Two more days.

Kurt draws in a deep breath. The fact that his deadlines are constant and yet constantly changing as well makes him befuddled and pissed off. It's the freaking same routine all over again. How can people stick to this same, monotonous, irritating routine?! There was a reason why he joined the creative industry. It wasnotabout routine. At. All.

Kitty also chooses this moment in time to saunter past his office with the mostgorgeoussatin material that she must have imported from some exotic location from some shady person given all the dirty strings she's able to pull. There's also a piece of paper stuck to the back of the material that reads, 'DO NOT DISTURB MY RUNWAY WALK PRACTICE'.

"Careful you don't trip on those claws of yours when all you're seeing is our peeling ceiling, kitty cat!" Kurt yells.

Kitty does an about-turn and pops her head into Kurt's office, smiling not-so-innocently. "Aw, Hummel. Haven't got time to shape yourself like I do?" She waves her beautifully-manicured nails around.

"I'm busy being productive!" Kurt snaps.

Kitty sticks out the tag around her neck, and Kurt scowls as he realizes that Kitty is now a 'Senior Designer' as well. "Thought I might want to warn you before my promotion party at the end of the day, which I will be announcing in ten minutes' time over e-mail."

"Warning taken," says Kurt, unable to stop himself from snarling.

Kitty drapes the shimmery satin all around herself and bats her eyelashes. "You haven't even heard the second one."

Kurt narrows his eyes at her.

"There's only room for one Senior Designer who gets the respect of everybody by way of churning out premium designs all year round," says Kitty, and blows at her nails. "And by virtue of your stagnating right brain and non-existent left one, I'm talking about me."

Kurt grips his pencil tightly. "If you call those slutty, slitty dresses of yours premium designs, you've got your right and left ones all switched up."

"Oh bother, the claws aren't fully unsheathed," says Kitty, mournfully. "I thought I could get some mental stimulation here."

"I'm flattered," says Kurt, coldly. "Go engage in your own verbal masturbation."

"It's good enough for me to get off on it, that's for sure." Kitty blows him a kiss, which he snorts at, then sashays away.

Kurt curses just as his phone buzzes. It's Mercedes, who immediately makes a cheery whistling noise.

"What's the occasion, lady?" asks Kurt, grumpily.

"Aw come on, it's your first week without the little girl. I'm sure that must be a bright day for you!"

Kurt's first reaction is to be completely incredulous at Mercedes' chirpy assumptions, then is thoroughly confused for a moment, before he eventually slaps his forehead. "Shucks, Mercedes, I forgot to tell you –"

"That you're hosting a party?"

"No, Jamie's still at home."

There's a long pause, and Kurt winces. "I'm sorry, I'm sorry, I'm just really caught up with so many things that I didn't –" He thinks of everything that has happened and sighs. "Well, fill you in."

"What's this, Kurt Hummel?"Mercedes sounds annoyed."First it's Tina who can't seem to get our Skype times right, and now it's you having your own Secret Life?"

Kurt makes a frustrated noise. "Mercedes, I have an entire collection's deadline due in two days' time! Forgive me if I haven't –"

"Okay, hooooold your horses..."

Kurt clamps up.

"Sorry, I didn't mean to get irritated!"says Mercedes."It's just that I feel like I haven't caught up with either of you in so long and now I'm missing out on so many big things. I thought you were so upset the other time that you couldn't wait to have the home back to you and Anderson again, but I didn't want to butt in to find out in case you were really having your hands full..."

Kurt sighs at Mercedes' woebegone tone. He could simply argue that he hasn't had time to catch up, but really, it isn't any excuse. He remembers when Mercedes always put all things aside to come and comfort him back in their high school days and feels rather guilty that he hasn't kept her in the loop of things when she's been so concerned about him.

"The handler's been found," he mumbles. "Just that she's not ready to take Jamie in yet for another two weeks."

"Oh, Kurt..."

"Jamie's fine," says Kurt. "I'm fine. Blaine's fine."

"When you have to repeat yourself so many times, I know it isn't. But I know better than to disturb you now, so how does dinner over the weekend sound?"Mercedes' voice has melted into something more gentle and Kurt can't help smiling.

"That sounds perfect."

"Righto. I'll catch you at Breadstix at seven on Saturday then, kiddo. Take care, will you?"

"Always. Mercedes?"

"Yeah?"

"I'm glad you called."

"Me too, hun. Me too."

Kurt presses the 'end call' button on his phone and rolls his eyes towards the ceiling.

The Kurt Hummel I know won't stand being stuck in a shithole. He would find some way to emerge out of it with pristine white Doc Martens and a perfectly starched Vivienne Westwood suit with nary a spot...

Kurt smiles sadly as he looks back down at his white Doc Martens and smoothes down his Vivienne Westwood suit. Blaine's got it backwards though, because Kurt still isn't out of that shithole.

Two more days.

-.-.-.-.-.-

Kurt keeps hoping for something miraculous to happen before him today. Something different, unique, refreshing, unprecedented – just anything that could possibly jolt his spirit and creative mind into action. Instead, he got Kitty's little runway parade which scorched his eyes out, really. Then Sugar spilt coffee on his white designer shoes and called it 'accidental art', of which if he had not been the unfortunate victim, he might have been rather appreciative. He grumbles under his breath as he opens the door and ironically hopes that nothing at home is any different. He is really not ready to deal with any unexpected outbursts or fainting spells.

He stops short and stares.

Both Blaine and Jamie are lying on their tummies on top of cushions before a massive sheet of butcher paper, which is covered in multiple big blue-outlined circles. For a moment, Kurt is stunned that Jamie's obsession has obviously blown up in a spectacularly yet horrifying way, and the worst thing is that Blaine isindulgingit.

I freaking hate routines.

"Blaine..." Kurt arches an eyebrow. "Seriously?"

"My head's spinning just by looking at all these too," Blaine says very seriously, as he looks up at Kurt. "It's so confusing. Have you counted how many there are?"

When all Kurt can do is give Blaine the 'what-the-hell' stare, Blaine breaks his serious expression and laughs. "Oh come on, look carefully, Kurt."

Kurt looks again, a little more wearily. But then he tilts his head to the side. Then to the other. Then he takes a step back.

In the first ten to fifteen of those circles that Jamie has drawn, there are all kinds of patterns and shades filled in, like straight lines, criss-crossed lines, polka dots, clashing colors...

"Is that apinkcolor pencil she's holding?" Kurt stares incredulously.

"Yep," says Blaine, grinning.

"Seriously? Pink circles? With purple lines?" Kurt kneels down before the paper and watches as Jamie colors in the zigzag lines within the circle.

"Shh," whispers Blaine. "Just look."

Jamie colors meticulously, just like the way she likes to ensure her things are neat and the chairs in the classroom are not out of place. Her pencil never deviates from the course of the line and she colors hard and deep. Once she is finished coloring that circle, Blaine doesn't move to guide her in anything, so Kurt just assumes she will go on coloring another circle with the pink pencil, since there are no lines or patterns to follow. To Kurt's utmost amazement, Jamie picks up the blue pencil and starts to draw swirls around the circle. Then she chooses a yellow pencil to color in one half of the swirls, and chooses purple for the other half.

"She knows contrasting colors?" Kurt arches an eyebrow. Then he sits up straight and stares at Blaine. "Wait. Wait a minute. She drew all those patterns herself?"

"Well, I kick-started the first... five, maybe?" Blaine taps his fingers against his cheek.

"How..." Kurt is confused. "How on earth did you manage to get her to move away from drawing circles to coloring?"

"Do you remember the other day when you were getting her to draw different colored circles?" Blaine winks. "I realized then that she's actually very good with mixing and matching colors. I don't know why it's taken me that long to notice. It all makes sense now, you know, that's why she was so annoyed when you gave her the pink pencil the last time, but was okay when I passed her orange."

"Blue and orange are contrasting," says Kurt, in awe. "That's amazing for a six-year-old."

"She could be inventing the latest version of Twister. Like orange with five blue polka dots means you have to put your head on the sheet and five different appendages on other circles."

Kurt shakes his head in resigned amusement.

"I like this one," says Blaine, pointing at one of the circles that is colored in a concentric manner. "Evenly colored, love the shocking contrasts, it's almost psychedelic."

"Disco era," says Kurt, grinning.

"Kinda reminds me of the collection that your colleague Isabelle did before for that really themed fashion show. She went all wacky but somehow the crowd loved it."

"It depends on the context of the showcase," says Kurt. "That one fit perfectly."

"Could imagine a neon concentric circle designed long-sleeved black tee for that one," says Blaine. "Check this one out." He points at an orange-colored circle with bright pink and yellow bits in it. "I'd wear that for a bowtie. Cheers people up instantly."

Kurt is ready to make another comment about how that would fit into a Polly Pocket theme, when something clicks in him. He stares at Blaine, then at all the colored, patterned circles, then at Jamie who is concentrating on filling in the dark red of a circle that's checkered with black squares.

"Or socks," adds Blaine. "I'd wear that one on a sock."

"Did you draw those squares?" Kurt finds his voice rising a pitch.

"Nope, that one's all hers."

"Blaine, that's just – that's just brilliant," says Kurt, slowly. "That color combination is like this season's new trend. The whole wine and black thing."

"Oh?" There's something about Blaine's expression that is slightly distracting, but Kurt shakes it off as he continues,

"I kept thinking of them in solid shades, one next to the other, pairing a wine blouse with black collar, a black belt with wine details... but oh my God, checks... checks! Why didn't I think of that?"

He jabs at another circle. "And this – this dark green and cream. This is ageniuscombination! And using these diagonal lines too! Oh my –"
It feels as though the circles have leapt off the paper and started dancing around before his eyes, their colors flashing at him. He stands up and waves his hands to move the circles about.

"Kurt?" Blaine calls softly.

"When she's done with that," says Kurt, his voice cracking. "Pass me that drawing block, will you?"

-.-.-.-.-.-

Kurt pins the last corner of Jamie's drawing block on his office board, then takes a step back to examine it. Then he gets back to his desk and lays out a new sheet of paper. His pencil flies across the space and fills in lines and shades; he picks out different colored pencils and alternates them in between his fingers skillfully. His eyes dart from left to right, top to bottom – past the paper to a photograph framed by his calendar. Him and Blaine close together, dressed to the nines for a re-run of theAnniemusical a year ago. Blaine had on a very nice grey suit, maroon hat and a very fancy bowtie with polka dots.

Always that penchant for colorful bowties.

His pencil sets to work again.

When he's done, he leans back in his chair and can't help smiling.

"There you go."

-.-.-.-.-.-

"How's it going?" asks Blaine as he enters the bedroom. He crosses over and Kurt sees him in the reflection of the mirror right in front of his drawing board, ready to put his hands on Kurt's shoulders. He draws back, however, and looks straight at Kurt's reflection. They stare at each other intensely for a while, before Blaine's eyes drop to Kurt's drawing board.

"Is that – is that abowtie?" Blaine's tone of wonder makes Kurt want to giggle, but he keeps his face straight.

"Yep," says Kurt. "I didn't go with disco psychedelic. But I thought Brooks Brothers seasonal, homely chic with Desigual's neon splashes might somehow be the edge I need."

"I never thought those two brands could be featured in the same breath," says Blaine, staring hard at the designs. "But I'm strangely turned on by the scenario of preppy boy meets graffiti artist boy."

"I think you've been reading too much fanfiction," says Kurt. "Oh, hello, look who's here."

Jamie sidles through the door and looks all around. Then she heads to the bed and jumps onto it.

"I hope she's not covered in any sort of color markings, those show up on the sheets," mutters Kurt. "I already have beef with her coloring so hard that there are scratches on the parquet floors outside."

"With all due respect," says Blaine, picking up a bowtie design that Kurt has cut out and fits it against his shirt. "I'm not quite sure how this brings out the edge in a guy."

Kurt's hopeful eyebrows sink down. "It's not working, is it?"

"I think the loudness of the neon is overshadowing the elegance of the plaid."

"So says the boy who digs Brooks Brothers." But Kurt can't keep the disappointment out of his voice.

"Contrasting isn't all about the polar extremes," says Blaine, who finally settles his hands on Kurt's shoulders. "It is also about being complementary. Like... like how blue is cool and orange is warm."

Kurt still can't quite bring himself to meet Blaine's gaze, so Blaine continues, "Kurt, you always tell me that your designs aim to tell a story. The last one you did was for yourself, the whole I-wanna-fit-in-but-I-don't-quite-know-how, and that kilt with studs was a hit with the fashion crowd because it had a story behind it. The story of your prom when you wore it because you wanted to, because you felt it represented how you felt at that point in time."

Kurt finally looks up at Blaine's reflection, then at Jamie behind who is bouncing happily on the bed. "And how you and I are so different in the way we perceive and handle children, but yet we have to work together to make sure that she's okay."

"...Kurt?"

There is something quite unreadable in Blaine's expression once again, but Kurt doesn't want to analyze anything about it at the moment. He brings his pencil to paper and shuts his eyes, trying to visualize all the colors and patterns from Jamie's drawings.

When he's done redoing and cutting out the design, however, Jamie comes over and tugs at his paper.

"Jamie!" Kurt glares at her.

She scrunches up her face and pulls it out of his grasp, startling and annoying him all at once.

"Jesus, Jamie..." He stands up immediately.

Blaine also makes to move towards her, but then Kurt sees something that immediately makes him reach out to press Blaine back.

"Whoa," says Blaine.

Jamie has put the dark green-and-cream striped design against her body and is staring down at it.

"That's a lovely match for her skin color," Blaine remarks.

Kurt stares. "It – is."

"Why that particular design?"

"I –" Kurt finds that the words are dying on the tip of his tongue when he's still trying to figure out the image before him.

"The dark green evokes a kinda – very harsh, deep-seated emotion," he says, finally. He unconsciously grabs at the front of his shirt. Heknowswhat that emotion is, but he can't bring himself to say it. "And I love how the cream tempers it, makes it softer and creates a picture of... of calm serenity."

He and Blaine exchange looks.

"On a... bowtie?" Blaine is obviously fighting to keep his face straight.

"A coat," says Kurt, slowly. "A coat that covers her, obscuring her from who she really is."

Then he suddenly thinks of the orange circle with pink and yellow bits, then the blue one with orange stripes. He looks at Jamie and thinks of those patterns materializing under that coat – as a dress.

Kurt sits down hard. "Oh my God. Blaine."

Blaine grins. "I think we're heading somewhere."

A whole lot of drawing, coloring and cutting later, Kurt and Blaine find themselves in the Creative Room with an armful of design cutouts and a little girl.

"Why is she still so awake at this hour? I thought only I get to have the creative license to be nocturnal."

"No, it's because you're nocturnal that you have the creative license. Which means tonight might be a good time to engage her since clearly, for some reason, she is at her peak creativity moment."

"It's past midnight, Blaine. If she suffers thirty years down the road because I let her sleep less than five hours now..."

"It's all Kewell's fault. Not mine. Not yours."

"Will she hate me for this?"

"You might want to try explaining to her first."

"Ha. You're always getting me into deep shit and pulling me out of it all at once. Trying to be the hero, Anderson?"

"I have no idea what you're talking about."

"Oh yeah. I do. You're the one that set all this up.I know."

"Set what up?"

Kurt snorts. "Youknewthat somehow, Jamie's drawings would inspire me."

Blaine scoffs. "And how was I supposed to know what can really make that creative spark in you flare up?"

"I don't know. You surprise me most of the time." Kurt isn't looking at Blaine, but he can feel him smile next to him.

"You too, you know," says Blaine. "And therefore... you should give it a go." He pushes Kurt forward lightly.

"Must I?" wails Kurt.

They both look at Jamie in front of them, who's all wide awake and actively stacking blocks of different colors up in precise order of the colors of the rainbow.

"Seriously, what did she do at the LAC today such that she still has so much energy?"

"Maybe Mike made her sit still during his lesson," says Blaine, in all seriousness. "Accumulated potential energy. Now if you continue like that, you're not even going to be accumulating any!"

Kurt breathes in deeply. "Here goes."

He spreads the cutouts of designs that he has made in real sizes – in frocks, coats, shorts, skirts... then he scoots back and looks hopefully at Jamie.

The sheer amount of color and patterns completely captures Jamie's attention. She knocks the blocks over as she makes her way over to one of the designs and picks it up.

"What's that, Jamie?" asks Kurt, his voiceveryhigh-pitched now.

Even though the designs are loose pieces of fake clothing, they do look very authentic, so Jamie has no trouble replying, "Skirt!"

"And where do you wear a skirt?" asks Blaine.

Jamie smacks it against her thighs, then twirls around.

"Very good, Jamie!" Blaine enthuses.

"I need to take a picture," says Kurt, whipping out his camera phone at once. "Okay, Jamie, wait – don't move, no, don't..."

Jamie has picked up the next design, but she obviously doesn't want to face Kurt. Kurt tries to edge over to face her instead, but she keeps twisting away.

"I don't really think she likes the camera very much," says Blaine, grinning.

"I have no model?" Kurt moans. "Youget over there and be one!"

"Ha. Very funny," says Blaine, watching as Jamie places the next design on her. "You have one more day to convince her that you need her."

Kurt feels Blaine's arm snake around his waist, and he lets himself lean against Blaine.

"Do you remember," says Blaine, gently. "That you said that you thought you couldn't connect with Jamie through drawing?"

Kurt snuggles more into Blaine's embrace. Of course he remembers. He doesn't quite see how this counts as a connection, but Jamie being thoroughly invested in picking out his designs does seem strangely warm and comforting.

"Give me your phone," whispers Blaine, his warm breath making the hairs at the nape of Kurt's neck tingle. "And go work with her."

Without thinking much, Kurt hands over his phone and moves over to help Jamie play with the designs. Jamie even bursts out laughing when Kurt places some designs near her feet as socks, and ends up overbalancing and hitting her bottom on the floor.

"Oh my –" gasps Kurt, but Jamie is still laughing. She makes grabby-hands at Kurt's fabric and places it near her feet herself.

"Sock!" She grins triumphantly.

Kurt breaks into a huge smile just watching her squeal in delight at another design that she had surfaced from the pile and put against her chest. He helps her smooth out the design against her shoulders and she stares at him with bright, happy eyes. Kurt has never seen the little girl so excited and can't help thinking that she looks absolutely beautiful when she's calm and happy.

He voices that aloud as he tucks her hair behind her ears. "You're so beautiful, Jamie."

Jamie's stare no longer seems harsh to him, not when it's matched with upturned lips. She even reaches out to put the design against Kurt and makes him laugh uncontrollably.

"Kurt is handsome!" Jamie trills.

Kurt stares at her, then looks up at Blaine, who has just lowered Kurt's phone to meet his gaze. "She – she just –"

"You're beautiful," says Blaine, gently lowering himself to plant a kiss on Kurt's forehead and to ruffle Jamie's hair. "Bothof you."

-.-.-.-.-.-

Kurt can't help feeling frustrated when it is so difficult to get Jamie to cooperate with a camera; she refuses to model for him, choosing to instead face the wall and swing the printed fabric around. He doesn't want to force her; he'd much rather keep her in this chirpy mood than risk having her turn against him. Yet he knows he can't present 2D designs to Levington and Kewell, and wonders for the umpteenth time that day if he had made the right choice.

"Jamie," he says, tersely. "Eyes over here."

She starts to sing and dance around with the fabric.

Kurt groans loudly.

"Kurt?" A voice calls from outside.

Kurt massages his forehead, then heads towards the living room where Blaine is sitting in front of the computer (as he has been doing for the whole day).

"Sit down," says Blaine, a little too eagerly. "You need a break."

"Blaine, I relented for Ratatouille. I'm reallynotin the mood to watch a YouTube video."

"C'mon..." He looks at him with puppy-dog eyes.

"Don't do that!" Kurt tilts his head back.

When Blaine doesn't respond, he looks back down again – only to groan when he realizes Blaine is still looking at him pleadingly.

"You son of a –" Kurt sighs, then squints at the screen. "Circle of Life?Really, Blaine? A Lion King video?"

Blaine slips an arm around his waist and pulls him closer before pressing the 'play' button. Kurt remains skeptical, not least by the opening words of the video that go, "Presenting Kurt Hummel's newest collection..."

"Um..."

The strains of a light acoustic guitar accompanying a soft voice that is undoubtedly Blaine's float through the speakers. It's a new original song, and Kurt loves the soothing tune of it all. Before he can piece things together, the video transitions to a scene that is extremely familiar.
It's from the night before, where Kurt and Jamie are playing around with the designs. Jamie is squealing with laughter while Kurt is giggling along. Kurt doesn't realize how delighted he had been until he sees himself in the video, crinkly-eyed and doubling over every time Jamie posed –yes, posed– with the cutouts against herself. Yet, the best part is that he can tell that Jamie is obviously enjoying herself as well, just like any other kid would have at her age playing dress-up. Blaine's gentle crooning complements the simple happiness in the video, even if the video isn't professionally taken (obviously taken using Kurt's phone – how could he have missed that?).

"I know it doesn't really show off the designs that much," admits Blaine, scrunching up his face as he looks at Kurt. "But I thought it could work as a side-show of sorts. All the colors and patterns form some kind of story to you – your stories, Kurt. This video just starts it off, but they're your stories to tell."

Kurt is completely speechless. It already astounds him when Blaine is able to read his mind at times, but for him to project ahead and extend Kurt's train of thought – that completely floors him. He grips Blaine's hand and meets his boyfriend's shining gaze. Then he looks back at the video and points to the settings, where it's marked 'private'.

"I'll release the video as public when you get to showcase your collection," says Blaine. "And that will be the release of my first single of my new EP."

"Y-your new EP?" Kurt wonders aloud, still recovering from the shock of the video.

Blaine smiles. "Well, I suppose a music therapist can always have a hobby, can't he?"

When Kurt doesn't say anything again, Blaine's enthusiasm dims. "Tell me I'm not making assumptions again."

"Blaine Anderson, I love you," is all Kurt says, and he presses his lips softly against Blaine. The two of them stay like that for a while, and Kurt revels in the warmth and simplicity of it all. Until Jamie comes running over, shrieking and leaps onto the two of them, nearly knocking Blaine's laptop over.

"Jamie!" Kurt yelps, scandalized, but not overly irritated. "Oh my God, did Quinn Fabray say she used to be a quiet child? When did that ever happen?!"

Blaine laughs as he reaches out to envelop both of them. "Since we came into her life."

Jamie snuggles into their embrace by nosing at their arms. Then she turns around and looks up at them. She pulls a gelled curl from Blaine's head free, fluffs Kurt's tufted hair, then proceeds to pat down her own hair, earning laughs from both Kurt and Blaine.

At that moment, Kurt knows that it's not only Blaine who manages to surprise him.

-.-.-.-.-.-

For the most part, the prototype collection presentation goes smoothly. Kurt can't really say that it went 'well', not when Kewell still made snide comments about how Kurt is trying to "corrupt the innocent with such garish designs".

He looks at Levington instead and puts on a most hopeful expression. "How'd you think then?"

"Kurt," says Levington, slowly. "You've never done a kids' collection before."

"No," says Kurt.

"Have you researched about the different brands and their inspirations? What is it about your line that will make you stand out above the rest?"

To his dismay, Kurt realizes that in his desperation to churn out something, coupled with his euphoria at having discovered something so close to his heart in these designs, he had completely neglected the competitive angle of fashion design. And Kewell can obviously tell, for his smirk is growing wider by the second.

"Well," says Kurt, his quick mind whirring into action, "there are some who design purely for aesthetic appeal – like..." He can't really think of any brands at the moment, so he just rattles on, "Like it's all about the colors. Bright color palette for dress-up purposes." Kurt can tell both Levington and Kewell aren't really buying it, so he tries to go a different way. "Some design for the little ones of the adult clientele that they are used to. Like how Osh Kosh B'gosh is about intergenerational connections. Or that they design to make give the little ones a grown-up edge, like many of the posh, up-market brands like Prada and Gucci and all that."

He takes a deep breath, then points to his designs. "But mine is about layers. Kids are such pure, innocent and beautiful little ones, but sometimes they hide behind all these layers because they have been hurt, bullied or scared in some way or another that we adults don't always see."

Kurt remembers all these stories, stories that were written on the faces of kids in his elementary school, the ones who paraded down the streets in fancy costumes and laughed at him because of his chubby cheeks and high-pitched voice. The ones who continued to do the same when they grew older, and even as they shed their old layers, they grew new ones.

"The girl who wants to dress up like her mother hides behind a fur coat and high heels because she thinks it gives her an air of confidence that others will respect and not laugh at her for. The boy who wears a leather jacket to hide the t-shirt he has beneath because he knows people would laugh at the nerdy stuff he has on his shirt – the ones he only shows a certain group of people in school. But more than that..."

He thinks of the little boy staring back at him in the mirror, as he points to a highly contrasting-colored outfit, "The child who is special but when is ridiculed in his own style, he has to wear another that doesn't match him at all." He thinks of Jamie as he points to a dress with mixed patterns. "The child who doesn't even realize how special she is because she sees logic in chaos but people think she creates chaos in logic instead."

"Oh my God," says Kewell, running his hand through his curly brown hair dramatically. "What bullshit is this?"

Kurt can feel his cheeks burn. "It's not –"

"It is," says Kewell, coldly. "You didn't even read up!"

"I –" Kurt protests.

But Levington is staring very closely at the designs. Then to Kurt's surprise, he laughs. "Kewell, if that's bullshit, that's some grand one. I've never heard somebody talk about such huge color and pattern contrasts with such genuine belief in creating harmony out of it."

"Comeon, you're not going to give him another –"

"I am," says Levington, and Kurt's heart immediately soars. "Even if it's something he crapped up, I like it. You know what I always say about fashion, Kurt?"

"It's about communication. Expression."

"That's right. It speaks volumes about the person who wears it, and I like that even for a kid, so much can be said about the kid who wears it – or who doesn'twantto wear it the way it ought to be worn."

Kurt sighs with inward relief. This is exactly why he has chosen to work in this company. For all of Kewell's ridiculous antics, Levington embodied the soul and spirit of fashion.

"You get your collection," says Levington, and Kurt whoops in delight. "I want your stories to shine through so make sure you put together a cohesive and engaging narrative. I'm getting the vibe that this is the year of life stories, Kewell. I like that!"

Kewell rolls his eyes.

"So Kurt, who or what inspired you to come up with this?" asks Levington, drumming his fingers on the table. "It's not your usual style - you're bold, but this is definitely very out of the blue in my opinion."

"Well," Kurt can't help smiling at the irony that a girl so used to routine has got him out of his creative funk, "there's this little girl in my house..."

"Your daughter?" Levington lights up.

"But he's gay," Kewell interjects, frowning.

This is why Kurt is so sure that in a few years' time, the company will most certainly readLevington & Hummel's.

-.-.-.-.-.-

"WHOOO!" Blaine enthuses as the cork pops out of the champagne bottle. Kurt grins as he watches, hands clasped together.

"To the successful line of clothing to be lovingly and beautifully designed by Kurt Hummel, and unwittingly and charmingly inspired by Jamie Chase," says Blaine, as he pours the champagne into two glasses. "Even though Jamie Chase gets none of this."

"I want!" Jamie yells, bouncing up and down in the living room. "I want!"

Kurt eyes Blaine. "You might want to give her a code name next time. Less triggering."

"You catch on fast."

"Uh-uh, Jamie," says Blaine, even as Jamie charges towards him, her hands outstretched for his glass. "It's not good for you. You are still young."

"Youcan'thoodwink her," says Kurt, affectionately.

"I need to train her not to get drunk at your fashion after-parties," protests Blaine. "She'd be a star..." He trails off as Kurt looks at him meaningfully.

"If she gets to go," says Kurt, and he manages a light shrug.

Just at the moment, the phone rings and startles Jamie, completely distracting her from her mission to pry the glass out of Blaine's hand. She rushes towards the phone, now an automatic reaction on her part, and hands it over to Blaine. Kurt can't help thinking back to when he had first asked her to do that.

Blaine whispers, "Good girl, thanks," before he answers the phone. Kurt tips the champagne into his mouth, relishing the burn of the fizzy liquid against his throat. Then he motioned towards Jamie and set her in his lap. Both of them watched as Blaine's thick eyebrows furrowed together.

"If it's Santana, please swear and cuss at her on my behalf," says Kurt, cupping Jamie's ears as he said so, although she squealed and tried to dodge his hands. "You know it doesn't come out nearly as foul when it comes from my mouth."

Blaine looks like he's trying very hard to keep his face straight, so Kurt decides not to bother him and go set the table instead. Still, he can't help but continue saying, "And if it's Tina, tell her to call Mercedes and be a good friend and impart more gossipmongering skills. Oh, and if Artie is interested in turning a Skype video of you performing your new single into some classy YouTube hit, I'm all for it too."

He pauses. "Or maybe it's –"

The sound of the television distracts him. Blaine has just switched it on, the phone still at his ear, and the news is showing Mayor Russell Farland raise his hands in victory as he gets re-elected for another term. Reporters clamor around him to ask about his feelings and thoughts for the future, and he speaks lavishly about wanting to create more opportunities for family time and for children's education and adjust property prices.

Somebody asks him if all this in preparation for a desire to have a family of his own. Mayor Farland proudly claims that he is expecting a new child with his new wife, and everybody cheers.

Kurt feels something rise in him and marches over to shut the television off. "He's disgusting. As much as I don't like Quinn Fabray, it's probably because she had the unfortunate genes of this man to battle with."

Blaine puts the phone aside. "Genetics can't even bind people together, and yet these conservatives come up with arguments about how families can't be defined otherwise."

Kurt looks at him. "So who was it?"

"Sue."

"Oh." Kurt's teeth catch at his bottom lip. His eyes dart towards Jamie, who is mumbling to herself and tracing imaginary circles in the air as she leans against the kitchen table. "Did she ask you to hang on for a couple weeks more? She might as well work out the total sum before she gets back to us, it's kinda getting annoying like this."

"No," says Blaine, quietly. "The handler is ready now."

"Ready?" Kurt asks, but he already knows what Blaine means.

"We'll have to send Jamie to the LAC tomorrow." Blaine swallows hard. "For good."