Last week came as close as Subete ga F ever got to being a 9, but this, its penultimate episode, finally breaks the threshold. It’s a great episode, make no mistake, but it wouldn’t have been possible without all of the careful preparations laid out by the previous nine. In the parlance of Sakurako-san, this episode is the product of “good bones”.
It begins with Saikawa communicating with someone he claims is The Doctor Magata Shiki, who invites him to “meet” her in the sensory deprivation chamber, which seems to be more than that, since it’s “hooked up” to the lab’s system in some way. Moe tags along, but notably, the environment she perceives is very different from Saikawa’s.
Where she sees a standard interrogation room—she wants answers from whoever or whatever this is, and justice; she is her police uncle’s niece to the core—Saikawa sees a idyllic beach cabana, complete with wicker armchairs and fancy cocktails. For him, then, this isn’t the harsh grilling of a suspect, but a casual and stimulating conversation with a very unique individual whose intellect he admires at least as much as Moe admires his.
Because “the game is over” now, Shiki is willing to answer whatever questions come her way, but would obviously prefer if Saikawa figured them out for himself; again, just as Saikawa prefers not to give Moe the answers. Saikawa finally determines what “Everything Becomes F” pertains to: in the hexadecimal code of Red Magic, “FFFF” is the highest number possible: 15 to the fourth power, minus one. This was the timer Shiki built into the system that allowed her crimes to take place.
And I say her crimes, because Saikawa is fully confident this isn’t Shiki’s daughter, though that’s who became her public face once she was old enough; and the face Moe saw in her interview. Instead, it was Shiki who killed her daughter, de-limbed her, then escaped (made possible when “everything became F”), went to the roof, and killed her uncle and lover, Shindo.
Why did she kill her daughter? She says she wanted to be “free”, as in completely bereft of all worldly or material considerations. The freest free there can possibly be (at least by human perception) is death; the release of whatever it is inside us from its vessel, or our bodies. The plan may have gone the other way, but when Moe asked her “Who are you” it caused her daughter to hesitate.
“Becoming free” was also something Moe considered in her darkest hour, but she didn’t go through with that, because, for one thing, she had Saikawa with her. Shiki’s daughter had only a choice: be the seed that thrives as the flower that bore her wilts, or die so that the flower can live on.
Saikawa is in awe of her whole plan, along with the place she “takes him” next. After revealing to Moe that the real Shiki is likely communicating with them from some remote terminal, Moe is kicked out of the fantasy, and it’s just Saikawa and Shiki on a sandbar, then in a clear, deep blue sea.
A part of Saikawa clearly feels kinship to Shiki in her “disinterest in the material world”, and wants to stay in that peaceful void with her forever. Shiki seems flattered, and impressed with how far he’s been able to figure out, but she eventually takes her leave of him, though promises she’ll “come to him” one day.
With that, Saikawa awakens to a worried, then relieved Moe. The autopsy of the body shows no signs of pregnancy, confirming the daughter was murdered. Saikawa then asks Setsuko to describe the people she saw board the boat off the island. Looking back at episode 9, sure enough, a woman in a purple dress, Miki, was among those embarking. Only Saikawa now knows that Miki wasn’t Miki; “Magata Miki” never existed.
Returning to the room where he conversed with her in English (as Preston said back then, and I agreed: the content of their talk was wonderful, it was the bad English that really hurt the scene), Saikawa finds a note from “Miki” drawn on the painting with lipstick: “See you soon — Dr. Saikawa.” As we’d suspected, Miki was really Shiki with a haircut, and the fiction that her isolation had halted her growth and aging was perpetuated by using her daughter as a decoy.
All Saikawa can do is step back and admire Shiki’s genius, as we watch how it all went down: how Miki arrived on the rooftop, how Shindo received her lovingly and knew exactly why she was there; and how they shared one last kiss before she drove the knife into his neck. Then she hopped onto the next boat off the island and disappeared, only to resurface at a time and place of her own choosing. As Saikawa says, nobody ever had a chance against her.
When everything became F, she had the perfect insider.