As expected, shortly after Satoru is arrested he’s able to activate another revival (there wasn’t much he could have done in a jail cell), but despite knowing it was going to happen an infectious wave of relief still washed over me, just as it washed over Satoru upon realizing he was back in the museum with a very alive Kayo. This time he thinks out loud and means it, and starts responding to Kayo’s “Are you stupids” with “Yeah!”
This time Satoru is doing away with all pretense and restraint. If he’s suddenly acting strangely for a kid of his age to people around him, so be it. No matter what the consequences are for him, he won’t let Kayo die again…and he’s operating under the assumption this is his last revival, having already been given an unheard-of third chance.
As such, the relief soon washes away, replaced with the weight and suspense of everything he must accomplish in the next couple of days; a weight that never lets up.
For a moment at school, I thought he was in trouble again, because I still can’t bring myself to fully trust Kenya, but again I was all but proven wrong for suspecting him of anything but the noblest of intentions. He’s simply a good enough friend to know when Satoru has completely changed.
When he asks Satoru “Who are you?”, Satoru gets to think out loud on purpose again: “A superhero.” He hopes to become one, anyway, but as far as Kenya’s concerned, he already is one, even if he doesn’t have the results yet.
I loved how Satoru’s plight is filtered through the prism of two kids talking about friends and heroes. It doesn’t feel like material that should be over the kids’ heads because we know Kenya isn’t your typical 10/11-year old, and Satoru is an adult.
Another tense scene was with Satoru at Yuuki’s place, where he probes Yuuki in preparation to give him an alibi, so that whatever happens, his life won’t be ruined by the events to come. What’s striking, and highly disturbing in its ambiguity, is Yuuki’s initial reaction to hearing that Kayo is in Satoru’s group of friends now.
This was the first time since siding with Satoru on Yuuki that I thought both of us might be being overly naive, and that Yuuki’s odd interest in Kayo could have been something going on for a while now.
Regardless, Satoru takes Yuuki’s secondary reaction – one of joy – to mean he’s still good, so he proceeds to duck out on his birthday party to toss a rock through Yuuki’s dad’s window so that the cops will come, securing Yuuki’s alibi.
After that, Satoru spots Kayo’s mom, and seriously considers pushing her down a flight of steps to her death, but he’s stopped by Kenya, who has been following him. Kenya agreed to help him out, and he realizes he may have to get his hands dirty, but killing Kayo’s mom will only create new problems, and Satoru was too close to the situation to see that.
From there, Satoru starts walking Kayo to her house as before, but this time, in another magical little back-and-forth, he announces his intent to “abduct” her, and she consents to let him. Satoru takes her to an abandoned bus hideout with a heater and blankets.
I understand the plan: simply keep Kayo out of the equation altogether; away from those who might kill her. But unless someone is with Kayo the entire time, it also looks like the perfect place to kill her where no one would notice. What makes it a great hideout also makes it a great grave.
The first time she’s left alone, however, that doesn’t happen, allowing me to lower my guard just a little. She’s knitting away when Satoru calls on her, and they have a hot meal and fall asleep huddled together (something they’re embarrassed about upon being woken up by Kenya in the morning…they are kids, after all.)
It worked for a day…but so did Satoru’s first plan. And that crushing weight I was talking about didn’t go away just because Satoru brought not just Kenya but Hiromi into the hideout. Kayo makes a neat little adjustment Satoru hadn’t though of: that she was the one who instigated all of this, thus absolving everyone involved of blame whatever may happen.
Rather than pick Satoru’s Joker, she takes an Ace to match her last card. She wins here, but the foreboding at this point is almost unbearable. I couldn’t help but wonder why the guy smirking under the umbrella in the present was so emotionally invested in Satoru’s downfall, or Yuuki’s bizarre reaction, or the ominous scenes of Yashiro noticing Kayo gone in class, then making a phone call in the faculty lounge.
It’s also just the seventh of twelve episodes, so it’s clearly not all smooth sailing form here. Sure enough, when an adult with a backpack pays a visit to the bus, not knocking the way Satoru would or saying a word, but just entering, Kayo under her blanket already looks like a body under a shroud, and the bus a cold, dark tomb.
Once again, the show mercilessly cuts to credits just before confirming that Kayo has in fact been lost to us once more. That leaves us simmering with a tiny shard of irrational hope for another week, knowing we know that hope is irrational, but not being able to let it go.
In reality, all I can realistically hope is that Satoru can engage revival and try again. Because if I put my heart aside and use my head, this isn’t going to go well for Kayo.