Yū Honda is a Catholic teenager trying to live his faith with sincerity, but the world around him tests how far devotion can bend before it breaks. After the death of Yū’s mother, his father Tetsu dedicates himself to ministry, becoming a priest who runs his own church. Tetsu asks Yū to confess his sins, hoping to guide him toward a clear conscience; yet Yū feels he has little to confess, and he resorts to inventing sins to placate his father. This playful lie evolves into a troubling fixation as Yū begins to push the boundaries of right and wrong, all while craving something real to confess.
In this dangerous self-rule, Yū befriends a group of boys who teach him to steal, to fight, and to take secret photographs of women without their knowledge. He quickly gains a reputation for being an adept “panty shot” photographer, a label that stings with moral ambiguity: he does these things not for arousal, but to prove to himself that he can step outside his own moral code and still survive. The line between curiosity and compulsion blurs as Yū intensifies his risk-taking, chasing thrills that feel like a substitute for the sins he believes his father wants him to own.
The turning point comes when Yū loses a bet and, dressed as a woman, joins his friends in a city outing to kiss a girl he likes. In this disguise he encounters Yōko, a formidable fighter who is surrounded by trouble. When the duo cross paths, Yū intervenes to shield her from a hostile gang, and the moment he kisses Yōko marks a new, complicated emotion—Yū falls in love with her. Yet Yōko is drawn to the persona he wears in public—the alter ego Sasori, or “Miss Scorpion”—and the tension between appearance and reality unsettles both of them.
Meanwhile, Aya Koike enters the story as a member of the cult known as Zero Church. She becomes obsessed with Yū after catching him in the act of photographing under a woman’s clothing, and she carries serious hidden scars from past abuse. Aya uses her charisma and manipulation to draw Yū’s inner circle into the orbit of Zero Church, even as she pretends to be Sasori to gain Yōko’s trust. Her dangerous blend of affection and coercion spirals outward, pulling Yū, Yōko, and Yū’s own family into a web of control and fear.
Desperate to free Yōko from the cult’s grip, Yū attempts a reckless rescue that backfires. He tries to kidnap Yōko, hoping to tear her away from the church, but she remains wary of him, unsure whether Sasori’s motives mask real care. The confrontation erupts as Yū storms the Zero Church building with a sword, determined to escape with Yōko. Aya — present alongside Yū’s family — fights back and, in a moment of tragic resolve, chooses suicide by sword when she realizes the limits of her manipulation and the depth of Yū’s true love for Yōko.
The aftermath lands Yū in a mental hospital, where memory and identity become a battleground. He forgets his past and convinces himself that he is Sasori, a conviction that seals him off from the world he once knew. Yōko visits, insisting that her love is for the person he was, not just for the savior he pretends to be. Yet Yū cannot recall her at first, and security escorts Yōko from the hospital. In a pivotal moment of clarity, memory returns, and Yū rushes after the car carrying Yōko. He smashes the window to reach her, and with a decisive grip they take each other’s hands, stepping away from confusion toward a fragile, shared future.
Across these events, the story examines faith’s pull and the appetite for absolution that can lead to harmful extremes. It tracks a young man’s oscillation between guilt and desire, between a father’s righteous expectations and a world that appears eager to exploit vulnerability. It also delves into identity—how a person can become trapped in a persona that feels safer than reality, and how love can become both a healing force and a dangerous catalyst. Ultimately, the tale returns to a resolve born of connection rather than illusion: two people reaching through shadows to hold hands, choosing to face whatever comes next together.
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