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Arg!

In the Realm of Time Fragments, Rika lies on the floor of the floating structure. She comes to and stands up. Behind her Hanyū materializes. She sadly remarks that a tragedy must have occurred. In her Adult Voice Rika sarcastically agrees that that is the only reason she would be here. She laments that she will become sick of Hanyū's face soon enough. Hanyū's left eye narrows, and she hurriedly asks Rika if she was killed by the Yamainu or Takano. Rika replies that she cannot tell her since she cannot remember the hours prior to her death. She adds that she does not this she was killed by them. She laughs slightly and confesses that she remembers running out of the classroom determined to kill herself. She does not remember if she found a knife to slit her throat or drowned herself. Hanyū asks her what happened in that fragment. Rika does not initially answer.png.png. Hanyū apologizes that she knows Rika does not want to think about it, but since she is now so insubstantial she cannot view her fragments let alone join her in them. She suggests that discussing what happened might help them understand. Rika stands and sadly suggests that Keiichi and Rena killed one another as a result of paranoia due to the Hinamizawa Syndrome. Hanyū laments the tragedy for both of them as well as to Rika's heart. Rika agrees and explains that she knew Keiichi was suspicious and fearful of Rena's behavior, but she thought her words to him convinced him that everything was fine. She laments that appears she was wrong. Hanyū insists that she should not blame herself, and then she adds that though Rika's "centuries of scars" have faded, they will never disappear. Rika lowers her head and replies that she is aware of this. She continues that she also understands that people cannot live without hope which is why she refuses to give into despair. It is just one failure, she concludes.

She then addresses Hanyū directly and admits that she should not have been mean to her earlier. She admits that talk with her now has lifted her heart a bit. She then apologizes for saying that she would become sick of Hanyū's face. This causes Hanyū to smile. She insists that she knows Rika will make it out of this. She encourages Rika that, like before, she will create a miracle. The two of them seem to float away to be revealed that they are contained in a time fragment. It floats away, and other fragments float that individually contain just Rika or Hanyū from their conversation. These float before Satoko. In a bit of awe, Satoko remarks that breaking Rika's spirit will be harder than she thought. She winces a bit and reaches for her neck as a large fragment containing Rika and Hanyū floats above her. She laments that her neck still hurts. She turns to remark that even though it is just a memory, she can still feel the knife slicing into her neck.

"It's quite unpleasant, Eua-san." Eua sits on her chair with a smile of amusement. She declares that it is because her power is at full strength, "unlike that failure!" She points her staff towards a fragment that contains a smiling Hanyū from the conversation and offers to grant Satoko memory loss if she prefers: "much like that failure granted the Cat." Satoko laughs and insists that she was only grousing and Eua granted her a special power which is enough. Eua withdraws her staff and reminds Satoko that if she dies after "the Cat," she will follow her to the same time fragment. Satoko acknowledges this and vows that she will never let Rika out of her sight. She adds, as she turns to look at a fragment containing Rika in her conversation, that knowing Rika, she probably believes that Takano is behind all of it. "Because in your previous fragment," Satoko addresses the fragment, Keiichi appeared to succumb as he has in the past. "I'm terribly sorry, Rika," she taunts the fragment, "but your hundred years of experience will not help you." Her eyes blaze as she adds, "when you're living in worlds where I control the curse!"

Eua smiles and giggles as she declares Satoko amusing. She asks how Satoko will entertain her next as the scene pan up into the fragments then transitions into the opening credits.

There is a beautiful view of Hinamizawa in the sunny morning from the observation area of the Furude Shrine. Birds chirp and nary a higurashi c ry. The scene shifts to the steps to the shrine, and then to the home Rika and Satoko share. The paper calendar within reads, "Sunday, June 5, 1983." The hands of Satoko cut long onions. Yawning, Rika enters the kitchen and gives a feeble "good morning." Satoko returns her greeting but then notes that she looks pale. Rika explains that she awoke from a scary dream. Satoko asks her about it. Rika brightens a bit, claims that she has already forgotten it, and insists it was just a dream "nipaa~!" She turns to leave and loses her "bright" expression. Satoko watched her leave, smiles, and then utters as if to Rika that Rika knows full well that it was not a dream. She inspects the edge of her knife, which happens to be the same one Rika used to kill herself in the previous episode, and compliments Rika on her use of it. She adds that she would like to find a method more pleasant the next time.

Traffic moves in Okinomiya. Satoko rides her bike down the street and comes to a stop at a rather seedy apartment building. She knocks on a door, and her uncle opens it to profanely demand that the person stop bothering him. He realizes who knocked and quickly changes his expression. Satoko greets her uncle. He quickly explains that he thought she was his landlord, and he then repeatedly apologizes. He claims that if he knew it was Satoko, he would have opened the door with a smile which he then affects and which When They C ry Wiki cannot adequately describe. Why we have a Gallery. For her part, Satoko impatiently sighs and forgives him. Excited by her forgiveness, Teppei encourages her to come in and have some tea. The view from behind reveal part of the mess that is his apartment. He turns to look into his apartment, then sheepishly suggests that they go to the mahjong parlor or the café. Still impatient, Satoko thanks him but politely declines. Teppei sheepishly apologizes for not knowing what girls her age would want; Satoko claims he can do her a favor. He immediately agrees to whatever she wants. She finally brightens and tells him that there is a special place she would like to go to, but she cannot go by herself. Teppei reacts wth surprise. The scene immediately shifts to the horse races. Teppei watches with increasing excitement; Satoko looks bored. Teppei's hands shake as he holds a ticket reading that he bet ¥100000 with 1 in 380 odds. He hugs the surprised Satoko and declares her the goddess of luck. Satoko grows irritated and snaps, "ojisama!" Teppei recovers and apologizes. She turns and directs them to return home since her "magic" only works once. Sheepish, he chases after her.

The scene shifts to the magnificent sunset. Crows caw as the two walk the streets. Teppei hums to himself happily as he looks down at his bag of money. Inside his apartment, Satoko, wearing an apron, sighs and laments the mess. He sheepishly apologizes, but she turns and asks him to gather up all of the trash in the room since there is nowhere for them to sit. She then scolds him for not putting away his futon every morning. He tries to insist that there is nothing wrong with leaving it out, but she snaps a rhetorical "a reply?" and Teppei backs down.

Dishes and the entire apartment sparkle with clean. Teppei sits at his now clear table stacking his winnings. Satoko approaches with refreshments of a beer and a juice can with two glasses. He addresses her seriously that he believes she should have half, if not more than half, of the money. Politely and formally, Satoko takes two of the wrapped stacks and declares that enough and the rest belongs to him. Shocked, he insists that he could not, but she replies that he paid for the bet, and all she did was tell him the name of the horse he dreamed about. He bows his head in gratitude. She brightens and tells him not to be so glum. Given the success, she explains, they should celebrate. Embarrassed, Teppei thanks her but insists that his doctor forbids him from doing so. She replies that they are celebrating and one drink will not hurt. He agrees. She happily replies she will enjoy the juice. Time passes as marked by the scene showing the outside of the apartment building at night. The light in his room is on. As expected, "one" can became seven. He rests his flushed head on the table. For her part, Satoko still nurses her juice. He babbles that he is so happy and his cute niece is being so nice. He adds that she is so nice while he was such an asshole. This causes Satoko to react. Teppei raises his head, blubbering his apologies and begging her forgiveness. She calmly replies that it was all in the past, and it is all good. He insists that it is not, and he has to keep her safe.

She looks down as she declares him "dependable," but then looks away as she adds that she still cannot help but worry. She explains as the background music turns ominous that he has scary friends, and she does not like scary men. He confesses that he did hang out with such in the past but insists that he no longer does now. Putting down her juice, she then rhetorically asks him that he does not have any way to contact them. He admits that he does have his address book. Feigning concern, Satoko asks what if someone were to find his address book and get him in trouble. He takes a drink of his beer and assures her not to worry about it. He explains that even if the police find it, he used fake names.

He then falls back and passes out as Satoko complements him on how smart he is. She stands, walks over to him, and quietly asks him what if she wanted to buy something dangerous that she could not buy elsewhere: "Which one of the fake names would sell that?" The scene cuts to a view of his ceiling light. Teppei continues snoring on the floor. Satoko rifles through an address book she found in the dresser. She finds a name "Kawauchi (川内)" with a number. She smiles and emits a giggle.

The scene then shifts to the "Flower Road" neon sign. Satoko walks with a wrapped bundle, followed by ominous music. She turns down an alley and sees a car. She quickly knocks on the window twice, then four times, then twice. The door opens and she enters. The man behind the wheel tells the "sweetie " that this is not her "papa's car." She curtly replies that she did knock the correct code and he did let her in. He replies that he has no quarrel with her, but he suggests that she should get away from whomever she is working for. She responds that she brought cash. He turns away to reply that deals only work if they trust one another. He notes that she does not identify herself, but she will shove cash in his face. Therefore, he concludes, she better have enough to buy his trust.

She curtly asks him to cease his babbling and see if she brought enough. He is stunned by the two stacks of bills she has in a box. He declares her generous, and she replies that, as he mentioned, she brought enough to buy his trust. He happily takes the money and promises not to ask for whom she works. He hands her a paper package. She opens it to find a gun with bullets in a separate case. She thanks him for doing business with her. As she looks at the gun, he jokes that shooting lessons are extra. He ask if her boss knows how to use it.

With a smile, she insists he does.

The scene flashes to the inside of the school outside of the classroom. Mion turns with surprise and repeats, "you want to learn how to shoot a gun?" Cutely, Satoko affirms that she does, and she believes Mion might know how. Her pride stroked, Mion responds that Satoko believed right, and boasts that "this uncle," learned how to shoot from a foreign ex-soldier. As a member of the Club, Satoko continues, she thought if would be a fine idea to learn how to use a variety of weapons! Mion thinks and admits that she always wanted to do a big water gun fight. She agrees. She opens the closet of games and produces a gun. Satoko asks what it is, and Mion identifies it as her training gun with a wink.

The scene shifts to outside of the school. Satoko stands firing the airsoft gun at coffee cans placed on a bench. She does not knock any over and, a bit embarrassed, she declares that the model gun is quite well crafted. Mion proudly explains that it is specially made to have the same weight as a real gun. She takes the gun, checks the clip, then aims and knocks off each can with single shots. Satoko expresses her amazement; Mion tells her to remember her instruction: the best way to get better is practice. The more practice the better.

Satoko responds that she is quite good at that. The scene pans along the road through the rice paddies as the higurashi c ry. In the woods, an airsoft gun is heard discharging. Satoko fires repeatedly at a similar line of coffee cans. She eventually hits one. A lone higurashi on a tree c ries. Satoko starts hitting the cans more consistently, then knocking them off the table. The lone higurashi c ries. Satoko then knocks off each can with a single shot each. She then stacks stones and knocks the top small stone of each stack off with a single shot each.

The scene fades to night with her loading bullets into the clip of her real gun. She replaces the clip and chambers a bullet. The man in the car reacts with surprise, but Satoko calmly assures him that she is quite accustomed to handling firearms.

In the home she shares with Rika, the phone rings. Satoko picks it up, and it is Rena on the line. Rika raises her head from her bed, rubbing her left eye, as Satoko asks why she is calling so early in the morning. Mion chimes in the call declaring "good morning!" Satoko concludes that her presence with Rena can mean only one thing. As Rika gets up behind Satoko, Mion orders her to grab Rika and meet in Okinomiya. Rika staggers towards the paper calendar that reads, "Saturday, June 11, 1983." She tears it off to reveal "Sunday, June 12, 1983" as Mion rhetorically asks her if she is coming.

As the scene focuses on Rika's stare, Satoko declares that she is definitely coming to destroy her.

The scene shifts to a happy scene of Satoko and Rika biking to Okinomiya. They arrive at Mion's uncle's store where numerous bikes are parked. Satoko explains to Rika that Mion is providing a ¥50,000 prize. The scene wipes to the outside of the store. Inside, Rika and Satoko stand between Okamura Suguru and Tomita Daiki in a midst of other kids. Satoko greets the off-screen Keiichi, Mion, and Rena. As they walk towards her, Rika formally bows as she wished them a good morning. As expected, the group plays the game tournament seen in previous arcs. As Mion, Keiichi, and Rena deliver their exposition, Satako stands silently behind Mion with her bangs shadowing her face darkly. She looks up with a serious expression. The scene, with Happy Background Music, pans over the tables of players: Rika plays the fishing game; Keiichi complains about losing in the Life game; and Rena quickly enters Cute Mode™ then advanced to Take Home Mode™ as she views the cute cards. For her part, Mion challenges her two male opponents to pick any game as she exudes an Aura of Doom.™ For her part, a bored Satoko remarks that she has played her memorization card game so many times she no longer knows how many. Her two opponents are surprised by this remark since they, in their mind, have only just met. She notes the crinkles in the cards, announces that she has memorized them all, and quickly turns over the pairs to the shock of her opponents as well as Keiichi who sits nearby. Mion walks over to congratulate her. Satoko responds that she expected Mion to win as well, which also sends Keiichi into shock. Satoko hautily suggest to Mion that they have tea while they wait for the others. They walk out. The scene briefly focuses on Satoko's smile as a note of discord is struck.

At a vending machine, Mion chooses a drink. As she reaches for it, Satoko holds the syringe with a calm expression but with the blazing eyes.

There is a flash of white and Satoko stands in the Plane of Time Fragments – Eua Franchise™. She turns and asks Eua to confirm if there were no world where Mion lost herself to paranoia. Sitting on her chair, Eua confirms that none exist, and the Hinamizawa Syndrome is triggered in those physically distant from the Queen, or those experiencing increased mental stress. Satoko suggests that while Mion seems emotional, she is quite a logical thinker, and that may explain why she never developed the Syndrome. Eua agrees, then suggests her sense of duty as the next head of the Sonozaki bolsters her resolve. Satoko openly wonders what would happen if she became afflicted. The scene focuses on a fragment containing Mion happily chatting as Satoko speaks.

With a flash, the Club stands outside of the store with Mion, as in previous arcs, apologizing for ending the tournament early. Her uncle offers bags of consolation gifts. When Mion whines about where is her gift, he vows to give her a big tip the next time he sees her at work. Once again: Keiichi gets the Doll™; Mion teases him; and he contemplates what to do with it. As in the previous question arc, Rika advises him that he can give it to anyone and that person will not be flustered and will accept it. Meanwhile, Satoko observes with a bored expression as the Happy Music throws a few discords. Mion stares with a questioning expression When They C ry Wiki cannot adequately describe. [™ – Ed.] Keiichi hands her the doll as he suggests that she will get more use out of it. Blushing, she tries to insist that she is not the type for dolls, then tries to suggest that she sometimes wonders why she was not born a boy as animesque bubbles circle her head.

Keiichi insists that she take it as the Happy Music slows down into "discord bordering on cacophony." She accepts it, Rena and Rika beam cutely, but the music continues to decompose. Still, Mion hugs the doll blushing as before, but the scene then focuses on the vending machine which is behind Rena. It then focuses on the empty syringe discarded in front of it.

Adult-Voiced Rika returns to announce the next episode.