Wednesday, July 6, 1066 SE
When Mon, Marigold, and Branna come downstairs for breakfast at the regular hour, they are anxious that yesterday’s lack of breakfast will once again affect the mood of the staff. Entering the dining room, they are greeted by Ioulia, who continues to work on her piano score. Most of the Second Crew is already sitting at their tables, and, unlike the day before, the usual breakfast spread is available, even if Hennadii is still missing. Sitting at a table with Luba, Herald waves a copy of today’s Shredded Truth at Mon, complaining at the trash the newspaper has been writing. Mon is mildly confused. He didn’t know Herald could read.
Branna is outraged and complains that her effort to meet Lady Amina Voloshyna yesterday was wasted. Marigold points out Lady Voloshyna writes for the Konstantina Sun, not the Shredded Truth. Branna is mollified, but is still concerned that they need to counteract this bad publicity. Mon suggests that it may actually attract more people to watch Masha and the Bear, as a controversy is always good for business.
The conversations soon turn to today being the last full day of work before tomorrow’s dress rehearsal and Friday’s opening night. Folks plan how best to target their last efforts, and the buzz is positive and excited that the time is finally upon them. Encouragements are exchanged as the crew packs up and heads to the Royal Grand Opera.
They find the theater in the same shape as the previous day. Over the last few days, the number of incidents between the Second Crew and the Royal Grand Opera workers has greatly decreased. Marta’s promise of addressing these concerns with her own crew seems to have paid off. Nevertheless, both Marigold and Branna examine their props and costumes, looking for evidence of stealthy sabotage, but neither finds any. Perhaps the dress night will be free of conflicts after all.
The actors run through their lines one more time and try on costumes and props. They are ready for tomorrow’s dress rehearsal. Sir Sergeii, who has come to observe the crew at work, notes his appreciation when he informs everyone that, after conferring with Marta and the Second Crew leaders, the show is as prepared as it will be. He therefore grants them a day and a half of well-deserved vacation, telling them they are free to explore the city and its surroundings. Everyone is to return to the Royal Grand Opera tomorrow at 5 pm sharp, for the 7 pm dress rehearsal. But until then, they are free.
Mon, Branna, and Marigold gather in the lobby of the Royal Grand Opera, considering their options for the rest of the day. Tonight, Branna has invited both Lady Amina Voloshyna and Maria, the teamster’s wife, to dinner. Tomorrow, all three of them will attend the dress rehearsal. So she has to be back at the Furry Rabbit by 6. Their first thought lands on Dhuka, who’s currently examining the posters in the lobby. Too much free time virtually ensures the child will get herself in trouble. What should they do with her? Marigold suggests that perhaps she could spend the afternoon with Branna’s father, learning the clothier’s trade. Branna agrees and dispatches a message with a pageboy. An answer soon returns, agreeing to the request. Branna escorts Dhuka across the Lavra River to St. Gleb, where she meets her father in his factory. After being introduced, Dhuka points out to both of them that her father’s ears are much pointier than Branna’s own. Her father laughs, and will bring Dhuka across the river to the South Gate around 7 pm.
Marigold conducts research on the other newspapers and finds that Konstantina Sun has published a few cautiously supportive articles, while the Mad Singer published a letter to the editor entirely hostile to the production, claiming that workers were being replaced and that foreigners were involved.
When giving the interview, Branna will try to highlight their spending on local supplies and services.
What to do with Dhuka? They send a message to Branna’s parents, who agree to take her for the day. Branna escorts her there. Dhuka points out Branna’s father has pointy ears. He will bring her back around 7.
Mon disguises himself as a local worker, based on what he observed during his few trips in St. Boris. Branna, for her part, uses her Vest of the Clothier and changes her outfit to resemble the conservative ladies of the parish. Marigold puts on a traditional vest, filled with pockets.
Boy who has been standing guard since last night does not recognize, Marigold. She gives him a silver coin, and he reports that there were no visitors. Marigold and lock, Mon and misty step. Marigold reasons that the prisoners should still be here.
Mon stays on the roof and looking out in case anyone is coming.
Building is surveyed, and Marigold and Branna find evidence that someone had been dragged upstairs.
They locate Dmitri and his son Ivan, the page boy, and Hennadii, as well as the wagon and the horses. Mon messages that there are four burly men .
Marigold disguises herself as the boy who has been guarding the street and she opens the door, before turning herself and Branna invisible. Dmitri whips his horses in a frenzy, and they almost run over the men. Seeking revenge, Dmitri whips one of them on the rear end. The teamster drives his horses down the road and up the hill, and the villains don’t follow. Mon misty steps inside the wagon, landing perfectly.
Branna and Marigold They mention six hours, but that just fronted the plan. Their leader believes the guards will not search the building.
Conversation in the wagon about the kidnapping. Conversation about what they overheard. Mon casts disguise so he can disguire himself … as himself.
Returning to the hotel, they send a message to Sir Sergeii about the events, and talk with Hennadii about the guard. He promises the hafling a menu tonight which will tickle her palate.
Mon arrives at the archives. Scribe services,
Information about the Cardinal and his exile. Second topic, the history of a local building, the South Gate hotel. history of previous owners, name changes, when it was established, if there were connections between the building and the opera house, or a connection between the hotel and the Cardinal. Several copies, one for Katiana, one for the archives, and one for Mon.
King’s Chamberlain was the last one to access the records, 7 years ago, 1059, brings Mon in the office and warns him that if there is a missing branch, it was hidden for a reason.
Marigold tells Mon Things do not always have to be overly complicated. Just send him a letter.”
At the Furry Rabbit Nastia, wife of the teamster. Lady Amina Voloshyna writes notes about the story of the woman and her missing husband.
L. Does the opposition affect your artistic vision?
B. People’s ire, we did not know. Modifications of the play out of respect for the more conservatives morals of Konstantina, we did not put anyone out of work, those workers are planning their next production while ours runs.
L. What about the argument made by a firebrand that what the people need is food, not entertainment
B. Only when people’s needs are met can they truly appreciate the value of the art. That being said, arts can still give people a sense of hope, a sense of community, step away from the concerns of their daily lives and engage with things they may not get to do in their daily lives.
L. The play itself, is it a veiled reference to Katarina’s independence?
B. No, we performed Masha and the Bear in Katarina, and there was no political empetus for this play. Our city enjoyed it, and we wanted to bring it here.
L. What is a successful opening night?
B. A full theater, people from all strata of society enjoying themselves, engaged with the story and with one another, leaving the theater with the feeling that it was a very unifying and positive experience.
L. Challenges of collaborating on the space with the local crew, having to share the space?
B. We’re familiar with the process of switching plays, but coming here was a challenge that we make work. It has not been ideal because people on both crews feel like they haven’t had enough time, but I cannot express enough the gratitude we have for the people of Konstantina and especially of the local crew, we know it’s difficult to share workspace and we could not have done it without them.
L. How has it been collaborating with such a great man as Sir Sergeii?
B. We’re very grateful. Theaters are always struggling to make ends meet, there are always unexpected expenses, and you never know whether a play will be popular enough to support payroll.
L. A rumor is circulating that Sir Sergeii acquired an ownership stake in the Legendary.
B. I do not know.
Branna walks Nastia home.
Marigold gets a letter from Pavel about the saws, sharing news with
Dhuka has a bulging pocket. Branna tries to find out what it is, but Dhuka runs away, looking for Anya.
Mon queries the proprietor about antique stores. Hennadii mentions a buffet tomorrow, and also bemoans the loss of one of his cooks, who abruptly resigned.
B1. The Old Chests Specializes in antique furniture, chests, and strongboxes. Often rumored to hold items with concealed compartments.
A1. Stones of the Age Focuses on ancient, heavy artifacts: stone carvings, forgotten statues, medieval weaponry, and geological oddities.
A1. The Sanctuary Lamps Sells antique religious artifacts, tarnished icons, old bibles, reliquaries, and items salvaged from abandoned or ruined churches.
The Forgotten World A general curiosity shop that deals in maps, globes, navigational tools, old naval uniforms, and items brought back by sailors from across the sea, specializing in pre-Sezja period items.
Everything that is old. s the quintessential cluttered, dusty, and fascinating antique shop, located in a narrow, multi-story building deep within an older, less fashionable district of Konstantina,
Mon will get up at 5 and hire the teamsters to move the Sidorov mirror.
Mon writes a letter to Pavel about the saws.
Herald and the painting, getting scared.
Meanwhile, on Katarina, the King
Wednesday, July 6 - King Stanislas II visit House Vasyl and its foundry at Klara, before returning to Katarina to attend a ball hosted by the family.
This small painting is a physical manifestation of the Raven Queen's dominion over forgotten secrets and suppressed history. It is an item likely found not in a palace, but hidden away in a place like Vse Stare (Everything is Old) or brought back by a traveler from the Whisper Market.
The Painting: Claw of the Hidden Word
Subject: The painting is small, roughly 4x6 inches, executed in heavy, somber oil paints. The canvas is dark and appears to be made of treated leather or a very rough, woven material. The central image is a hyper-realistic, chillingly detailed Raven’s Claw—scaled, black, and sharply hooked—descending from a sky of bruised purple and midnight blue. The claw holds not prey, but a tightly rolled, yellowed parchment bound with a thin, brittle thread, the Scroll of Lost Words. The parchment appears utterly unopenable, hinting that its contents are permanently sealed by the Queen's will.
The Frame: The frame is the item's most distinguishing feature. It is carved from dense, almost black wood (perhaps ebony or heavily stained oak) and features a raised, crude relief that mimics the design on the cheap token. Around the inside border, a repeating pattern of tiny, delicate hands are carved, all reaching out toward the central painting—they represent the hands of the living, desperately trying to retrieve the secrets the Queen has stolen.
The Effect: When one looks closely at the painting, the atmosphere of the room seems to grow momentarily cold, and a subtle, rustling sound—like dry, forgotten paper—can sometimes be heard. It is a potent, non-magical symbol reminding the viewer that in Sezja, not all history is recorded in the Konstantina Sun; the most vital truths are sealed and guarded by the Queen of Death.
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