The Drops of God Episode 3: Episode 3

The episode begins with a tranquil scene: sunlight on palm fronds, a bottle of wine chilling. A hand lifts a glass, filled with something sparkling and yellow. Then, Lyna, a blonde woman in a bikini, appears, relaxed on a lounge chair, discussing dinner on her phone. This feels like an advertisement for luxury, not the beginning of a high-stakes inheritance battle. It is a jarring, almost unsettling, opening.

Shizuku Kanzaki stands in a new suit, facing his former boss's disbelief over his transfer to the wine department. Miyabi Shinohara joins him as a freelance advisor, her presence a familiar anchor. Their new department head, Kawarage, is found stretching, his assistant on her phone, highlighting the department's eccentric, perhaps overlooked, nature. Kawarage surprisingly embraces Shizuku's quest for "The Drops of God," making it an official company project. Shizuku and Miyabi realize they have the company's full, albeit unconventional, backing.

In the lawyer Kiryu-san's elegant office, Shizuku and Miyabi arrive to finally read his father's will. Kiryu-san presents a thick, traditional envelope. Shizuku takes it with reverence, the calligraphy on "The Drops of God" promising a profound journey. As he opens it, the weight of his father's legacy settles upon him.

Yutaka Kanzaki's voice fills the air, beginning a flashback to his study, a fountain pen in hand. He reflects on fifty years of wine, pondering its essence. Impressionistic visuals of vineyards and landscapes accompany his musings on wine as art, a harmony of heaven, earth, and man. He concludes that words alone cannot express its truth, thus his chosen method of conveying his findings. This setup elevates the entire quest beyond mere monetary gain.

The camera zooms in on the handwritten will as Yutaka's voice introduces the concept of the Twelve Apostles. Stylized imagery, reminiscent of "The Last Supper" with wine glasses, depicts these wines as having unique, indispensable roles, chosen for their "raison d'être." Beyond them lies "The Drops of God," the ultimate thirteenth wine, illustrated with cosmic imagery of stained glass and floating bottles. This is not just wine; it is myth.

Back in Kiryu-san's office, Issei Tomine makes a dramatic entrance, his confidence palpable. He reveals he has also come for the will, suggesting he has been waiting for Shizuku. Issei proposes an immediate competition for the First Apostle, asking Kiryu-san to read its description simultaneously to both of them. He then suggests sealing the rest of the will, a move that asserts his control and belief in his imminent victory. Shizuku accepts with a sharp nod, refusing to be intimidated.

Kiryu-san reads the First Apostle's description, triggering vivid, watercolor-style visuals. A deep, mossy forest, a ray of light, the unexpected scent of flowers and red fruits, a crystal-clear spring, and eventually, two vibrant purple butterflies dancing above it. The narrative is rich with sensory detail, a journey through nature's hidden wonders. The words paint a picture, almost a dream.

Issei leans back, a smug smile on his face. He claims to have already narrowed down the region for the First Apostle, needing only to identify the specific vintage. His quick deduction visibly shocks Shizuku and Miyabi. As Kiryu-san arranges for their official presentations, Issei mockingly compares Shizuku's task to finding a single gemstone in a vast desert, a final barb before his departure.

After Issei's departure, Shizuku stands determined, reflecting on his childhood. A montage shows his father exposing him to concerts, art, and fine dining, silently training his senses. Shizuku acknowledges his lack of formal knowledge but asserts his unique foundation. He declares to Miyabi that he is Yutaka Kanzaki's true son, determined to understand his father's message, not just win a contest.

Back at the office, Shizuku and the team taste wines. He finds the will's poem confusing, rejecting even delicious wines if they lack the 'spring in the forest' imagery. Kawarage suggests Pinot Noir, which Shizuku agrees embodies the 'oneness with nature' from the description. Miyabi confirms Burgundy as the primary region. They consult Robert, who points out famous villages and prestigious vineyards on a map, emphasizing the overwhelming number of candidates. Shizuku realizes Issei likely pinpointed Burgundy instantly, highlighting his rival's advantage.

Shizuku and Miyabi walk through the city, burdened by the task. Shizuku admits he must rely on sheer effort and his senses to compensate for his inexperience. A sudden, pleasant scent of flowers and berries catches their attention, leading them to 'La Galerie de Kaori.' Inside, a painting of a deep, sun-dappled forest with a clear spring and two purple butterflies perfectly matches the First Apostle's description. The artist, Kaori Mizusawa, appears, confirming the painting is a visualization of a wine-inspired memory.

Shizuku urgently asks Kaori for the wine's name, but her expression turns melancholic. She reveals her amnesia, explaining that the painting's imagery is her only memory from before an accident eight years ago. She was found with a silver ring engraved with 'KAORI', her only clue to a lost identity. She paints to express the vivid wine images that remained. She is content with her current life, supported by her husband, who was her doctor.

Meanwhile, Issei dines with Lyna, confident in his pursuit of his father's legacy. A flashback reveals Robert's earlier commentary on Issei's previous win: while Issei was technically correct, Shizuku's choice of a 1982 vintage showed a deeper, more intuitive understanding of Yutaka's intent, a connection to a memory of young Shizuku with his mother and grapes. Robert's voiceover explains Issei only captured the 'now' of the wine, while Shizuku understood its true 'meaning.'

Back at the gallery, Shizuku presses Kaori, arguing her ring could link her to the wine and her past. Miyabi notes it is likely an engagement ring, further distressing Kaori. She becomes defensive, stating she is happy now and does not wish to disturb her peace. Her husband, Dr. Mizusawa, arrives, sternly intervening. He insists Kaori has found peace and he will not allow her past to be disturbed, forcing Shizuku and Miyabi to leave.

Shizuku shares his belief with Robert that Kaori's husband is wrong; true happiness requires knowing one's roots. Robert warns him of the fragile nature of Kaori's peace. Later, Miyabi begs Shizuku to leave Kaori alone, but he remains resolute. Standing outside the gallery, Shizuku articulates his philosophy: the past is the soil in which the present is rooted; a life unrooted lacks true harvest. Kaori emerges, having overheard him, her gaze now steady. She admits Shizuku is right; she wants to know her past, no matter what.