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Elsa suppresses her true love/desire for Anna in order to “free” Anna to be happy with Kristoff. This causes Elsa’s powers to flare out of control and freeze the whole kingdom again.
Summer crops are dying, and Elsa knows that if Anna finds out why, she’ll do anything to make Elsa happy, even things she doesn’t want to (like incest). Elsa can’t accept that, and since she already sees herself as a sick and twisted monster (and now threat to her kingdom) the solution is obvious. She commits suicide to save Arendelle from eternal winter, leaving a note for Anna.
But Anna is so distraught that she tries to join Elsa in death. Heading towards the light at the end of the tunnel, having left her body behind, Elsa looks back when someone yells her name and is horrified to see Anna excitedly coming up behind her – because only spirits of the dead can appear in this space! Elsa’s parents are waving to her up ahead, but Elsa’s attention is immediately taken by her sister behind her. Elsa feels her non-existent heart pounding as she fearfully asks Anna how she got here. Her worst fears have come true once more; Anna followed her example.
Instead of welcoming Anna to the afterlife (as Anna expects), Elsa shoves her backwards, trying to push Anna back into her body on Earth – which was found just in time by the servants and is being bandaged and busily attended to. It’s a familiar pattern for both sisters; Elsa pushing Anna away, but this time Anna won’t let her. The sister spirits argue in the tunnel between life and death, Anna refusing to go back to the living world without Elsa, Elsa determined to save her sister’s life so as to avoid being responsible for her death yet again. They are stalemated, Anna’s grief pushing against Elsa’s guilt. Elsa uses up all her arguments, and finally, in desperation, confesses her incestuous feelings – but even then, Anna chooses her sister over her own promising romance, feeling that she doesn’t deserve to be happy when her sister can’t be.
The tug of war continues. As they hover invisibly above the chaos around Anna’s bed, the doctor and servants are about to give up on reviving the princess, when Kristoff barges in and starts crying over Anna’s apparently dead body. This breaks spirit-Anna’s concentration for just a moment and Elsa triumphantly forces Anna back into her body… but Anna recovers just in time to grab Elsa and pull her along – and both sisters wake up together in Anna’s body amidst great confusion! Both Elsa and Anna see through her opened eyes Kristoff, Kai, and Gerda all sobbing in relief over them, then find themselves incoherently trying to speak different words out of the same mouth, then freeze upon hearing each other’s thoughts in what feels like “their” head – though both quickly realize it’s actually Anna’s head.
The two sisters find they’re both able to control the body and share every sensation, and one has to remain completely passive to allow the other to act naturally. They struggle the most when they move involuntarily (as in laughing, or orgasming) as they both end up pulling their limbs in slightly different motions, causing horrible un-coordination. At first Elsa tried to stay dormant and not hijack Anna’s body, but Anna is delighted to share, noting that her sister was always the graceful one. They can both hear each other’s thoughts, so that they’re now even closer than they were as children. Elsa finds that she actually misses her powers, but learns to enjoy her newfound freedom of emotion and finds herself happier living in her sister’s head than she ever was as her own person. It seems they have both saved each other’s lives, in a way, even though the world will never know.
One fascinating side effect of being trapped in Anna’s body is that Elsa, who was never previously attracted to the opposite gender, now finds herself subject to Anna’s hormones and pheromones. Thus, she feels the same arousal as Anna when they go on dates with Kristoff and realizes she might just enjoy a conventional marriage after all. Meanwhile, Anna is also affected by the imprint of Elsa’s deep and true love, which previously drove Elsa’s incestuous impulses and now causes Anna to be strangely aroused by her own body in a way she never was before her near-death experience. In their previous lives Anna would have found it awkward to put on a show for her own sister, but somehow when Elsa is watching from within her head rather than outside, everything is completely okay. In an irony of cosmic proportions, Anna is thrilled to let Elsa move her own fingers for her, on her own body, in ways that she’d never have let Elsa’s fingers do in their old lives. She feels her limbs move without any instruction from her, and can almost imagine that they aren’t her own; she imagines Kristoff’s touch, or Elsa’s, the latter thought drawing an amused and sadly ironic chuckle from Elsa that doesn’t leave the confines of her skull. After climaxing, Anna then takes over and returns the favor for Elsa, and the sounds coming from her throat do in fact sound noticeably different the second time around. The ecstasy is always shared, though.
Meanwhile, Kai, Gerda, and Kristoff are all extremely relieved, unaware that two souls are now sharing Queen Anna’s body; they assume she’s just confused due to being barely revived from her suicide attempt. In the initial months, they are glad that ‘Anna’ seems happier and is no longer depressed from losing Elsa, but find it strange how suddenly Anna has turned into an exceptional queen, often acting very much like Elsa once did while at court. Kristoff unquestioningly allows Anna some space when she asks for it, accepting “her” assurances that she still loves him and just needs some time to think. But as the months pass by, they notice that Anna sometimes talks to herself, or seems to listen to voices no one else hears; and Anna becomes unusually un-coordinated when laughing, or when startled, as if unable to decide how to move. And it is far too suspicious that Anna seems to have gotten over Elsa’s death so completely, so suddenly, when her grief previously drove her to suicide! So one day Kai and Gerda try to test Anna by asking her something that Elsa probably didn’t tell Anna before she died – but Elsa sees through the trick immediately and the sisters rapidly debate keeping their secret – but they decide their old servants are trustworthy. They also confess to Kristoff, feeling that it’s only fair for him to know exactly who he’s going to marry before they go through with it. After some advice from Pabbie, Kristoff is completely accepting.
A year later, at Arendelle Castle, Kristoff publicly says his marriage vows to Anna alone. But up in the mountains, the ordinary-looking human couple are trollfully wedded as man, wife, and wife – an exciting event for the younger trolls (under 100 years of age), as the three-way marriage ritual is so rare that the troll children are performing it for the first time ever. Kristoff says his vows once; his bride says them twice – once under Anna’s control and once under Elsa’s.
On their wedding night, after Kristoff cries out Anna’s name, the sisters tease him by pretending Elsa’s in control, only to switch back to being “Anna” after he tries to make it up to “Elsa”. Of course, they can’t keep it up long because both Elsa and Anna feel every sensation of their shared body even when not actively controlling it. In daily life they have gotten pretty good at holding back and giving the other one her turn to be in control, through lots of practice, but Kristoff’s touches make them both want to move so much that for the first several months they’re jerking about and pulling muscles or accidentally hitting something every time they have sex. In time, they get used to the intense pleasure and gradually improve their coordination. Kristoff starts to call them “Elsanna” whenever they are in private, although in public they still use only Anna’s name. The irony is that the vast majority of the time when the councilors address Queen Anna, it’s actually Elsa who answers to that name, since she’s better at the regal act. She does better on some days than others, as it’s sometimes a challenge to concentrate on business against the background of Anna teasing her with vivid fantasies.
Their second Halloween together, the sisters decide to pull the prank of a lifetime on Kristoff. They dye Anna’s hair white and re-braid it in Elsa’s former style and put on one of Elsa’s old dresses before sneaking back into bed next to Kristoff. His cry of terror the next morning wakes them up and also cuts their prank short as they both jerk awake simultaneously, their lack of coordination giving themselves away. But the laugh is worth it. A few minutes later, they run their entire prank on Sven, with Elsa acting and looking like she used to. Sven panics and runs to find Kristoff, who is peeking in from the doorway, laughing.
In their dreams, only in their dreams, Elsa sees herself back in her original body, with Anna next to her. The first few weeks Elsa is often disoriented to wake up having switched back to Anna’s physical form. For the first several months sharing a body, they are often awoken by their nightmares – they each now see themselves in the other’s nightmares, since both of them are dreaming from the same physical brain. They’ve both died in each other’s dreams a thousand times; Anna has been impaled night after night by Elsa’s icicles, Elsa has felt Hans’s sword cut into her neck, each time causing them both to wake up, one in terror and the other confused to still be alive and un-injured. It’s become so habitual that over time, they learn to figure out when they’re in a nightmare under the other’s control. One night, as Anna relives her nightmare of being a step too slow to stop Hans, she sees dream-Elsa roll out of the way of Hans’s sword and freeze him in a solid ice cube – the shock makes Anna realize she’s dreaming, and they enjoy the rest of that dream, playing with Elsa’s powers, remembering she won’t have them anymore when they wake up. Another night, Anna dodges Elsa’s icicles just in time, grabbing control of Elsa’s dream and turning it into another fun-filled hour for them both. As the years pass by, they sleep better.
Then, after several blissful years together, the sisters face their biggest test of coordination upon discovering they’re pregnant! The pregnancy goes well, but the labor is a tremendous struggle for both of them. After some painful hours of Anna appearing to shout to herself while the doctor watches in puzzlement, the sisters finally figure out how to take turns pushing, and are blessed with a son. They name him Olaf, in memory of the snowman who melted after Elsa’s suicide in the dark times years ago. Prince Olaf is a little more like his namesake than one hopes from a prince, and even with parents as patient and tolerant as Kristoff, Elsa, and Anna, he is well into adulthood before he finally masters his duties. But his goofiness conceals exceptional powers of observation; it is ten-year-old Olaf who exposes a foreign spy’s scheming in the royal court just in the nick of time.
Later on, the Queen(s?) has a daughter and debates naming her Elsanna (the name she/they can never use themselves), but decide to keep that name between themselves and Kristoff. Their daughter, much to the royal council’s public annoyance but secret amusement, becomes Princess Marshmallow of Arendelle. The girl fortunately inherits both Elsa’s sedateness and Anna’s sense of humor, so that despite her ridiculous name she grows into a perfectly ladylike princess. She goes through the same lessons as her brother, taking much more easily to the sciences and Elsa’s etiquette lessons and struggling much more with the soldiery, but the real legend of Princess Marshmallow begins at her coming-of-age ceremony. Word soon spreads of the placid young woman’s ability to introduce herself with a completely straight face, not moving a muscle even while watching each of her suitors struggle and often fail to contain his laughter. She seems even icier than her aunt Elsa ever was, completely unaffected by either the constant snickering or by the whispered speculation over whether her apparent lack of emotion might carry over to bedroom activities.
Decades later, the elderly queen has turned the kingdom over to Prince Olaf and decides to finally reveal her secret identity to ensure that history records “her” reign with proper credit. The official kingdom chronicles are edited to show that Elsa and Anna reigned together, two queens in one, making three monarchs after Kristoff became king. The few remaining servants who knew the sisters as children smile knowingly at each other; this revelation explains so much of “Queen Anna”’s puzzling behavior over the years.
Queen Elsanna dies peacefully surrounded by her (their?) family and is buried in a single grave next to husband Kristoff, but with two headstones, one for each sister who comprised the late queen. Meanwhile, finally returning to the same tunnel between life and death, the sisters see their parents eagerly waving to them from the light in the distance, and this time they both eagerly step towards the afterlife… only to trip and fall flat on their face –
Wait, “face”? The sisters both try to turn to look at each other – and their head locks in place as their non-existent neck muscles strain against each other –
It seems that Elsa and Anna have been integrated into one for so long, that their souls have gotten entangled and mixed together – they still hear each other’s voices and coordinate their movements to look at themselves…
They both see the same thing: A ghostly form dressed half in Elsa’s clothing and half in Anna’s, a braid of white hair on one shoulder and red hair on the other…
Their parents, who were expecting to welcome two daughters, are instead greeted by a single fused chimera. “Mama, Papa!” Elsa’s and Anna’s voices ring out in synchrony, both clearly distinguishable for the first time in years. Where previously in the real world they would become tongue-tied if both tried to speak at once, now that they are spirits they can both talk over each other’s voices, not limited by sharing only one set of vocal cords. The daughter hugs both her smiling, but puzzled, parents. “Elsa?” The girl nods affirmatively. “Anna?” Another nod. “We’re Elsanna!” they say in unison, and their parents stare. Kristoff and Sven, standing beside them, howl in laughter, with Kristoff joking: “Now this is the woman I married!” The joke being, of course, that ‘this woman’ is actually two different people, magically merged.
In time, they are gradually restored to their original forms as two individual souls, though they retain the ability to merge into a single entity and take on the appearance of either sister or a mixture of both. When appearing separately, Anna deliberately keeps a white streak in her hair, and Elsa adds a red one in hers to match, so that they always have a piece of each other. Their story becomes one of the most popular epics in the celestial kingdom, just as it did on Earth. Since imagination is the only limit in this place, they go on to live happily ever after in their dream home, a garishly decorated ice castle, with their husband Kristoff and pet snowmen Olaf and Marshmallow.