I went into this episode hoping for some answers but prepared for more questions, and got both. First, the indisputable answers: the figure in the wedding dress on the robotic cart is, in fact Magata Shiki. Magata Shiki is dead, and because her arms and legs were amputated, someone murdered her.
The rest—how she was murdered when no one went in her room, nor did she ever leave, in fifteen years—remains, well, a mystery. To say nothing of the identity and motive of the killer.
As a result of encountering Shiki’s delimbed corpse, everyone, including Saikawa and Moe, are in a bit of shock; not knowing quite how they feel, let alone how they should feel. But Saikawa and Moe are also two uncommonly smart cookies, so they soon find a bit of solace from the horror before them in trying to unravel the mystery that comes with it.
The geography of the room and its apertures (one big, one small); the impeccably-kept surveillance tapes spanning a decade and a half (they didn’t rewind-and-reuse, like convenience stores); the custom security system called “Red Magic” that is so flawless, last week’s error seems planned; there’s a lot to sift through, and Saikawa attempts to do so; sucking down cigarette after cigarette in the process.
Then Director Shindo arrives on the island via helicopter with Shiki’s younger (but notably more adult-looking) sister Miki, who is shocked to learn Shiki is dead. Moe, while going over in her head the part of her video conversation with Shiki relating to her feelings for Saikawa, thinks it somewhat coincidental that Miki, the last surviving Magata, should arrive around the same time her sister is found dead and mutilated.
For the record, we also learn how Moe met Saikawa (when she was a fifth grader) and why she developed feelings for him (he was the first adult she ever met who was smarter than her). The implication is, her towering intellect had made her hunger for stimulation; for a challenge.
While she initially hated Saikawa for being smarter, she clearly now sees him as a means for her to exercise her intellect. He expanded her humdrum world, by doing nothing at all but existing.
It seems like Moe is about to mention something about her (deceased) parents, but Saikawa is concerned with how late Shindo is; when they return to the helipad, they find him dead from a knife to the back of the neck. It’s another surefire murder, and just as Shiki never left her room, he never left the helicopter cockpit, and only used thumbs-up from inside. Perhaps the killer was there all along. But then what’s Mika’s part in all this?
Even more intriguing—and more than a little, well, wrong—is another monologue by the director accompanying another flashback (the one in the car last week was indeed a flashback involving a younger Shiki). This past Shiki is confirmed as only thirteen, but as he puts it, it’s “a long thirteen years”, in which she absorbed and retained everything she possibly could, and now wanted to “lose” something…which is pretty heavily implied to be her virginity.
It was up to Shindo, the adult in this situation, to put a stop to whatever was going on in the car and Ferris Wheel, but for various reasons, he couldn’t. Now both he and Shiki are dead; murdered…by who? How? Why? We’ll need quite a bit more ‘expository dialogue’ to find out.