Scene #2864: Swarm The Museum Curator Take 2

Owner	Pose
NPC Maryam Siddig	On Sunday, Maryam Siddig finally had the encounter she'd been hoping for: a pair of curious mahoujin exploring her exhibit while she was ''present''. On Monday, she spoke with a trio of new-to-her mahoujin as well as the thief-prince who'd first introduced her. Today is Friday, and Maryam has had a much calmer, more mundane week of working with her museum hosts, reviewing marketing materials, and re-reviewing the exhibits on display. It's evening, the museum is closed, and she's received notice that she may be expecting visitors - which is why she's waiting at the Museum's entrance with a security guard, a single light still on to prove that they aren't yet entirely closed. The security guard is in uniform; Maryam, a tall Middle Eastern woman with her long dark hair pulled back into a single braid, wears a navy dress with a stark white blazer. "I appreciate you for being so patient with all this, Takeda-san," she's saying, "I know this isn't your usual routine." "Eh, at least things are interesting," the security guard says, a cheerful man in his 60s. "And it's not that it's been any trouble. I'd rather a group of kids come for an after hours tour than try to break in or somethin'."
Kazuo Saitou	Kazuo Saitou is dressed neatly in his school uniform - never mind that it's not high school he's at Radiant Heart for anymore. Black blazer with orange accents: something immediately identifiable, because heaven knows nobody ''not'' at the Academy is going to turn up with that at random. Granted, the earrings and the long white hair aren't exactly standard-issue. Neither is the height. He bows to the pair of adults as he approaches. There is not so much as an extra blink at the mention of trying to break in. What? That was Kunzite. Obviously different.
Kureha Senkenzan	"My lady, would you like the time to yourself?" "Yes, please. I've a few Senkenzan matters to discuss." Kureha is still, technically, supposed to be in Kyoto. But with matters in Kyoto being what they are, she's temporarily 'hiding out' in Tokyo, and the only one of her three attendants she can trust with this matter is Chisa. The woman has walked beside her as they approach the museum, but past a certain point, she gives her young charge a knowing bow of the head, and then veers off. Kureha continues on a straight path, heavy winter kimono rippling faintly around her feet. And as soon as she's in a more conversational range, the tiny black-haired girl leans into a polite bow, and speaks in a calm, yet lilting Kyoto accent. "I'm ever so deeply grateful for your willingness to offer a tour at this dreadful hour. Senkenzan Kureha, delighted to meet you." Her head turns just enough to indicate that the greeting is extended to Kazuo as well.
NPC Maryam Siddig	The quiet conversation between curator and security guard peters out as they're approached, and both representatives of the museum bow in return. "Thank you for meeting with us, Senkenzan-san, and friend. This is Takeda-san, my colleague. He would like to take a few precautionary measures - a metal detector wand - and then he'll allow us to go through. As I'm sure you've been informed, I am Maryam Siddig, curator for the traveling exhibit Magic in the Making." Takeda-san steps forward, and if agreed, will begin waving the wand gently, never once touching either teen.
Kazuo Saitou	"Kazuo Saitou. I appreciate both of you being willing to offer your time." He adds to Kureha, "I'm a friend of Chiba-kun's, if you happen to know him." Not that he would ever call Mamoru that where Mamoru could hear him, but Mamoru is considerably better known around Radiant Heart than Kazuo is these days; Kazuo's reputation as a delinquent, and thus his reputation at all, has declined markedly over the last couple of years. Kazuo bows again to Takeda-san, then stands still for the Wand Check. No hidden knives, no concealed weapons, and very definitely no suspicious cans of soup. He does fish out his keys to show them when the wand's briefly uncertain about that, but there's not even an acrylic charm attached.
Kureha Senkenzan	Kureha inclines her head to Takeda-san, and obligingly lifts her arms, letting the man do his job as needed. Once he's done, she lower her arms again, folding them in front of herself. "Ah, Chiba-kun... he and I are acquainted, yes. His fashion sense is second to none." To anyone who really ''knows'', it'll probably say everything about how she and Mamoru know each other - and also a fair bit about Kureha herself. "I was awfully pleased to hear about this exhibit. My family has always claimed to be descended from oni, so myths and tales are near and dear to our hearts."
NPC Maryam Siddig	Fished out keys are examined and accepted, Takeda-san nodding cheerfully enough as he puts away his wand. "Alright kids, you're all clear. Mind Siddig-san's instructions, yeah? She brought this whole exhibit to life, so if you're good she'll tell you all about it." They're waved through, with Takeda-san holding the door for them. Maryam guides the way to the museum's elevator, leading them directly to the third floor. "I'm glad to have that confirmed again," she says as she leads them, "Chiba-san told me to expect more friends of his, but I wasn't able to quite divert security this time. Takeda-san and his colleagues work hard, and I hate sidestepping them." They emerge on the third floor, where an entry desk, usually manned by staff, waits. "Descended from oni isn't the strangest thing I've heard in the last week," she admits. "Here, out of prying eyes, I can confirm that I would be happy to answer whatever questions I can, and to show you around the exhibit. There are a great deal of items here, and while not all have their origin in true magic, they all express human creativity and spirit."
Kazuo Saitou	Kazuo inclines his head gravely to Kureha about Mamoru's fashion sense. Which is ... sometimes true. It's true in the important moments. It's ... there are likely people who would count the T-shirts that way, somewhere, who are not Mamoru; Kazuo probably even knows a couple. Somehow he keeps a straight face, and bows to Takeda-san a third time on the exit. "I remember the protocols they were following when we first came to look at the exhibit," he says. "It ''was'' impressive. And the way they coped with one of our very American friends was due praise in and of itself." His eyes are flickering up and about, marking cameras, studying areas that he'd used to avoid them when he and Mamoru made their less official visit. Considering whether the security's been improved. Another nod toward Kureha, and he says to her, "Your interests should have priority, I think. I've had more of a chance to look, and may be a little overly focused on a couple of specific questions."
Kureha Senkenzan	"I'm as much here for the exhibit itself as anything," Kureha replies to Maryam as they come up to the third floor. "I've so many questions that I won't know which to ask until they come to mind, but..." She regards Kazuo briefly, then gives him a grateful nod. "I'm quite obliged. I... suppose I can at least be a smidge more open, in the presence of friends of Chiba-kun." He was one of the first people to know her identity; that alone warrants some measure of trust. "...I suppose we can start with the topics nearest and dearest to my heart. I've browsed the clan archives here and there, I know the tales my grandmother tells, but... well, the archives are focused on the Senkenzan, and so are the stories. I'm curious what you know of the Youkai Musume, or others of our sort from a thousand years ago."
NPC Maryam Siddig	"It's our dearest desire to protect the art here as much as possible, even outside of the history and secrets that this exhibit protects. There's only so much that we can do, but what we ''can'' do, we will." She glances at the security measures herself - a museum only has so much money to spare, but she's pulled some strings to help with additional security measures, cameras in a few new places. Part of the problem is that there's truly nothing the mundane can do to stop the magical. The other part is that she doesn't want to make it too difficult for those this exhibit is ''meant'' for to visit. Even if she would prefer they visit after being trained in artifact handling. "That said, Takeda-san's team is very good at what they do. Even when people are upset at the care we're taking - better that a visitor be a little upset than something priceless be damaged." Her lips quirk in a smile at the phrase 'very American', remembering some of her graduate school colleagues. "If this is your first time visiting, I would be happy to walk you both through the exhibit." She really, truly would be, though she waits patiently, anticipating questions - "The Youkai Musume, now that's a name I haven't heard since my graduate research. One of the more better recorded branch of magical heroes, having appeared in Japan since the Heian era, embodying the strength of various youkai... there's a piece here, actually, that you might find of interest."
Kazuo Saitou	Kazuo's eyebrows lift in evident interest of his own, and he glances between Maryam and Kureha. Not speaking, not interrupting; he's just said it's not his first time visiting, but it ''is'' Kureha's, and listening to Maryam's perspective would be more than merely interesting. And cutting through the mist, while tempting, is less attractive a proposition - both because of the new cameras he can see, implying the possibilities of new ones he might not be able to, and because of the question he's holding in reserve. He's not sure that reintroducing himself might bias the results. He's not sure it might ''not.'' So he's quiet. For now.
Kureha Senkenzan	For a moment, Kureha considers, but then she nods firmly. "I'd quite like that, I think. I know the basics of my own history, but to hear the history of all the magical folks from other lines and places... even if only a broad overview, it would do me some good. I fear I've rather missed a lot." Knowledge is power, and more importantly, the tiny scion of the Senkenzan can't help her own curiosity. At mention of the piece being held at the museum, however, her expression actually darkens, just fainly. "Ah... so it's true, then. I had heard a Senkenzan piece might be on loan from Hozan Chikafuji's collection." She manages to make it sound perfectly polite, but there's just that vaguest hint of something unhappy under there. "Perhaps let's start with the tour, and find our way there as we might."
NPC Maryam Siddig	Maryam is taking note of the quiet from Saitou-san, intent on ensuring that ''both'' of her guests this night walk away with at least some of their questions answered. For now, she can start with some of their oldest artifacts, at least. "A broad history is something I can loosely provide, at least. There is much we wish we knew, more that we recognize without understanding, and far more still that is beyond us - but this museum captures some of the depictions of magic we ''have'' known of, and seen evidence of, through the years. You're well-connected, to know the origin of the piece I had in mind - which means you may well have seen it. Still, I would be remiss not to share it with you as we make our way through the exhibit. While many art museums prefer to arrange their pieces according to style or region of origin, we chose to highlight chronology for this exhibit - it seemed more important to the answers that you all might seek to see the eras of magic, more than to fret over the commonalities. This does mean there's a certain amount of stylistic grouping - time periods are often marked with artistic styles - but it also means you will see pieces spanning the globe beside one another." "As far as we can tell, this world has always had magic, and likely always will. Some of the earliest evidence of this lies with some of our oldest exhibits - this papyrus dates back to roughly 1335 BCE, and depicts a woman known as Khepri, the Ladybug Goddess in a battle against Pharaoh Akhenaten. The motif of the Ladybug and the item she possesses repeats across other artifacts in our collection, including one of various girls and women dubbed 'Jeanne d'Arc'..." They are given a brief tour through much of the exhibit, leading them through BCE and well into AD, and it's near a yamato-e painting titled 'The Guardian of Ooe' that they stop. While the plaque does not name the owner of the private collection that's placed the item on loan, there is no denying that Senzenkan-san has already gathered just who allowed the painting to be displayed. "And this, of course, is 'The Guardian of Ooe', depicting a Youkai Musume and who is most likely Abe no Seimei."
NPC Maryam Siddig	The Art Museum @ Pikarigaoka is not an especially large building. The three hundred and fifty one items which make up the Magic in the Making exhibit are currently accounting for a good number of items hosted by the museum, taking up much of the third floor that's typically unavailable to the public. The fact that so many items can be meaningfully and safely displayed speaks to the dedication of both the museum staff and Maryam herself. It also means that though the Heian era and the Americana period of the 1950s were separated by nearly a thousand years, paintings from these eras might not be ''close'' to each other, but they aren't ''far away'' either. Even as Maryam discusses The Guardian of Ooe, A Family Luncheon looms in the distance, the large, vertically oriented painting demanding attention with its loving depiction of chaos. "One of the unfortunate truths of history is that truths and secrets are not often enough shared in artistic forms. Some of these are imaginings, some of these are truths, and many more are a mix of the two - echoes of something real displayed only in the trappings of the time's understandings. And there are so many more pieces that aren't ''art'', leaving them unable to be displayed here."
Kureha Senkenzan	When Maryam notes that Kureha may have seen the piece in question, the young lady keeps her peace for the moment, but it's not hard to see there are thoughts running through her head. But on they go, and she's happy to look at the various pieces on display; reserved though she may be, Kureha Senkenzan has a lot of curiosity about the world around her, and it's entirely possible she may be back during the day, when there's more time. It's the 'Guardian of Ooe' that most catches her eye, however. Even having never seen it before, she knows it at a glance. "...Mm. It's my first time laying eyes on this one, to be sure. But..." She turns her head a little, glancing up at Maryam. "...I can confirm that's most likely Seimei, from what I know. The way our records tell it, he was quite the busybody, fussing and bothering over all the families." Past that, she once again folds her hands together and follows along, regarding the other pieces with curiosity. "So often the truth... so many of the old clans kept their secrets jealously. More precious than gold. I'd wager we've lost a lot, that way." She can't help glacing off to the particularly large painting in the distance, though - it's such an odd painting, of such strikingly abnormal proportions, and the subject matter seems to keep bringing her back.
Kazuo Saitou	"Seimei," Kazuo repeats, thoughtful enough. He'll have to adjust his estimations of the subject date, if one of the people in the painting died a century before his initial guess at the timing. A tweak of the details - a century one way or the other won't make any difference in the general conclusion - but it's only polite to correct one's errors. He follows Kureha's glance to the Family Luncheon, and exhales slightly. "I ask your pardon, Curator, but - would you mind if we stepped aside from your plan of the tour to look at one piece a little early? It's the one I have a question about, and I see that it's catching Senkenzan-san's attention as well."
NPC Maryam Siddig	So it ''is'' her first time seeing it - Maryam feels a certain pride in that, as someone who curated this exhibit, who ''wanted'' to share new-old truths with a current generation so broad in scope, but she's curious, too, at how the girl came to know about the loan and guessed its relevance without knowing the scope. She might inquire, later. "The records we have access to hold that up," she agrees, "Seimei certainly seems to have made it his business to be involved in a little bit of everything that his era was involved in. Not unlike some of you children, it seems." She's not heard everything, or even half of it, but she's heard enough to raise her brows into the sky. "You're not wrong. We've lost innumerable secrets to paranoia and fear, clinging to power by holding knowledge... but we've gained access to things too, and that's what I try to keep my focus on, admittedly." She follows the eyes of her young visitors to the painting in the corner, and hums quietly. "No, Saitou-san, I don't mind. You've been very patient about your questions, and I wish to answer them. Let's go then, and I'll share with you what I know." R They pass a great number of paintings and sketches from various masters, apprentices, and others before they reach 'A Family Luncheon'. Maryam smiles at the painting, unaware of the grief and loss Endymion and Kunzite experienced when they laid their hands upon it. "This is one of my favorites, admittedly. I've always been fond of this - framing, styling. Patricia McDowell was one of many female artists breaking through boundaries in the United States, and this painting gained much attention, not only for its styling, but also for the casual treatment of the fantastical and mundane elements blending together. It was sold by McDowell to the Seattle Art Museum in 1976; they have a small exhibit of her paintings there, including others featuring the fairies shown here."
Kazuo Saitou	"Others?" Kazuo repeats, glancing away from the painting to Maryam, eyes alert; then shakes his head a little. "-- that will wait. According to the informational plaque, McDowell was - just less than thirty when she painted this, if I'm doing the arithmetic correctly? Would you happen to know the ages of any of the other subjects at the time, or perhaps be willing to make an informal estimate?" This is what is known as a suspiciously specific question. And yet there is neither chara nor egg floating around Kazuo. Hm.
Kureha Senkenzan	Kureha seems almost grateful to Kazuo for the shift of pace, and she follows along just a touch behind the other two this time. Her attention for the painting is rapt, but this time she has less to say... other than a soft murmur of, "I could swear I've seen magical tiny people in some of the fights I've been in the past couple years." She does, however, watch Kazuo with a sharper, more analytical gaze. In a family where secrets are currency and everyone works at least three layers of obfuscation deep, she's gotten quite used to watching people for their motivations... and that seems more personal than she'd expected.