The Empty Turnabout - Mary's Testimonies (Revised)

-- 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...
-- The Bullet in Him -Mary then argues on Apollo's claim of a hypothetical "silenced
gun". What exactly happened to it? She was searched right after
the crime, after all, and nothing was found on her. Furthermore,
how would she have gotten her hands on a gun in the first place?
Can Apollo prove that she had one, to begin with...? An optional
contradiction in this testimony is presenting the Bridge in
regards to the gun disappearing, and while Mary agrees that's the
most logical conclusion, there's a much bigger issue Apollo isn't
seeing - proving there was a gun to begin with. To clear it up,
Apollo either presents the Gun or Mary's profile on the statement
regarding how she got her hands on one to begin with. Apollo
explains that since she's a police officer - a detective, no less
- she would've been in posession of a gun to begin with! But Mary
objects, saying that there's a big issue with that - she has her
gun on her at this very moment - she got it while she got to her

apartment, right after the crime. She notes that it can be tested
to confirm it's really hers, and Apollo takes her up on that. The
results come back - the gun really is hers. Since Mary was
searched after the crime, and the gun wasn't on her, that means
she would've had to have gotten rid of it sometime during the
actual crime. Since the entire mansion was searched, it couldn't
have been inside of the actual mansion - so, she must've thrown
the weapon into the abyss (the player doesn't need to present
anything there if he pointed out the optional contradiction).
Since she still has her gun -- it couldn't have been the murder
weapon. Hence, there's logically no way she could have gotten her
hands on a murder weapon to begin with. Hence, she cannot be the
culprit. Apollo wonders if that's really the case... Is there no
other way she could've gotten her hands on a murder weapon...? He
presents Mary's profile yet again, stating that it's true - she
wouldn't have used her own gun - BUT that doesn't mean that, as a
detective, she couldn't get her hands on an alternative source.
[...] <- 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)
In the meantime, Mary has another issue with Apollo's claim.
Assuming she shot Arts from the other balcony with her own gun,
and if they found and arrested Marston on the spot, what would've
been a major issue for her? Apollo answers with the ballistic
markings, if they hadn't matched Marston's gun, that would've
shown the possiblity of another culprit. Mary agrees.
-- 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?
It's at this point that Trucy suggests to Apollo the possibility
of using an old technique called "the super-objection" (I'm
thinking of playing Carell's "OH GOD NO" sfx whenever the name is
brought up). Apollo realizes he doesn't have much of a choice and
gets to cross-examining.
To begin with - there's an optional contradiction Apollo can
present here: Marston's Testimonies + Handgun on the statement
regarding the disappearing body being the only way to hide the
ballistic markings issue - she could've switched the guns while
Marston was being apprehanded. Edgeworth objects, saying that

Marston had identified the gun in question as his, but Apollo

objects to that, saying that's not the point. The point is, there
was a much easier way to get around the issue than getting the
body to disappear! So what is Apollo saying? That she wasn't
responsible for the body disappearance, at all, and that she's
trying to confuse the issue, of course! But Mary objects. She
reminds Apollo of what she said earlier regarding saying someone
else got rid of the body, and adds that switching the guns was
impossible - for one, everyone was in the room, it was extremely
hard to go about switching the guns just like that without being
noticed and two, she uses what Edgeworth said a minute ago Marston was asked to identify the gun - if he'd seen the gun
wasn't his, it would've created doubt in his conviction and
created a possibility of another culprit - that was equally bad as
leaving the issue of ballistics alone altogether! Hence, she
would've needed to get rid of the body to make her plan foolproof.
There is another optional contradiction to point out here Athena's Profile + Smith's Profile (plus optionally adding Mary's
and Marston's profiles to the mix) on the statement in which Mary
asks how the body could've been disposed of. Apollo will ask the
player TWO times if he's sure about doing that, to be fair! If the
player doesn't back out, Apollo will... basically accuse all of
them of being in on it, leading to a dead end testimony in which
Athena, Smith, Marston, Mary, Edgeworth, the Judge and Trucy will
all have a statement in which they claim the ridiculousness of the
actual accusation, given everything Apollo had done up to that
point. Apollo will be able to escape the testimony, but not
without a massive penalty. (and if someone happens to get a game
over for it... hey, they said they were sure!)
The real contradiction is... there isn't any, at least on first
glance. After Apollo presses all of the statements, he'll be given
a choice - has he found an actual explanation here? In the end,
he's forced to admit... there's just no seeming explanation for
it! Mary will stand as victorious, with Apollo trying to convince
the court that she's somehow trying to confuse the issue - the
prosecution never bothered to explain it in their case, either!
But Mary reminds Apollo that HE was the one who claimed that the
body can't be overlooked in setting up his defense. Backing out of
it at this point would just be hypocritical, no? Plus, the reason
the prosecution never bothered to bring it up was because it
wasn't a necessity in proving Marston's guilt. Here, though...
Apollo is left at a dead end, basically. What can he do? He
himself knows that she probably got rid of the body, but... How?
Everyone was in the room, they all left together and they all had
each other in their sights until the police arrived! There is...
no way that body could've disappeared! We could maybe do the "it's

all over" shtick (even if I'm kinda against it, since it's
painfully obvious that it wouldn't be, but meh), when suddenly,
Athena objects. She says that there... miiiiight've been a detail
she and Smith forgot to bring up. While Mary was "examining" the
body... the two of them actually left the room, dragging Marston
with them to detain him somehow.
Athena: "...Whoops." (Yes, the entire mystery of the disappearing
body is nothing more than one big troll)
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!
Mary claims that would've been asinine to do - anyone could've
walked into the room and seen that she was missing. ...Except they
couldn't have! Apollo presents (not a part of the testimony
anymore) two pieces of evidence - the key and the door. Since the
door was auto-locked when closed and the only key to it in her
possession, NOBODY would've been able to get into the room and
seen that she was missing!
After some discussion, Mary is forced to admit that as a valid
possibility. ...But there are still issues with Apollo's theory.
(I originally intended for this to play out as a testimony, but in
actuality, there's no real need for it). Apollo claims that she
was on the other side of the balcony. Fair enough. But how could
she have KNOWN that Marston and Arts were there? For that matter,
how exactly did she KNOW that Arts was just going to be on that
balcony at the exact time for her to shoot him, especially if one
adds Marston's plan into the mix? Her ultimate question is - why
was she on that second balcony if she had no way of knowing Arts
would be on the other one?
Apollo is forced to answer with "you couldn't have known Arts
would walk onto the other one". Edgeworth then labels Apollo's
plan as officially impossible, but Apollo objects. He has... a
possibility. What if it was BECAUSE Marston was involved that she

was there? The judge wonders why is it that he can never be

bothered to get to the point, but always be mysterious for five
minutes for no reason... Apollo claims that her involvement may
not have necessarily been that of a calculating murderer... perse. What if... she knew about Marston's plan to kill Arts and was
there to make sure he would get killed? Something like... a
protective measure, perhaps? Edgeworth immediately tries to stop
Apollo - is Apollo claiming that Mary was a part of Marston's
scheme to kill Arts - an accomplice turned murderer? If Apollo
picks "yes", Edgeworth will point out an issue - for this plan to
work, Mary's gun would need a silencer (he dismisses Apollo's
earlier possibility of the gunshots convering each other, since
it's beyond improbable) - then why wouldn't have Marston had one,
too, assuming they were working together? Before Apollo can even
try to counter than, Marston appears on the stand and denies
Apollo's claim - Mary had nothing to do with what he'd done. With
than in mind, Apollo has no choice to agree that the two weren't
working together (he takes a penalty). He then proceeds to the
other option - "not necessarily". In which Apollo suggests that
Marston and Mary didn't really need to work together for this
possibility to be valid. All it would've taken (multiple choice
question) was that she learned of Marston's plan. Mary demands
Apollo to back it up with evidence, which he does - he presents
his own profile. Six months ago, Mary came up to him and claimed
she knew someone who was planning to commit murder! Mary objects,
denying such a meeting ever took place and Edgeworth is forced to
agree that unless Apollo can provide definitive proof of that
meeting, he cannot consider his word as evidence. Apollo is then
forced to agree that he doesn't have such evidence.
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.
It is at this point that Marston himself objects.
-- 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?!
Apollo first presses the statement regarding the plan being
improvied. Apollo suggests (in multiple choice), that the plan
might not have been improvised, at all. Marston doesn't bother to
deny that, expecting for Apollo to back that up. Apollo then
presses the statement regarding the "something" from which Mary
could've found out his plan from (this press convo unlocks if the
previous statement was pressed) and suggests that, assuming the
plan WASN'T improvised... there may have been something from which
she could've learned of Marston's intentions. Edgeworth asks
Apollo to cut to the chase and present that "something"! Apollo
thinks everything over and finally answers with The Mansion
Floorplan. If Marston knew exactly what he was going to do that
night, this thing would've been a necessity. And if Mary had
somehow gotten her hands on that at some point... Then maybe she
could've found out who that mansion belonged to, piecing
everything together! Hell, prehaps he even marked out where and
how he was going to strike. Marston claims it as ridiculous and
demands some proof of that, but this time, Mary interjects.
"Game over, Apollo.", she says to him. "You lose."
She reminds Apollo of HIS own earlier testimony: he claimed she
came to him six months earlier, saying that she knew someone was
going to commit murder. That "someone" was, according to Apollo,

Marston. Meaning that Marston had to have had his plan six months
in the making. As such, he would've needed to have gotten that
floorplan six months before the party. But here's the problem there was only one way for him to've gotten it: by knowing the
location of Arts' mansion. And yet... that's something nobody knew
up until he sent out his invitation! As such, Apollo's claim is
impossible. She accuses Apollo of being a liar, but Apollo
objects, saying he... he could've somehow learned of the location!
He was a police detective, wasn't he? Edgeworth objects, saying
that Apollo can't honestly claim that without any proof. Can he
prove that Marston knew the location of the mansion before the
actual party?
He can't.
As such, Apollo stands contradicted.
...And it all begins to crumble.
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).
Edgeworth then decides to rub salt in the wound - he returns to
the very reason why the "killer on the other balcony" theory was
formed in the first place. Marston supposedly missing the victim,
wasn't it? Edgeworth asks Apollo what made him so sure Marston was
telling the truth at that time. Apollo claims he had no reason to
lie, returning to an argument before, but this time, Edgeworth
says he had EVERY reason to lie at that time! After all, he
realized there was a chance he could be proven innocent, given the
circumstances, and he took it! Everything up to that point
might've been truthful - but like all criminals, like all men - he
saw a chance of salvation and he took it. Edgeworth claims Marston
simply lied, thus obliderating Apollo's entire basis for reasoning
in one fell swoop. Marston stands silent.
Gumshoe returns at that time, as well. His news is what you'd
expect at this point: They found nothing missing. Desperate,
Apollo claims that... maybe they were working together, after all
and that it was from the evidence Marston requested to see that

the gun was taken, but Edgeworth objects. He thought Apollo could
prehaps come up with something of the sort, so he had Gumshoe look
into Marston's evidence records, as well - hence, why it took an
hour. The player is given a choice of whether or not to give up.
If he chooses not to, Apollo will throw theory after theory, each
one more insane than the last (we can throw in "she ate the gun"
in there, as well, whynaut). But the end result will be the same Apollo will have no choice to give up.
Apollo is defeated. He has no more possibilities, no more ideas.
It would appear that... that Mary... really isn't the culprit. The
judge will ask him if he's still accusing Mary of being the
culprit, in light of all of this, and Apollo's answer (and the
player's) will have to be...
...No.
Edgeworth will remark it as a wise decision.
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?
Returning to present day, Edgeworth, seeing Apollo's silence, says
"Very well. You don't have to answer.", but has more to say. He
calls Apollo out on not doing his job - being so focused on the
guilt of another that he abandonded his true job - proving his
client innocent. Instead of fighting for Marston, he fought
against Mary. Apollo considers arguing that the two are one and
the same, but Edgeworth continues, arguing that if Marston's best
interest was on Apollo's mind...
He would've given up on the case a long time ago.
"You claimed you were 'no longer a rookie?' ...Hmph. I believe
that might be the biggest lie that has been told today. You're

merely a child, trying to play games in the world of adults. You

understand nothing of how the real world works. You understand
nothing of how this place really works. And that has been your
downfall today."
(Or something like that)
Apollo is devestated. Has he really been looking at this all
wrong? Has he actually learned nothing? Is this nothing more of a
repeat than last time...? He closes his eyes and awaits the
verdict, as his mind drifts to...
Stage IV - Depression [Two Months Earlier: Apollo visits Kristoph
in his cell. Not really sure what the two would talk about, atm,
but basically, Apollo comes to question Kristoph's own view of the
law. Kristoph displays similarities to Athena's and Apollo wonders
for the first time if this is the way things truly are. It's
through this discussion that the "Dark Age of Law" should be
brought up and Apollo will vow to fix it, with Kristoph merely
laughing it off - there is no "fixing it". All he can hope to do
is try and fix the little cracks before it all inevitably comes
crashing down.]
Returning to the present day (yet again), Apollo wonders if this
has really all been for nothing. He... thought he was heading in
the right direction... And he believed that he was truly fighting
for something... greater. But in the end, he was just a man. And
all men are succeptable for human error. Edgeworth was right - he
really IS a child. He still isn't ready.
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...
Detective Nathaniel Marston
GUILTY
...There probably won't be a lobby discussion, but rather just a
fade in to "The Empty Turnabout" logo, before jumping to the
epilogue.

The Empty Turnabout - Epilogue

But, basically, the general stuff that happens in the epilogue is
basically Apollo going around, talking to people involved in the
case.
- It takes place a week after this trial.
- Starts out with Trucy trying to confort Apollo, who claims he
doesn't need confronting, saying "he's fine". Trucy, however,
notes, he's acting strange. In actuality, Apollo can't help but
feel bitter over how it all ended just like that. In the end...
was he really a fool?
- He visits Phoenix, who apologizes for never coming back. In
truth, the reason he'd left was because he felt this was something
Apollo had to do on his own (Trucy: "Hey, what was I?! Chopped
liver?!"). Apollo thanks him for understanding. Phoenix just
crypticly smiles.
- He visits Marston at his cell, who gladly accepts his punishment
and thanks Apollo for everying he'd done for him, admiring him for
the way he stood up for him when everyone else would've turned
their backs on him. Apollo tries to pry information out of
Marston, but he refuses to budge.
- While Apollo is leaving Marston's cell, he meets Athena in the
hallway, who is just about to meet with Marston herself. She tries
to talk to Apollo, but he avoids her.
- He visits Edgeworth. The two end up having a discussion on how
the case was handled and Edgeworth proclaims his dislike of the
jurist system (leading Apollo to wonder if that's the reason
between the hostility between him and Phoenix). In the end,
however, Edgeworth admits that he did have issues with the way the
invstigation was handled, especially with the fact that the body
is still missing (and hell, might never be found again). Edgeworth
notes that they are keeping Mary in questioning, in order to
explor Apollo's earlier possibility of her having something to do
with getting rid of the body.
- Apollo goes to the detention center, where he talks to Mary.
After some converstaion, Apollo finally admits that he had another
idea, back then, but was too stubborn and foolish to admit it she really was Marston's accomplice. ...But all she did was get
rid of the body. Mary admits to it, saying that she did it to
create confusion in hopes of finding Marston guilty. The two of
them discuss Mary's original motive (or, try to, at least, only
hints of it are shown both here and through the original
confrontation). Before leaving, Mary happens to mention Arts
getting facial surgery. After all, the face in the room looked
nothing like the old Arts. Apollo is at first surprised, but ends

up dismissing it, considering his

of his existance.
- Trucy and Apollo part ways, and
at night, alone and left with his
himself, he decides to for a walk

obsession with erasing all trace

Apollo returns to his apartment
thoughts. Lonely and down on
in the park near his apartment.

- The perspective then switches to Athena, a few hours earlier.

She's just gotten up, in her practically empty apartment, with
only papers scattered around. She gives her own take on the past
week's events (it being... relatively coherent and of comment
sense - no snarky comments). She notes Apollo's foolishness during
the endgame, but admits there was no other way he could've ended
it without looking like an idiot.
- She gets dressed and goes on her way to Marston's cell, meeting
Apollo in the hallway with Trucy. She talks to him about the
possibility of a re-trial, with her as his new lawyer. Marston
basically tells her to piss off, but she leaves her card with him,
if he's interested.
- She then heads to the crime scene itself, Arts' mansion. She
finds the butler in the bedroom (on the other wing), doing one
last clean-up before he's ready to put the mansion for sale. The
two of them end up discussing the "lie" they both told in court
About meeting each other in the hallway after the gunshot. In
actuality, Athena made it first to the door, then after about a
minute or so, the butler came, and then Mary. She thanks him for
saving her skin, but wonders why he lied about it to begin with.
Smith says he was merely mistaken, and simply forgot he'd made it
downstairs before the gunshot.
Athena, however, has another idea. ...A piece of evidence which
would explain that little "lie" and the true nature of this
case...!
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?"
Basically (there is a whole logic behind this, including Smith
"inconveniently" covering the huge bloodstain with bleach, the
original contradiction regarding the lack of Arts' fingerprints,
plus the whole facial surgery, plus the wrong position of the
bullet hole), Smith is Ian Arts. The actual person in the room was
his ACTUAL butler, who for the purposes of this summary, we'll
name BP. Arts killed BP in a fit of rage after he found out the
butler was actually reporter who came to do an expose on him. BP
had already sent all of the information to his publisher, but he
noted there were no actual photos of him. Arts shot him, and,

fearing the article exposed his location anyway, sent out an

invitation to people he found hated him the most for what he'd
done "back then". His plan was simple - disguised as a butler, he
tried to manipulate the others into "killing" Arts by looking for
him in the only place possible - the study and killing him. He'd
intentionally broken the lightbulb earlier, so the room was dark so dark, in fact, that Marston never even noticed that the body
was in the room the whole time. Arts noticed that Marston had
gotten into the balcony, so he decided to create an "illusion" for
him. HE was the one who entered the study and the person Marston
fought fight (explaining the lack of fingerprints on the gun).
Marston had shot at Arts in the direction with Marston originally
stated, yes, but he missed (explaining the different position of
the bullet holes). The reason Arts had "stumbled and fallen
backwards" was... well, I have a few explanations for it (either
he'd wanted to complete the illusion upon seeing that Marston
missed - he hadn't known he'd fallen unconscious, so he was
trying to set up a situation in which Marston would get close to
him, see that he was dead, and then Arts would knock him out;
alternatively, it could just be "lololdperson"). He escaped
through the balcony back through the mansion to the study door,
pretending like nothing had happened. There was no "masked master"
event to begin with, of course.
Since Arts' location had been discovered, he'd been declared
deceased, and the reporter never managed to sent in photos of him,
the article on him doesn't really matter. All that'll come out of
this will be a missing reporter, nothing else, nothing more.
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 oldrun 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.
Athena finds herself annoyed that someone like Apollo managed to
see a part of the "real" her and declares that this round was one
by him. Apollo is confused, but she simply hands him her necklace
(Widget), saying that it's actually nothing more than a fancy
camera. She wishes him luck in Marston's retrial and walks away
into the night (with a monologue or something, probably).
The Empty Turnabout - END