|This article is about a/an episode in Kamen Rider Kiva.|
|Overture: Fateful Intersection|
|Kamen Rider Kiva, Episode 22|
|Air date June 29, 2008|
|Written by Toshiki Inoue|
Rhapsody: The Fate of the Ring
Variation: Fugitives Forever
to be added
In 1986, Otoya starts working at a construction site at Kumi's request to help her hospitalized brother out of a jam, in hopes to finally get his "18-year old due" kiss. Later, Jiro takes Yuri to the Luxur clothing store owned by a man named Yamashita, where Yuri learns that Kumi is actually playing him to play the must expensive outfit there. When Shima reveals that Luxur to tied to the recent Fangire attacks, Yuri manages to pay the best outfit Luxur had and Otoya disguise himself as a woman to lure out Yamashita, who reveals himself as the Chameleon Fangire as he attempts to kill Otoya out of craze rage as Yuri and Otoya arrive and force the Fangire to retreat. Later, Yuri explains to Jiro that she is not ready for a commitment, with Otoya taking the engagement Yuri's ring and tossing it and Jiro's into the lake.
In 2008, Wataru learns from Kengo that the waitress they met is named Mio Suzuki, who Kengo has feelings for. But after Mio's date with Kengo goes horribly wrong, Megumi pairs her with Wataru to Kengo's dismay. The two later go to the Casuar clothing store owned by Yamashita, before Wataru later buys her a ring. But after being fired from her job, Mio runs off only to encounter Yamashita as Kiva to fight the Chameleon Fangire, whose cloaking abilities catch Kiva off guard. To counter this, Kiva uses the Dogga Hammer to expose the Chameleon Fangire before shattering him. Later, Mio puts on Wataru's ring as the two fall in love with each other.
Overture (French ouverture; German Ouvertüre, Vorspiel; Italian overtura; i.e. opening) in music is the term originally applied to the instrumental introduction to an opera. During the early Romantic era, composers such as Beethoven and Mendelssohn began to use the term to refer to independent, self-existing instrumental, programmatic works that presaged genres such as the symphonic poem. These were at first no doubt intended to be played at the head of a programme.