Thank you to everyone reading this story. I hope you continue to enjoy it. Special thanks to Sonar, Kwest82, and FearMeRawr (you changed your name…I like it)
A/N It's so nice to have my plot back. I can see the light at the end of the tunnel…though I still don't know how many chapters till I get there.
Disclaimer: I do not Death Note, not the anime or the manga. Death Note belongs to Ohba and Obata. I also do not own Death Note Another Note: The LABB Murder Cases.
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Chapter 28: Modus Operandi
TASK FORCE HEADQUARTERS
*March 23, 2013*
The members of the Task Force sit around headquarters, diligently working away. Mogi and Ide sit along the back wall, pouring over information about America's criminals. Matsuda sits on the couch, flicking through the channels. Aizawa and Light sit close together, looking over information about the previous murders and attempting to figure out the next victim before the killer strikes again.
"This is impossible," Aizawa states. "Just how many nursery rhymes are there?"
"Enough," Light says, "and the only thing we have to go on is that 'the next one said yes.' We still have no idea what he or she is saying yes to."
"Maybe I should stop watching television, and give you guys a hand," Matsuda says, glancing over at the two of them. "It's not like I'm getting anything from watching the tapes."
"I don't know how much help you'll be Matsuda," Aizawa says. "All we're doing is chasing our tails. We don't have any real leads on who the next target might be."
Just as Matsuda is about to say something, the letter K appears on the screen in front of Light and Aizawa. Aizawa, taking notice, says, "It's about time."
"Hello, members of the Kira Task Force," says K's distorted voice.
"K," Light says, as Ide and Mogi turn to look at the screen.
"How has your search been going?" K asks.
"We haven't found anything, yet," Light answers. "You?"
"Unfortunately I have not been able to narrow down the search for the killer either," K answers. "Though Asia is a large continent, so I may not have reached the correct country as of yet."
"What type of criteria are you using?" Light asks.
"What do you mean?" K asks back.
"What guidelines are you using to narrow down the criminals you are researching?" Aizawa asks harshly.
"We want to be sure that we are using the same guidelines," Light clarifies.
"I see," K says. "I believe I am using the same guidelines as you are. We each have the same information…the fact that the killer is using nursery rhymes and stages the murders according to the chosen rhyme, the fact that the killer must be using some means of choosing his victims, even if it appears to be random, and the fact that the killer has no standard modus operandi, unless the variety of the ways he murders is the M.O. As of now, he has not chosen the same means to kill any of his victims. Each has died by a different means. However, this doesn't mean he is actually killing them differently."
"If each victim is dying differently, doesn't that mean the killer is using different means?" Matsuda asks.
"Before the Kira case," K begins, "I would have agreed with you. Since the Kira case, we, that is to say you of the Task Force, myself and those working with me, know that Kira uses the same means to kill each of his victims, despite the fact that he can kill them in a variety of ways. We know that Kira can control the actions of his victims, kill by heart attack, and even have his victims commit suicide."
"Are you suggesting that the Nursery Rhyme Slayer has a Death Note?" asks Aizawa, incredulously.
'He can't have a Death Note,' Light thinks, as Ryuk smiles behind him.
"The killer might have a Death Note," Ryuk says, causing the members of the Task Force to turn to him. "That would be interesting."
K is quiet of a minute, as the members of the Task Force await an answer. "It cannot be ruled out," K finally says. "As much as I do not like the idea of yet another Death Note existing, there is a possibility. However, even if this Nursery Rhyme Slayer does possess a Death Note, there is still a strong possibility of the killer being at each of the scenes."
"If he's using a Death Note, what makes you think he is at the scenes," Light asks. "He has no reason to be there. The Death Note would kill the victim without his presence."
"It's simple really," K answers. "The fact that each scene has been staged so elaborately speaks volumes. I'm not speaking solely of the various items found at each scene, or the occurrence of the corresponding birthdates, but the fact that much of what was done to the victims was done post mortem. Five of the first seven victims had body parts removed, and the body parts were not found at the scene. Additionally, according to the coroner's report, each disfiguration was committed after the victims death…meaning there is no possible way for the victim to have done it themselves. This could only mean that someone was there to remove the various body parts. I have looked, but have not found any suspicious deaths surrounding these deaths, or put more simply, I have not been able to identify any additional deaths."
"But couldn't that prove that the killer does have a notebook?" Matsuda asks. "I mean, he could have just wrote that someone else killed them."
"That is a possibility," K concedes, "but I don't think very likely. The fact that there were no clues left at any of the murder scenes strongly suggests the actions of the same individual being present."
"Why do you say that?" Light asks.
"There is only so much that can be planned," K answers. "No plan is ever 100 percent flawless. Something could have gone wrong, and the fact that the killer has managed to leave zero clues, except those purposely left behind. This lends to the conclusion that the same individual was at each scene. The more people involved, the higher of probability of someone making a mistake. If the killer does possess a Death Note, it is much more likely that he is only writing the names of the victims and their manner of death. That could explain why he was able to kill them without any witnesses."
"The autopsies found drugs in each of the victims systems," Light says. "He could have only used that as a means of subduing his victims."
"That is another possibility," K replies. "The use of drugs could have been used as an act of mercy. Apparently, each of the victims was knocked out before they were killed. It would appear that the killer does not enjoy the agony of his victims, and they are only chosen for his purposes. The only motive for the murders, which we know about, is that the killer wants to challenge us. The drugs could have been used to throw off the investigation also. If the killer owns a Death Note, then he knows how Kira kills. I doubt he would want Kira to have the information though."
"Where does that leave us?" asks Aizawa.
"Exactly where we are," Light says.
"Which is where exactly," Aizawa states. "Given this new possibility, I'd say it's about time we meet you K. If there's another Death Note, that only increases that chance of dying, at least with us. We're not hidden behind a letter."
"I agree," Light says. "It is time for us to meet. Working together is the only way we can bring both Kira and the Nursery Rhyme Slayer to justice."
"I disagree," K says. "I do understand how frustrating this is for you, but each of your faces and names are known. If you die, I can still pursue both murderers, but I will not be able to do so if I am dead."
"Coward," Aizawa yells.
"I understand your frustration, but this is for the best," K says. "However, there has been a new development that may help."
"What kind of development?" Light asks.
"Eraldo Coil has been contacted concerning the series of murders," K answers.
"But that's impossible," Light says.
"Why?" asks K.
The members of the Task Force look at each other. "Because, L was Coil," Light says.
"True," K says, "that is why the call came to me instead. Detective Hayashi of the NPA contacted him. This is an opportunity I could not pass up. I am in the process of sending a number of individuals to help him, under Coil of course. I believe this is the best alternative to appearing. These individuals can work with you and they will have a means of contacting me."
"You're sending people to spy on us," Aizawa says.
"No," K says. "I'm sending people to assist us with the cases. They will be using aliases, as a means of protecting their identity, but that is all. You have used aliases in the past, but unfortunately, they would do little to help you now. These people understand the risk they are taking, but it is still my duty to protect them as much as I can."
"When will they be arriving?" Light asks.
"The first two will be arriving in about a week," K answers. "I'm still putting together a team, but I do not want to delay in sending anyone. You should find these first two acceptable. Both are experienced agents in Interpol, and one is a criminal profiler. The names they will be using are Oliver Hastings and David Cullions. As I add to the group, I will let you know."
"When will we be meeting them?" Light asks.
"Eventually," K says. "The first person they will meet with will be Detective Hayashi. There is one more thing I want to relay to you before I end this call. I will be moving into the building that L used."
The Task Force looks surprised by that statement. "You're moving into the old task force building," Light says.
"The building is just sitting there, and I intend to put it to use once I arrive in Japan," K says.
"You're not even in Japan," Aizawa says.
"I saw no reason," K says. "However, given the new turn of events, I feel that being in Japan may be beneficial. Now if you will excuse me, there are other matters I must attend to."
"Wait," Light says, "there is something we wanted to tell you."
"I'm listening," K says.
"Were you aware that the month and date for the first seven victims all added up to the number 22?" Light asks.
There is a pause, as the Task Force waits for K's answer. "What you do mean?" K finally asks.
"It is an anomaly we found when looking over the case files," Light says. "We were wondering if it meant anything to you."
There is another pause. "I must admit that I did not notice that," K answers. "I will look into it and get back to you. Did this anomaly appear in the latest murder?"
"Not that we found," Light answers.
"All right then," K says. "I will look into it and get back to you." The Task Force watches the K ends the call.
"It looks like K wasn't aware of that," Matsuda says.
"Either that or he just didn't tell us," Aizawa states.
"Why do you say that?" asks Matsuda.
"Call it a feeling," Aizawa answers.
'Aizawa's right,' Light thinks. 'That pause wasn't natural. He knew about the numbers, but didn't tell us. Just what kind of angle is K working?'
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THE BOYS HIDEOUT
Mello sits back in his chair and opens a chocolate bar. He takes a bite, and stares at the computer.
"What was the point of giving over all the information?" Rester asks.
"Commander Rester," Near says, sitting on the floor and building a house of cards, "it would be best not to question why. There is a reason, and it is not necessary for you to understand it."
Commander Rester looks down at Near. "That may be true, but," he glances at the computer that shows K sitting on her couch, "it still seems reckless."
Near sighs. "It is quite simple, really," he explains. "Since Mello and Matt had K's apartment put under surveillance," at the mention of their names, both Mello and Matt look at Near, "Light must be looking for someone to give K's notebook too. By saying there is a possibility of the killer having a notebook; K is attempting to have Light rethink that idea."
"Exactly," Mello says, taking a bite of chocolate. "K is trying to prevent Light from giving the notebook to someone else."
"But why doesn't K just stop Light?" Gevanni asks.
"That is a good question," Near says, "and I am not sure. She has a reason, but she didn't tell us."
"And you're just going to follow her directions," Rester says.
"Yes," Near says, placing two more cards. "We owe her our lives. The least we can do is follow her directions."
"What about the number 22?" Gevanni asks. "Does that mean anything?"
"Yes," Mello says.
Everyone in the room waits for Mello to continue. When he doesn't, Rester asks, "What does it mean?"
Mello takes another bite of chocolate. "It was a clue left by the killer," he says.
"Why didn't you tell the Task Force that?" Gevanni asks.
"We have our reasons," Mello answers. "You'll find out soon enough."
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QUEBEC, CANADA
*March 29, 2013*
Gabrielle Perdue, a petite (5'3") women with red hair and blue eyes, exits the taxi. She hands the money over to the driver, and slings her purse over her shoulder. The taxi drives away as she turns and walks up the steps to her apartment.
She closes the door behind her and sets her keys and purse on the table. She turns on the lights and walks into the living room, where she pauses. "Bonjour," she says.
There are two women sitting in the living room. The one with black hair sits in the chair, and the younger one with pink hair sits on the couch. "Bonjour," they both say. "Parles-tu Anglais?" asks the dark haired one.
"Oui," Gabrielle says. "I speak English."
"Good, cause my French is rusty. My name is Callisto," she says, "and her name is Marrow."
"It is a pleasure to meet you," Gabrielle says. "My name's Gabrielle."
"You don't seem surprised to find two unknown people in your apartment," Marrow says.
"Why would I be surprised?" Gabrielle asks. "I was expecting you."
"You were expecting us," Callisto says, raising an eyebrow.
"Well, not you exactly," Gabrielle says, "but I was expecting someone."
"Do you know why we are here?" Callisto asks, as Marrow glances at her.
"Yes," Gabrielle says. "You are here because I have been chosen to help bring down Kira." Both women look at her. "I have a small bag I want to take, I'll be right back."
"Well, that was odd," Marrow says. "Do you think K's contacted her?"
"She must have," Callisto says. "Gabrielle doesn't appear to be shaken by our appearance."
"But did K tell her what she needs her for?" Marrow asks.
"Only one way to find out," Callisto says, as Gabrielle reenters the living room. Looking at Gabrielle, she asks, "You do know what is going to happen, right?"
Gabrielle looks at them, innocence shining in her eyes. "Of course. I'm going to die, actually be murdered and it's going to help bring Kira to justice. But don't worry; I'm going to die anyway. I'm sick, and I'm just glad my death will help."
Callisto and Marrow sit in stunned silence. "Well, as long as you know what's going to happen," Marrow says, standing up, "we better get going."
Callisto continues to sit in the chair. The two women glance at her, as she asks, "So, you're completely fine with dying?"
"Well no," Gabrielle says, "but I'm going to die anyway. Don't think this is completely selfless. I've been paid well to agree to do this. The money that was given to me will help my family for years to come."
"Problem?" Marrow questions.
"No," Callisto says. "Let's get going." She stands up and follows the other two women out of the apartment, thinking, 'This is the second time K managed this. How does she do it?"
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SAFE HOUSE (PHILIDELPIA, U.S.A.)
Julian and Sam sit around the table, playing a game of cards. Julian picks up a cup sitting beside his elbow and takes a drink, as Sam says, "They should be back soon."
Julian glances at the clock and nods his head. "Any minute now. It isn't that far from here to Canada."
"Do you think this is it then?" Sam asks, tossing out two cards.
"Don't know," Julian says. "I hope so though. I would like to get back to my practice. It's been going on three months now, and I would like to salvage it, if possible."
Sam laughs as Julian deals him two cards. "What are those poor starlets doing without their favorite surgeon?"
"Exactly," Julian says, smirking.
"What are you two doing?" Marrow asks, entering the room.
"Waiting for you to get back," Julian answers, tossing his cards on the table.
"We're back," Marrow states, sitting down at the table. Callisto and Gabrielle enter the room, and both men look at Gabrielle. Gabrielle stands there, just watching them.
"Doesn't look like she'll need much work," Sam says, looking Gabrielle up and down.
Julian stands up and walks around Gabrielle. She watches him closely. "I don't understand," she says. "What are you doing?"
"Figuring out how much work you will need," Julian answers. "The resemblance is remarkable. Just a little nip here and tuck there, and it will be hard to tell the difference. Though K did say not to worry about perfection."
"Who's K?" Gabrielle asks.
"I thought you said you knew what was going on," Callisto says, looking questioningly at Gabrielle.
"I know the general idea, but I didn't know I needed to have work done," Gabrielle says, nervously.
"Don't worry," Sam says. "You're in good hands."
"We should get started though," Julian says. "After all, we are working under a time limit. K said she wanted you in Japan on April 13th."
"Japan," Gabrielle says, as Julian guides her toward a door that Sam has open. She peers in and notices all the surgical equipment.
"Now, now, there's nothing to worry about. You won't even feel a thing," Julian says, leading her into the room.
"I'm not worried," Gabrielle says. "If this is what is needed to be done to stop Kira then I'll do it." She gives Julian a determined look, and enters the room herself. Julian follows close behind.
Sam looks back at Callisto and Marrow. "This seems eerily familiar," he says.
"We noticed," Callisto says.
"I wonder how K does it," Sam says, shrugging and following Julian and Gabrielle into the room, closing the door behind him.
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*March 31, 2013*
DETECTIVE HAYASHI'S HOUSE
A car pulls up in front of Hayashi's house and stops. Inside the car, Dillion sits in the passenger's seat, turns and looks over at Odin. "Come on," he says. "I know you know what K has Callisto and Marrow doing. Just tell me."
Odin takes a breath. 'Why,' he thinks, 'why must I always be paired up with him?' He looks over at Dillion. "For the last time," he says, "I have no idea what they are up to, or what K has them doing. I was given the same information that you were." Odin opens the door and gets out of the car.
Dillion follows, and together they walk up the sidewalk. "You really don't know," he persists.
"I swear to God," Odin says, "if you don't stop, I will make you the next victim of the Nursery Rhyme Slayer."
"What are you going to do," Dillion laughs, as they reach the door. "Catch the guy. And then have him kill me."
"No," Odin says, knocking on the door. "I'll kill you myself, and pin the murder on him."
Dillion looks at Odin. "You don't mean that."
"Keep pushing it," Odin says, as the door opens.
"Can I help you," Hayashi asks the two men.
"Detective Yori Hayashi," Odin says.
"Yes," Hayashi replies. "Who are you?"
"I believe you were informed of our arrival," Odin replies. "My name is Oliver Hastings, and this is David Cullions."
"Hello," Dillion says.
Hayashi opens the door further. "It is a pleasure to meet you," he says. "Please come in."
Odin and Dillion enter the house, and follow Hayashi into the living room. "Please, sit down," Hayashi says, pointing to the chairs. He takes a seat on the couch and looks over the two men. "Can I see some identification?"
"You invite us in, and then asks for identification," Dillion says, handing over his credentials.
Hayashi takes the credentials from both men, looks them over, and hands them back. "It is unorthodox, but given the circumstances, it felt safer. I doubt that anyone would know that Coil was sending two men with those names to my house. Despite the need to verify your identities, I felt confident enough to invite you in."
"I understand," Odin says.
"Both of you are with Interpol," Hayashi says.
"Yes," Odin replies. "With Kira around, the number of cases we take is low, hence the reason we were able to come and assist."
"It doesn't hurt that both of us have worked under Coil before," Dillion says.
Hayashi continues to look at Odin. Odin smiles and says, "You're probably wondering where you've seen me before. I'll answer it for you. I also worked under Coil during the Bio-Terrorists case, and was here in Japan. I thought I recognized your name when Coil called."
"I remember now," Hayashi says. "You're older now. Weren't you the one that was in direct contact with Coil?"
"Yes," Odin answers.
"This is fascinating and all," Dillion says, "but we should probably focus more on the case at hand."
"Of course," Hayashi says. "I assume Coil gave you information about this case."
"Yes," Odin says. "We are up-to-date. The NPA has closed the investigation."
"Unfortunately," Hayashi says. "The official opinion is that Kira has judged the criminal, since there have been no other murders."
"And you don't agree," Dillion says.
"No, I don't," Hayashi says. "It is not in my nature to assume a criminal is dead. Until I know who the criminal is, I believe the case should be open."
"I agree," Odin says.
"What do you think of this killer?" Hayashi asks.
Dillion looks over at Odin, as Odin answers. "The choice of using nursery rhymes is interesting. I think that the killer is playing a game with everyone."
"A game," Hayashi says.
"A game," Odin reiterates. "Many nursery rhymes are used in children's games. It can also be a statement about how the killer feels about Kira, L and K. He could believe that they are childish, and is using the rhymes to state that. Of course, the killer may view himself as childish, too. What I find most interesting is the fact that he leaves clues for the next victim, but any clues to identify him are missing. He puts a lot of planning into the murders, as verified on Valentine's Day. To be able to kill seven separate individuals, in different locations, and with times of death different from when the victims were taken, only reinforces this fact. He is methodical, careful, and will be difficult to catch."
"Those were my thoughts," Hayashi says. "Were you able to find anything in the rhymes that we overlooked?"
"Nothing," Dillion says. "The clue he left at the last crime scene is too ambiguous. The only why we might have of figuring out the clues, is to view the next murder. I have the feeling that there is a clue at the previous murder that is being overlooked, but I can't put my finger on it."
"What kind of clue?" Hayashi asks.
"I don't know," Dillion replies, shaking his head.
"Then let me ask this," Hayashi says. "Do you think that Kira has punished the killer?"
"No," Odin says. "It is common knowledge that Kira needs a name and a face to kill someone. It is also known that he has used the police and the internet to obtain this information. Since no one in the police knows who the killer is, Kira cannot get the information from them. As far as we know, there have been no witnesses to the crimes."
"We have looked at the various sites that posts information about criminals," Dillion says. "Sites that we think Kira uses to get information. We have found nothing that points to the killer, just various suspicions about someone's neighbor, enemy, or a stranger on the street. It doesn't appear that Kira is taking these 'leads' seriously, as many are still alive."
"There is no doubt in my mind that the killer will kill again," Odin says. "The only question is when. He has his own timeframe, and we haven't been able to crack it yet."
Hayashi seems to be about to ask another question, when his cell phone rings. He looks down at it and says, "Excuse me. I have to take this."
Dillion and Odin nod, as Hayashi answers the call. "Yamamoto, I told you I was taking the day off. I have something that I need to attend to. What is so important?" Hayashi's eyes widen. "Another murder. Are you sure?" He listens for a minute. "Where? I'm on my way."
Hayashi closes the phone and stands up. Odin and Dillion are all ready standing. "That was Yamamoto, a fellow police officer. It seems that the wait is over. The Nursery Rhyme Slayer has struck again."
"Are you sure?" Dillion asks.
Hayashi looks at him. "Yes."
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THE NEXT MURDER SCENE
Detective Hayashi enters the home of the new crime scene, closely followed by Odin and Dillion. He barely glances at the officers in the main room; they appear to be trying to comfort some of the victim's family, as he marches through the house and enters into the victim's bedroom.
Upon entering the bedroom, he finds the latest victim still lying in her bed. She is lying on top of the covers, a plastic bag covering her face. The three men stop inside the door, staring at the body. "What is she dressed in?" Hayashi asks, addressing the only officer in the room.
Yamamoto looks up from his kneeling position on the floor. "Her wedding dress," he answers. "She was to be married today."
"He dressed her in her wedding gown," Dillion almost whispers.
Yamamoto looks more closely at the two men accompanying Hayashi. "Who are they?" he asks.
"They are with me," Hayashi answers, walking into the room and peering closely at the body. "Asphyxiation."
"That's what it appears to be," Yamamoto says.
"What's that on her ring finger?" Odin asks, leaning slightly to get a better look.
"It's a gold ring," Hayashi answers.
"But it's not part of the set," Yamamoto says. When the three men look at him, he continues, "It wasn't part of the set the couple picked out."
"So the killer brought it with him," Dillion says.
"This murderer is known for staging the scene," Hayashi says, darkly. "I assume he also did her hair and makeup." Hayashi peers closely at the woman's face through the plastic bag.
"That's what I was thinking," Yamamoto says.
Hayashi stands back up and looks around the room. "Was there anything left by the killer? Anything pointing to the next murder, or the next rhyme?"
"Not that we've been able to find," Yamamoto states.
Odin and Dillion cast their eyes around the room, both of them spotting the same thing. "What about that bowl?" Dillion asks, pointing to the bowl on the dresser.
"What about it?" Yamamoto asks.
"Don't you think it's a little unusual for a bowl of oranges and lemons to be sitting there?" Dillion asks.
"There also appears to be a small bell beside the bowl," Odin says, walking over to the dresser, "along with a candle."
Hayashi looks at the two men. "Does that mean anything to you?"
"You said that the press has dubbed the killer the Nursery Rhyme Slayer, correct," Odin says, not really asking a question.
"That's what we came to call him as well," Yamamoto says. "All the murders so far have dealt with nursery rhymes, though we are not familiar with many of them."
"Perhaps that is why you over looked this clue," Dillion says, causing Yamamoto to glare at him.
"There's no reason for that David," Odin says. "We need to go over these items here. Maybe the killer left a finger print."
"Sir," Yamamoto says, addressing Hayashi and becoming slightly annoyed, "who are these men?"
All three men exchange a look and both Odin and Dillion shrug. Hayashi faces Yamamoto and says, "These men were sent by Eraldo Coil to assist with the investigation."
"Eraldo Coil," Yamamoto says, looking slightly shocked.
Dillion extends his hand and says, "My name is David Cullions. Interpol."
"Oliver Hastings," Odin says, raising his hand slightly. "Interpol, criminal profiling."
"Interpol," Yamamoto says. "That means you're from England."
"Yes," Odin answers. "That is also why we're familiar with this particular nursery rhyme. Both of us have heard it since childhood, Oranges and Lemons."
"So, it's a rhyme about fruit," Yamamoto says.
"Not exactly," Dillion answers.
"What does it mean, then?" Hayashi asks.
"I'll have to do some research," Odin says, "but from what I remember the nursery rhyme came from public executions that were performed. The executions were of criminals and debtors."
"They were beheaded," Dillion says.
"Who was beheaded," asks the person walking through the door. All four men turn and notice the arrival of the Light, Aizawa and Matsuda.
"You must be the Kira Task Force," Dillion says, extending his hand. "It is a pleasure to finally meet you."
"Who are you?" Aizawa asks.
"My name is David Cullions," Dillion says, "and that gentleman over there is…"
"Oliver Hastings," Light finishes.
"You must be Light Yagami," Odin replies.
"Do you know each other?" Hayashi asks.
"No," Light answers, glancing at Hayashi. "We were informed of new investigators coming." He focuses he gaze back on Odin. "Both of you were sent by Coil."
"Yes," Dillion says.
"Why is she dressed in a wedding gown," Matsuda asks, staring at the victim.
"Today was to be her wedding day," Hayashi answers.
Odin appears to have realized something, as he says, "That was the hidden clue."
Everyone in the room looks at him. "What do you mean, 'the hidden clue'?" Light asks.
"The clue left at the last scene was the words 'The next one said yes,' Odin explains. "Obviously, she said yes, or today wouldn't be her wedding day. The last rhyme had a line of the man asking Curly Locks to marry him. That's what the killer meant when he left 'She said no.'"
"Have you been able to find anything?" Light asks, "Anything that points to the next rhyme?"
"Yes," Odin answers. "I think I know which rhyme the killer will use next, but this might not be the best place to discuss this."
Matsuda and Aizawa look at Light, as Light looks back at Odin. "Why do you say that?" Matsuda asks.
"We don't' want the killer to know that we're picking things up faster," Dillion answers. "Though I doubt anyone in this room would let anything slip, anything said would have to be reported to the NPA, when the officers file the papers. If the killer can get information from the police, like Kira, then he can out maneuver us."
"Let's discuss it back at headquarters, then," Light says. He turns to Hayashi and says, "You are more than welcome to come. Once the NPA realizes that you contacted Coil, they'll probably fire you. We can always use a few more men, especially with two serial killers."
Hayashi nods his head, and stops Yamamoto from speaking. "No," he says, "you stay here."
Yamamoto looks at the men. "Why?"
"Because, I am an old man," Hayashi answers. "I don't mind throwing away my career for this case, but I don't want you too. I also need someone I trust to still be an active member of the NPA."
Yamamoto looks at Hayashi. "I understand," he says. Then, Yamamoto, standing beside the bed, watches as the men exit the room.
NEXT CHAPTER: CHILD'S PLAY
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A/N I know the middle section (Canada and Safe House) reads differently from the rest of the chapter (and probably most of the story), but it's supposed to. Those two parts gave me some trouble. I had a hard time deciding between two different ways of writing them. I liked this one the best….it's creepier.
