THE PASSING WIND

-TheSilentReader-

CHAPTER 22:

[Entry 1]

—damn it, do you have extra batteries? Two triple A's. Shit, it's on already . . .

Fukuzawa Yuuki here. Made it to the gallery at exactly fifteen-thirty, fifteen minutes after Fukuzawa Yumi's painting called The Passing Wind was suddenly missing. Turned out to be robbery, as six suspects, who were last seen in the Nihonga section, east wing, were captured and held for questioning. Don't know how it turned out this way; the place was trashed. Heat sensors busted, CCTV's busted, even the activated barricade's busted. The fire sensors activated because robbers put two smoke bombs, to activate the security systems. The rest of the paintings were covered by the metal plates when the smoke alarm was activated, except for the wall where Yumi's—ah, Fukuzawa's painting was hung. The plates were blocked by metal rods slipped in the plate's way, unable to cover the painting.

Yumi . . . was surprised to know it's missing. Damn it. She even wants to use my fucking gun. But it wasn't a surprise that it was stolen, she never sell even one of her works. It was highly regarded by those who want and acknowledge her talent.

It's a cruel joke . . . my first major case involves my sister.

Objective is to find the painting and bring it back in one piece. Another is to find out who stole it. First one's imperative, the second, optional.

[Entry 2]

Quite a risky plan. A attaché case was found to stop the metal barricade to shut down the section completely. Inside was a titanium metal, enough to stand the pressure of its force. The CCTV was interfered with a wrong feed.

The suspects, six of them were in this. Five were found inside the gallery as security guards captured them before they went to the front door. One was captured outside, where he was stationed in a van, from the get-go. Turned out that the plan did not work. They suceeded in shutting the CCTVs, the heat and fire alarms. But they did not put the case with titanium, and they were not the ones who set teargas.

They went into the gallery by different means, possibly. One is to act as a tourist, another as a uniformed employee, another as a technical crew. Found a spider at one of the wires for their CCTVs, thus explains the different feed. Yoshino-san was indeed right about that.

The suspects were hard to convince to talk. It was Yoshino-san who said something to the man who knows how to talk Japanese . . . I did not hear even though I was watching a room away from the interrogation room . . . but she said something that made him pale in fear. I don't want to know what the hell that was.

The six, who were Southeast Asians based from the language they're speaking. Malaysian? Indonesian? Could not confirm yet. Right, it was Malaysian. Only one of them knew Japanese. They appeared to be surprised that they actually failed. According to Shimazu-san and Chisato-san, they were given money to do the job. Their employer they didn't know—they were just following orders through cellular phone. Found one in their possession; the number was untraceable. They actually were given half of their money to prove that the order seems legitimate—again, when we checked their accounts, money was untraceable. Turned out that money was transacted in cash, and were given instructions where to find it. The forensic accountants were baffled at the least, that the proprietor had used convention and modern way of transaction.

It was intentional when they remove the tourists and a curator in an area, in the reason that the wing should be closed for the day. A guard was stationed in the wing, but was told by one who's speaks Japanese that the guard was requested to be removed from post. When not convinced, he called the headquarters for confirmation, but communication was bypassed and interfered by the man in the van. But when all five were able to remove the people out of the wing, the fire alarm was activated; the water sprinklers were activated, the barricade going down. This was not in the video feed. They were not instructed to break the fire alarm. They denied that they put the teargas; they were all outside the wing when it happened.

They were supposed to get inside the room, just to deactivate heat sensors in the painting, and tear it from the wall, put it in a bag, and walk away until the curators and guards realized that the wing was vacant with people, as well as the wall vacant with Yumi's painting. With the CCTV interfered, there would be no trace.

In a sense, these men never succeeded. They were not able to get the painting. But they were tricked. Someone was inside the building. Someone who knew their plans, and use that to his or her advantage. I think, he's the one who activated the fire alarm. He was the one who put that attaché case. He was also the one who put those rods to stop the plates from protecting the painting. And he escaped when everyone was agitated because of the fire alarm, and the fact that those five men were caught by the security.

Fingerprints on said objects and locations were useless.

Their employer, whoever he was, would be pissed off knowing that his plans were screwed by another.

Yo, Yuuki-san—

[Entry 3]

—witness came to confirm the suspects' faces.

Kashiwagi Suguru, of all people. My senior at Hanadera. I couldn't believe that he's here at Musashino—nothing was heard of him ever since he left Hanadera. His parents' death must have pained him a lot. But he was here. And he saw this shit.

Turned out that he's one of the patrons of the gallery. He came into the police station and said that he wanted to help the police, since the TV stations already broke the news. He was there when the alarm broke out and was near the Nihonga section when the suspects started to run away. He identified the men and confirmed it.

Yumi was surprised when she met Kashiwagi-san. Didn't know him. He seemed to know Yumi's works quite well, and based from their conversation, he was a fan of her works. He even knows what the critics thought about that painting. But Yumi was bothered when he said something about it. Something of the opposite—I don't know.

It bothered me too.

[Entry 4]

It was easy. This investigation has nowhere to go. Yoshino figured that there was no use in extracting the whole story from the suspects, as she told me even after she contacted Chisato-san. Two days of having ample information in our hands, except the leads of the person behind all of this.

I have no idea where to find him.

Yoshino was convinced that it was nearer than we thought. She thought of the people close to Yumi: Sei-san, him, and Touko-chan. How she thought that Touko and I could be part of this, I want to strangle her. But, I understood. Associates in the gallery? They were scared of Yumi. The boss? Why would he even plan that? He'd have more money in displaying the paintings than what he and Yumi would get from the insurance. Takuya? That might be one. That bastard still might have unfinished business with her. I must check on him.

What was the painting to Yumi, Yoshino asked me that. I couldn't answer, but I know what it was to her. That's what holds her sanity. To keep hurtful things at bay. Reminder.

When Yoshino asked why Ogasawara Sachiko was not one of the lists of the people Yumi was closely associated with, I want to run away and never answer her. I couldn't say that Sachiko-san wasn't, but that was the point. That painting is a reminder.

[Entry 7]

—crossed out every possible bidder that have no interest in modern Nihonga. Quite many people, but many too have little association with her. I've contacted with Yumi to take her opinions about these bidders, if ever one of them offered her money in exchange of the painting, or if someone desperately wanted them—whatever—as long as I get a reaction from her to whatever name on the list. Four years of lists from auctions, etcetera. I've consulted Hinomura about this, and all requests to sell it were denied. One even offered 500 million yen. That's a lot of money.

Still wasn't sure of the masterminds. . . two people gunning for that painting—

There's a possibility that they're the same person? Possible, but hilarious, Yuuki-san.

—shut up, Shimazu-san. Anyway, that's another angle. If it's for money, then why did he steal those more expensive Nihonga? If not, then, what for is it?

Yuuki-san, it's not about the money.

Huh?

Someone is bored enough to steal it from the gallery. See? A 25 million yen Fukuzawa. Just one. The others' prices come close to it, like The Deformed, with 20 million. Distance, with 21 million. Why only one painting? Why not three Fukuzawa's? Why not the others? There were also 500 million yen-paintings in the same wing. Not to mention a Higashimaya on the opposite wall.

Because no man could steal three paintings in less than two minutes.

Let's not take down the fact that they could be two or more. Even foot marks are useless. With all the people visiting that section that day . . .

[Entry 8]

Yoshino-san showed me yesterday the names that she wanted to investigate on out of the four years worth of list. Name's Touma, Ogasawara, Kinomoto, Hinomura. She's really fast. Anyway, the three, I couldn't get out of my mind. Touma is now the last name of Ogasawara Sachiko. Ogasawara is Ogasawara. And Hinomura is the professor.

I'm not liking where Yoshino-san is heading.

[Entry 14]

Yumi continued with her work in the gallery. She said that she know less of these bidders, has no idea who they really were, and would never bothered about it. She never wanted to sell her paintings, anyway, so there's no point in knowing benefactors and bidders.

Shit.

She just dismissed the list. Even though it's better to co-operate if she wanted her painting back. But she said she's busy.

[Entry 16]

Police have come across another case, and superiors assigned it to me. I think I need Yoshino-san to take care of things while I get this new thing done. I still hope that I should concentrate more in Yumi's painting, but the police was thinning its patience. Why are they so less professional about theft?

Oi, Fukuzawa, that's a record, everything you said is there.

Shut up. Anyway, since Shimazu-san will take care of this for me now, I'll close this next case fast, she won't even miss me.

[Entry 19]

They were fucking bailed out. The case was brought to court days ago, proven guilty, but since these were attempted robbery, their penalty was lessen, and they could be bailed out. They were fucking bailed out. The embassy had asked if the trial could be held in Malaysia, but the court did not allow that. Yet, something changed—they were bailed out. The embassy was not responsible for it, they did it because they wanted to help their families, but then . . .

[Entry 21]

Met Kobayashi at the gallery. It's been a long time. I found him sitting in front of The Deformed.

What the hell, Yumi's not in Musashino anymore—she's in Kyoto for crying out loud. She didn't even contact me or Touko that she's leaving for a commission. And that commission was sponsored by Kashiwagi-sempai. And it has been a week.

Touko was pissed off, but she did not show it. She couldn't do anything, and I can't do anything. Sei-san thought that Yumi, at least, would have told her whereabouts, but that's the problem: Yumi's isn't a little girl anymore. She won't tell me where she's going because I'm not her ward or anything in the first place. We gave Sei-san the names that Yoshino-san wanted to investigate on, but even with that, I'm still not buying it. Even though Yoshino was very suspicious about them, I still am convinced that this is not where we're supposed to look.

I wonder how Yumi'd cope up with that. She swore that she'd never go back there again, but that's because Takuya was there. She won't risk seeing him again. But why did she agree? What were Kashiwagi's terms that made her go back to Kyoto?

[Entry 23]

Kobayashi was actually an employee of the Ogasawara Zaibatsu, close enough to meet Touma Sachiko, Touma Ryu, and Ogasawara Kyouiichi, the big three of the company, in an everyday basis. That bastard was actually there to discuss with the owner that they would be happy to loan a good painting in replacement of Yumi's missing one.

I wonder how he could stay there, everyday. But the pay was high, who could blame him?

[Entry 25]

Finally at Kashiwagi's compound. This trip would just be about informing Yumi about our progress—and we're going to tell the truth—but when Sei informed us that the compound was used to be the Kinomoto compound, I shivered. We have forgotten that Kashiwagi was in the gallery at that time. We've also forgotten that he was one of the patrons, so when the idea was planted in my head—that there's some sort of a bizarre connection to all of this—I can't help but re-account all the things I thought about my sempai.

It was coincidental that Kinomoto was in the list, wasn't it?

We saw documents of Kinomoto women in Yumi's workroom, who happened to be Nihonga painters. Two, we know, like Junko and Hinata. Hinata was suspected to have a daughter . . . maybe that's the Kinomoto that we were looking for?

But Ogasawara and Touma were in the list. If they were more linked to this mess, then I'll say that this is not about the money. But we have no proof. Just this tiny bit of idea in my head.

I just wish that Yumi won't attend the gallery's party to replace her painting with the Ogasawara's new one.

[Entry 25.1]

Finally got a chance to talk to Kashiwagi. All we talked about were the Kinomoto paintings. He was a little excited when it comes in telling stories about the Kinomoto family, as if he were one of them. He loves them to the point that he bought the family house and even wanted their paintings to be restored back. He wasn't used in showing his feelings this freely. Of all my time with him in Hanadera as his apprentice, I've never seen him act this way. I know that many things could change in the past ten years, even with a quiet man like Kashiwagi-sempai, but . . . but I couldn't just accept this deduction. I might as well change my attitude and better face the facts to improve myself.

Any case, I need more time to check on him. I don't have any proof, but the Kashiwagi and the Kinomoto name were just screaming at me. This Kinomoto name, a name that no one was using now, was used by someone as a bogus to purchase Nihonga artworks. Yoshino and I searched for more Kinomoto in the country that can be related to Nihonga, but none matched, not even with this Kinomoto's kanji form. The kanji that was used for the bogus art purchaser and bidder was the same as the kanji of Hinata's, Junko's surname.

I have seen how he managed the estate. It was as if they were still alive. I thought that he must be related to the main family, anything, but Yoshino said that it won't matter. The Kinomoto wasn't related to Yumi, in anyway. Except they were both great Nihonga artists. That's all.

[Entry 25.2]

—where the hell? Oh, it's on. Right.

Oi, you probably don't know it yet, but I stole your recorder. Yoshino by the way. Well, here's the thing, you are not telling me something. To remove the info that Sachiko and Yumi were lovers before, that's why it didn't make sense to me. Now, well, it does. I knew that this is more than just unrequited love.

Right, how did I know that? Yumi told me everything. And I mean, everything. I showed her the list, and she wasn't surprised. It's really personal! So, I talked to her, and she told me that Sachiko-san and she were a thing back at college—why was it that I wasn't informed about this?—anyway, Sachiko-san actually visited her twice after the painting went lost. First was two days after it went lost; the second was two days before she went here for Kashiwagi-san's commissions. So, why is it that Sachiko was reaching out after all these years of not meeting with Yumi? That's one.

Hinomura Takuya, that professor? Yep, I know they had a thing too. Broke up because of the publications about her thesis—but you probably know that already. The case was resolved, but still, case is personal. So, can we ponder on this man? Sure we will.

About Kinomoto, well . . . she talked about Hinata and Junko, the lasts of the line. But I saw the seal, Yuuki-san. The other Kinomoto's name was Setsuna. But what the heck, they are all gone. But since Kashiwagi's taken a liking with these painters, I'll look again with these names.

[long silence]

You know what, this case is more and more becoming like a stupid tragedy that I can't help but be aware of my role. As much as I want to know what happened in the past ten years that I've been away from Musashino, I hate how everything is revealed to me.

[long silence]

Anyway, that's all. Oh, yeah, I forgot, if you're looking for the recorder, like, right now, at three in the morning, you won't find it. I'll be returning this by tomorrow morning, by the door of your room—with a note, of course. It'll say: Entry 25.2. Got it? I don't want to spoil your night with Touko now, do I? She'd been busy, and you've been busy, so, congratulations on getting laid . . . right, if that's what I've been hearing a moment ago . . . if Touko-san is hearing this as well . . . Hi, Touko-san! Was it good?

[Entry 26]

Went to Hinomura instead of going back to Musashino with Touko and the rest. I have not seen him in a long time, and only met him twice, since Yumi wasn't the type to visit in Musashino.

He was innocent, I know he was. When I saw him today, he was surprised to see me, yet reluctant to ask about Yumi. He had not seen him in a long time—three, four years? He was already back on his feet, and it seemed like his failure—no, offense four years ago was already buried deep under. He was already gained back his reputation as a professor in a minor university in Kyoto. He could not say anything, except that he was sorry for the pain he had caused Yumi. I tried not to flinch at those words. Many had been saying that, in front and behind Yumi's back, but did they mean that? Would he be more disappointed at himself when he'd seen Yumi once more, in a much worse state than when he left her? I knew . . . I just knew that he couldn't be the one stealing it. He is the type of person who doesn't want to have the evidence of disappointment within the vision of his eyes, because evidences are everywhere. That's why he resigned to his former university, to leave the disappointments that were planted there.

I've checked him already. I could tell that he isn't what we are looking for based on the documents that I've gathered—everything. It was easy to look for them when you have friends everywhere. But I have to see for myself. I have to look at him in the eyes and tell what the fuck is going on in his mind.

The fact that he could not say anything for a long time after I asked him about the painting was the indication that he was not the one. He just won't just accept the fact that he broke her completely. That little speck of hope that remained after Sachiko-san left her wake vanished completely when he betrayed her.

For Yumi, love never leaves leftovers. It eats everything, tissue and bone.

[Entry 27]

Tried to hold my breath when we visited Touma Sachiko for questioning. We were entertained quite nicely. Jesus, I really can't take it. What's her problem? Just when I almost puked because of Hinomura, Yoshino-san dragged me into the lioness' den. Part of the job, so I sucked it up. As usual, nothing from her. She explained her and her husband's liking for Nihonga, and it was not a surprise for them—the list went on, because they had the money to pay. Was it a big deal that they like Nihonga? No. They bought them because they have the money to burn.

I wanted to end the questioning as soon as we started it. Yoshino-san is much better handling her. For me, I had enough. The mere sight of her irritates me.

[Entry 31]

Yoshino-san's gonna rig Rei-san. Though I bet her sleuthing there won't work.

[Entry 31.1]

It didn't work. Even though Rei-san told her that Sachiko had been trying to reach Yumi, it still failed. Who cares when she'd been trying? What good will that gives? Would that make the painting appear before us? I want to think so. But, just not from her. It would be so ironic, that the person who would bring the painting back is the person that induced Yumi to make it in the first place?

[Entry 33]

She came back to Musashino, just in time for the party. But she came back with Kashiwagi, arms link, like she was his date or something. I hate it when I see them together. Though Yumi would never allow anything bad happening to her, the fact that Kashiwagi seemingly was beginning to feel comfortable around her . . . it was ticking me off. I know that he won't, since he meant business with her, but the thought of him messing around with my sister nausiates me. There was Takuya and Sachiko, but shit. I . . .

[long silence]

. . . I just don't want her to be hurt again.

[Entry 33.1]

—fucking way. No fucking way. This is Yoshino, and before I puke, is this Sachiko? Was that Sachiko? I know that the face in the portrait was almost covered in the shadows, but really, was that Sachiko? Why would she give this sort of painting to the gallery? And why the fuck were the people not looking at Sachiko like I do right now? Don't they notice? This is Sachiko for fuck's sake!

And where is Yumi?!

[Entry 34]

Cannot find Yumi in her apartment. Touko's worried. Ah, Sei just called Touko and told her that Yumi was already taken care of by Kashiwagi. Even though he was there to take care of her, I still don't trust him with my sister. I can see that there was something more to this employer-employee relationship, and the more I observe my sister, the more she trusted him, I think. There was a long link between Kashiwagi and the Kinomoto on my list, but—the truth—out of suspicion, I will dice his past. It's . . . unprofessional, putting my opinions . . . but I can't help it.

This is about my sister.

[Entry 35]

I think I'd start where I first met him: at Hanadera Academy for Boys. It doesn't seem like a good idea that I am venturing over his past, but I have to take my chances. My sister being with him was just too suspicious. I've said this a million times, and very much vocal about it. Even though he's my mentor—that was the past. I don't see him as an innately bad person, but I should not take my chances. He is . . . interested in my sister. Observing him at his compound is proof. He's never harmless. He's associated with people who definitely are on the other side of the law—shady people. Not even my sister—bless her—is immune to that.

[Entry 41]

Yoshino-san and Sei-san went to Kyoto and would try to talk to Yumi. Been a week since she went back to Kyoto, and out of whim, Sei dragged Yoshino-san just to play with Yumi's wits. Yoshino-san, however, called me this evening. Her voice was a little worried, and she said something that concerned me. Sei-san warned Yumi of Kashiwagi. That's why they went there. Yoshino-san was a bit perplexed that Sei-san could say such an opinion about Kashiwagi, shoving what she thought to Yumi, and Yumi just accepted it like a passive sponge. I remembered the time I found them in an uncompromising position back when I went to Yumi's apartment in Kyoto years ago, to give the grave news and invitation letter of Touma Sachiko's wedding. I always thought Sei-san has such an immense influence on Yumi's character, but should I complain? Sei-san completely accepts her for what she is. Yet, what gravely worries me is what Sei-san told her, which further stressed my mistrust: Perhaps, Kashiwagi was obsessed with Fukuzawa's too, just like him with Kinomoto?

[Entry 43]

Nothing. For weeks with no leads and just with three names. How could we suppose to look for that goddamn painting when our two primary suspects belonged to the Ogasawara Zaibatsu and the last one was practically dead? The third I tried to look so for, but all I see was just papers. Papers in the family registry. Junko and her husband, her child Hinata and her husband, then their daughter Setsuna and her son. All men marrying into the family, taking the female's last name. It seemed unorthodox, but nevertheless, these women seemed always ahead of her time. Matriarchal. Painters with much fame but less was said about their personal lives. They had a beautiful, extensive property at Kyoto, but they seemed to be living just adequately for their art and themselves. Yet . . . all men, marrying into the family, until the last one. Setsuna. But she had a son named Suguru. I found this almost comical when I first saw the kanji—and how coincidental it was—that Kashiwagi Suguru and that Suguru had the same phonetics, but differing characters. Kashiwagi "Suguru"'s was a combination of generic Kanji and Katakana, while Setsuna's son's name uses the archaic version, a version closest enough to be produced in Kanji.

I mean, why did the regulation for producing names, and the Ministry of Justice allowed that sort of thing?

Yet, even with this. The coincidence was too alarming. Too glaring, too obvious. I would have thought that there was something clever with history, with the motives, but it was getting a bit, like Yoshino termed: personal. He may be a serious, delusional fan of the family, but then again, Kashiwagi may be really related to Kinomoto family—this is what my gut is telling me—but, so what if? Who cares about that? Even if he inherited the family—no. Wait.

Right. Adopted by the Kashiwagi family—this is much a common knowledge. The papers had told that Suguru was a son of a distant relative, the names not specified, the adopting family has the right never to show that—that's why I less bothered about Suguru-sempai's history before Hanadera Academy. Now, it . . . could make sense. But then again, these are theatrical chances. These coincidences happen in real life? Amazingly theatrical.

Is this another irrelevant information discovered? He's a Kinomoto. Right. The Kinomoto, which is similar to one of the three surnames on Yoshino's list? History. There is truth in history, as well as lies. Kinomoto—they never buy paintings, they make them. They sold. No, rather, they sell those that they didn't need. They don't made them for the money, but they made it for itself. For them, their talent is sacred.

But, is Kashiwagi Suguru an artist? He appreciates them; he bought them—I've seen enough in the compound—but, does he make one?

[Entry 44]

I talked to Touma Ryu, and nothing could make me cringe more when he told me that Kashiwagi Surugu couldn't even produce stick drawings to save his life. He could brawl, that he could. But he could never draw. I, for all my first year in highschool in Hanadera, had never once see him working to anything art. I, belonging to a family who is living off to their art had never deduced an artistic seed from Kashiwagi Suguru. I tried to remember, but there wasn't anything that caught my attention from him, asides from his prowess in executing discipline and unleashing fear.

Yet, Touma Ryu's lively chatter of his dear friend was enough to deduce that he was telling the truth, if not saying something to me . . . that maybe, they're not that close, as I assumed.

But, stubbornly, that's what I think, because when an idea sets and plants itself in anyone's head, it may remain forgotten and lay dormant, but when triggered, it could thrive and seep all faculties of thought and lead the head to think that idea. And it's now eating my head.

[Entry 45]

When I told Yoshino-san that I will focus my search on Kashiwagi only, she gave me a pat on the back and told me that it's my area anyway. I knew him more than she'd ever did. But in my head, I doubt if that made a difference.

[Entry 48]

—ck!

Just when we start to have a little, then the higher ups gave an order that this is going to be an unsolved one. Shit. Not when weeks of prostrating myself over this—where is Hinomura-san to defend us? He had no choice too. This is eating his money, thus he had to move on. We . . . we can't move on! What will Yumi say to this?

[Entry 54]

Touko said that the case went into my head and heart that I forgot how to do my work properly. She's right. When I told Yumi a horrible thing back at the gallery, I crossed the line. Maybe, this case is not for me. My first big break is my first big failure. I cannot stress more how inadequate I am in my chosen profession.

[Entry 54.1]

Kashiwagi Suguru admitted to me that he's interested in my sister. I want to punch him in the face, but I couldn't. He revealing some sort of sentiment—or any kind of emotion to a person like me is ominous enough, like something's going to happen. Something that I couldn't even stop. I couldn't take that the ideas in my head are becoming true.

[Entry 57]

—the painting . . . ah, the painting . . . medium: oil, initial analysis—shit, I can't do this—

[Entry 57.1]

I almost puked after we gathered the remaining artifacts of a suspected replica of The Passing Wind. How could I stay quiet after weeks of looking for it? My priorities had been altered too; I've been looking for its thief than the piece itself. My objective is to find the painting; the thief was just secondary.

And now I had it, or pieces of it, in my hands. It would have given us the light that Yoshino-san and I needed to open the case once more—to shove its folder away from the degrading corners of the file room, but it's never going to happen. Sachiko-san had ensured that already. When we looked at it, it wasn't the real one at all; it's a fake. Touma Ryu and Kashiwagi Suguru—those bastards burned and shit with a duplicate—which should never exist—and spite her for all her sentiments for my sister. It was personal, and everyone was dragged to it. My sister was dragged to this.

Touma Ryu is mad, and that's him in a nutshell. But how could I prove my theories if I'm tied up and pushed to a corner? When hurting him means colliding with the Berlin wall that is the Ogasawara family?

Present

[AFTERMATH]

She wouldn't call it insane, never. Yumi would never border into psychological malfunction at that. The paintings in front of her were staring at her with profound, snobbish disgust, almost saying, and almost simultaneous as she muttered what was on her mind: "Who the fuck're you?"

It was midnight, and she still had not dinner, but the look on her face as she scanned the duplicates was a direct translation of the same derogatory question that repeatedly ran through her head. Who the fuck are you? Should she salute for a job well done, or for keeping her at loss? She thought that having sentiments over the man who employed her services was a wrong decision and she didn't regret the thought. What she regretted was the feelings—how awful a word—that made her react like this. She was angry, again, because she trusted him; yet, she didn't, didn't she?

When he called and asked if she trusted him, her answer was a definite no. Then, why was she angry in the first place? Because he betrayed her? That wasn't the case.

The scent of tea and paint began to nauseate her, and hence the flash of memories that correspond with that smell, and with time, she thought that it would just fade, molecules drifting farther and farther away from each other. But the scent—particularly the tea—was beginning to rise, to saturate, especially in the confines of the fusuma. Hence, the appearance of the shadow looming behind her.

She was waiting.

She said, finally, "You finally made it."

"No, you made it."

TO BE CONTINUED

A/N: Breadcrumbs all over. A clarification:

I have no whatever malice with Malaysians or anything. In fact, they are the Malay race, which my ancestors came from, a proud one for that. This is for the sake of the plot.

This isn't supposed to be a part of the chapters that I intend to publish, but this was stuck in the DocMan, as I decide whether to have a filler or not. But this is the result. Though, I just wanted to tell you not to underestimate fillers. I learned from an anime (RGU) that it can be a very useful device for later flare. XD

I had to publish this fast though, and not to leave this rotting in my decrepit laptop any longer, before I change my mind. And for better news, yup, chapter 23 (formerly chapter 22) is almost finished. For those who read (and re-read; you, charming you) and reviewed the last chapter, thanks for welcoming me back!

NEXT CHAPTER: The Confrontation

P.S. Anon from the review section of HTWIWR, could you reveal your identity to me? We need to discuss a matter of great importance. -TSR