Issue 2.10: Worth Fighting For

## Overview

As this year draws to a close and Luma prepares the museum for a major gala, Cass is called away to help a family member in a time of need. While there she is confronted with her past and contemplates home and what, and who, can embody that idea.

## Plot Synopsis

### Part I

Cass is stepping out of Amelia. There has been a lot of transporting going around in the last two weeks as they try and refit the space shuttle Endeavor for their needs. Between Luma and Lacy they have been been able to power through, anything that they meet thanks to a quick shape shift from Luma.

In the last few weeks Anika has made contact with her wife Illiana and their seven year old daughter Jody again. Emotionally fraught ranging from happy to pissed off to happy, back to pissed off when Anika explains she cannot go and reunite with her family just yet. Man of these conversations, often due to their loud nature, are over heard by the rest of the team. They also get the feeling that something is being left out of the conversations, such as the very nature of their mission and the danger of it. However Illiana is not stupid, she knows something is going on, but these particular conversation the team have not been privy to. All they know is that any time Anika comes back from speaking with her wife she has new notes and thoughts.

Lacy and Anika spend quite a bit of time going over necessary modifications needed to the ship. She also says that they are going to need a lot of fuel which can look suspicious. They decide to speak with KP who thankfully can find them the connection for the fuel.

Their answer comes in the form of a very familiar car that comes pulling up, decloaking and letting out both Cobalt and Kostchie. As Cobalt steps out they notice he has some transparency to him. He’s still passable as human, but it’s a touch off putting. He explains his surprise that pretty much all the information he had gathered for KP the group had already known so he doesn’t know how he can really help, but he’s been trying to rally the troop and help in that way.

Hopps informs him that they are going to the moon, much to his confusion. They explain that they have retrofitted Endeavor for the task. Kostchie offers up the suggestion of painting a bear with a bow tie on the side. Cass is super excited about this.

Cobalt also shows he has some work done, inserting the spray cannons that were on his wrist into his forearms. And when he can he has been practicing his abilities. Hopps points out this is good because he’s gonna need a lot of blue paint. They then lay out the plan of painting the shuttle blue and having him phase it out of the museum.

Cobalt isn’t too sure about this.

Kostchie starts to bid his goodbye when Luma stops him and hands him an invitation. The museum is holding a new years eve party that night and everyone is invited. Each invite also has a plus one so they can invite family members if they wish.

The word family kind of rings in Cass’s head and she awkward puts the invite in her back pocket. Everyone goes back to loading up Amelia when Cass gets an incoming message. The name that pops up is Uncle Charlie. Startled, she ducks around a corner to get some nearby privacy.

Accepting the message she sees Charlie, a wiry, tattooed man with buzzed short hair on the sides of his head. He seems awkward as he says that he’s calling to see if she’ll come help him move. A few months back his place had gotten broken in to, that combined with work not going that great, means he’s getting evicted.

Cass is shocked at this news and deliberates for a moment what to do. She finally yells out to the others that she has to go. Oya immediately crosses over to her, sensing something was wrong. Cass tells her what happened to Charlie, angry that he didn’t tell her about this sooner, but that she wants to go help him out. Everyone offers to help and Cass looks a little uncomfortable. They all pile into Amelia and set off. Cobalt asks if he knows anything about her being super and she says she isn’t sure. It’s been awhile since she’s spoken with him. But she just wants to make sure he doesn't worry about her.

Cass wants to keep this secret, so they decide to let Cass do her thing. On the way they fill Cobalt in on the rest of everything, from Boya to Patel being alive to the multiple time jumps. He suggests that since he should be kept a secret from everyone for now while Cass is taking care of what she needs to take care of, he and Lacy can practice phasing.

Oya offers to come and Cass readily accepts. They head to the Kents. The Kents was once temporary housing built in once was Kenneth Onstate Recreation Park, a tent city in Kenneth, which was shortened to Kents. They are now apartments that were supposed to be megaplexs, but for whatever reason they never got that far. Now they are apartments complexes, housing about 500 people or so and are low income.

The land near the park and Cass and Oya depart. They all spot tagging and graffiti, even a Moss. Cass and Oya take off and the rest of the group are struck with the image of a teenager going home for the first time in a long time. Cass, normally boisterous and strong seems so small and unsure as she turns the corner.

At the apartments the two get into an elevator they note the metal walls are tagged to hell, but in one small areas is the Callisto 6 symbol etched into the metal with ‘Fuck the Corps’ next to it. After surviving a tiny tiny elevator that had a little too much air freshener in it, they arrive at Charlie’s apartment. For a moment Cass hesitates, wondering if Charlie had seen the news at all, before she knocks on the door. Just a tad too hard.

The door slides open and Charlie stands there, stunned. He wraps both of them in a hug, but then states he had thought she was going to call him back first.

It’s then that another voice sounds through the apartment. Cass grows nervous, stating she should have called and she’s got to go. But before she can move a woman steps out from around the corner. Cass’s mom cuts off mid-sentence, and she and Cass stare at one another for a moment. She then asks if she saw Cass flying on TV, much to Charlie’s confusion. Then things get a little more awkward;
> Cass’s Mom (to Charlie): Can i speak to my daughter please?
>
>

> Charlie: That’s up to her. Not me.
>
>

> Cass’s Mom: Cass may i please speak to you.
>
>

> Cass: You’re speaking.
>
>

> Cass’s Mom: You want to do this here?
>
>

> Cass: I don’t want to do this at all.
>
>

Angered Cass’s Mom throws down what was in her hands and storms off. Charlie quickly apologizes and Cass says that she should have called, before Charlie goes on to ask about what Cass’s mom had said, if she was really flying on TV. Cass finally asks if he wants to see something cool. Charlie says sure and ushers both of them inside.
Inside Cass asks where he needs the fridge to go. He says he was just planning on leaving it, it hasn’t really worked in sometime. Cass glances out the window to see a six story drop with a dumpster and thankfully no bystanders nearby. She opens the door to the balcony before walking to the fridge and quite casually saying, “Alotta things have changed” while effortlessly picking up the fridge and tossing it outside to the dumpster below.

Charlie sits there stunned at what he just saw as Cass tries to talk to him about the break in, but he is kind of focused more on the dead fridge outside far below.

After a moment Oya confirms that everything is real and it seems to snap Charlie out and he goes to get a beer for everyone.

Cass goes on to try and explain more of what’s happened, unable to fully say what happened.

Charlie explains that if it pisses off her mom then it’s probably a good thing.

Uncomfortable with the topic Cass bursts out about the break out again. Charlie explains that a few other buildings had gotten hit, and his puppets had been taken. Cass asks Oya if she’d be able to do anything and Oya says she should be able to.

To focuses on the front door, the most likely entry into the place. But instead of robbers she watches as Charlie is having a break down, a pile of gadgets that become puppets close by. In a pique of rage he throws his puppets out of the apartment balcony. The scene changes to him on the phone, explaining to someone that he wouldn’t be able to do the show, his puppets had been stolen. He’ll be fine, no worries. The scene changes again, this time on the phone begging for the other person to make him the puppets, his had been stolen and he’ll pay once he has them and gets a gig. The person hangs up. In front of him on the coffee table is an eviction notice. The last things Oya sees before it clears is Charlie sitting back with a soft, defeat ‘fuck’.

She comes back to the present with Charlie and Cass looking at her with confusion and anticipation respectively. Cass asks what she saw, ready to beat whoever broke in. But Oya states that she couldn’t see anyone, they were wearing masks.

Cass states that they have friends that can help, a friend with a shop, another that is an amazing artist. Oya states that they want to help, that watching seeing Charlie’s art growing up helped inspire her own journey into VR.

Cass watches as these words hit Charlie and while he thanks Oya, she can tell he’s trying to hold back. Oya goes on to compliment him, Cass chiming in. Charlie snaps a bit, and Cass finally asks if he’s okay and what’s going on. He denies knowing what she’s talking about, that he just needs to process everything and they can go ahead and take off.
> Cass: What’s going on?
>
>

> Charlie: Nothing’s going on.
>
>

> Cass: You called me on every lie i ever told. You’re the only person, except for Oya, who always knows when I’m full of shit, Uncle Charlie.
>
>

> Charlie: It’s my life, okay. I’m fine. I’ll be fine. There’s no bullshit here. I’m fine, Cass.
>
>

> Cass: Well good luck with that.
>
>

And she storms out, Oya calling and chasing after her.
Oya explains what she saw and that right now Charlie needs her. Cass says that she’s the mess, and Charlie is the one who always knows how to fix things. Oya states ‘not anymore’, before suggesting that Cass goes back in to talk to Charlie and she’ll go distract Cass’s mom.

Cass knocks on the door as Oya goes off to try and find her mom.

After Cass knocks she just hears Charlie go, ‘Fuck off!’ from inside. Determined to help she twists the door knob off and storms in. Charlie jumps in surprise and Cass goes on to explain she knows that he was teh one to toss out the puppets. He tries to deny it, but she goes on to say that everything she’s learned, everything good she learned from him.

Charlie goes on to say he’s getting old, he doesn’t know what he’s doing with his life. He had heard for so long that you should just follow your dream, but not it seems like it’s for nothing.

Cass is stunned, shocked that he doesn’t see what he’s done for her and for other people. Charlie is confused so Cass flashes up the video of their big C6 in the sky from a few weeks back, of all of them helping the city.

Charlie looks entranced, asking if that’s really her. Cass says that it’s us. Because of him, because of what he taught her and what his shows meant to people, this is possible. He states that he was just born 100 years too late, no one cares about puppets anymore.

Cass demands to know what happened to her Uncle Charlie.
> Cass: When someone tells you how it is you say ‘ha, no.’
>
>

Charlie explains that he didn’t have much, his sister wasn’t talking to her, Cass had been absent, his jobs weren’t paying, and he felt so alone. He knows he has to start over, maybe he’ll talk to their friend at the shop. Cass calls Cobalt to see if KP has a spare room available. Cobalt says that yes and would probably pay someone to keep him company.
Charlie tentatively agrees and they start gathering up his things. Cass etches a C6 symbol into one of the cabinets and after a moment for Charlie to get one last look, they both leave.

### Part II

Down below Oya has gone after Cass’s mom, a woman who can be unreasonable and has been a huge part in sculpting the defiant person that Cass has become. She is an adamant supporter of the Corporations and them staying in power.

Oya reaches her just as she gets to her car. Cass’s mom holds up a hand as if to forestall whatever is going to come out of her mouth, but Oya simply stands there. Cass’s Mom demands to know if Oya has been with Cass this entire time, if that “jumping thing” really happened. Oya says yes to both.

Cass’s Mom gets right up in her face, combative, but Oya does not back down as Cass’s Mom demands to know if Oya has put her baby in danger. Oya can’t help but laugh, asking what makes her think she can make Cass do anything? Begrudgingly Cass’s Mom agrees, then quietly asks if Cass is okay.

*Oya: She is more then okay. She’s incredible. She’s a hero. She helps people. And she saves people. All the time.*

Any concern is quickly replaced with anger as Cass’s Mom goes on to state that Cass doesn’t help her mother. Oya asks if she ever wanted Cass to help, with anything.
> Mom: She’s never listened to me. She always does whatever the fuck she wants. She’ll always do whatever the fuck she wants. She doesn’t think about other people. She has a family, she doesn’t think about us, she doesn’t care, she just runs away.
>
>

> Oya: I was going to point out that she takes after her mom, but now I feel like if I do you’re going to hit me.
>
>

> Mom: I’m not going to fucking hit you. Look, she listens to you. Just make sure she doesn’t…fuck it up.
>
>

With that she gets in her car and drives away, leaving Oya alone on the street. She decides to head over and gets donuts alone, going towards her favorite donut shop in the city.
Inside Oya spies the same woman who had been working there for over forty years, whose father was there on C-Day. Lily, the owner, has been here for years, and this is one of the oldest establishments around. It’s close to close when Oya walks in and instantly Lily goes to give her a hug, instantly remembering Oya much to Oya’s surprise. As they catch up a bit and Lily moves back around the counter Oya looks along a wall that is covered in photographs. Some are 3D, some are old school paper photographs. They range from what the neighborhood looked like before C-Day, to screenshots from Instagram. It’s a history of Baldwin Island, reaching back from when it was still Baldwin Hills.

In a lower corner one photograph in particular catches Oya’s eye. It’s of her and Cass when they were much younger, sitting at a table with them both leaning across the table, smiling widely, powdered sugar covering Cass’s face. Oya snaps a picture of it and sends it to Cass.

Lily pulls her attention, asking her what she would like. Oya just says a dozen of anything.
> Lily: I’m on it. I’m on it. I am the master.
>
>

And as she opens the ovens she’s blasted with the smell of donuts and hot sugar and the machines instantly get to making the order. As that’s working Lily asks about Cass and Oya informs her that she’s helping a family member. Lily questions if they’re back in the neighborhood, but no they’re just visiting. They exchange information and Oya asks if she delivers out to Raft City. She’s excited when Lily says yes.
Lily tells her that she loves going to the farmer’s market down there because sometimes she’s able to get her hands on real wheat flour. Yeah it’s something a lot of people don’t like in their food now, but donuts just don’t taste the same without it.

Oya reminiscences, wondering out loud what it would have been like to live back then, when things seemed simpler and things like wheat didn’t hurt people’s stomachs.

Lily states that every period of the human race had something that was fucked up about it. There were good things sure, but there were still fucked up things.
> Lily: If we ever get to a point where things are great, we’re fucked. That’s just not how we’re designed to live, you know? Sometimes a donut has gotta fuck up or you don’t know how to make a better donut.
>
>

Oya does see the logic of this “donut wisdom”.
The donuts comes out and Lily gives them to her for free. Oya protests, but it’s to no avail.

Back at the apartments Cass and Charlie are riding down the elevator, Charlie’s words of “Sometimes home leaves you” ringing in the silence between them. Cass can’t get them out of her head because as she thinks of what has happened, all the people she’s with and she’s trying hard to process all the parallels that it’s bringing up.

As the elevator door opens she gets a message from Oya and opens it to see the picture from the donut shop. It catches Cass by surprise as she looks as the old picture of her and her best friend.
> Cass: Guess this place isn’t all bad.
>
>

> Charlie: What’s that?
>
>

> Cass: Just thinking about family.
>
>

Charlie nods and says that while they both know that Cass’s Mom is really hard to love and he won’t say she’s a good person deep down inside, but she does still have moments like today when she came to help him out. It’s iritating because it doesn’t fit with the narrative of wanting to villify her. Charlie stumbles a bit with his words, but ends with that love her or hate her she is family. Cass apologizes for driving her off and Charlie brushes it away, saying that his sister is the one who runs away, not the other way around. He admits that he laid in bed hoping and praying for the day that Cass would finally get away from her.
The elevator door opens and they see Oya in the lobby with a huge bag of donuts in her hand.

Immediately Cass perks up and nearly hops over, mouth open and arms full of Charlie’s things saying “Give donut.” Donuts are passed around and then they head over to Kylan’s place.

Kylan comes out to meet them with Mendoza and Charlie is taken aback asking if a really open Kylan Krause is staring at him and Cass and Oya realize they left a few things out.

Cass explains that she needs a favor and Charlie needs a place to stay. As Mendoza helps Charlie inside KP pulls Cass and Oya off to the side to speak with them.

He informs them that he was contacted by Kylan Krause and pulls up the video message.

Kylan states that he knows KP is alive and needs his help. He wants to bring Fletcher down, starting by showing KP, someone who defied Fletcher and got away from his clutches, to the others so they can see it is possible. He wants to reveal to the world what Fletcher really is, but he cannot do it alone, and since he knows the Callisto 6 is untrusting of him he wants KP’s help.

At the end of the video Cass and Oya try to figure out if they were the ones that let KP slip to Krause and KP says that the blame may actually fall on his shoulders. As hard as he worked to keep things quiet he did have to do a lot of moves for the things required for their mission. He was fully aware that there was the possibility of Krause finding out, but he honestly was not extremely concerned. They are in the final stretch and everything is coming to an end. He plans on meeting with Krause, on neutral territory that Mendoza is working on securing for them. It will happen before they launch and can hopefully use it as a distraction.

KP goes on to say that there is one thing that he does agree with Krause about. They share blood, were created with the same coding and that while he believes the he and Krause are completely different people, he asks that they do not let him into their inner circle. With the possibility of a lingering connection to Fletcher he doesn’t want them to tell him anything. He isn’t an enemy, but this is a just in case. He finishes off by saying that Mendoza will act as the go between for the Callisto 6 and himself.

When he wraps up they return to the topic of Charlie, Cass stating her Uncle likes English Breakfast and Oya brings up a stipend could pay Uncle Charlie. Charlie could help out being an artist and all, be an artist in residence.

KP says that he has no issue helping Charlie out and both Oya and Cass laugh over the idea of Charlie being in the 1%.

In another part of the city, at the warehouse where they had kept Krause originally. The wall has been painted blue so they can practice phasing. Cobalt gives them a demonstration of what he’s found out, activating a resonance field that he can use to cover items to help phase them. They start off with practicing with Luma turning herself blue.

Cobalt takes her hand and attempts to help Luma phase as he does.

The sound around Luma begins to grow distant and echoy, and the world around her begins to grow hazy. Slowly Luma gradients back to normal so Cobalt can see if he can maintain the phase state without the blue.

Dizziness washes over Luma, but that seems to be the worst of it.

The test is a success and they discuss the next step.

Lacy comes up with the idea that they can use blue lights to cast everything they need to into the correct color. Cobalt states that the color may just be a mental hang up. Perhaps Patel can help them figure out a way to help him.

Lacy quickly shows them a picture of Luma in her blue state, or ‘Bluma’ state and sends the picture to everyone.

Across the city, on their way back to Raft City, Oya and Cass receive a notification of a new file. They accept it and Cass is at a loss for words, much to Oya’s delight.

Cobalt asks Lacy if they think there is a way that perhaps they cna use the parts of his cannon as a conduit. They get started on trying to get this to work.

After awhile Luma notices the late hour and realizes she has to go get ready for the party, all of them do. After a quick discussion of what is going to be worn and who is meeting where they all head to the museum for the night.

On the way there Hopps checks in on her mom. She’s doing fine, but asks that if she speaks with Krause again to mention coming back for tea or something.

Hopps agrees, then promptly tries to ignore that part of the conversation ever happening.

That night at the gala the group meets. They gaze around at the old school NASA artifacts, of Curiosity, the Apollo Capsule, and for a moment all of the gather around the Sally Ride display.

The crowd of the party are mostly affluent and wear their privilage openly. But among them are people that probably would not otherwise be there if not for an invitation from Luma. Among them is Slap, looking bold and intimidating, her cybernetics on display and a ‘screw off’ attitude to anyone that strays too close.

Luma, disguised as the museum curator, catches her eye and allows a single lock of her now long pin straight black hair to lighten to a platinum hue. Snaps, who knows of Luma’s abilities now that they are on good terms, nods and throws up the C6 symbol before turning away.

She looks around for everyone, wondering where they are. She spots them: Lacy is clad in a large, obviously not theirs, “magboard but make it fashion” style jacket, Cass is looking uncomfortable as she’s never worn this fancy of a suit, think Catra from She-Ra and at Oya’s prompting she had gone with a rainbow shimmer on the material, Cobalt found a blue leather, form fitting zippered up piece with a faint camo pattern and on the hem of the coat are holographic emitters that extend the bottom so the coat looks like a duster, and has tight black paints underneath, Hopps has found a fancy purple dress, her hand is pinned back with a tiny hat with a little joker card sticking out of it, Oya is clad in a dusty rose colored long sleeved dress, it has a velveteen sheen and is without her jacket tonight, her hair is up in a series of poofs complete with beads and gold pieces scattered about along her face and head, Anton is in his element, wearing a dark gray three piece suit tie with a red tie, hair slick back, his body suit just barely visible with his fingerless gloves, and his tie has the C6 symbol hidden in the zig-zag design.

Luma spots them and strides over, everyone moving to get out of her way as she passes by, not even seeing any of them. She instantly gushes over them, confusing them for a second as she is still transformed, but they quickly catch on as to who is in front of them. On the way up she gives Hopps a flask as a thank you gift for helping her study and get ready for going undercover as the curator.

She then brings them up to where the VIP party is happening. Only those people that Luma invited are allowed up. They pass by war droids who are acting as body guards, suited in tuxes. They get into a service elevator that takes them to a roof top garden-esque area. Compared to the glitz and glam of the reception below, Luma decorated this to more her own style, giving it more of a house party feel.

The area gives them an unimpeded view of downtown and the LA Convention Center where all of this started, where all of htem met. Straight up above is the moon, waiting for them.

Midnight is coming close and they are by themselves. Despite the music thrumming from below everything was quiet.

Cass asks Luma that since it’s just them up here, she should shift back to her normal look. Lacy and Anton go to get people champagne, Hopps trailing behind to fill her flask, as Cobalt goes to speak with Oya.

They talks about their fears, of so much riding on their shoulders, with Cobalt having to phase a massive shuttle, and Oya being their ace against Fletcher. Oya reveals her doubts and insecurities. But Cobalt states that he believes in her and that will help him do the same with himself. He only hopes she feels the same. But regardless they have time, a whole 12 days, to get this figured out. Both trail off with chuckles and shaking heads.

Luma pulls Cass close to the edge and points out that from here they can see where all of their homes are; Raft City, Baldwin Island, Hopp’s Mom’s place, etc. She then grabs Cass’s face and points it up to the moon.
> Luma: And that’s where we’re going.
>
>

> Cass: Holy shit. Well I…I’ve been thinkin’ about home and when you find it…
>
>

> Luma: Yeah?
>
>

Cass just stands there awkwardly, at a loss for words. She barely tears her eyes away from Luma before turning to look back up at the moon. Luma doesn’t look away from Cass’s face. She inches closer and just as Cass looks back down, Luma leans in and whispers “Happy new year, babe” and gives her a quick kiss. Cass immediately kisses her back and Luma cups Cass’s face, both of them pressed close.
Around them their friends stare wide-eyed and barely contained glee, trying to keep quiet so as not to ruin the moment for them.

They break apart, Luma’s hair illuminating in her happiness. Both babbling as they try and figure out what to say and do. Cass turns to go get champagne, but Anton stretches two glasses out to both of them.
> Anton: No need to come over here!
>
>

> Hopps: Yeah we’re good, just stay over there!
>
>

Cass takes the glass and immediately downs it, but stops, realizing she should have waited, but Luma brushes it off, stating they already did the cheers a little early.
> Luma: Well…one for the old year and one of the new?
>
>

To which Cass enthusiastically agrees. As the fireworks go off the seven of them come together, saying goodbye to 2119, the year that changed everything, and ushered in 2120 together.

## Cast

* Bonnie Gordon as Lindy "Hopps" Hopper
* Amy Dallen as Cassie "Cass" Charke
* Hector Navarro as Anton Andazola (played by Eric)
* Aliza Pearl as Oya Guillén
* Sam de Leve as Lacy
* Gina DeVivo as Luma Orsini.
* Eric Campbell as the Storyteller.
* Xander Jeanneret as Cobalt

## Non-Player Characters

* Anika Patel
* Kostchie
* Charlie
* Cass's Mom
* Lily

## Locations

* Blue Dolphin Base
* Baldwin Island
* Charlie's Apartment
* Lily's Donuts

## Quotes

* Hopps: "I panicked! I'm not a rocket...brain surgeon!"
* Lily: "Sometimes a donut has got to fuck up or else you don't know how to make a better donut."

## Trivia

* Moss has sprayed Baldwin Island and the other three corners of LA.