Throne Room, Palace of Power, VideoLand, Milky Way Galaxy, Q-niverse.  Stardate 1 049 504.1; December 31, 2994.

Larry was happy.  If his plan succeeded, the N-Team would be kaput permanently.  Or, at least, it would be dealt a serious blow that would prevent it from prevailing ever again.  Through a series of sneak attacks, the Brain-Team would injure as many N-Team members as possible.  Added to that, the Silver Hawks had just been infiltrated.

            He was now communicating with Liquidator.  "Is the plan for undermining Darkwing's Justice Ducks ready for execution?"

            "Yes, Larry," Liquidator said.  "Mega Volt and Bushroot are ready."

            "Good, Liquie.  Once you feel like it, effect your plan."

            "Yes!  As usual, the Liquidator brand delivers on schedule!"  The screen deactivated, and the watery being disappeared.

            "Now," said Larry, smiling, "my purely satanic scheme shall render my brother ABSOLUTE UNIVERSAL SUPREMACY!  When I'm through with the N-Team,. . ."

            "Ooh!  Prince Larry, I've got something!" called Eggplant Wizard from a station.

            "What is it, you fool?  You interrupted my gloating!" Larry demanded, going over to Eggplant Wizard.

            "Wilykit has diverted something that had entered galactic cyberspace from Earth 20 362.  It is now going to a computer terminal in her home."

            "Hm.  I shall require a photo of that something."

            "Yes, sir."  The vegetable did as requested.  "It's really a group of three somethings."

            "Blast you, you incompetent moron!  You can't even count!  That's four!"

            "Oops; those two tiny ones were so close together I thought there was just one of them instead of two."

            "Mm.  I seem to recognise them, but. . ."

            King Hippo exclaimed, "That's the Superhuman Samurai Syber-Squad!"

            "Oh, that's right!  Maybe you do have a brain, King Hippo!  But what are they doing here?"

            "I wouldn't know, Prince."

            "Such a problem might be solved by visiting that Earth 20 362.  Who is ideal for that job, I wonder?"  Electron Charge and Proton Brain, the mindless minions of Sçarlos Nuclesís {shahr-ló nú-kláy-sih}�, entered.  "Aha!  You two, over here!"  Electron Charge and Proton Brain went over to him.  "I have a job for you incompetent slobs.  You just may have to use your brains."  [� - More commonly known as Charles Nuclesís {nú-klé-zihs}, the English equivalent of his name.  His name in Chemistrian is presented for the sake of accuracy, but after this, his first appearance in this story, his name in English will be used instead.]

            "Uh, what are those?" Proton asked.

            "It's too complex to explain.  Are you momentarily botching up any tasks for your proper boss?"

            "No, Prince," said Electron.

            "Good.  Now, here's what I require you to do."

            * * *

            Bridge of the Enterprise-E, orbiting Deep Space Nine Station, UFP, Original Universe.  Stardate 49 643.84; February 20, 2373.

            Data arrived on the bridge.  "Welcome aboard, Data," Riker greeted.

            Smiling professionally, Data replied, "Thank you, sir.  I am prepared for our next mission."  He was now quite comfortable with his emotion-chip, installed some time before.

            "Yes, I'm sure; very good, Data.  Ensign, set course for the centre of the Neutral Zone, maximum warp."

            "Aye, sir," replied the ensign at Conn.

            Riker announced, "All senior officers, report to the observation lounge."

            * * *

            Observation Lounge.

            Picard and Wesley alternately told the senior officers about the problem in the Q-niverse.  Worf asked, "What is the threat to us?"

            "You may not believe in this, but I have seen all of it and know it to be true.  In all Creation, God has created several orders, including the planes we consider Heaven, hell, and the mortal realm.  The Q are supposed to exist at a level high above mortals but below God.  Q acts like a god, but he isn't.  Neither am I; neither are the other Q-cubeds.  However, God has quite graciously granted the other Qs and me the ability to bend space and create or destroy things and people with power a million times nearer the infinite than any mortal cares to think about.  I created the Q-niverse with the powers.  For some reason, Ludwig von Koopa also obtained Q-cubeds powers.  With the way his evil mind functions, and with the extent of his evil Koopa magic, I'm sad to say that he could have copied my powers and given himself the copy.  I do not know all the specifics, but I do know this:  Ludwig is a threat - a direct threat - to all the mortal realities and to many other planes in Creation.  It is highly likely that he cannot threaten God directly, though there's the slight possibility that he might be able to, but he can do a lot of damage.  He will do almost anything to help the Devil.  I'm unsure whether the Q-cubeds have greater power than Satan, but my bet is that we do.

            "I know not exactly why, but this Picard can help, and only this Picard.  The one in my universe hasn't the necessary quality."

            "In what manner must I assist you?" Picard asked.

            "I've not figured that part out yet.  I'm not completely omniscient, and neither is any other Q or Q-cubed, though Q himself may have claimed he was.  We must leave soon, or Ludwig will attempt conquest of other universes.  In fact, I'm certain of it."

            "Our shakedown run is proceeding as planned," Worf reported.  "If we go as soon as we've finished, we'll have twenty-four hours before we meet the Romulans."

            Wesley said, "It doesn't have to work that way.  Though time changes in the same manner both in this universe and in mine, their temporal natures aren't exactly the same, and the two universes are removed far enough for their timelines not to run together simultaneously.  I could take you out at this millisecond and redeposit you at this same point in this temporal dimension."

            "I see," said Data.  "Even up to a year after we've been in your Q-niverse?"

            "Even up to a septillion millennia, Data.  It matters not.  Thanks to Ludwig's interference, I cannot pinpoint precise hours in my Q-niverse from here.  However, if we leave now, chances strongly indicate that we'll get there around 1 January 2995, the millennial anniversary of the founding of his atrocious empire.  To worsen things, he is trying to block any jump I can make to get us all to my universe.  Soon, I won't be able to get this ship through.  By the way, while I'm here, I cannot control the passage of time there. . . again, thanks to that Tortoisian son of a gun."

            "Very well," said Riker.  "From what I understand, I feel that Ludwig poses a grave threat to the Federation's security and to this ship.  I also feel that the threat can be controlled better by going to the Q-niverse.  So, Wesley, we're going."

            "Thank you, sir," said Wesley.  "Your electrons will be prepared for the temporal shift."  Wesley snapped his fingers, and they all were transported to the Q-niverse.

            * * *

            Casa di Tygra, New Thunderius, Galaxy of Leos, Q-niverse.  Stardate 1 049 504.1; December 31, 2994.

            Tygra, Cheetara, Bengali, Pumyra, and the Astutus-twins were in the living room.  "So," said Tygra, "have we any plans to stop Ludwig's mad reign?  I don't."

            "I have none," Cheetara said.

            "Nor do I," Bengali said.

            Pumyra said, "I sure don't."

            "I can speak for the both of us," Gatito said.  "I haven't any, and I believe that my sister doesn't, either."

            "Wish I did, though," said Gatita.  "I'd love it if that creepy reptile weren't so powerful."

            Cheetara said, "I agree.  Hm!  He is probably quite nervous if he knows that the Wilytwins and the Wondertwins have their powers restored.  When he gets nervous, he doesn't know quite what to do.  I suggest that someone try to drive him crazy with a possible threat."  She smiled cunningly.

            Gatito's face showed the same smile.  "Exactly.  Since anything's possible, we wouldn't be lying in the technical sense."

            "The Code does apply literally," said Tygra.  "Objectively, not subjectively.  Just make sure we keep these threats in the subjunctive mood."  Thunderians liked the subjunctive mood; since it implied possibility, not factuality, they could tell a lie in such a manner that, technically, it would not be a lie at all.  This let one avoid breaking the Code, a serious offence.  They made frequent use of this mood in their own language, Ancient Thunderian, whose rules easily facilitated its use.  They also did so in other languages; if the subjunctive could not be applied, they could just as easily substitute the conditional.  "It might work.  Cheetara, Gatito, why don't you go talk with Kevin about it?"

            "We sure will," said Cheetara.

            Gatito asked, "Care to come along, Gatita?"

            Gatita said, "Sure, why not?"  The three left.

            * * *

            Front Lawn, casa di Tygra, New Thundera, Milky Way Galaxy, Q-niverse.

            Upon completing initiation of the Cerebra-twins, Wilykat asked, "Well, all, how'd I do?"

            "Quite well," said Panthro.  "No faults that I could see.  In fact, my friend, I took note of your technique during the second part.  Your improvisation, unorthodox but quite extraordinary, was something of which I hadn't taken note before.  That was a shortcut that I hadn't seen."

            "Thank you, Panthro."

            Wilykit agreed, "A very good job, my brother.  Now, would you do it again?"

            "Well. . . yeah, sure.  Why?"

            "Just asking."

            Natalia asked, "Well, Antonio, how does it feel to have that symbol finally?"  She was referring to the Cat's Eye insignia, which Antonio had fastened to his belt.

            Antonio replied, "It feels great, my cousin.  I once feared that Guillaume and I might never be able to bear it.  The despicable trio, you know."

            "Oh, yes," Wilykit said.  "MotherBrain, Ludwig, and Larry."

            "Well, Wilykit, they did rule that we be 'disbanded' a millennium ago," said Antonio.  "I doubt they approve of keeping us around.  In fact, I think this was a trick."

            "Uh, huh.  Well, the stinking slimeballs won't be in power for much longer, but I still worry."  Suddenly, she felt something. . . her Amoro Eternamente!  "Wesley!  Wilykat, Wesley's returning!"  She felt something else, too.  "Oh, God!  Not the Plundarrians!"  The Mutants, Luna-tacks, and Mumm-ra and Ma-mutt (held and rubbed by Mumm-ra) flashed into existence.  "Mumm-ra!  You've not disintegrated into dust yet, old friend?"

            Mumm-ra smiled.  "Ha, ha!  You amuse me, Wilykit.  Of course I haven't!  My body is well preserved, due to Ludwig's machine!  You plan to drain Ludwig of his power, Thunder Kitten."

            "Exactly, you decaying cadaver.  You obviously believe that you control greater power than I."

            "What?  Of course not, Wilykit!  I am well aware of your Q-cubed powers."  He took the Sword of Plundarr's handle, and the blades, sharp and magically hot, formed on both ends of the snaky hilt.  "But I have slightly modified the Sword of Plundarr!  Ha, ha!"  As he spun it, the Sword of Plundarr released some energy that weakened all Thunderians present!

            "Hey!" said Wilykit.  "What's up with that thing?"

            "You can't guess?  Why, the energy is the mass of Li₂Tu₂He multiplied times the square of the speed of light!  Ha, ha, ha!"

            S-s-slithe said, "That blade produc-s-ses the compound and s-s-sends it out at the square of light-speed, class.  That makes it energy!  Ha, ha!"

            "I bloody well know physics!!" screamed Wilykit.

            Kevin was present as well.  "Ha!  It doesn't hurt me, you decomposing carcass."  Mumm-ra fired a bolt at Kevin, but Kevin used the Power Pad to zip to the right.  "Can't touch me, mummy."

            Mumm-ra allowed his attention to shift to Kevin; he stopped spinning the Sword.  "You'll regret crossing me, Captain N!"

            Unfortunately for the villains, the act of ceasing the spinning of the Sword of Plundarr also ceased the conversion of lethal Li₂Tu₂He into even more lethal Li₂Tu₂He energy.  Wilykit instantly took advantage of this and used the Sword of Omens to destroy the evil Sword of Plundarr.  "No, he won't, Mumm-ra, the ever-decaying!"

            "NO!!!  Blast you, Wilykit!"

            "Profit from my good nature and beat it before I prosecute!  Now!"

            Luna said, "Not like we should, Thunder Kitten, but we shall."  Mumm-ra, his mutt, and the Plundarrians poofed out of sight.

            "I immensely dislike them," said Wilykit.  "I find it difficult to be as benevolent on Plundarr as I must be.  The temptation is strong, but I won't succumb to crushing them.  Thank you, Kevin, for risking your life to save ours."

            Kevin said, "I require no thanks.  It's just my job."

            "Right."  Wilykit suddenly caught a feeling.  "Excuse me while I return inside, everyone."  She ran inside to the living room.  "Here I am, Wesley!"

            Wesley was there.  He slowly advanced to Wilykit.  "Hi, 'Kit," he said quietly.

            "Hello, Wesley.  It's been. . . quite a while."

            "I'm sorry."

            "Don't be.  I love you."

            "I love you, too.  I had to wait until now to return, though."

            "Yes.  Physically, you're still the most remarkable being I've ever met."

            Wesley smiled.  "So are you for me.  Now, we have to get serious, 'Kit."

            "I'll do that."

            "Good.  Ludwig can't know I'm here.  Knowing I'm here will make him seriously disrupt his plans.  So, I've cloaked myself to his mind.  Also, he won't discover the Enterprise-E orbiting the planet."

            "I see.  Thanks to my friends, I have some plans."

            "Yeah.  I wish I could've gotten here a few moments earlier and stopped that rotten Egyptian relic."

            "That's okay, Wes.  Kevin was there to help us."

            "Yes, I know.  I thank him."  He smiled.  "So, will you let me kiss you?"  The two kissed for a few moments.  "I envy Kevin.  He got to spend the last millennium with Lana.  I, on the other hand, had to get Picard."

            "Yeah.  I had to stay with my brother most of the time.  We fought twice, two times too many.  That is, we stayed together when that nasty ol' Roy wasn't trying to rough the poor boy up.  The meanie loves to bully boys around.  Larry always showed before Roy injured my brother, but. . . -sigh.-  Then, Larry brought Jayna and Zan to our cell.  Jayna and Wilykat always make each other feel good."

            "What did Jayna and Wilykat do together?"

            "Talked, joked, laughed, kissed.  Zan and I just kept discussing ideas on how to escape, just to pass the time."

            "I see.  Miss me?"

            "Sure did.  I love Wilykat, but he isn't you.  Sometimes, we did have fun joking and playing around, but I missed you."

            "I missed you, too, 'Kit.  I wish. . ."

            "It's all right, Wes!  You don't have to defend yourself, you crazy boy!  I'm not angry."

            "Your plan will work better if mine does first.  You see, I now understand Picard's needed role.  I didn't while I was fetching him, but now I do.  First, though, what has been done with Lion-O's body?"

            "Tygra had it preserved.  When New Thunderius was created in the Galaxy of Leos, Lion-O's body was the first in the cemetery near Pariga {pah-ré-jah} [Ancient Thunderian], the Thunderian capital on New Thunderius."

            "Did you witness Ludwig's resurrection of Beethoven?"

            "No, I didn't.  However, the Steeltwins and Tygra-twins did."

            "Ah, good.  I need to find out Ludwig's actions."

            "Do you think it's safe if I introduce you to Chatonne and Gatinha?"

            "Not entirely.  In fact, my being here is not entirely safe.  However, I can keep Ludwig from reading my presence from almost anyone.  As long as no one blabbermouths the info in Ludwig's presence, it's all right."

            "Very well.  No one here is a human news reporter.  I'll get 'em in here."  She went outside.  Wilykat instantly knew what was up.  "Hey, all.  Come on back in.  We've an important matter to discuss."

            * * *

            Beethoven had entered just before the discussion began.  "So," said Chatonne, "we should not speak of your presence while we're near that snake?"

            Wesley said, "Exactly."

            Wilykit said, "Kevin, you might try to keep yourself away from the Palace of Power."

            "Right," Kevin said.

            "Where is this concert?" asked Wesley.

            "Mount Icarus Coliseum," said Wilykit.  "The way it's designed, it's great for almost any kind of music."

            "Well, I'm ready to go, now that Chatonne has told me how Ludwig resurrected Beethoven."

            "I'll take you to Tygra's on New Thunderius.  He knows exactly where the cemetery is."

            "Very well."

            "Wilykat, you hold down the fort."

            "Okay, 'Kit," Wilykat said.

            "Later, all."  Wilykit and Wesley disappeared.

            * * *

            Cemetery, south of casa di Tygra, New Thunderius, Galaxy of Leos, Q-niverse.

            Wilykit, Wesley, Picard (the one from the original universe), and Tygra reached Lion-O's grave.  "He lieth here," said Tygra.

            Picard asked, "Why must I channel the spirit?"  It was merely a question of curiosity.  That was how it was interpreted.

            "I'm not sure," said Wesley.  "Could have something to do with your uncanny ability to outfox Q."  Picard took that as a compliment and smiled.

            "Thank you, Wesley."

            "There must be some reason, but I just don't know it."

            Wilykit asked, "Must I do anything?"

            "Just watch.  Sir, here is how it is to be done.  First, ask God to let this be done only if He desires it.  Next, order the spirit to return to Lion-O's body, then the body to rise while regenerating.  Once the body is above the ground and the spirit within you, order the body and spirit to unite once more.  Finally, thank the Lord.  The regenerative powers are coming from me."

            "Very well," said Picard.  "I am prepared."  He stepped up to Lion-O's grave.  "Our dear God, I ask You to let us resurrect Lion-O, to rejoin his spirit with his body, to make him live again, but only if You wish it.  Lion-O's body and mind, I call you!  His spirit, I ask you to leave Heaven and to return to your body by me.  His body, I ask you to leave your grave and to prepare yourself to receive your spirit by regenerating yourself!"  Lion-O's body appeared above the grave, fully regenerated.  His spirit entered Picard's body.  "Now, spirit and body, reunite, and let Lion-O live once more!"  Lion-O's spirit left Picard's body and returned to Lion-O's.  "Thank you, God!"  In a moment, Lion-O, back flat on the ground, awoke.

            Lion-O said, "Ooh. . . boy, my head hurts!  Tygra, what kind of body preservative did you let Quicksilver use?"  He meant it jokingly.  He got up.  "Thank you, everyone.  To God and to all of you, I am deeply indebted.  I inform you that I personally know the 'Anonymous' Composers.  I also know Ludwig van Beethoven.  Like me, he was so wrongfully removed from the mortal realm that he had to be returned."

            "You remember your afterlife?" asked Wilykit.

            "Oh, yes, my dear Wilykit.  Beethoven probably doesn't.  By the way, I'll let you remain Lord of the Thunder Cats.  My departure may have been premature, but there's no need to penalise you for it, since you had absolutely no hand in it."

            "Thank you, Lion-O."

            "I happen to know that the plan you have is just what you need."

            "Really, Lion-O, it's the N-Team's plan."

            "Of course."

            Wesley said, "Well, first, Picard and the Enterprise-E must go back to the original universe."

            "I shall tell them that the plan was successful," said Picard.  "Shall I also inform them that you returned them and me to the point where we were when you brought us to this universe?"

            "Yes, Picard.  Thank you, sir."

            "A pleasure, Wesley."

            Wesley returned Picard to the Enterprise-E, then the Enterprise-E and all aboard to the original universe.  "Now to stop that satanic turtle.  Wilykit, have the N-Team enact the plans of which Captain N has approved."

            "Yes, Wes.  Before we get in a situation worse than this one, should I gently remind you who the leader of this team is?"  She wanted to be nice in telling him she was the boss.

            Wesley took a swallow.  "No, Wilykit.  Your point is made."

            "All right.  I request that whenever you want me to do something, you phrase it as a request, just so that there is no misunderstanding."

            "Okay, Wilykit."

            "Thank you.  I myself try not to give orders in the sense of using the imperative mood."

            Wilykit!  Wilykat's telepathic message caught Wilykit off-guard, but it caused her no shock.

            Wilykit said, "Wilykat just called me telepathically.  Brother, next time you do that, I would appreciate that you not accentuate it so much!"

            Sorry, 'Kit; I didn't even know I was transmitting!  You know those four blips Kevin found?

            "Yes.  What about them?"

            They've arrived.  They transformed from cybernetic energy to physical matter. . . five humans!

            "What in the. . .!  I'm bringing us on back this instant!"

            * * *

            Living Room, casa di Tygra, New Thundera, Milky Way Galaxy, Q-niverse.

            After all had been explained, Wilykit understood what had happened.  "Malcolm knocked you guys clear off your own digital grid and into our subspace cyber-digital system."

            "But that he could have such powers!" Sydney exclaimed.  "I could differentiate or integrate some curve all millennium and still not understand how he did it.  He just draws monsters."  She snapped her fingers.  "Aha!  Sandra Velaztra!  She invents stuff for her computer!  She must have made a device that can turn people into cybernetic beings that, by themselves, can transform from living matter to digital energy in order to enter the digital world!"

            "Whoa!" said Sam Collins.  "Beings able to thrust themselves directly into and out of subspace?"

            "Possibly."

            "Uh," said Wilykit.  "After Malcolm and Sandra conquer your world's digital grid, they will try to find out what happened to you.  Then, they'll discover a cyber-subspace grid that controls electronics throughout the galaxy.  Then, we'll all have to be prepared."

            Kevin said, "Oh, it'll probably be worse.  Larry probably knows what's up.  Since two of Nuclesís's stooges are in the Palace, Earth 20 362 may soon receive visitors."

            "Oh, great!  Chemistrians have the natural ability to travel through circuits. . . thoroughbred Chemistrians, anyway.  The genes of two Chemistrians must unite to form a Chemistrian able to do that.  We are fortunate that Chemistrians, like Thunderians, Exorians, and Hyrulians, are generally good-natured."  Chemistrians, Thunderians, and Exorians had always been good by nature.  Over the past millennium, the Hyrulians had grown that way, too.

            "Shall I get Lana to find Jane Physicost and James Chemsos?" Kevin asked.

            "Yes, Kevin," said Wilykit.  "Have her send them here."

            "All right."

            As Kevin left to call Lana, Wilykit said, "I'm going with him.  Wilykat, you're in charge 'til I return."

            "Yes, 'Kit," said Wilykat.  Wilykit left.  "So, Sam, what do your friends and you do while you're not fighting viral cyber-infections?"

            Sam responded, "We're high school students, so we go to school from eight thirty to three.  Then, some of several things can go on.  Syd here usually takes extracurricular classes in physical science and music.  Tanker plays football in the early fall and basketball in late fall and winter, so he sometimes has a practice or a game.  Jennifer's a ballgame cheerleader, and she has several other extracurricular activities.  Yolanda, who is the principal's daughter, is president of the student council, and she regularly attends one meeting a week.  I don't have any extracurricular activities.  Syd, Tanker, and I also have our own rock band. . . at least we did.  Our bass guitar player moved away."

            "Very interesting," said Wilykat.  "All of it is.  Tell me, other than a bass guitar, what instruments are supposed to be in your band?"

            "There's an electric guitar and keyboard, along with drums.  Syd plays the keyboard, Tanker hits the drums, and I am the guitarist and lead singer."  He indicated his guitar.  "My electric guitar doesn't make much volume with neither amplifier nor electricity, though."

            "I see.  Our world prefers acoustic instruments for the most part."

            "I see."  The doorbell rang.

            Gatinha said, "I'll get it."  She opened the door.  "Hello, Jean-Léonard."

            Jean-Léonard said, "Good afternoon, Gatinha.  May I enter?"

            "Certainly."  Jean-Léonard entered.  He had his violin with him in its case.

            Not many introductions were needed; only the members of the Syber-Squad had not met Jean-Léonard before.  Chatonne said, "Syber-Squad, this is Jean-Léonard Picard, one of the greatest violinists in the universe.  Jean-Léonard, this is the Superhuman Samurai Syber-Squad from Earth 20 362.  On their world, they must habitually enter the digital domain to destroy detrimental cybernetic monsters with the Servo program.  The monsters' designer, one Malcolm Frink, has recently - ah - aligned himself with Sandra Velaztra, who makes her own computer devices.  With a recent invention, she made him and herself capable of transforming into digital entities and entering cyberspace via monitors.  The two flung Servo out of cyberspace and into the galactic sub-cyberspace grid.  They are Sam Collins, Tanker, Sydney Forrester, Jennifer Doyle, and Yolanda Prachert."

            "I see," Jean-Léonard.  "Nice to meet you."

            "Good to meet you, too," said Sam.

            "Basically, you guys got knocked off your own world when Malcolm and Sandra. . . did what?"

            "He and she tossed the main body of the Servo program off the grid," Sam said.  "Jennifer and I were controlling the main body of the enhanced program that Syd just discovered.  Tanker, as always, controlled Drago.  It's another large body; it's like a dragon.  It can turn into Tracto, a vehicle that can become one of the body armour attachments. . . a tank-like device upon which Servo can stand.  As usual, Syd controlled Borr, a second body armour vehicle.  It attaches to the shoulders and controls virus-disruptive missile weapons.  Today, Yolanda controlled Vitor, the third vehicle. . . the chest and back armour that strengthen Servo's body.  Syd led Tanker and Yolanda after Jennifer and me."

            Wilykat said, "We believe that Larry's sending two of Nuclesís's goons out to Earth 20 362 to visit Malcolm and Sandra."

            "There's also an extremely powerful program known as Kilokahn," Syd said.  "He thinks he's overlord of the digital world.  He brings the viruses that Malcolm designs to life."

            Tanker said, "Kilokahn is a secret government program gone haywire.  He loves creating havoc.  The stinker also calls humans 'meat-things.' "

            Wilykat said, "Already, I dislike the 'bit-thing.'  Am I correct in sensing that the guitar has an integral role in this?"

            "Yes, you are.  It's how I enter the digital world," Sam explained.  "When Syd has prepared the program, I play a power-chord, and I'm pulled into the digital world."  He spotted the grand piano.  "Can Syd demonstrate the chord?"

            "Please," Wilykat said.  Syd went over to the piano, located the three proper keys, and simultaneously depressed them all as hardly as she could.  The resulting sound was very loud.

            "Ooh," said Syd.  "Sorry.  I've never played a grand piano before."

            Gatinha said, "That's all right.  The strings are made of a Thunderian alloy that retains tune for longer than your conventional steel strings.  The strings also vibrate with more resonance than those you'd be used to in any piano you'd encounter on your world."

            "I see.  Anyway, Sam hits that chord as loudly as he can.  From 'home base,' or his basement, I monitor his systems as he battles mega-virus monsters.  I also send in his weapons and backup when he needs them."

            "All very interesting," said Beethoven.

            "No disrespect meant, sir," Syd said, "but. . . well, I just have a little trouble believing you're Ludwig van Beethoven."

            "I understand, Sydney.  It's so incredible that I hardly believe that I am once more alive now.  Now, in the 1790's, who was Vienna's foremost pianist after Mozart?"

            "You were, sir; that is, if you're Ludwig van Beethoven."

            "Very good.  Gatinha here is the universe's foremost pianist in this day."

            "I can believe that, without any models."

            "All right.  Will you be convinced of my identity if I can perform comparably to her?"

            "Certainly."

            "All right," Gatinha said.  "I'll let Chatonne decide which work."

            "Most acceptable," said Beethoven.  "I'll let you go first."

            "Thank you, Beethoven.  I'll allow improvisation. . . within acceptable limits."

            "Thank you, my friend."

            Chatonne said, "I know you both have seen the music to my Second Violin-and-Violoncello Sonata, which is actually a trio for piano, violin, and violoncello.  What do you think of doing the fourth movement, Extremely, extremely quick, and then extremely lively with dizzying speed?"

            "No, Chatonne!" begged Gatinha.  "You only chose that because I messed it up entirely during its only performance!  It's the only thing that I ever botched up in my whole musical career!"

            "I would appreciate it if you stopped behaving in that manner, Gatinha.  The violinist's part is ten times as difficult, and I pulled it off.  Jean-Léonard, with whom will you violin, Beethoven or Gatinha?"

            "Beethoven," Jean-Léonard said, opening his violin case.  "Nothing racial, sexual, or personal.  It's just that you handle Gatinha better than I can, Chatonne."

            "All right.  Antonio, we need a violoncellist.  Are you up to two performances at high speed?"

            "Certainly, Chatonne," said Antonio.

            Guillaume asked, "Are there any woodwind parts?"

            Chatonne said, "Yes, Guillaume; oboe parts, all optional.  Do you want to do them?"

            "Certainly!"

            "We have to run home to get our instruments," said Antonio.  "May we each have a copy of the trio so we can see what we'll have to do?"

            "Yes, Antonio," Chatonne said.  "Gatinha, six copies."  Gatinha opened the lid of the piano bench and extracted six copies of the sonata from it.  She gave one to Beethoven, one to Chatonne, one to Jean-Léonard, one to Antonio, and one to Guillaume and kept the remaining copy.  "There are no irrational notes in this movement."

            Syd asked, "May I see a copy?"

            Chatonne said, "Sure, Syd.  Just look in the bench."  Syd got a copy of Chatonne's Second Violin-and-Violoncello Sonata from the piano bench.  "That's it.  All right, everyone; locate the fourth movement, the finale."  Everyone with a book did so.  "The volume marks are to be obeyed.  However, the pitch and duration are of prime importance.  The tempo is actually expendable, but during the première I pushed Gatinha into following the metronome exactly.  A mistake.  Jean-Léonard, the pianist is the one to indicate the actual tempo.  Though the violinist's part is harder, the pianist has to pound on the keyboard at some points, and it's physically harder to pound on the keyboard than to apply greater pressure to the violin bow."

            "I understand," said Jean-Léonard.

            "This," declared Beethoven while looking over it, "is a masterpiece!  Before now, I just casually glanced at it.  This, I believe, is the truest test of a pianist's and violinist's combined abilities that I have ever seen.  The 'cellist and optional oboist also require considerable skill.  This trio, I believe, overflows with piano and string brilliance."

            "Why, thank you, Beethoven," Chatonne said.  "Though all of it is published, not an ounce of my chamber music is actually available to the public right now.  They are so viciously difficult to play that I didn't want anyone to torture himself or herself if he or she did my music wrong.  My First Violin-and-Violoncello Sonata was lost due to a circuitry malfunction, and I've never composed it again, though I still have the most recent sketches in my sketchbook.  I've composed fifty chamber works.  The only one to receive a première was this one, and I forced Gatinha into messing it up."  She shrugged.

            "I'll take a look at them," Beethoven said.

            Antonio said, "We're going, guys."

            "All right.  See you in a while," said Chatonne.  The Cerebra-twins left.  "Beethoven, do you mean your praise in earnest?"

            "If I don't mean it, Chatonne, I don't say it, and I've rarely given such praise before.  You have the ability to express all your feelings at a certain time in music, whether highly dynamic or not.  At the same time, you use classical and romantic rules but bend them.  The very texture of your music changes to suit your needs.  Gatinha also possesses that ability.  I've casually glanced at some of her work; now, I know that some of the same abilities are used."

            Gatinha said, "I've never performed any of my forty-six pieces, which are all published, like my sister's, but not available.  Well, I did have my first work performed.  It was my Duo for Violin and Violoncello number One in C Major.  The players messed it up, complaining it was impossibly difficult.  I should've made it a sonata for solo viola.  Chatonne wouldn't even think about playing it; that was near the end of the period when she was mad at me for messing up her Second Violin-and-Violoncello Sonata."

            "When and how long was that?"

            "It was in 2020, and it lasted for twenty-five years.  That twenty-fifth year was when that duo of mine was premiered.  I finally knew what it was like for her, and we reconciled.  But I could never be satisfied with something simple!  My chamber music is so complex; I have so much to express!"

            Chatonne said, "That's why we decided to collaborate some time ago.  It forces us both to compromise some of the complexity.  Therefore, our orchestral works, composed in collaboration, are not as difficult as our chamber works."

            "We never succeeded in agreeing on how to write chamber music together," Gatinha said.  "To our combined name are, among other things, twelve piano concerti, six violin concerti, one viola concerto, two quintuple concerti for woodwind ensemble, and seven overtures."

            Beethoven said, "Do not forget your symphony, ladies."

            "We'll see how well that does before we add it to our list of accomplishments," said Chatonne.

            "It'll do well, Chatonne," Jean-Léonard said.  "Four symphonies première tomorrow, and I'm replacing the strings in my violin tonight.  These strings will not take about five hours of brand new music.  I also have rehaired my best bow.  Here is the most recent version of the program, and Ludwig better not complain, or there will be no program.  You should envy me; like MotherBrain, I am one of the only people who really gets to push Ludwig around and get away with it."  Everyone smiled.  "Anyway, I am soloing as the string section performs Antonio Vivaldi's 'The Four Seasons' without director.  Then, Ludwig comes in and conducts a full orchestration of the two wordless movements to George Frederick Handel's 'Messiah.'  You all know why.  Then come Johann Sebastian Bach's six Brandenburg Concerti, where I do the viola da gamba solo in the sixth concerto and the violin soli in all the rest; Johann Strauss, Jr.'s, 'On the Beautiful, Blue Danube'; Peter Ilyitch Tchaikovsky's 1812 Overture, which actually commemorates the defeat of Napoleon's forces as they attempt to capture Russia; and Wolfgang Amadeus Mozart's Symphonies numbers Thirty-nine in E-flat Major, Forty in g minor, and Forty-one in C Major.  Afterwards, we're performing Ludwig van Beethoven's original nine symphonies in order."

            "That is a lot," said Beethoven.

            "I know.  It will be an utterly exhausting performance, broadcast throughout the empire.  After that, the new symphonies are as follows:  Ludwig von Koopa's Symphony number Three, 'Universal Empire,' in c minor; his Symphony number Four, 'My Little Symphony,' in C Major; the Tygra-twins' Symphony in D-flat Major; and Beethoven's Symphony number Ten in b minor.  Ludwig's Fourth Symphony is about fifteen minutes long and has only three movements, all quick.  The first is Quick with brilliance in sonata-form, the second is Scherzo:  a little faster than moderate in scherzo-trio form, and the final is Rondò alla Cossacca:  extremely quick in rondò-allegro form."

            "I stayed long enough to hear it," Beethoven said.  "It's a brilliant and joyful piece.  The third symphony has a more profound impact.  How were the movements of the third marked, again?"

            "Movement one:  Quick with much vivacity.  Divided into three submovements; submovement 1-A:  Quick with brilliance.  Submovement 1-B:  Super-quick with much darkness.  Submovement 1-C:  Moderate and thankful.  Movement two:  Faster than walking speed.  Movement three:  Fast scherzo:  quick.  Movement four:  Complex scherzo:  slow and sustained.  Movement five:  Finale:  rather quick.  He admits to have based its emotional content and several of the motive-forms on Beethoven's Fifth Symphony."

            "All right," said Beethoven.  "Here is a brief sketch of my new symphony.  The first movement is Slow; quick and vivacious with fire.  This means it begins slowly, but the tempo increases as I present the main theme in the main key.  The second movement is Moderate.  The third movement is Fast scherzo:  quick.  The fourth is Complex scherzo:  walking, which is a little slower than moderate.  The finale is Rondò and sonata:  quick; in essence, it is a combination of the two major types of finales.  A symphony is essentially instrumental music, but I put in some choral music as well.  Just phrases directing the imagination, nothing fancy.  It's in English."

            Chatonne said, "Hm.  What about instrumentation?"

            "The violins and violoncelli have the greatest importance.  However, the flutes and piano closely rival them.  I included some solo periods for the piano, some for violin, some for guitar, some for cello, some for flute, some for oboe, some for clarinet, some for bassoon, some for trumpet, and some for trombone.  The periods are not in that sequence, nor are they adjacent, but they're all in the development of the first movement.  I was especially pleased with Jean-Léonard's performance with the violin, as I was with the cellist's and flutist's.  Although all the solos did extremely well, these three performed exceptionally well."

            Jean-Léonard said, "There are supposed to be two pianists.  Link is much more brilliant than the other, but he had to take care of matters on Hyrule.  Ludwig's been particularly oppressive there lately.  Don't worry; I'll get him to practise this."

            "All right, Jean-Léonard.  I have another symphony I want performed.  It's not one of mine.  It is in f-sharp minor and has five movements.  Can you gather people?"

            "Yes."

            "Good.  Here's the score."  Beethoven took the score from the table and gave it to Jean-Léonard.  "When we leave, gather at least two players of each instrument listed - except just get one pianist - and bring them here so I can conduct a practice session of this.  I hate to rush you, but I want this performed tomorrow."

            "Yes, Beethoven.  Whose is it?"

            "Look it over."  Jean-Léonard flipped through the score.

            "I'm not familiar with it."

            "All right.  Lion-O?"

            Lion-O said, "Yes.  I know it, all right.  I remember what happened during my. . . absence.  Ludwig covered up that symphony along with its composers' names and other works.  Worse yet, he copied some musical modifications from the composers."

            Jean-Léonard said, "Yes, I see.  But weren't you. . ."

            "Wesley Crusher found out how to bring me back."

            "Ah!"

            "Where I was for so long, I became acquainted with those composers.  They and I knew I didn't belong there.  I promised them that, if I ever returned here, I would help to expose Ludwig's treachery."

            Beethoven said, "The reason that devil covered up the composers was because their music accurately predicted this future.  It even included his downfall.  They knew what would happen now.  Ludwig did not expect us to know about this.  With Lion-O, I plan to expose the demon's cover-up."

            "What will Ludwig do to you?" Wilykat asked.

            "Not a thing, my dear Wilykat, for your sister will have already extracted his powers."

            Sam asked, "What happened?"

            Lion-O said, "To put it bluntly and honestly, Sam, I was killed by Ludwig's forces. . . quite wrongfully.  So wrongfully that Wesley Crusher was permitted the opportunity to bring me back."

            Wilykit and Kevin returned with Jane Physicost and James Chemsos.  Intros were made.

            "We did notice a power surge from the Palace cyberspace grid," Jane said.  "It occurred minutes before Lana contacted James and me, who were on Chemistra.  Judging from circumstances, the surge was most likely the departure of those two imbeciles."

            James said, "I'm really sorry, but we can't stop them.  Judging from their departing time and speed, they're definitely in the Earth 20 362 system by now, and we couldn't stop them before they entered the planet's cyberspace.  Usually, they can't find their way out of a paper bag with a map."

            "Drat it," said Wilykit.  "Sydney, I think you ought to move Servo's control program to our computer so that Malcolm Frink won't trash it."

            Syd agreed, "Yes, Wilykit."  She sat on the couch in front of the terminal and easily navigated to Earth 20 362.  With a few concise commands, she took Servo's control program out of Sam's computer, brought it to Wilykit's central computer, and locked it in there safely.  "There!  All done."

            "You have a nice way with computers, Syd," said Wilykit.

            "Thank you, Wilykit."

            "Now, that computer has a map of the principal subspace computer network in the galaxy.  It is of my opinion that you should familiarise yourself with that map."

            "Good idea."

            Tanker asked, "Is home at any point in the future?  Not that I want to go back right now; I'm just asking."

            "Sure, as long as you can keep this secret," said Wilykit.

            "No prob," said Sam.  "We have experience."

            Syd said, "These paths are straightforward!  It would be hard to get lost in them."

            "Good," said Wilykit.  "Where are Guillaume and Antonio, Chatonne?"

            "I'll explain all that happened while you and Kevin were out," Chatonne said.  Like most Thunderians, her memory was excellent.  "First, Wilykat asked Sam what the Syber-Squad did other than fight viri.  Sam explained that they are high school students, that Sydney often takes extracurricular classes, that Tanker plays football and basketball, that Jennifer is a cheerleader with some other extracurricular activities, that Yolanda is president of their school's student council and goes to weekly meetings, and that Syd, Tanker, and he used to have their own rock band.  He's the guitarist and lead singer, Syd's the keyboard player, and Tanker's the percussionist.  Then, Jean-Léonard came in; I introduced him and the Syber-Squad to one another.  Sam explained who controls which vehicle.  Syd explained about Kilokahn, the powerful program that brings Malcolm's viri to life.  Tanker added that Kilokahn's a secret government computer program with which something went wrong.  Kilokahn loves havoc-wreaking and calling people 'meat-things.'  Sam explained his guitar was how he entered the digital world; he hits his power-chord once Syd has the program prepared.  Syd played the chord loudly on the piano."

            "Kevin and I heard it," said Wilykit.

            "I thought so.  Anyway, Syd said she monitors Sam's actions and sends in weapons and backup.  She then very politely expressed her slight disbelief of Beethoven's authenticity.  Then, he tested her knowledge on who was Vienna's foremost pianist in the 1790's after Mozart, and her response was correct.  He informed her that my sister is the universe's foremost pianist and indirectly challenged Gatinha to piano.  Syd said she'd be convinced of his authenticity if he did well.  Gatinha and he set the terms; I'd choose the piece, L. van B. will let Gatinha go first, and Gatinha will allow improvisation within reason.  I chose my Second Violin-and-Violoncello Sonata, Fourth Movement:  Extremely, extremely quick, and then extremely lively with dizzying speed.  My sister complained - you both know why, 'Kit and Kevin - but it came to naught.  When I gave Jean-Léonard the choice to play with Beethoven or Gatinha, he chose Beethoven simply because I handle my sister better.  Antonio said he'd do the 'cello parts and Guillaume the optional oboe parts.  Gatinha distributed six copies of the trio, and Syd got herself a copy.  Beethoven offered great praise and remarked the skill required to play the piece.  I explained the difficulty of my fifty remaining chamber pieces and the fate of my First Violin-and-Violoncello Sonata.  Also, I stated that all my chamber works after the second sonata have yet to see their première performance.  Then, Antonio and Guillaume departed in order to obtain their instruments.

            "Beethoven then praised my composing ability, then Gatinha's.  She then said she'd never performed her 46 chamber compositions except her First String Duo in C Major, which the première performers botched up.  Like me, she craves complexity in her works, you know.  I explained that we collaborated to do away with some of that complexity.  We succeeded and created 27 playable and popular pieces:  12 piano concerti, 6 violin concerti, 1 viola concerto, 2 quintuple concerti for woodwind ensemble, and 7 overtures.  By the way, in the woodwind concerti, the solo instruments in each are two flutes, an oboe, a clarinet, and a bassoon.  Jean-Léonard gave us his program for tomorrow. . . Vivaldi's 'The Four Seasons'; the overture and pastoral symphony portions of Handel's 'Messiah'; J.S. Bach's 6 Brandenburg Concerti; Johann Strauss's Blue Danube waltz; Tchaikovsky's 1812 Overture; Mozart's 39th, 40th, and 41st Symphonies, and Beethoven's 1st through 9th Symphonies.  After those come Ludwig's Third and Fourth Symphonies, my sister's and my First Symphony, and Beethoven's Tenth Symphony.  He also gave the Symphony number Ten in f-sharp minor to Jean-Léonard to practice.  He and Lion-O explained the emperor's cover-up of the 'Anonymous' Composers.  Beethoven plans to expose the cover-up after you rip out Ludwig's evilly used powers.  Then, you four arrived."

            Wilykit said, "Thank you much, Chatonne.  Jean-Léonard, exercise extreme caution with that symphony.  Ludwig probably won't know you have it, but we can't be too sure."

            "Right," said Jean-Léonard.  "Ah, Beethoven, I was very recently self-compelled to write something."  He took out his violin and bow, opened a pocket beneath the violin's body, and removed a thin book from the pocket.  "This is it."

            "All right.  I'll look at it," said Beethoven.  The book contained, as the title suggested, a four-movement string solo for the violin.  Beethoven read quickly, but he noted the brilliance, though not entirely mature, of the piece.  Technical ability was tested to the extreme, though not as much as in Chatonne's works.  Expression marks were used in large quantity but not too much.  The opening was a deceptively simple Broad and slow that blossomed into a very complicated Quick and vivacious with brilliance.  The entire piece forced the player to remain alert, for it contained false simplicities that could make the unwary player really mess up.  Even on paper, it looked like a fun piece to try out.  "Very interesting is this."

            Chatonne asked, "May I see?"

            "Certainly," Jean-Léonard said.  Beethoven handed the piece to Chatonne, who flipped through it slowly.

            "Ooh!  Jean-Léonard, you're cruel!"

            "I know!  Making the performer think he has it made is sure to make him unprepared.  Reconnaissance {Rruh-kaw-neh-sahⁿhs}� is required."  [� - Jean-Léonard simply pronounced the word in the French manner, so no translation is given.]

            "Yes, I see.  I haven't seen anything like this since Gatinha's last chamber work.  And this thing's in C-sharp Major!"

            "C-sharp Major!" declared Sam.  "That has every note sharped!  I wouldn't care to play anything like that on a guitar, which has each note definitely marked by frets.  Forget about the violin!"

            Chatonne said, "Sam, your attitude is familiar to me.  I learned the guitar before the violin.  When my father tried to get me to take violin lessons, I wouldn't hear of it.  I loved the guitar too much to even try the violin.  However, at my dear sister's insistence, I finally submitted.  The first month was awful.  I was squeaking the small instrument all the time and messing up the notes.  Leave it to a great guitarist to show me what I was doing wrong."

            "Who?"

            Kevin said, "Me.  I became a guitar player out of necessity.  When Ludwig took over, I had to learn an instrument in order to keep my diploma.  So, I chose the guitar, thinking it would be easy, since I already knew several chords."

            Sam smiled.  "Rude wakeup, right?"

            "Very rude, Sam.  My fingers must have hurt for a decade from playing notes rather than chords!  I learned with steel strings, too.  That part was the worst.  Still, I learned how to form chords and notes rather easily.  Once I had learned, I was pretty good, and my fingers have grown immune to the pain of steel strings."

            "That same thing happened to me.  Did you learn with chords or notes?"

            "Both, and I'm glad I did.  I use the chords for simple themes that I know.  However, I also play a lot of violin and viola music on my guitar.  The hardest part is the violin technique called glissando {glés-sahn-dó}, which is when a finger of the left hand is drawn along the string while the bow is drawn across.  The frets and the vibration time of the string are limiting factors.  Violin players do not have to worry about the vibration of the string dying down, but guitarists - at least those who play acoustic instruments - do."

            "Yes," said Chatonne.  "He suggested that I not make my hand as tight on the bow and that I not deliver more pressure to the strings than I need to.  He also added pointers to how I could draw the bow in a straight line and at the right point between the bridge and the fingerboard.  Once the squeaking stopped, I kept doing better.  I still practise the guitar a lot, but my main instrument's the violin."

            "Well," said Gatinha, "you also play the piano.  Better than I do, actually."

            "I know that.  I may have won this thing in that contest a few days ago while you came in second, but I think that the violin requires great powers of precision.  It's also capable of lengthy tone sustenation."

            "Yes, Chatonne.  You do the violin, I do the piano."

            Beethoven asked, "If Chatonne is the better, then why is Gatinha the foremost?"

            "Because I'm the one who does the piano-playing in public," Gatinha said.  "Chatonne wants me to keep my reputation."

            "That's right," said Chatonne.  "I don't need it.  My violin skills render me rather renowned, and I don't need any more renown.  Anyway, this looks very good, Jean-Léonard.  Have you written any other music?"

            "No, Chatonne," Jean-Léonard said.  "This is all."

            "You have the same problem I used to have, though.  You don't have the experience necessary to break your fear of bending the rules.  Don't worry, though.  You'll develop that ability as you write."

            "That is true; I did feel restricted a tad."

            "You did very well in making your music fit, though, and that shows promise for the classical, formal aspect.  And you get an A-plus for tonality."

            Tygra said, "Wait a minute.  Cheetara, Gatito, and Gatita left our house on New Thunderius to find you an hour ago, Kevin."

            "Probably looking at the Palace," said Kevin.  "If so, Lana will send 'em here."  As soon as he had said that, Cheetara and the Astutus-twins appeared.  Once more, the needed intros were made, as were the needed explanations.

            At last Lion-O said, "I think people are going to continue to filter in, and nothing will be accomplished by repeated explanations and intros.  That'll take up more time than the actual explaining that's needed."

            "Good observation, Lion-O," Wilykit said.  "We should conduct a complete meeting. . . all N-Team members, plus all non-N-Team members present here."

            "How about this house's rec room?" Tygra asked.  "We can even do the 'duel' between Beethoven and my dear Gatinha there, and anyone who wishes to listen can remain."

            Chatonne said, "Marvellous idea, Father!  I'll deal with moving the piano in there."

            "I'll announce the meeting," said Wilykit.  "Brother, please lead everyone to the rec room."

            "Yes, 'Kit.  Everyone, you may follow me to the rec room."  He led the way down the main hall to the door at the very end, which led into the rec room.

            Everyone but Wilykit, Chatonne, and Sam followed Wilykat out.  "What is it, Sam?" Wilykit asked, though she knew what it was.

            "Well, Chatonne here kind of got me a little interested in the violin," Sam said.

            "More than a little."

            Chatonne said, "Yes, Sam.  It's not as easy as the guitar; however, I find my mastery of the violin very satisfying.  It may not hold the tune as well as a steel-string guitar, but violin strings are not as breakable as guitar strings, either.

            "In addition to teaching in college, composing, and performing, Gatinha and I also run a company which manufactures violins, violas, 'celli {chehl-lé}�, double-basses, and guitars.  Gatinha and I like instruments that are extremely durable yet resonant.  Our company uses wood from a type of tree found only on Thunderian worlds that is extremely durable, resonant, and inexpensive to grow.  My violin is made of wood from that kind of tree, in fact.  Watch."  She firmly grabbed her violin by the neck.  She then threw it onto the floor with great force!  To Sam's surprise, the instrument remained intact.  [� - The proper plural of 'cello.]

            Sam exclaimed, "My guitar would break into a million pieces if I did that!"  Chatonne picked up her violin.

            "Well, I'm a little rough on my instruments.  This isn't even my good violin, and look, I didn't even scratch the coating."

            "You sure didn't.  I'm surprised.  I'll be going along, now."

            Wilykit said, "The rec room's all the way down the main hall.  The door is clearly indicated."

            "Okay.  Thank you, ladies."  Sam went where Wilykit had said.

            "Need any help, Chatonne?"

            "Thank you, but no, 'Kit.  Go announce the meeting to the rest of the N-Team; I can manage."

            "All right."  Wilykit left.  Chatonne then went to the wall behind the piano and pressed a button.  A huge section of the wall slid away, revealing a passage specifically designed for relocating a large piece of furniture such as a piano.  So far, only the house's inhabitants knew of the passage.  Chatonne closed the piano's lid and pulled the large instrument carefully into the corridor.  There, she pulled it down the corridor to another sliding wall section, this one leading to the rec room.  She pressed the button that opened this wall door, then she pulled out the piano most easily with her Thunderian musclepower into the rec room.

            "Ah!  A secret passage," said Beethoven.

            "Not necessarily secret," said Gatinha.  "It's specifically for moving a large furniture item from room to room."

            "I'm going to close the doors," Chatonne said.  She re-entered the passage and closed the sliding door to the rec room.  She then went to the living room, exited the passage, and closed the sliding wall door there.  Then, the doorbell rang.  "I'll get it!" Chatonne shouted.  She raced out to the door and opened it.  Guillaume and Antonio were there.  "Hello.  We decided to have a meeting in the rec room.  N-Team members just keep sliding in, so Wilykit decided it was best to call a whole meeting."

            "Aha," said Antonio.  "And the musical 'duel'?"

            "We'll have that afterward.  All who wish to stay may stay."

            "Very well.  And the piano?"

            "It's moved."

            "Okay.  Is the rec room down the hall?"

            "Yes, Antonio.  Right at the end.  The door is clearly marked."

            "Very well.  Where is Gatinha?"

            "She's in there.  I think she was going to make sure the piano was in tune.  She has a perfect ear for that, you know."

            "Yeah; so do I.  I'll see you two down there."  Antonio went.

            "And you, Guillaume?"

            "I love you, Chatonne," said Guillaume with a grin.  He entered all the way, and Chatonne closed the door.

            "I love you, too, Guillaume.  How good are you on that oboe?"

            "Very good, actually. . . not that I'm trying to boast or anything."

            "I sense why you need Antonio.  You need someone to help you stay under control.  You also need someone to protect."

            Guillaume smiled.  "I'm his protector.  Woe be to the evildoer who tries to harm a hair on my brother's head."

            "I know how strongly you mean that.  I feel the same way about my sister.  However, she requires me to help her stay under control.  Her exuberance is like yours.  She can pop off like a stick of dynamite.  However, like you, I make a show of being the stronger twin of the pair.  She can't fight like you or I can.  She has a relatively good head on her shoulders, but sometimes she just loses it."

            "I wish I had your coolness," said Guillaume.  "Unfortunately, I don't.  Despite my strength, I still get into trouble."

            "Well, Guillaume, I will lose it when someone threatens my sister, but that's about it."

            "Yeah.  Gosh, you look good."

            "Thank you.  So do you."

            "Thank you, Chatonne."  He opened one of the two boxes he was carrying and showed her his oboe.  "This is it."

            "Oh, good!  Can you play what I wrote?"

            "I can try.  I stay in practice on all of my woodwinds a lot."  He opened his copy of the sonata to the oboist's first section.  "You let me know what you think."  He began with exactly the right tempo.  Chatonne listened carefully.  His music was correct to the beat.  In five minutes, he finished the five minutes allotted to the oboe.  "Well, what do you think?"

            "Very good, Guillaume!  During the première performance, the oboist, a virtuoso, stumbled over that like someone with his shoestrings tied together."

            "Yeah, it's hard."

            "You made it look easy."

            "That's because I reconnoitred this piece.  First of all, I made sure that I could do it at all.  Then, to avoid stumbling over this, I got my mind into the tempo, and I went through this piece over and over in my head."  The two stared into each other's eyes.  "Because I don't want to mess this up, Chatonne.  I'd be crushed if I offended you."

            "You're good, Guillaume."

            "Thank you.  Your praise means a lot to me, Chatonne."

            "Would you consider joining the orchestra?"

            "I might, if my brother gets that offer, too."

            "All right.  Come with me."