Disclaimer: If I claimed to own Mamoru, Haruka would send me down a flight of stairs.

AN: Selene Appia, a reviewer expressed a preference for the play script format over the dialog format, as the former gives more information. So that's what I'm going with.

Mamoru, lecturing enters the room, back from work: "That was the last of them. With this all the warriors from the Galboa Republic who were after you are gone, and their information on you has been destroyed. The bounty is also gone. I've set up a place for you to live with your Grandmother."

Haruka, fifteen years old, entering behind him, stops, shocked: "Why are my suitcases packed?"

M turning to face Haruka: "I know it's been tough, but you don't need to stay with me anymore."

H emphatically: "You're going to leave me behind? Aren't you mistaking something? I don't just need to stay with you. I want to stay with you."

M: "As an adult, it's my job to do what's best for you. You don't see this now, but it's for your own good. This way you'll be able to live a normal, happy life."

H, closing her eyes: "Why do you claim to know what's best for me? I'm the one who can see the future. What's so special about being 'normal'? If I do what you want…the future ahead of me is empty. No one around me will be able to understand me, or what I've been through. I'll spend every day lying and putting up a normal, cheerful front. In an environment where I can never truly be myself, and never see those I've come to love over the past few years, how do you expect me to be happy?"

M: "If you stay here, you'll only be caught up in more conflicts. Now, when all your old enemies are dealt with, while you haven't yet made any new ones, is your only chance to get out. What are you going to do with the rest of your life? Do you intend to follow Daiba's plan and become a leader within The Network? I'm leaving them now, returning to the criminal underworld. Will you be my enemy, or try to follow me? Is that what you want, Haruka? To be a criminal?"

H, challenging: "Do you really think I'll be able to stay out of trouble? Do you expect me to ignore my visions for my own safety? If I see that one of my friends or classmates is in danger, you know I'll do everything in my power to save them."

M, firmly: "I've done my best to teach you how to survive. Living a civilian lifestyle, you won't meet enemies too strong for you to handle. The only way you're likely to make that kind of enemy is by staying with me."

H, beseeching, full of emotion: "If I stay with you, I know I'll be happy. I've seen it. That's the future I want. I choose you. No matter what happens, or how bad things seem, I know together we can reach it: the best possible future."

M, sternly: "I'm not a good man. I'm not a hero or your savior. I'm not a role model, or someone fit to raise a child. You treat me like I'm a comfort, a fucking cuddly teddy bear. I've tolerated your delusions in the past because you had no one else. Now it's time for you to face reality. The truth is that I'm a criminal and a murderer."

H, with conviction: "You're wrong. I know you're a good man. I've been having visions of you since I was a child, maybe 6 years old. I've seen you bloody, and angry, and violent, but never once have I seen a vision where you hurt me, used me or betrayed me. I know that you never will. You aren't capable of hurting me. To be near you is such a comfort, because as long as we're together, no matter what troubles we face, I know I can reach my happy ending."

M, after a long pause: "Fine, I won't say goodbye here, but you have to do something for me in exchange. Move in with your Grandmother for one year. If you still want to stay with me after a year in the open world has passed, we'll work something out."

H, cheering sligtly: "I'll do it, but I have a condition, as well. You have to visit me regularly, at least twice a month, and call me twice a week."

M, curt:"This is not a negotiation-"

H, equally firm: "If you don't visit me I'll just sneak out to see you. You know that I can slip past any watchers. I won't have any trouble finding you through my visions, either."

M, grinding out, back in his usual foul mood: "Whatever."

AN: I love a good confession scene more than anything. Nothing pleases me more than the divulgence of a deep, dark secret, or the exposure of feelings left out of sight. I want to see the other characters' reactions. That's why, if there's a past or insight the author reveals as a thought or flashback, then never mentions again, (so as not to be repetitive), I have to write a confession scene or passionate revelation dialog.