Thursdays, 11.58 p.m. – 12.38 a.m. from 5 January 2012
A case is reported to the Criminal Affairs Division of a police precinct in a quiet, rural town. Kurokawa Suzuki, a detective with exceptional powers of deduction, and his subordinates Shiraishi Kosaku and Akagi Tadashi rush to the crime scene. The case has occurred in the mountains, at a farm for high-grade wasabi and the murder victim is the farm’s owner, Sonoyama Shigeo. His eldest daughter, Sonoko, was the first person to discover his body. The wasabi that Shigeo cultivates is of the highest grade. All of it has been stolen. So Shiraishi deduces that it was the work of a group of thieves from a neighbouring town. The glass of the greenhouse in which Shigeo grew orchids was also broken, but oddly enough, the orchids were not stolen. Kurokawa doubts Shiraishi’s theory about the group of thieves. If they were the culprits, they did not need to kill Shigeo. He speculates that it was someone who would be in trouble if his or her face was seen. Kurokawa narrows his suspects down to three people: Sonoko, the eldest son Tatsuo, and second son Maruo.
Itao Itsuji as Kurokawa Suzuki
A detective of a police precinct in a rural town. A “capable” detective who has good powers of deduction and a quick mind. But because he is obstinate and proud, he is a rather frivolous presence in the carefree rural police precinct. A man with a sensitive nature, he is easily hurt by his subordinates’ malicious gossip and his wife’s morbid humour.
Tanabe Seiichi as Shiraishi Kosaku
Kurokawa Suzuki’s subordinate. Incompetent and happy-go-lucky. His eccentric optimism makes the calm and collected Kurokawa feel murderous. Because Shiraishi always thinks positively, he does not feel that he is inept.
Tanaka Kei as Akagi Tadashi
Kurokawa Suzuki’s subordinate. The only “normal person” in the precinct. He is an asset within the precinct, the straight man to Shiraishi Kosaku and Kurokawa when he gets hurt.
Tsuruta Mayu as Kurokawa Shizue
Kurokawa Suzuki’s wife. Elegant and frugal, she always does as she pleases, never displays delight, anger, sorrow or pleasure. Instead, she tells barbed jokes that one has trouble telling if it is jest or the truth. Kurokawa is unsettled by her appearance at crime scenes at unexpected moments.