THE PASSING WIND

-TheSilentReader-

My sister is still my sister. She may be different from before, but she could never change the way she cared for other people. I still can see her, as she was many years since. She is strong like that. No one could break my sister completely. No one. Just as I expect from her.

I may never be able to apprehend those that hurt her before, but now, I can.

She's always been my protector. I hope I could do the same for her.

—Fukuzawa Yuuki

CHAPTER 8

The slide door was opened slightly, revealing an unfazed Fukuzawa Yumi on her medical gloves, mixing mineral pigments. On her table were different colors of fine powders of pigments, glue, and a liter of bottled water. She already prepared the glue yesterday. Couple of nights had she spent for allnighters in examining one of Hinata's work—she painstakingly inspected every centimeter of the paper. Hinata was very meticulous in applying her brush to the paper, thus Yumi must take her time memorizing the whole piece. Not satisfied, she even asked Kashiwagi for an SLR camera for documentation, in case she went lost.

Examining a Kinomoto painting took so much time, even though she would just restore certain areas in the paper. She had read and familiarized herself of Hinata's style—and that meant copying her, as if she were Hinata herself. She was very anxious that she specifically requested (through a note attached upon the sliding doors of her workroom) never to bother her.

(Maybe, she could do duplicates of these, even under Kashiwagi's nose?)

She took her time in securing the support of Kinomoto's painting, when a shadow darkened the same fusuma where her note was posted. She braced herself for the outsider, moving two feet away from the Nihonga. The shadow showed a very tall stature, with long hair riding with the wind outside. When the shadow moved, Yumi announced to it, "Do not destroy the fucking door. It's not the same as my office's, Sei."

Thus, when the door was slid fully open, only a very minute tremor was detected by Yumi's socked feet. She noticed quick but small turbulent waves upon the water of the bottled water on her table.

Yumi smirked at Sei, who put her hand on her waist. The painter said, "You really have no manners."

"I'm expecting a warm welcome, not a complaint full of expletives."

Yumi rolled her eyes. "Why a letter, Sei? You could've just sent me SMS. It would have been much faster. Sometimes, I could not even stand your logic."

"There's flair and drama when one corresponds in the traditional way, Yumi. You're getting too crass for your own good." Sei retorted back.

"Drama can kiss my ass." Yumi sat at her stool; Sei motioned inside the room, and looked at Kinomoto's work. She bent her back low, prodded her head until her nose was a foot away from the paper, and said, "I'd steal for a Kinomoto such as this one. Look at the brush strokes . . ."

Yumi flinched at the word "steal", but tried her hardest to ignore Sei's comment and sighed, "That's what I thought too," and watched Sei retract her head and stood straight. She continued, "Her brushwork is one tough shit to familiarize."

"Have you mastered it?"

"Tried on a paper yesterday after the glue prep. I think I can handle it." Yumi smirked.

Sei put her hand on Yumi's head, "Damn sure you do."

They talked about the nature of her commission, about the three Kinomoto painters that she had to study, and the six paintings she researched. Yumi tried not to expose Setsuna Kinomoto's relationship with the two famous artists, and she was lucky enough that Sei did not bother to ask. She also let Sei look at the other five Kinomoto paintings, enough for Sei to be too giddy that Yumi waved Sei's hand every time she tried to touch them without gloves.

When Yumi finished her informal report for her senior, they went outside to sit at the corridor, watching the Japanese garden in front of them. The painter then asked for Yuuki and the others, and Sei replied that they were being entertained by the old woman, and that she volunteered herself to fetch for "Yumi Ojou-san." Sei said nothing after that, and requested Yumi to meet the rest at the living area. When they reached at the large room, Yumi expected her brother and Yoshino.

Her brother was wearing his usual black ensemble, while Yoshino was wearing a red button-down shirt and white blazer and skirt. They were sitting in front of a black wooden low table, eying the tea offered to them. She lifted a brow at the people before her, and at the same time, both the police and the insurance agent looked up and greeted her. They said, "Yumi." She further scanned the room, revealing the old woman in her maroon-colored kinomo and one young woman, having a long, wavy, auburn hair down to her upper back. She wore a simple dark blue dress, her upper body covered with an elbow-length white cardigan. When the person noticed Yumi's presence, the latter lifted her lips upward and a small, content smile appeared, her face glowing like diffused sunshine. "Touko."

Yoshino dropped her jaws as she witnessed Yumi's very familiar, cheerful smile for her little sister. It was so long . . . so long since she'd seen such a smile coming from that woman, that she felt a little jealous of Yumi's treatment for Touko. The first time they've seen each other at the Musashino PD, she was very distant, but here—a fragment of the old Yumi was before her eyes.

Touko stood up the same time as her Onee-sama said her name and hugged Yumi. She did not let go of her grande soeur, even though the latter was already hugging her back and patting her head. She said softly, "Whoah, Touko, you look so pretty. Yuuki surely is taking care of you. You know you can always talk to me about this and that . . ."

"Yumi, cut it out." Yuuki was complaining in the background, albeit a little flushed.

When Touko broke away, Yumi saw a very acute pout and eyes like slits. "Nee-san, why didn't you tell us that you're going to Kyoto?" She asked snootily.

Yumi just grinned and apologized.

Then, they sat beside each other, while the old caretaker was busy unforming the visitors that the master of the house was not yet home, and that they should stay for the night.

Five years ago, when she heard from Yuuki that Yumi-sama would be home from Kyoto, she began to plan her days to meet and spend time with her dear Onee-sama. It was already the end of the academic year, and there were still the finals to pass, but she digressed. Knowing that Yumi would be back for the break, she begged Yuuki to keep tabs of every news about her Onee-sama. Yuuki had been supportive and enthusiastic to her that she could not help but feel guilty. She felt that she was not giving enough back to her boyfriend. But whenever she brought that into their conversations, he would brush it off.

"I will do everything for the world you wanted."

His words were always as if he owned it. That it would change for them, not otherwise. If not, he would act upon it himself—that's how he dearly and violently loved her. He would boldly say those, every time she felt that she doubted. She tried hard not to believe him, but she could not help it. He was always so direct, so honest, and never shy with his feelings that he overwhelmed her sometimes. He was always the first to take initiative, something that she was used to be before they met.

Just like before, five years ago. When Yumi-sama would finally go back to Musashino after a long time from Kyoto, she said that would stay here for good. Yuuki told her quickly after he heard the news, and with that, he told her that she should prepare herself. He said that she would spend her time with her onee-sama during the break, never would mind about him.

Thus came her first meeting with Yumi after a long time. She changed much ever since last year; Touko felt Yumi's heart became all too hard but brittle. There was an air of anger and sadness about her that she could discern was because of bad experiences. But all the while, Yumi never was did show her sorrow to her, neither the usual scowl that she wore whenever she was facing other people, even her own brother. For other people that used to know her, Yumi's naïve, hyperactive, clumsy features had disappeared. Yumi would simply be an antagonist to everything that others would say, but it seemed that Yuuki was unscathed by her older sister's taunts. It was as if he saw it coming.

Yumi had changed so much, but for Touko, it was as if she never changed at all. Her enthused smile, it was still there. Her hyped disposition, it was still there. Her very expressive face, it was still there. Whenever she was with Yumi, it was as if high school had never come and gone.

Even though it has been almost a year ever since Sachiko had been married.

During one of the days that she helped Yumi unpacked to her new apartment, she asked her a question that was haunting her for a very long time ever since Yumi went to Kyoto.

"Onee-sama, why are you so nice to me?"

She looked at Yumi when she felt that the latter suddenly stopped her movement from opening a large box. Her Onee-sama looked at her with wary eyes and bleak smile. Touko hugged her tightly, without any thoughts of reluctance. In return, Yumi would just pat Touko's head.

The latter asked for her forgiveness, for not knowing anything, for not being there when Yumi needed someone to comfort her. She hated herself for being there at Sachiko's wedding, not knowing that at Kyoto, Yumi was dying.

She knew that answer to her first question. At the same time, Yumi knew that Touko understood.

And even up to the present, it stayed the same.

She would never be cruel to Touko. She had changed so much, but it did not mean that it would also apply to her little sister. They had too much grief and sorrow when they were not soeurs yet. Her petit souer had been like Yumi for most of her life until they became soeurs, and Yumi does not want her own disposition to add with Touko's.

She was so tired of everyone wondering the reason for her change. She was tired of people reminiscing her old self, trying to change her back. When Touko saw her change, she did not complain. She understood. She held on her the same as before, without discomfort. Touko never demanded for an explanation for Yumi's treatment to other people. She never insisted the reason.

Touko had read Yumi clearly. They did not even mind the plain transparency between their eyes. As long as Touko understood her, Yumi will be satisfied.

With Touko's passiveness, Yumi told her of the past. Yumi felt free of the things she wanted to do, of the way she wanted to act. But still, Yumi watched herself carefully, not letting herself be drifted away too much, because she doesn't want her little sister to get tired of her. Or hate her. She could not fathom that possibility . . . therefore, for Touko and only in front of her, Yumi would remain her old, cheerful self of her Lillian days.

And at the same time for Touko, no matter how Onee-sama would change, she would not leave her side. She knew all the facets of her kindness—the exploitative and expressive ones of the highschool's past, and the silent concern and sarcastic behavior of the present. No matter Onee-sama's manner of showing her feelings, Touko will accept it all—just like the way she accepted her years ago, no matter how contrasting they used to be in the past. She was just giving back the attention that Yumi gave her (even before she bacame Yumi's petite soeur), when Yumi became the one who gave her silent treatments.

Touko knew: it was really hard to be like Yumi of the highschool days.

The soeurs were walking along the vast Japanese garden of the Kinomoto compound for the quite some time, silently thinking, while holding their hands. When Yumi excused them after teatime, they began to stroll along the garden. It was already midafternoon when tea with Sei, Yoshino and Yuuki were still commencing. She knew that Touko wanted to be alone with her onee-sama, therefore, Yumi took the initiative to get them away from the room.

Now, it's time for them to at least talk.

"You find it hard that I came back here?" Yumi asked.

"No. When Yuuki told me that it was for a commission, I thought that Kyoto should not affect your work. No matter how it concerns the past." Touko smiled.

"Nicely said. You just made an image of me being mature. I'm not, you know." Yumi said, even though Touko was absolutely opposed her with heavy stares. When she saw their intertwined hands, she jested, "Are you sure Yuuki would not mind?"

"Don't be silly, Nee-san. He was the one who arranged this meeting. I have a very tight schedule, you know."

"I don't get it." Yumi smiled.

"Jeez, nee-san."

"So, Touko-chan, how's my brother fairing now?" Yumi asked with twinkle in here eyes.

She brushed it off, like lint on her skirt. "Oh, nothing special. You know, Yuuki's just being . . . well, Yuuki." But she blushed mid-sentence.

She narrated dramatically. "His bite is the same with his bark. But, you know, I always assume that you are the quiet one in your relationship, while he's the one declaring stupendous, impossible sweet nothings to you, acting all cool, calm and collected. He'd read your thoughts even though you're not talking—he'd just interpret with your expressions. I don't see him that way, but it's not hard to imagine it." Then she looked at Touko with a gleam in her eyes. "I'll leave him to you. You can handle him."

"Nee-san, you sure are talkative today." Touko raised a brow in response, trying hard not to reveal her astonishment for Yumi correctly reading her mind. Yumi was not entirely wrong about what she assumed, but the med student must admit: Yuuki was quite a big talker when he courted her. Touko at that time was entirely amazed by how confident he was. Particularly when he started doing what he told he promised. "I'm just lucky I caught him first. The first girl wins."

"I just knew you'd say that."

"How about you?" Touko asked innocently.

She knew the entirety of such a vague question, but if she would hear this from somebody else besides Touko, she would sure vent out a piss-off, sarcastic reply to blow him or her away. She said, "She came back. Right after my painting was stolen."

Touko's face held a confused look. There were others . . . "Who exactly are you talking about?"

Yumi smiled weakly, and sighed as she recalled an afterthought that she told Touko everything. "Sachiko."

Touko braved, "And then?"

"She visited twice. I accomodated her for a while, gauging if I could control my hatred over an indifferent approach, but it seemed that it always win. Then, I told her to piss off."

Touko remained silent, as she weighed her reply to the very vulnerable and defenceless sister. It would have been better if she would be totally honest with her feelings, but she always considered Yumi's past. She thought that it was her flaw whenever Yumi's around; she always see Yumi holding her grudges against her back, a burden that failed to be released even by time.

Yumi noticed Touko's silence, and she said firmly, even though she halfway dreaded her encouragement, "You can say anything. I told you I want you to be blunt for me."

"Have you ever thought of forgiving her? I hate the bad things she'd done to you, but did you ever tried to hear her out? Her intentions for seeing you again?" Touko asked softly, preparing for a verbal spar.

(Just as she thought:)

Yumi snapped. "How could you be so forgiving? I knew what exactly happened, on both sides. If she were brave enough, then she should have held on to her promises. You were there, you've seen it. You were lambasted by her grandfather until the marriage just because he knew you're close to me. Even though you're her cousin. Just because you knew about our relationship. She seduced three years out of me and when she knew she could not get away from them anymore, she dumped me like a doll when she's done playing with it. I never knew rejection and betrayal until she came, Touko."

She was huffing hot air out of her mouth; she felt her brain burn. She was berating every ounce of frustration to her younger sister, as she constantly flail her arms to prove her point. She tried to cry, but no tears came out.

"I was lambasted because of my birth, remember?" Touko watched her complain, but she just held her gaze straight to Yumi's eyes. She understood completely. When Yumi was still not calming down, Touko held her to her arms firmly, not letting go until Yumi's nerves tranquiled down. She said firmly, "But you taught me long ago to be forgiving, Nee-san. And I am thankful for that. But should you be forever bound to your hatred for her? I hate to see you like this, Nee-san. I hate seeing you get hurt like this."

She let herself be rested in Touko's embrace. "I'm sorry, Touko."

Yuuki and Yoshino entered the painter's workroom, with Sei guiding them inside.

"Don't screw this up." Sei said as she guarded the room from the outside.

"Likewise." The two replied.

"She's messy as always," Yoshino said.

Yuuki inspected the room and replied, "She's not messy like you think."

Yoshino scowled as she silently contradicted the detective's statement. She was not surprised finding the room to be quite messy; art materials were lying everywhere—sketchbooks were settled on the floor unceremoniously, several oslo papers crumpled at different areas of the room, and some charcoal and pencil sketches were lying everywhere. Yet, when she scanned further, she was beginning to acknowledge Yuuki's rebuttal.

Yumi was only messy on things that did not matter. She looked at the crates of the six paintings that she was assigned to restore, which was carefully placed on one corner of the room, properly labeled. Brushes and knives were sorted out upon her table. Her apron was folded carelessly on her stool, and the first painting for restoration, which was supported by a stand, was covered with white cloth, protecting it from its environment.

"Kinomoto Hinata, Kinomoto Junko. These are famous painters." Yuuki pondered. He was looking at some documents piled neatly inside a drawer. Documents were labeled properly and arranged according to Yumi's preference, which Yuuki had tried to decipher. "Yamayurikai and theses really made her organized." He chuckled as he continued. "Although I couldn't see how she sorted these files." He took them from the drawer and began to scan the documents.

The two looked at each other.

Kinomoto.

Yoshino grabbed on a ream of papers and scanned them. She was now looking for a connection—a relation between Yumi's commission and her lost painting. Before they left for Kyoto, she was surprised that the name Kinomoto appeared in the names that were buying Nihonga paintings for the last years. That name itself should not be existing anymore—Hinata was supposedly the last heir to the line. And she already passed away many years ago. And whe Yumi was assigned to work here, Hinata's former residence, Yoshino thought that there was more than this simple commission. Yumi was not disclosing any information regarding her work, and Yoshino was not successful in getting it out of her, even when Touko was around.

That was supposedly Touko's function here—but it seemed that Yoshino had failed to see that Yumi could not be as easily convinced as before. When she saw the transformation of the painter's demeanor the moment she saw her little sister, the insurance agent thought that she could take that for her advantage. Before they came sneaking into her room, the agent asked for the nature of her commission, the painter replied:

"Talk to my lawyer. Or to Kashiwagi. He's a pain in the ass."

(Ugh.)

How could a dead person be buying Nihonga now?

She heard Yuuki loosened the first button of his white shirt and tie, and settled on the tatami mat in an Indian sit. "Do you know of the rumors about Hinata?"

She considered Yuuki's afterthought. "From what I see here, Yumi needs to restore six Kinomoto paintings. I had identified four of them from the labels at the crates, two of them are of Hinata's, and the other two are of Junko's. Two left and it doesn't have any label. We just can't open them without Yumi's supervision. If we compromised the goods, then her commission's no good. Her employer's gonna be pissed off."

Yuuki flipped a page of a document about Hinata. "Rumor has it that she had a daughter."

Yoshino said. "I know that story too. But that girl was not found. It may be true, or not. But it could be a reason why we had a Kinomoto on the list. Her child might still be alive." She looked outside, and found Sei still at the door. "He has Kinomoto paintings, which are very rare to acquire. The first time I saw Yumi's employer, that Kashiwagi Suguru, I don't trust him at all. So does Yumi. What made me wonder's that Yumi accepted the commission even though she doesn't trust him. But it's work. And money. And the fact that every Nihonga artist would kill just to get a glimpse of a Kinomoto."

"What I hate was the Ogasawara and Touma added to the list." Yuuki growled.

Yoshino supplied. "Fukuzawa-san, it's just a list."

The cop was now engrossed with the vendetta against Touma Sachiko."Ever since it went lost, that woman started visiting her. Now, her company would loan the gallery a painting to replace Yumi's."

"You think the Ogasawara Zaibatsu is after her?"

"Do you have any idea about this, Sei-san?" Yuuki turned to Yumi's senior.

Sei replied absently. "I don't want to talk about her . . ."

"You manage the commissions. Your boss or Kashiwagi should have told you details. You were surprised that when we gave you the list. I knew it." Yuuki taunted the Sei.

"I was as surprised as Yoshino when I saw the list." Sei tartly defended. "Everyone in the art circle knew the rumors about Kinomoto's heir. They said that she's Hinata's prodigy. But they never found the child."

"Why don't you ask me?"

They were interrupted by Kashiwagi Suguru, on his white kimono, who was suddenly at the doorway, surprising Sei, who was supposed to warn them if intruders were to come. Behind him was his butler. He looked at Satou Sei skeptically, while the latter gave him a surprised and disgusted expression.

Yuuki swore under his breath. She was supposed to be guarding the doorway to warn us for incoming intruders. She just let Kashiwagi slipped into the radar.

(We're doomed.)

"Kinomoto Hinata's child? I belonged to that so-called art circle, but I did not even catch that kind of rumor." Yumi suddenly appeared on the other side of the corridor, with Touko in tow. She continued, "Or maybe because I don't socialize much. Kashiwagi-san," she bowed to her employer, "Okairinasai."

"Tadaima." Kashiwagi hinted a small smile at Yumi. "I don't know anything about it, if you ask me. I just collect their works." Then, he acknowledged the person behind the painter. "Matsudaira Touko-san, gokigenyou."

"Who told you to mess with my stuff?" Yumi growled at Yuuki and Yoshino, who were currently holding papers.

"We're just very curious, you know. Surely you have no dead bodies here to hide, ne, Yumi-san?" Yoshino excused.

"Lame." The painter grunted at the investigators. "You people always spectacularly fail to understand the fucking term called private property."

Unknown to Yumi, both of them got what they came for. Yoshino and Yuuki tucked folded papers on the back pockets of their clothes. If Yumi would notice the absence of some pages of the documents later, it would not matter. They just wanted to finish this job.

That painting should appear as soon as possible; they were running out of leads. Yuuki wanted to give up, but seeing her sister like this—silently mourning for it—he would take his chances. Yoshino and Yuuki walked out of the room.

"You suck as a watcher, Satou-san." Yuuki said, as he rolled his eyes.

Yumi was waiting for Kashiwagi inside his office. Of all the rooms, this one was designed the Western style, evident from the furnishings—his office table, and even to the where she was sitting. Two large windows behind the table revealed the gardens of the compound—she could even see her workroom across the vast Japanese garden. The sun already had set to the west, and darkness was already filling out outside.

The room was filled with shelves of books, and on walls were westerned styled paintings—products of different art periods. He even had a copy of The Scream, which was known for its painter to produce many copies. When she noticed painting, she looked at it very carefully, reminiscing her college days when her class went abroad for field trip in Europe, on a school break, just to visit different art museums all over the continent. It was expensive, but she managed to save for it.

Then a memory crept again. She grunted in misery. She should not be thinking of her right now.

The door opened silently, revealing Kashiwagi. "Fukuzawa-kun, sorry for the delay." He motioned his employee to sit. He proceeded to his own chair and rested his elbows on the table.

"Kashiwagi-san."

"We both know the reason why you're here." He stated flatly.

"I did not invite them in my workshop." She replied quickly, imitating him.

"I know. Satou-san told me. She let them in, knowing that you had nothing to hide. Did you tell them about Setsuna?"

"I told Sei. But she'd get the idea that Setsuna might be Hinata's lost kid. Though I might be lying to the police, I lied to them knowing nothing about Setsuna. I'm not particularly helpful to the people searching my lost stuff." She scratched her head and deposited her hand in the back pocket of her faded jeans. "But I assure you," she turned serious all of a sudden, "I won't let anyone touch your stuff. Except me."

Kashiwagi shifted his chair to rotate it backwards, now facing the tall windows. "It doesn't matter—it will be revealed anyway. I told them to stay here for the night. We should celebrate. There are not much people in this house—it's better to take that in our advantage."

"Right." Yumi supplied nonchalantly.

He asked, "Well, are you going to the gallery's party?"

"Don't ask me." Yumi gritted between her teeth, hopeful that Kashiwagi did not hear it.

There was one thing that surprised Kobayashi Masamune while he visited the office of the president of the Ogasawara Zaibatsu. Even though he looked frail on the outside—the bones of his fingers were already sticking out, his skin sagging and dull, his back almost abnormally bent—his gaze was almost like the eyes of a killer. They were deep black, even though the he wore a thick, rimmed eyeglass to supplement his sight. He wore a very expensive suit over a crisp white shirt and vest—as if he came from a British period movie. Still, such intimidating impression was one of the reasons he stayed on top. Nobody could ever read his mind.

Even though his voice were deep, he spoke on a very low volume that Kobayashi needed to keep his ears really sensitive for him not to anger his employer. And since he was here for reporting, it was intended that he would never speak unless given permission. He gulped as he looked straightly to his employer's eyes.

(Better to appear confident, rather letting him know that I want to pee on my pants now.)

"What is my grandson-in-law and Sachiko was planning now?"

"He liked the idea that we're letting one of their paintings loaned in that gallery. Supportive to his wife as ever. The Touma are very fond of Nihonga, and was enthusiastic enough to share his collection with the museum. About business, the Hinomura had offered a very nice payment for it, the moment he saw the painting. It was as if he was looking at the past, he said." Kobayashi talked evenly and unhurriedly, so that Ogasawara-sama would not demand him to repeat the speech once more.

"Sachiko was very enthusiastic about the project, especially when she proposed it. She told Tooru and I that this was about Public Relations, for branching out our connections to the art world. It was very logical, more so that she's performing the duties now of a customary lady of higher birth." He talked desicively to himself, resolving Kobayashi as his impermanent sounding board.

"My opinion, President," he searched for a sign from his employer for Kobayashi to continue, "She was like that ever since I became one of your employers."

Still, as if he was not in the room. The old man spoke rather absent-mindedly, "It is not like her, Kobayashi-kun. Not very like her." had he spoken in a very stern voice. "Something must be brewing here. Perhaps, I thought that my anxiousness would soon be gone after she had been married to Seijirou. But now, it seemed that my granddaughter had been messing with herself again."

He looked at the frozen Kobayashi with his obsidian eyes. He demanded in a hoarse tone, "What has she been doing in the last weeks?"

Kobayashi reported in his usual confidence. "According to my sources, she had been doing at work, just like before—always on schedule. She has been attentive to his husband, like you expected her to be. At work, she seemed much occupied, particularly when a painting in that same gallery has been stolen. That proposal probably occurred to her because of it. She had been very curious about it that she'd visited the gallery a couple of times, with me of course, before giving me the order of suggesting the proposal to the owner. And it was a success. In a few days, the company would host a little party for our painting's new home. Sachiko-sama has been dealing the preparations herself." He adjusted his glasses.

Kobayashi had been with her when she first visited Fukuzawa Yumi two days after it was stolen. He'd even watched her looking at The Deformed for hours, until he told her about of his interpretation of Fukuzawa's work. He knew only of Touma and Fukuzawa's relationship during high school, but nothing more than that. When he noticed that she was too saddened to Fukuzawa's bad luck that day, he thought that it's just normal. But knowing that her meeting with the painter was a first time in years . . . he agreed with Ogasawara-sama: there was really something brewing.

"She had been there?"

"Yes. I've been with here the first time she visited. Very amused with the Nihonga section, I say. Particularly with the works of my classmate's sister's works. The same artist that had her work stolen in that same gallery."

The old man leaned forward, covering his moustache with his entwined fingers. His elbows rested on the wide, oak table. "Pray, tell me. Who was that artist?"

Masamune inwardly sighed. Somehow, he knew that his employer knew the answer. "Fukuzawa Yumi, Mister President."

"Hm." The old man's brows met as he left Kobayashi wondering what made the former silent. "You don't say."

"I've worked with her at Hanadera Academy during my student council days. She was Rosa Chinensis of her time, as was your esteemed granddaughter's imouto." He offered.

"I know very much, Kobayashi-kun. So, that chit is still alive. However, who exactly is persuing who?" He austerely dropped. "You may go now, Kobayashi-kun. Keep an eye on her."

"As you wish, President."

TO BE CONTINUED

A/N: Thank you for reading, everyone!

What do you think about Touko? I describe her to be an antithesis of Yumi—since, well, Yumi somehow had this big influence to her. Reverse personality. I've been thinking of giving her some role in the story, but then, it depends on how the next chapters will turn out.

For the next chapters, I would practically introduce characters (in canon), as a gift for you guys who had been looking for other Marimite characters to be featured here. Since, well, there's gonna be a party! Oh, yeah. Everyone's invited.

Oh, yeah, and please, don't forget to comment! Your thoughts (and even your simple hellos) are great motivation to continue the story! Please review!