[IC] notes from the stephan debussey session, feb. 2nd
Spiritual channeling is a method of speaking to the dead; the Fey family is purportedly rather skilled at this, although Misty Fey's abilities were called into question when a spiritual medium was used in a case in 2001. Nevertheless, the veracity of this ability cannot be denied here, although it is a technique used to summon only the dead. How it managed to do otherwise is a matter for those with the knowledge of how it works and the intricacies to investigate further. For now, we are operating under the assumption that the barrier and the properties of the camp itself led to this.
The following are transcriptions of the recording of Mr. Debussey's session.
[February 2nd, 7:40 PM]
Mr. Debussey: I DON'T EVEN GET HOOTERS? Then what the hell is the point of being summoned by a girl! I have just been viciously denied.
Edgeworth: ...
Mr. Debussey: ... not that you'd probably care about a trial run of tits, would you, Mr. Cravat.
Edgeworth: The spirit medium's, er, cleavage is not the issue at hand, Mr. Debussey.
Mr. Debussey: Zen what iz dee issue, love?
Edgeworth: Your murder.
Mr. Debussey: Can't hear you over the sound of my stomach.
Edgeworth: ... Mr. Debussey.
Mr. Debussey: It's a valid complaint. Summoning takes a lot out of the body, you know?
Edgeworth: I was under the impression that spirits can't get hungry. If you will. Who killed you and how did they manage it, Mr. Debussey?
Mr. Debussey: The girl is, love. I can sense it. And guessing from the questions I'm getting, you want me to stick around for a while, right? So pump us full of cabbage. Or jello. Do you have jello? I miss jello.
Edgeworth: ... Marshall, do you have anything on hand?
Marshall: Reckon I can spare a flask of gatorade and a possum cake, pardner.
Edgeworth: If you would. Mr. Debussey, your, um, provisions will be arriving shortly.
Mr. Debussey: Why thank you, gentlemen. Though I don't think I'll be touching something called possum cake with a ten foot pole.
Edgeworth: Now, would you answer the question?
Mr. Debussey: There was a question?
Edgeworth: Who murdered you?
Mr. Debussey: ABOUT THAT. I know of no such thing.
Edgeworth: One year and nine months ago, Ms. Elizabeth Sayre started this encampment and brought children in approximately once a month, claiming that they were all suspects in the case regarding the murder of her fiance, Mr. Stephan Debussey. Does any of that sound familiar to you?
Mr. Debussey: No. It -- she's all right? Say the name again.
Edgeworth: Ms. Elizabeth Sayre, the current director of Camp Fuck You Die.
Mr. Debussey: ... I'm relieved. A lot. Thank you, Mr. Cravat.
Edgeworth: Mr. Debussey, what is going on? You make it sound as though Ms. Sayre was the one who was murdered, not you.
Mr. Debussey: I was deathly worried that she would be. Is she still as beautiful as ever? I bet she's even prettier now than she was those years ago.
Edgeworth: As far as we know, she's fine. And holding over two hundred and seventy children responsible for your death. Mr. Debussey, please. We need to know the facts behind it. How were you killed?
Mr. Debussey: ... all right, I can borrow something from a zombie movie, but I'm not actually dead, so it's going to all be untrue.
Edgeworth: --what
Mr. Debussey: What?
Edgeworth: ... You're not dead?
Mr. Debussey: ... is that, uh. Problematic?
Edgeworth: Ms. Sayre herself wrote in her notes that she saw you dead. I believe her exact words were-- "The idea that Stephan is still alive is impossible. I saw him -- I saw the blood. I saw the remains. He is not here."
Mr. Debussey: ... and then she has the nerve to claim that she never thinks of how much I love her.
Edgeworth: Mr. Debussey, there's an entire compilation of notes from Ms. Sayre regarding your murder, this camp, and other events and people surrounding it, such as her father, some man named "Charles", and the person she refers to as your murderer. Are you saying that there was, in fact, no murder?
Mr. Debussey: No. Unless she thinks there was one, and in that case... we're not telling her otherwise.
Edgeworth: If she is confused, then the truth needs to come out, Mr. Debussey.
Mr. Debussey: It can't.
Edgeworth: Why not?
Mr. Debussey: Mostly because I said so. That, and it'll fuck everything up for me.
Edgeworth: You want to supress the truth from Ms. Sayre, a woman who clearly cares a great deal about you, because it would "fuck everything up" for you. Mr. Debussey, I have another question for you, then.
Mr. Debussey: No promises that I'll want to answer it.
Edgeworth: There was a detective here over a year ago who went by the name of L. Over the summer of 2005, he uncovered and shared a good deal of information, including reports regarding a string of misfortunes that plagued the Debussey family over the course of twelve years. Would the Sayre family happen to have anything to do with that?
Mr. Debussey: ... I made a promise not to directly say anything about that to anyone, ever. For the rest of my life. But try asking that other woman.
Edgeworth: What other woman?
Mr. Debussey: The one whose breasts could put a man on the moon, just like in that one movie. You ever see Women Climb To Mars? Classic film.
Edgeworth: ... Of course. One other thing. Who was Charles?
Mr. Debussey: ... first! You tell me if there were notes on that.
Edgeworth: "I will never marry Charles." ... "I have not been made a victim. Part of me appreciates Stephan's attempts to remove Charles' eyes, but it was unnecessary; Father wished for me to display my business assets, so I did."
Mr. Debussey: ... I can't believe she wrote that down. She told me -- she wanted to marry that insufferable piece of shit, just for the Daddy. My girl is the greatest woman in the world, isn't she? Even then she knew what she really wanted.
Edgeworth: That remains to be seen. One more thing. Is Mr. Sayre still alive, or can you not even answer that?
Mr. Debussey: ... well, that was in the papers, so I think it's fair ground. He was burned alive.
Edgeworth: The manor.
Mr. Debussey: It lit up like Chinese new year.
Edgeworth: I take it you and Ms. Sayre did not care for him all that much.
Mr. Debussey: No. The only person that would find that son of a bitch bearable is Hitler. Or Hitler-chan, if you know the movie I'm referencing.
Asuna: --you really didn't die? You're sure?
Mr. Debussey: Positive. Cross my heart and hope not to die.
Asuna: That's great! For you obviously and--for us too, right? Can't we go home?
Mr. Debussey: Not... yet.
Asuna: But there's nothing to solve!
Edgeworth: ... On the contrary.
Asuna: Mr. Edgeworth, what's going on?
Edgeworth: That detective, L, stated it better than anyone could: we are looking for a plot at this point, not a murderer. Why is it that we cannot tell Ms. Sayre the truth behind this so-called murder, Asuna? There is a connection between the Sayre and the Debussey lines. There is a mystery regarding the Sayre patriach, as well as this very camp.
Asuna: So . . . he's not dead, but she needs to think he is? But what could happen if she found out? Is it something she'd do to us, or something someone else would do to her?
Edgeworth: I'll let you look through my notes in a bit -- there's some information regarding the Sayre and the Debussey lines, and a series of misfortunes that came upon the Debussey family. My best guess is that if Ms. Sayre knew that Mr. Debussey were alive, his life would be in jeopardy.
Mr. Debussey: Her life.
Edgeworth: Hers?
Mr. Debussey: Exactly. So shut up about it until I say so, if you don't mind, Monsieur Cravat.
Edgeworth: ...
Edgeworth: ... mm. Thank you, Mr. Debussey. This has been somewhat informative.
Mr. Debussey: It has been, hasn't it? I think I know what my next stop will be.
Edgeworth: Do you?
Mr. Debussey: ... I have to get a few things done first to make it... possible. You know. Destroy a few organizations, manhandle some brutes, yell gibberish at the mafia...
Edgeworth: ... What the hell are your families involved with?
Mr. Debussey: It's a long list. See you in a few months!
This Mr. Debussey knew of the intricacies of the families, and he was able to elaborate on them and fill in some of the holes in some respect. We now know that the "Charles" Ms. Sayre referred to was a man in her father's favor that he wanted her to marry; in the long run, he may or may not have much to do with this case at all, but I would prefer not to write him off so quickly.
What is important is the connection that has been established between the Debussey and Sayre families. Elizabeth and Stephan's relationship was more than mere coincidence -- the families are connected by some sort of murky business, all started by (presumably) Mr. Sayre, who died in a fire at the Sayre manor.
When this "murder" took place is another question. The alleged date is five years before the camp was founded.
This case that is keeping everyone here is not about murder; rather, it is about the business of two families. What exactly connects them? Why have the Debusseys been systematically destroyed between 1993 and 2005 (supposedly)? Did a murder actually take place in this camp? What did Mr. Sayre do to receive such hate from all ends? Why was it that Mr. Debussey thought it was Ms. Sayre that had died?
And most importantly, why is it Ms. Sayre's life that is at stake here, and not Mr. Debussey's?
I cannot say what this makes this case at the moment. It was clear from the moment we arrived that this was no ordinary murder case, but I am still the prosecutor in-- whatever this may be. What we need to continue are the answers to the questions above. It's as I said to Asuna -- Mr. L was correct when he stated that we are looking for a plot, not a murderer.
There is still a "goal", contrary to the beliefs of several of the campers that I spoke with on the night of February 2nd. That goal is to determine what really happened here, why it occurred, and to unravel the tangled web that the Sayres and the Debusseys have woven here and let the truth of the entire matter come to light.
For my reference: announcement regarding Mr. Sayre's state and general reactions.