Clearly, this was not Houtarou’s day. When Houtarou finally thought that he had everything correct about what Hongou wanted to do for the script, all of the flaws that he missed slapped right in his face. For Mayaka, she claims that the rope, of which Hongou needed for the movie, was never introduced or mentioned. For Satoshi, he believes that Hongou could have never thought of the narrative trick because Hongou was new to detective fiction work. She used Sherlock as a reference point to create ideas for the movie, but none of the Sherlock books used any form of the narritive trick much like how Houtarou presented it. For Eru, it was not so much about how the movie ended, but about Hongou in general. She was wondering why no one bothered to ask Eba, who was her best friend, about what the ending Hongou wanted was. In fact, if Hongou was that sick and the class proceeded the screening without her, Eba would have to be at least slightly angry about the situation, yet was mostly calm throughout her introduction. Yet, the class did seem fine with the script, and there was no reason not to tell them what kind of ending he wanted, but the true question was why she did not do so in the end. That was what Eru was curious about. That was what Houtarou missed. With three key reasons that refute his idea, Houtarou probably feels like dropping into a hole for not only missing those key points but also never considering Hongou’s feelings about the script in the first place. Houtarou is fustrated at himself for thinking that he could have done this on his own, but was shot several times in the foot for thinking that and landed back to earth. Clearly this was not a good day for him.
Despite the three of them telling him that the ending that he created was a great one and surprised them, all agree that it was not the ending that Hongou wanted. He was merely thinking for himself and not placing himself in Hongou’s shoes. Well, there was no point to tell them that he was wrong and re-edit the movie. As successful as it is, it was not what Hongou had wanted. To calm himself down, Houtarou decides to read a book, which happens to be a tarot description book. Looking up the cards that Satoshi talked about, Houtarou came to his own, only to find out that its description was that he was controlled by kind women, of which was the current situation he was in. Yet, Houtarou did not change his perspective because of th-…perspective?
Houtarou wasted no time meeting up with Fuyumi and asking for a chat. Houtarou asks what was the talent that Fuyumi thought he had. It was not the fact that he was able to deduct things so easily; it was if he can be the scriptwriter to complete the ending of the movie. The notes that she wrote down in the Holmes book were not books that he was interested in but of the deaths of the characters themselves. Hongou never cared about the tricks; she wanted a happy ending where none of the characters die. The circles would be the one where the characters lived while the x were the ones where the characters died. With this information, everything started to make sense. Hongou wanted little blood because she did not expect someone to die. Also, from the minutes, Houtarou claims that the one who voted for no deaths was Hongou herself, who wanted a happy ending without anyone dying. Yet the class not only ignored this vote, but went over-the-top about it as her voice was not heard and her presence not there.
Here is what Houtarou believes happened. Hongou saw what the class has done to her script and could not believe that they interpreted it in such a way. However, since she was a kind girl, she could not bring herself to tell them it was wrong and re-film the movie again. That was where Fuyumi came in. Fuyumi had her feign illness and leave the script unfinished. She asked several people about their theories, but, in her eyes, none of them worked. Therefore, she got the Classics Club involved, particularly him, such that not only would the movie be completed, but also Hongou’s feelings would not be hurt any further. Houtarou would go as far as deducting her personality, calling her someone who does not care about people without talent and only cares about results. He asks if everything she said to him was a lie so that he could do what she wanted him to do. She then answers that it was up to him to decide whether or not her words were true or not.
Afterwards, Fuyumi would go on a chatroom. While Fuyumi apologizes to Hongou that her movie did not turn out the way she wanted it to be, but Hongou really cared about was for everyone to have fun doing it. Truly, this was the nice personality that Hongou had. Fuyumi should have saw this one coming. During her talk to what appears to be Houtarou sister, she apparently can see through Fuyumi’s actions, stating that Fuyumi herself thought that the script was boring but worded it so that it did not hurt her. Fuyumi’s personality seems to be that she has the right idea on where she wanted the road to end, but the method to that endpoint can raise an eyebrow to some viewers. Again, Fuyumi seems like the type that wishes for a decent result, stating that she did not wish for the project to fail to begin with. In any case, what could be the true puppeteer in this show could have been a collaboration between Fuyumi and Houtarou’s sister, if one wishes to put it that way.
In the end, Houtarou would tell Eru in the clubroom the ending that Hongou truly wanted. If Takeo did not die, the one who attacked him was none other than Yuri, who used a rope to get to an open window from the side rooms. The attack would not be a fatal one, due to the amount of blood that Hongou wanted. The seventh character would turn out only to be the narrator. As for the locked room, he locked himself inside. As for the reason why, Eru believes that Takeo wanted to talk to her and ask her why she did that to him, but Yuri ran away. Takeo would then lock himself inside the room to state that he fell and cut himself from a broken piece of glass. In a way, this was very much like Hongou, and the mystery here would be what made her attack him as well as why he forgave her. In a sense, Eru believes that she and Hongou are similar in that the two do not like movies where characters die. Indeed, one can say that about the two of them.