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synnefo-nefeli · 3 years

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I really love the scene in Heard Your Heart Beating when Apollo and Klavier sleep after drinking and Apollo wakes up at some point and looks at Klavier and thinks about him and Daryan and Kristoph. Idk I really like the vibe of it and also Apollo is really fond of him and you can see it lol

This is for the DVD Commentary Author Ask if there is a scene from any of my works you’d like to see a DVD commentary on, send me an ask!

Yesss this one of my favorite scenes so far in HYHB.

So there are two things going on in this scene- one is a payoff moment when Apollo figures out the significance of Valentine's Day is to Klavier, and the other is the emergence of the theme of " Safety". This chapter also functions as a transition point from Klavier and Apollo moving from work colleagues into a closer friendship. There is still a giddy nervousness at the beginning of this chapter that is usually associated with moving to the next step.

I wanted to express that almost frenetic nervous energy when inviting a new friend/date/etc into your personal space for the first time. And Apollo, despite him stating repeatedly that the hangout is platonic/feeling guilty about appearing to move on from Clay /trying to keep that boundary that’s existed so far between them, allows that boundary to fall.

By the end of the chapter there is now a comfort and deeper trust between them so that their relationship can continue to develope organically over the next few chapters without Apollo being constantly flustered every time Klavier teases him or there still being awkward feelings between them. They’re still in the “getting to know you” phase of their friendship but they’re at the point where coffee breaks and after work drinks no longer suffice. They now want to hang out as much as possible.

More under the cut so I don't spoil people for this chapter

Before I get back into the Safety theme I want to reiterate the meaning of the story’s title. It comes from Florence + The Machine’s song, “Cosmic Love”. The lyric goes:

“ I heard your heart beating, you were in the darkness too-So I stayed in the darkness with you”

This lyric aside from Comic Love being a big mood inspiration for the story, this lyric refers to Klavier and Apollo finding eachother after going through a really shitty and traumatic year and a half.

They recognize that the other is a source of some comfort as each of them understand what the other is going through a little bit better than the others around them.

This scene is the first confirmation to the reader that yes, Klavier is actively seeking out Apollo for comfort.

So far in this story we know *something* is bothering Klavier- he’s actively avoiding someone and he’s been kinda timid in reaching out to people without having his glimmerous persona constantly on. In the following chapter, Klavier mentions that he’s been asked to be in Edgeworth’s wedding.

Apollo attempts to commiserate with Klavier about this as Phoenix has just asked Apollo to be his best man.

Klavier tells Apollo that Apollo shouldn’t be shocked about being asked to be Phoenix’s best man- considering how much Apollo means to Phoenix. He has to point out to Apollo how much Apollo means to Phoenix and Trucy as well as how Apollo impacted Klavier’s choice to return to the legal world full-time.

And while Klavier is honored that he’s been asked by Edgeworth, his being asked is more of a surprise than Apollo being included in the Wright-Edgeworth nuptials. There is no way that Apollo wouldn’t be included after all he’s done for Phoenix and Trucy and how close he is to the WAA. Klavier had a different dynamic with Edgeworth. Part of this because, well, it’s Edgeworth. But Edgeworth has formed close bonds with Gumshoe and Kay...but Edgeworth just spent the last few years chasing down a Phantom Criminal in order to save Simon from Death Row. So Miles and Simon had a closer dynamic.

Klavier unfortunately comes with a lot of baggage-most of it being from things beyond his control. It was his debut that resulted in Miles’ partner from being disbarred and disgraced. There is everything with Kristoph. Combine the canon stuff along with this story establishing that the Gavins and the von Karmas have a bit of a family feud going on, it’s no wonder why Klavier admits to feeling that he’s still needs to figure out if and where he belongs.

He’s always looked up to Phoenix and Miles and wants to spend his career under them, but he thinks he needs more chances to prove himself to rebuild trust.

Of course- the obvious signal Klavier is missing, is “Hi, the Chief Prosecutor has asked you to be in his wedding party. If the grooms didn’t like you, you wouldn’t have been invited let alone asked to be IN THEIR WEDDING PARTY” ...and he misses it right after he’s finished telling Apollo, “how could youthink you’d wouldn’t be included, Herr Forehead. Jeeze.”

Like I said- Klavier is shit at taking his own advice. I’m not being mean to Klavier, but because Klavier is anxious about trusting people and letting people in, he prefers to do things on his own terms and under his control just in case he needs to get out if he gets rejected.

And even though he reached out to Apollo first with his condolences for Clay’s death he didn’t expect anything more than a thank you note, but Apollo not only acknowledging him, hunting him down to his apartment and even offering his company to Klavier, was a happy surprise to someone who has been very lonely.

He’s been wanting to get to know Apollo but he’s felt awkward due to the fallout with Kristoph and the continuing dark age of the law of which he was apart of the two major catalysts.

Apollo over the last few weeks is appearing to be a safe space for Klavier.

However Klavier wants more confirmation and a chance to suss things out (re: Kristoph). So when Apollo says he doesn’t have plans and was oblivious about Valentine’s, Klavier pounces on it. He spent Valentine’s alone the previous year and it spiraled his depression so he was not in the mood to again this year.

This scene was meant to be that very comfortable state between two people with a budding friendship. Once you get drunk with someone while having deep conversations, it tends to push you more into the friendship category.

It was also important to get some of the serious topics out rather than dragging it out. Having this quiet evening is something they both needed, and it allowed them be vulnerable. Especially since Apollo was already upset from the phone conversation he had with the Terrans earlier in the chapter.

Apollo needed a night in with the only person who has never treated him with kid gloves, even before Clay’s death. And Klavier needed a night in with the only person who has never put him on a pedestal.

When discussing Kristoph, it was important to remind the reader that Kristoph is a human being- it’s what makes him a compelling villain and why his betrayal of both Apollo and Klavier’s trust strikes an emotional chord with the player. Before the events of AA4, there was a time where Kristoph gained Apollo and Klavier’s love and loyalty, where he was a normal boss, a dog-dad, a good older brother. There were good times and happy memories- which is why when Kristoph is exposed, Apollo and Klavier are disillusioned- Klavier moreso. But another reason as to why Klavier finds Apollo to be a safe haven, is because, Apollo knew the Kristoph Klavier loved. They both wanted Kristoph to be proud of them. They respected him and wanted Kristoph to be proud of and acknowledge them.

Klavier has been wanting to talk to Apollo about this for awhile and I believe so has Apollo. Apollo is never going to say to Phoenix, “hey Mr. Wright, Mr. Gavin was a good mentor to me too-“ it wouldn’t go over well, even though Kristoph was a good mentor to Apollo-his only flaw was thinking that Apollo would happily be a lickspittle and easy to manipulate. So when Apollo gives Klavier that reassurance that Klavier can talk about those happier moments of his life involving Kristoph, Klavier sees that Apollo wants to take that awkward stress away from Klavier but also Apollo wants to get to know Klavier better.

Klavier is so used to people researching his celebrity persona and forming opinions based off of his former lifestyle, that it’s refreshing to find someone who wants to organically grow their relationship without preconceptions.

Yes, Apollo initially wrote Klavier off as being a fop and glimmorous- but those thoughts were due to Apollo being self-conscious. By the end of Turnabout Serenade, Apollo admits that Klavier is pretty cool and in DD, Apollo remarks that Klavier is different than most prosecutors and how dedicated Klavier is towards his job.

It was also important in this chapter to allow for Apollo to discuss Clay and his relationship with Clay’s family. You’ll notice in this story that Klavier is the only person Apollo will share anecdotes about Clay with and freely grieve about Clay. It’s not that Apollo hides it from The WAA, he does share some things with them, but right now, Klavier is the only close peer Apollo has, and this comfortable vulnerability they’ve trusted eachother with allows Apollo to express himself with out him fearing that he’ll appear fragile. He’s tired of people walking on eggshells around him, but Klavier hasn’t and never will.

Likewise, I made sure to have Klavier fish for information about Apollo. Yes they’ve been hanging out for weeks at this point and worked a case together (sorta), but those coffee dates have been more talking about work, general topics like Trucy’s shows, etc.. they’ve been light in topic. So dinner and drinks at someone’s home gives way to deeper conversations about value-systems, love lives (even though Apollo isn’t entirely truthful lol), etc. And it works really well to the point they get more comfortable than either had anticipated.

I loved writing the discussion about how Klavier will never ever do a performance of “The Guitar’s Serenade” where he’s singing Lamiror’s words. It was such an organic moment while writing too- Klavier just started talking about how he’s feel like an imposter to sing those words because he’s never experienced a lost true love...and he hopes that he’ll never know what that feels like. It’s an honest moment that puts to rest any assumptions Apollo may have had about if Klavier is just a flirt not to be taken seriously in the romance department.

Hearing that Klavier is pretty private in his love life, isn’t a player, and has pretty much admitted that he tries to date with the intention of marriage, shows Apollo more into Klavier’s serious and introspective side. A side that Apollo’s only known in the context of their work. It makes Apollo realize that Klavier is human and is wanting of things like love and companionship. More importantly, Klavier will take those things seriously should he be so lucky to receive them.

There is also a bit of humor here- because c’mon Klavier lives to be playful when he can, and he wants to know more about Apollo’s views on love and relationships. Apollo is adorably flustered because he doesn’t want to admit he’s still a virgin. But in this portion I wanted to start laying down the idea that Apollo is demisexual. Part of the reason he hasn’t fallen in love or felt desire is because he’s fullfilled by his relationships with those he holds dear, but also no one has been interested in Apollo and stayed long enough to bond with Apollo in a way for desire to to bloom.

Because they’re starting as friends-particularly a friendship made as adults- this is going to give Apollo that chance to realize he wants more from Klavier. And for Klavier who wants a true friend and companion after the betrayals he’s suffered, Apollo is a perfect match for him.

The most important thing for me while writing this scene was to show Apollo and the reader that Klavier is suffering and grieving just like Apollo is, (and to establish early that Klavier is super bad at taking any of his own advice) and for Apollo to start drawing parallels to himself while wanting to dig into what’s going on with Klavier.

Apollo is interesting because he’s more likely to say what’s exactly bothering him but fails to realize his feelings about others.

Whereas Klavier is very aware of his own feelings but will hide what’s bothering him from others.

They’re also two people who now need reassurance about where they fit in and how others consider them in their lives.

And if you were wondering: yes, at this point Klavier does have a crush on Apollo haha. So getting invited to sleep over was a bonus for him...despite it being labeled as a “platonic sleep-over”, because at this point in the story, it is a platonic sleep over. Klavier is good at reading the room (even when drunk) to know that Apollo isn’t making a move on him and neither should he.

The comment Klavier makes about Apollo’s bed’s size is a homage to my favorite BL manga, FAKE. In the manga, Ryo who has just started as a detective at a new precinct and met his new partner, Dee- has Dee over that same day for dinner and Dee winds up staying the night. Ryo has a large bed for a single guy (according to Dee) and Dee makes a comment “that’s a big bed you got there, do you have a girl to go with it?” because Dee the little shit that he is, is trying to see if Ryo is single (and yes, they sleep in the same bed that night. How is that fir team building haha...it’s totally platonic. It takes Dee 7 volumes to get that. Please read it it’s a classic). Klavier is totally asking to get a rise out of Apollo because Klavier suspects that Apollo exaggerated his experience because Apollo’s pivot was not smooth at all XD.

Finally the last aspect of showing safety is them sleeping in the same bed together. We know from descriptions of Klavier that Klavier has not been sleeping well. Something is keeping him up at night and his mood has been less glimmerous. When he arrives at Apollo’s that evening; he wasn’t able to really conceal the dark circles under his eyes. Apollo has been missing Clay, who would usually sleep over and share the bed with Apollo,’s company.

Sleeping next to someone, especially falling into a deep sleep in a bed that is not your own, is a sign of trust. Yes they were sleepy from the alcohol, but they went to bed together easily, slept for hours, had brunch, and went BACK to sleep. Neither minded, nor did Klavier feel that he should leave after they ate. They are comfortable and too hungover to even think about anything except getting more sleep XD Also it’s not as if Klavier is in a hurry to get home when he eventually saw the text from his land lady.

Sorry if that was a rambling response but I have a lot of love for this scene in particularly and I’m so excited to give a behind the scenes look at it!

#ace attorney #klapollo #apollo justice #klavier gavin #head your heart beating #dvd commentary #behind the scenes #thank you Anon for letting me sqwee over this chapter

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iturbide · 4 years

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@cianidix replied to your post:

The more you talk about this, the more I want to read it! Edgeworth-centric and also more Edgeworth-Maya interactions, ahhhhh. I’m also sooo interested in reading about how the relationship falls apart and how they (hopefully, maybe, I don’t believe Feenie is actually dead here… right??? Q_Q) eventually make better or move on and just- ahhhh I wish this fic was here already (if you get back to it)

(Trucy still exists, right? Even tho Wright wasn’t disbarred, right???)

Of course Trucy still exists I could never write her out of existence she’s too precious of a child to not be around in some way shape or form (and there’s nothing to say that Nick won’t end up with her at some point in the future, anyway -- he could always use another kid or two, and I think we all know it). Interestingly enough, though, one of my other big works was an AA4-compliant piece, also Edgeworth-centric, that involved a lot of Edgeworth-Trucy interactions because Trucy’s a part of Phoenix’s life now, and if he wants to have any part in it himself Edgeworth has to get along with the adopted daughter. It actually had a decent chunk of words in it, too (around 12k -- it’s the second excerpt from the link in the last post).

But in all honesty people getting excited about my stories gets me excited about those stories and since I still don’t know when I’m going to get around to writing the whole thing out, what’s the harm in dropping the summary?

Gonna give this another shot and Tumblr’s not gonna eat it this time mark my words

A couple notes before we get into things:

OCs are fair game in Ace Attorney as far as I’m concerned, and we’re certainly going to have a host of them. From the prosecutor on the case to all of those involved, I’ll be making a whole cast and crew to back this story up, and if I can manage it there will be absolutely terrible puns, because that just seems to be how AA games operate.

Lana Skye is hands down one of my absolute favorite characters in the series, and it’s a crime that they only put her into one bonus case and put her in prison at the end of it. For all of my continuities, I completely write out SL-9 as a case: Joe Darke never escaped his cell, Lana got into the prosecutor’s office and became chief by virtue of her own talents, and both the prosecutor’s office and the police department have cowboys running around.

I have a fairly non-standard view of Phoenix as a person, just based on everything I remember seeing in fandom back when I was more active. For instance: I love the fact that he was an art student, but I’ve always specifically thought he was aiming to be an actor and had a thing for Shakespeare; frankly, the ad libbing that has to go into acting when something goes wrong explains so much for me where Nick’s bluffing is concerned (when a man interrogates a parrot, you know he has a weird history). Unrelated but still relevant to that point, I think he’s actually a decent pianist and took lessons through most of his childhood and adolescence -- but he’s a classical pianist by training and not great at playing by ear, so people just think he sucks because he botches any modern tunes. So if you see something that seems Weird compared to fandom’s general take, just know that it probably has backstory.

So with all that in mind, let’s dive in.

In true Ace Attorney fashion, the whole thing starts with a cold open. As he finishes up the last of the paperwork associated with the case he wrapped up that afternoon, Phoenix gets a call from a familiar number, and though he dreads the conversation to come he answers anyway, refusing an offer to meet and saying that he can’t do this anymore before someone enters the inner office. He insists that they’re closed as he turns toward the door, and a voice replies that this won’t take long -- and then there’s gunshots. And then nothing.

The next morning, Maya is understandably shocked and horrified to arrive at the office and find that it’s once again a crime scene: bullet holes in the windows, blood on the floor, police everywhere...but no sign of Nick. Gumshoe is on the scene, though, and after a lot of badgering, he reveals that there’s been no sign of Phoenix, but the police are operating under the assumption that he’s dead -- and they’ve already arrested a suspect. Maya can’t imagine who would want to hurt Phoenix, and hearing that it’s Miles Edgeworth they’ve imprisoned just makes the whole thing feel that much more surreal. Sure, Nick and Edgeworth have had their disagreements --- including one the day before, in the recesses of their trial, and Phoenix had seemed really upset after that -- but she didn’t think it was something worth killing over.

But she’s still hurt, and reeling from the morning’s news. So her first order of business is to march down to the Detention Center to confront him. Edgeworth is...not surprised to see her, given the circumstances -- but when she demands to know why he did it, he insists that he’s innocent: he would never harm Wright, no matter the circumstances. As much as Maya wants to believe that, though, the fact that he doesn’t seem upset by Nick’s supposed death so much as the accusation that he had a hand in it rubs her wrong, and despite herself she can’t help but wonder if he did have some role in it; regardless, she still goes everywhere she can think of in hopes that there was a mistake, that Nick is okay after all, collecting evidence with every stop...but as it gets later, when there’s still no sign of him, she and Pearl return to the Detention Center.

With no defense counsel, Edgeworth is almost guaranteed to go to prison...but at Pearl’s urging, Maya steps up and offers to defend him, since she recently passed the bar and got her badge. She spends the rest of the evening doing her best to cobble together a case based on what little information she has, and reports to the courthouse the next morning for her very first trial as a defense attorney.

Her first case, and Nick isn’t even there to see it. She didn’t think it could hurt any worse.

Before they’re called into the courtroom, the defense gets a surprise visitor: chief prosecutor Lana Skye, come to deliver case notes and evidence files. Maya barely gets time enough to leaf through them before they’re called into the courtroom to start the trial, where she finds herself facing the rising star from the prosecutor’s office: Gayle Huntington, a young woman who counts Chief Prosecutor Skye as her inspiration and who is excited to add another guilty verdict to her record, in spite of (or perhaps because of) the fact that one of her fellow prosecutors stands accused.

The prosecution declares it a crime of passion, and presents their theory of the case: following a heated confrontation outside the courtroom, Miles Edgeworth called Phoenix Wright to arrange a meeting. While he may have intended only to put an end to the argument, tempers flared, and in a fit of rage the defendant shot the victim three times before dragging the body down to the street and driving it off to be disposed of at another location. Their evidence includes the blood found at the scene, which matches Phoenix based on forensic testing; three bullet holes in the office window, though no slugs or casings were found at or around the office despite an extensive search with metal detectors; Edgeworth’s phone, which shows that the last call before he contacted 911 was made to Wright’s number; and a handgun found at the scene which shows evidence of recent firing, though no magazine was found in it.

Over the first day of testimony, Maya manages to shred the prosecution’s case based on that chain of events:

The gun, as it happens, belonged to Phoenix himself. One of the documents the chief prosecutor provided to the defense was a photocopy of a sign-in sheet for a local gun range, which not only has Nick’s signature on it, but included a copy of his firearm registration and permit, which was for the exact make, model, and serial number as the purported murder weapon. Lana Skye herself is called to the stand, as her name also appears on the sign-in, and she testifies that after court the previous day she happened across Wright at the range and they talked a bit; he said that he needed to blow off a bit of steam before going back to his paperwork, and she clearly recalls that he did not clean his weapon before leaving, instead saying that he would do so after he went home since his cleaning kit was there. On closer examination, it's discovered that while the weapon has mostly been wiped clean, the trigger was not, and a partial print matching Phoenix is recovered.

On calling Edgeworth himself to the stand, he admits that he did contact Phoenix late in the evening in the hopes of resolving the argument from that afternoon; however, he was across townpicking up his car from the repair shop when he made that call, and when he heard what sounded like a shot before the call cut out he immediately drove to the office where he found the blood trail leading to the curb. Cell tower records do, in fact, confirm that he was far from the defense attorney’s office when the call was made, and based on the time of his calls to both Phoenix and 911, there was far too narrow of a window to dispose of the body.

The next revelation comes with the filing of a new piece of evidence, courtesy of a frantic Gumshoe bursting into court and taking the stand. The police, in their search of likely dumping grounds for a body, dredged something out of the river that seems to confirm that they have a murder on their hands: a blue suit coat with three apparent bullet holes in the back...and Phoenix’s badge still affixed to the lapel. What little blood evidence they were able to collect matches Phoenix, as well.

For all that this is a stunning (and devastating) revelation, it brings with it yet more to undermine the prosecution’s case: namely the bullet evidence. When placed on a mannequin, even coupled with the knowledge that Phoenix left his suit jacket unbuttoned while working in the office, the placement of the bullet holes in the back would require that there be associated entry points in the front -- which do not exist. Maya draws the logical conclusion, then, that the shots must have been fired from outside the office -- through the window, and the reason no slugs or casings were found was because the shots weren’t fired from inside the office, and the bullets were still in the victim.

Despite the upset in court, the prosecution refuses to budge, and the Judge refuses to declare a Not Guilty verdict. Court adjourns for the day instead, and Maya heads out to continue her investigation. Making her way to the Gatewater Hotel, she manages to get information on who was staying in the room across from the office: four members of a jazz band in town for a show, who insist that they’re the only ones who have been in the room and that they were setting up for a performance on the night of the crime. Though she doesn’t know them herself, she hears vague rumors that they have a fifth member who’s been in some ‘legal trouble.’ When Maya relates the name to Edgeworth, he remarks that it seems somehow familiar, though he can’t quite place why. She also gets the prosecutor’s repair records and goes to check out the rental company he used while his car was in the shop, which nets her a copy of the damage and condition checklist the agent filled out when Edgeworth brought the car back.

While Maya has the case to occupy her mind, Miles has no such means of escaping his own thoughts in his prison cell. Between the confirmation that the jacket does, in fact, belong to Phoenix (something he had tried to deny at first, hoping that the coat was a look-alike and the badge stolen, only to have that possibility dashed by the presence of Wright’s initials on the underside of the tag) and the relative isolation in the detention center, he’s had ample time to think over how things had been with Phoenix -- including how he, himself, had been with the defense attorney...and he’s forced to face some very hard truths about his behavior toward someone he cares about far more than he wanted to believe.

With the start of the second day in court, the prosecution has changed its theory of the crime, but not its perpetrator: rather than committing the crime alone, Edgeworth had an accomplice, and his call to Wright was a ploy to get him into firing range while the shooter waited in the hotel for his chance. Leaving his rental car in front of the defense attorney’s office, he picked up his usual vehicle and upon arriving at the crime scene helped his accomplice load the body into the getaway car for disposal while he made a call to police. Their evidence comes from photos of the rental vehicle in question, which show damage not reported on the return checklist, as well as blood evidence taken from the trunk which matches Phoenix.

Once again, Maya tears through the prosecution’s case piece by piece:

The damage in the evidence photos compared to the rental return form make for the first order of business. On calling the man who signed off on Edgeworth’s car to the stand -- an amiable but nervous young Latine by the name of Novi Nada -- they swear up and down that the damage in the photos absolutely was not present when they checked the car in on the night of the crime. (In true Ace Attorney form, this gets somewhat ridiculous, as this witness lapses into Spanish when especially nervous; when pressed, they insist “no vi nada” -- I didn’t see anything -- to which the Judge responds “yes we know your name now what did you see?”)

Sensor data from the rental lot finally confirms the agent’s version of events, where the car is registered as driving onto the lot shortly before the time marked on the inspection form; more importantly, it also recorded the car being driven off the lot and then back on much later. Unfortunately, there is no additional inspection form, nor a record of who rented the car after Edgeworth, and therefore no record of who might have been involved.

Edgeworth is recalled to the stand to revisit his testimony, and he adds another key detail: while it was a sound that he took to be gunfire that sent him to the defense attorney’s office, Wright had said something strange during the call, mentioning that the office was closed -- as though he was speaking to someone else that had just arrived moments before the shots sounded and the call cut out.

Neither the defense’s office complex nor the Gatewater Hotel have video surveillance of the street; however, the Gatewater does take video of the lobby, which shows one of the four band members leaving around an hour before the crime occurred, two more leaving minutes before the shooting, and the last rushing through the lobby with a trombone case under his arm; notably, he’s the only one of the four to actually take his instrument when he left, as the others were all empty-handed. Most importantly, though, the video proves that no one else left the hotel between the time of the shooting and the time that the police started arriving, which calls into question the notion of an accomplice helping Miles dispose of the body.

This, however, provides the prosecution with a shiny new theory: that Miles hired the band to act as hitmen while he kept his hands clean. As it turns out, the reason the band name seemed familiar to him was because he was set to prosecute the fifth member of their group after his case against Phoenix wrapped up; the prosecutor posits that Miles promised to go easy on their incarcerated bandmate if they took out the defense attorney.

This is a damning accusation, and Maya has no ready response. The Judge adjourns the court for the day, and the defense scrambles to come up with a way to prove that Edgeworth had no part in what happened and place the blame on the truly guilty. She returns to the rental company and, while interviewing Novi further, finds out that the fifth bandmate has a sibling that works at the same agency. She also returns to the Gatewater to speak with the band, and notices that the trombone case in the room doesn’t look like the one from the lobby video. When asked, they say that the old case got lost...which seems odd to her, since the trombone itself is still there and doesn’t appear damaged.

While Maya looks deeper into the band, she reaches out to Miles for insight into the case he was supposed to prosecute. The fifth band member had been taken into custody on suspicion of murder, and while he suspected that the man did not commit the crime alone, he hadn’t yet been able to prove that when all this happened. For the first time, though, Maya starts to see real anger in the prosecutor -- not because these people dragged his good name through the mud with this set-up, but apparently because Phoenix’s blood is on their hands, and he can’t abide the thought of them getting away. He readily gives her access to his office for the other case file (which Chief Prosecutor Skye secures for her) so that she can use it in establishing her own case.

Despite her best efforts, though, Maya simply can’t pull together enough solid evidence to prove that Miles didn’t have a hand in the crime -- and without proof of his innocence, the court intends to find him guilty. But before the judge can hand down his verdict, the courtroom doors open, and a strident Objection! rises from the back of the room...and who should come limping up to the witness stand but Phoenix Wright himself.

The courtroom goes absolutely wild about this.

Understandably, the judge calls for a recess, and before the prosecution can drag him off to prep him for testimony Maya and Edgeworth at least get a minute with him. As it turns out, Maya had forgotten her phone that morning, and Pearl grabbed it for her; just as they were called into court, though, it rang, and Pearl stayed behind to answer -- only to be shocked to hear Mister Nick’s voice on the other end, at which point she rushed off to beg Mister Scruffy Detective to take her to get the defense attorney from the hospital where he’d been for the past few days as a ‘John Doe’ (since he had no ID on him when he was brought in). Maya is overwhelmed to see him alive, if worse for the wear, and Edgeworth…

...he can’t even find words for the feeling.

The celebration is shortlived, though, as Phoenix is dragged off to the witness lobby in short order to prep him for testimony. For all that the prosecution seems to believe he’ll help them, though, Nick gives them absolutely nothing, and instead confirms that he received a call from Edgeworth that evening, and while they were on the phone two strangers came into the office just before he was shot. They dragged him down to the street and threw him in the trunk of a car, then drove to the river and threw him in; most importantly, though, he remembers one of them asking what to do with the case, and another saying they would dump it at the club where it would blend right in; police are immediately dispatched there and find a bloody trombone case (since they’d thrown it into the trunk before loading Nick in) with a rifle inside.

The motive? Everyone knows the Demon Prosecutor’s reputation, and they knew that they’d all go down if he tried the case on their buddy. The enmity between prosecutors and defense attorneys is well known, though, and in particular they knew that Wright had broken Edgeworth’s old record and it had never recovered; they figured it would be easy to frame him for the murder with the right set-up. They had a small window of opportunity while Wright and Edgeworth worked through their trial, and they used it to put all their pieces in place, expecting that Edgeworth would go down and they’d all get off when a less competent prosecutor inevitably got their friend’s case. Clearly, though, that backfired on them: they’re all taken away, and Edgeworth is declared Not Guilty. Cue fanfare and confetti!

...and that’s where the fallout begins.

While Miles is taken to get things squared away with his release from detention, Phoenix is taken back to the hospital because honestly he should not have left in the first place. The man was admitted with a collapsed lung. It’s frankly a wonder he even managed to stand, let alone raise that objection. His recovery takes a while, and Maya and Pearl are frequent visitors...but so is Miles, much to his surprise. Only it’s not a good surprise for him, given what he’d been planning to say on the night he got shot. Things feel awkward, and all the more for how Miles is acting...different. Not like his usual self. Phoenix doesn’t know what it is or if he likes it, but he’s too tired to complain since it’s not bothering him, and visiting hours are relatively short since the prosecutor is still working cases.

Given what happened to him, though, the doctor recommends that Phoenix should stay with someone once he’s discharged: his condition, while improved, could deteriorate rapidly if something happens, so it’s imperative to have someone else around in case of an emergency. Maya and Pearl are still going back and forth between the city and Kurain semi-frequently, though, and he wouldn’t want to impose on them, especially since Pearls has been thinking about attending school in the city rather than just getting her medium training...but though he doesn’t even consider Edgeworth as a possibility, the prosecutor immediately volunteers when he hears: he has more than enough vacation time accrued and the chief prosecutor hounds him regularly about needing to take some, so he can be on hand for whatever Wright might need.

This does not, in fact, reassure Phoenix.

It’s okay enough at first, if only because Nick is just too tired and hurts too much to think about it or care about much beyond finding a comfortable position to sleep in and figuring out how to breathe without it making his chest feel like it’s full of broken glass. But as he starts improving, the tension slowly ratchets up, because Phoenix still doesn’t understand why Miles volunteered for this and the only possible explanations he can think of aren’t really good (most involve having him in the prosecutor’s debt, which is not what he wants). Miles, meanwhile, isn’t aware of this tension at first...but gradually he becomes more and more aware of the silence around Phoenix. It was understandable at first, because he was fresh out of the hospital and still recovering, but the longer it goes on the more noticeable it becomes, and he knows it means something but he doesn’t know what to do about it.

Eventually, though, it all does come out, because Miles finally broaches the subject of his own accord by asking Phoenix what he’d been planning to say that night: he’d said he can’t do “this” anymore, but he never said what “this” is. And even though he’s aware that nothing is likely to cme of it, Phoenix explains exactly what his problem is and has been for so long: the one-sided relationship where he’s the one doing all the work and making all the concessions and getting none of his own needs met in return. It’s exhausting, and he can’t do it anymore. And rather than fighting or arguing the point, Miles -- who has never had a relationship like this before -- asks what needs Phoenix has, and how can he meet them. He concedes the point, he admits that he’s been in the wrong and needs to change, and asks for help figuring out where to start -- because he came so close this time to losing Phoenix permanently, and that realization scares him more than he can say.

Phoenix is pretty well dumbstruck. But he recognizes, too, that this isn’t easy for Miles. He’s reaching out, he’s trying...and even though Nick had intended to cut his losses that night in his office before everything went so wrong, he decides to give this one last shot.

And when Miles listens to what he says, and actively responds and adjusts...he can’t help hoping that this turnabout will end up well.

#replies #cianidix #ace attorney #fanfiction #crime of passion #i wrote the whole thing out in a doc this time so there tumblr #only downside is that i had to go through and manually add formatting again #but that's a small price to pay for not losing my whole summary #also yes i promise that things eventually work out with them #communication is good okay and edgeworth learns this lesson the hard way #but he's able to save the ship before it sinks #and slowly he starts to really gain phoenix's trust #the relationship they end up with is so near and dear to my heart #but this is definitely my magnum opus for the ace attorney fandom #i seem to have one for every fandom i engage in #at present i have five total #it'll be six if i can ever figure out which of the 3h ones is my crowning achievement

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