first place? (Apollo can try claim he has an answer and
present the bridge - he was afraid of being spotted by the camers,
but Marston says he wouldn't have given a damn about them.)
So, if Marston's plan really was improvised - that means that Mary
had no actual reason to be on that balcony. If she had no reason
to be on that balcony, that means she can't be a murderer.
And if she isn't a murderer, that means she has no reason to've
gotten rid of that body. (During that statement, there should be a
heartbeat - Apollo's bracelet WILL react, but he won't notice it).
...No.
The judge is about to send the case off to the jury, but Edgeworth
stops him. He has a question for Apollo. Earlier, when he
retracted his accusation against Athena, he claimed that he
already knew she was innocent. That would imply he knew that Mary
was guilty. He then asks, assuming it wasn't a bluff, did he know
that? Apollo doesn't answers, but there is a flashback to the
night before. Late at night, Apollo gets a visit from Mary, fresh
out of questioning. She informs Apollo of the situation and begs
him to help Marston. Apollo... mysteriously decides to accept the
case and asks for details. During her rundown of what happened,
Apollo's bracelet reacts several times. She's hiding something...
It was from this that he concluded that she must've been the
culprit.
But...
Was he wrong?
But...
OBJECTION!
Slamming his fists against the table (for about the 1538th time in
this case), Apollo agrees with Edgeworth - he hadn't been fighting
for his client. And perhaps... perhaps he is a child. Perhaps he
truly has no real place in this twisted "wonderland". But.. that
doesn't mean he won't fight!
Apollo claims that there is still evidence that can prove his
client innocent.
"(The only time a lawyer can cry... is when it's all over!)"
Apollo's penalty bar will be restored to full. And the only way to
go forward here is to basically keep presenting wrong evidence
(because there is no real answer). Every time the evidence is
presented, a different conversation will happen, either Edgeworth
trying to get Apollo to back down, or Apollo having a discussion
with Mary, Marston, Athena or Trucy, or Apollo joking to himself
about how Phoenix never actually came to save the day this time.
(His reasoning behind this is that he would at least create an
image of a lawyer that truly never gives up on his client - and
thus perhaps creating an image of an attorney someone, somewhere
owuld eventually follow - just like he followed Phoenix. If people
like Athena creates more Athenas, if Kristophs creates Kristophs,
then surely he can... be a light of hope himself?)
Every time a bit of his life bar would go down, and on every
present, a part of the credits would start showing, as well.
Until... he finally runs out.
The judge bangs his gavel, giving out his "game over" speech,
finally declaring...
She presents Arts' blood. Smith asks what about it, but she tells
him to stop playing dumb.
"The disappearing body was a miracle for you, wasn't it... Mr. Ian
Arts?"
He asks Athena what she'll do now that she's figured all of this
out. Her answer is simple: nothing. She has no interest in him
anymore. He can try to come after her, but she assures him it
wouldn't do him any good. Not to mention, exposing him would mean
exposing herself as a liar in the court of law. Who would believe
her? Who would believe this entire insane scenario? Arts, pleased,
agrees, and says goodbye to Athena. Athena merely smirks as he
walks away.
On her way to the apartment, she decides to cut through "some old-
run down park" and meets Apollo. The two of them strike up a
conversation, with Athena trying to provoke Apollo, but before she
can even do so - Apollo reveals that he'd looked into her reasons
behind her murder of Simon Blackquill. Athena is honestly
surprised - she didn't think he'd care. It's revealed that Simon
was originally a suspect in Athena's father's murder, but that he
was found Not Guilty, due to a corrupted system. He took Athena in
as his own and it wasn't until she was 19 that she learned the
truth behind this incident (her full name is Athena Cykes-
Blackquill). Out of rage and spite, she killed Simon. However, as
his sole heir, she got pretty much all his stuff, including his
estate. Now, Simon was the prosecutor in charge of Arts' case, and
walked away pretty pissed when he got off scott-free, so Arts
figured he would be on the list of hating him, as well. Not
knowing Simon had died six months before, he mailed the invitation
to his address, which in turn led to Athena getting it and taking
an interest. Apollo says he doesn't like her and he never will...
but that he understands her.