Legendary 033 - Empty Suits and Hidden Truths: Chaos at the Grand Royal Opera

Thursday, July 7, 1066 SE, continued

Tonight’s penultimate dress rehearsal is about to start. The crew has assembled, the props have been checked and rechecked for any flaws or sabotage and have been found intact, and the costumes are all ready to go. 

As the Grand Royal Opera fills up with dignitaries and invitees of Sir Sergeii, everyone backstage feels the tension. The future of Masha and the Bear in Konstantina may be short-lived and a financial flop if they can’t pull off an amazing performance in front of influencers and the Konstantina Sun’s art and theater critic, Lady Voloshyna. Taking a look at the audience, Branna spots Sir Sergeii sitting with Lady Voloshyna about a third of the way up the main seating area. More than a hundred other people are present as well. She recognizes several workers of the Grand Royal Opera, along with Ivan the teamster and his wife.

Branna and Marigold are backstage, ready to fix costumes or props as needed. Mon is part of the chorus. Using his magical abilities, he casts several spells to enhance the performance and its visual effect. Everyone else is ready. 

The curtain rises with Masha, played by the actress Luba, in a forest with her friends collecting mushrooms. During the excursion, she becomes separated from her group. But before the story gets to the part where Masha is ambushed by a Bear, played by the actor Vadim, the bear steps out of the wings and enters the stage. Vadim must be drunk, because the bear staggers on stage and hits several of the prop trees, throwing them to the ground and damaging them. Confused, Luba continues to perform but adapts her movements based on the bear’s early entrance.

Seeing the chaos, Marigold turns herself invisible and starts fixing props, hoping to put them back up so that the damage done by the clumsy bear is quickly repaired. Branna examines the bear costume, wondering if someone is in the suit. The way it is shaped, she figures someone must be in there, but the way the fabric pools at the bottom indicates it is likely someone shorter than Vadim. 

Realizing the danger of a rampaging bear, Mon turns himself invisible and steps behind the bear. He unzips the suit, but he turns visible. The bear ignores Mon, and he grabs Luba by the throat and strangles her. Mon casts disguise on himself, and he creates the illusion of a second bear resembling Vadim's costume. He then tackles the bear, releasing the pressure on Luba, who coughs as air returns to her lungs. 

The crowd in the audience first thought this was part of the play, but this is clearly something else. As Mon struggles with the bear suit, he sends a message to Sir Sergeii to advise him that the play has been sabotaged. He then uses prestidigitation to completely unzip the bear suit, revealing to the audience that it is empty.

Marigold abandons the props and rushes to Luba's help, casting cure light wounds to help the actress regain her composure. Branna rushes backstage to Vadim's dressing room, wondering what happened to the actor. Questioning the crew, she learns that he was last seen before the beginning of the play as he was heading to his dressing room. She runs down the steps and enters his dressing room, and he is sprawled on the couch, passed out but with a smile on his face. He seems to be having a great dream. She finds Lilia, the Legendary's second crew stage manager, and she tells her to keep an eye on Vadim while she investigates the incident.

Seeing two bear suits fighting each other, Luba is confused. Marigold tells her Mon is in the second suit. With her friend under attack, Luba starts swinging at the first bear, using her walking stick. Branna sees the bears fighting on stage, but as she looks on, she is pushed by an animated tree, but manages not to stumble. Through the chaos on the scene, Mon sends a message to Marigold and asks her if she can dispel magic. Mon suspects someone backstage animated the bear suit and the tree, since the bear started backstage. Marigold replies she does not know that spell.

With chaos erupting on the scene, Branna tells the city guard hired by Sir Sergeii the play has been sabotaged, and the culprit might still be in the theater. The guard instructs other guards to start searching the facility. Marigold asks Lilia to pull the curtain closed, so they can reset the play. Mon casts hellish rebuke on the bear, destroying the costume and neutralizing the threat.

With the curtain closed, Marigold, Branna, Mon and Luba meet with Lilia. Marigold suggests they pick it up with Masha being in the lair. Marigold sends a props person to retrieve Sir Sergeii and bring him backstage. Sir Sergeii investigates the origin of the attack. Marigold then proceeds to mend some of the damage caused by the bear. Mon, as understudy for Vadim, heads back to stage in his bear illusion.

The crowd mutters its displeasure, but the play resumes with Masha in the bear's cave. Anya, who is backstage helping the stage manager, sends a hurried message to Mon, informing him she saw a cloaked figure up the catwalk. Mon redirects the message to Marigold, who turns towards the catwalk. Suddenly, the orchestra sounds dissonant, before they stop playing, and the theater's lights go dark. Screams of panic from the audience spread as the confusion infects those watching Masha and the Bear. Branna struggles to relight the Grand Royal Opera’s magical lights. She casts dancing lights, then light on the ceiling’s chandeliers, returning illumination to the audience and on the stage.

Luba, the second actress, was already bitter because she was left off the promotional posters for the performance of Masha and the Bear in Konstantina. Witnessing the chaos and the victim of an assault, Luba refuses to go on with the performance, claiming the production is "cursed" and that her "star is fading”. Albina, Luba’s understudy and currently a member of the chorus, is sent to get ready.

Mon steps in front of Luba and holds the actress close to him. He gives her a motivational speech, tying her personal acting legacy to the honor of the Legendary. She can rise above the hardship, he tells her, and demonstrate to those who are trying to undermine her acting that she will not be cowed. Luba wipes her tears, and, looking in Mon's eyes, tells the actor she will deliver the performance of her life.

Marigold dispatches a guard to the catwalk, but he returns, reporting that no one is there anymore. 

With the show and the audience in an uproar, Sir Sergeii takes the stage, and politely informs the audience that the performance was sabotaged, but that the artisans of the Legendary wish to reboot the performance and start from the beginning. The murmurs in the crowd seem disinclined to agree, until Lady Voloshyna stands and agree, stating she wishes to see the whole performance. The rest of the crowd reluctantly agrees, indicating the relative social weight Lady Voloshyna possesses in Konstantina.

There are no further disturbances. The show is a success, the crowd politely applauds, but it ends an hour and ten minutes later than it should have. Mon considers charming Lady Voloshyna, but then decides not to. Branna speaks with Lady Voloshyna as the art critic heads towards the exit. Lady Voloshyna gives Branna a generally positive review, but tells her to watch for her critique in tomorrow’s newspaper.

 With the play now completed, Sir Sergeii wonders whether they should attend the benefit gala hosted by House Volkov. Since all of Konstantina’s elites are expected to attend, Sir Sergeii thought this would be a ripe opportunity to further promote Masha and the Bear, but now it feels forced. He polls the crew, and after some discussion, they agree that some representatives should go, at least the actors and a few others.

As the actors prepare to depart for House Volkov’s estate, the Wolf Landing, Marigold examines Vadim and realizes he was bespelled. She discovers that Vadim sports a kissing mark on his neck. She suspects that is how the magical sleep was delivered. Branna helps her move the actor to his couch and covers him with a blanket.

Mon and Luba go to the gala, along with Sir Sergeii, Solomiya, the conductor of the orchestra, Lilia the stage manager, and a few others. Marigold and the prop crew will work through the night to fix all broken props, while Branna and her costumiers spend the night building another bear costume. 

Friday, July 8, 1066 SE, continued

Sir Sergeii’s carriage takes them to House Volkov’s estate, the Wolf Landing, which is so named because the family is pretty rigid and "unmoving,” and claims to control the political flow of the area. House Volkov wants everyone to know exactly whose territory they're stepping into when they enter the Wolf Landing.

Duke Volkov personally welcomes Mon and Luba to his estate and thanks them ahead of time for performing a wonderful song. Circulating throughout the room, Sir Sergeii introduces Mon to Ambassador Volodymyr, the Natavian representative to Sezja, before showing the Legendary’s crew to other notables. As Mon discusses Masha and the Bear, he also overhears conversations about a "ghost" that stalks the palace halls, and subtle jokes about an "unseen princess.”

Mon and Luba perform the keystone duet of Masha and the Bear, to the rapturous applause of the rich crowd. Luba is thrilled with her performance, and several nobles fawn over her, asking her questions. Ambassador Volodymyr intercepts Mon, and initiates a conversation about the power of art and music, noting that Natavia has nothing of the caliber of the Grand Royal Opera, and, by the sound of it, the Legendary is even above that threshold.

As Mon and Ambassador Volodymyr discuss the arts, they are rudely interrupted by a short, bald noble. He harangues the Ambassador: "How fitting that the Natavian delegation finds such kinship with the Legendary troupe, Volodymyr. Both spend their lives in borrowed finery, reciting lines written by their betters, and pretending a stage-set is a kingdom. Tell me, when the curtain falls on your King’s health, what role have you rehearsed for the silence that follows?”

After the bald man and his cronies leave laughing, Ambassador Volodymyr identifies him to Mon as Sir Danylo Zhiva, of House Zhiva. Sir Zhiva has been harassing the Ambassador for the last month. The Ambassador is perplexed as to his hostility. Sir Zhiva returns later in the night and threatens the Ambassador: "You bask in the glow of a dying hearth, Ambassador. But even now, the shadows grow long. There are stars—black and cold—that do not care for your 'arts' or your 'refinement.' When the Black Sun rises, I wonder... will the art you profer to like, and their pretty singers, be able to drown out the sound of a kingdom being purged of its... excesses?”

Mon tells the Ambassador about the Black Sun project and the cult behind it. They may be ready to co-op or overthrow the King. The Cardinal may be behind this. The Ambassador reports that Sir Zhiva is a loyal supporter of the Cardinal. 

Sir Zhiva returns one more time. Clearly intoxicated, but now accompanied by five other individuals, he belches out a series of insults: "You speak of 'unseen princesses' as if they were fairy tales, Volodymyr. Perhaps in Natavia, you are used to chasing ghosts. But here in Konstantina, we prefer our royalty to have... substance. It is a pity your influence is as invisible as the specters you supposedly champion. One might mistake your presence here for an empty chair at a banquet."

Ambassador Volodymyr expresses concerns that once Sir Zhiva leaves, his life is in danger. Mon and the Ambassador make an appointment to meet during lunchtime on Saturday at the embassy. 

When Mon returns to the South Gate Hotel, he finds the building in a frenzy. There have been a series of burglaries, and rooms have been broken into ...

Legendary 032 - The Cardinal’s Fraud

Thursday, July 7, 1066 SE

Today is the day of the dress rehearsal. Sir Sergeii joins the Second Crew for breakfast, an unusual occurrence. He informs them that the entire crew has been invited to a benefit gala hosted by House Volkov tonight, following the dress rehearsal. All of Konstantina’s elites are expected to attend, and Sir Sergeii believes this is a ripe opportunity to further promote Masha and the Bear. House Volkov is an ancient and rich family, whose most prominent historical member was Grand Duke Andriy Volkov. He served as the Regent of Sezja in 989 SE after overthrowing Queen Lyuba, a period remembered for military stability and the cautious rebuilding of the realm following foreign conflicts.

Absorbing the news, Mon questions if the crew will be expected to perform in costumes at the gala. Sir Sergeii replies that costumes should be kept under wraps until tomorrow’s opening-night performance. Instead, he suggests that the actors who perform a song or two wear conservative outfits that do not display wealth but rather the severity of their craft. Mon then suggests they contact Branna’s parents, who own a tailor shop, and request new clothes, at least for the performers. According to Mon, this would be a good advertisement for her parents, and would clothe the most important people. A message requesting outfits for 12 people, along with measurements, is sent via the South Gate Hotel’s pageboy. 

Mon thinks about the King’s upcoming return to Konstantina and wonders how his trip will be seen in light of the Legendary’s crew taking over the Grand Royal Opera and the frictions with local artisans and workers, along with the newspaper reports of "stealing livelihoods" and acting with unearned arrogance.

Branna steals Herald’s copy of the most recent edition of the Shredded Truth, and peruses the news. There are multiple reports of additional military deployments around town, on both sides of the Lavra River. Speculation is rife that these border troops have been brought to Konstantina to crack down on the nascent protests in St. Boris, but so far, no proof has been presented, and troops have remained in their temporary camps. Branna then ponders what events might have triggered the protests in St. Boris. Hennadii, who overhears the conversation, explains that the radicalization of the people in the St. Boris neighborhood is primarily driven by economic hardship, a perceived betrayal by the government, and the influence of a charismatic firebrand preacher at the St. Boris Basilica.

According to Hennadii, the key factors contributing to this situation include a new excise tax, the military buildup, which is perceived as being against the people, and Father Kostiantyn’s call for direct action. The most significant source of anger is a new excise tax that is reportedly "crippling local merchants" and "starving the poor". The working-class congregation, which includes dockworkers and small business owners, feels directly targeted by these financial burdens.

The preacher at the St. Boris Basilica, Father Kostiantyn, acts as a primary catalyst for radicalization. He delivers populist, "firebrand" sermons that serve as a "dramatic confrontation with the city's corrupt powers." He openly rails against the "decadence and indifference" of the Royal court and the wealthy elite. The energy within St. Boris has become highly charged, with the preacher encouraging political resistance and a "devastating boycott" against the city. Observers have noted that the atmosphere during these gatherings feels like the "beginning of a riot," as the community is galvanized to oppose the government.

There is also a widespread feeling among traditionalists and disenfranchised veterans that they have been betrayed by the current established order. This resentment is exacerbated by an "increased military presence" in Konstantina, which many perceive as a sign of looming conflict.

Finally, the St. Boris Basilica itself serves as the physical and ideological center of this movement, its imposing and dark Gothic structure providing a "rallying point" for those who feel marginalized by the crown’s policies.

Looking at a map, Branna and Marigold sketch possible scenarios as to what conspiracy is occurring. The potential for mischief is high, and the city is a powder keg. St. Boris is close enough to the Grand Royal Opera that a riot or a protest could reach them rather quickly, before the guard has a chance to intervene. Branna mentions to Sir Sergeii her concerns about the people in St. Boris and the members of the resident crew who most likely live there. Marigold is brought into the conversation to provide her input. Hearing their concerns, Sir Sergeii agrees to ask his contacts to assemble a small security force to monitor the production, and he will also speak with the city guard to see if a detail is available to protect the building.

Meanwhile, Mon considers a plan to embed Herald in a production at the Dirty Duchess, a small theater in St. Boris, which would mean the cad would be left behind when the Legendary crew returns to Katarina.

Having pondered his options, Mon puts his project aside, and he heads to the Royal Archives. He is greeted by a different archivist, who invites him in Katiana’s office. He hands over a document about the Cardinal’s exile, but the archivist makes a big show of looking for the remaining paperwork. The office is soon joined by two city guards, who are here to escort Mon to the Palace. The actor follows the guards to the Palace and is taken into the basement, where he meets Viktor, head of the King’s secret police. Viktor quickly gets to the point. Mon’s investigations are to stop immediately. Consequences for violating this directive would be … drastic. Mon agrees to end his investigation.

Returning to the South Gate Hotel, Mon reports his encounter to Branna and Marigold. Hennadii notifies Mon he received a fat envelope. Opening the envelope, Mon realizes that Katiana had sent him copies of the documents he requested before she was arrested. The edict against the Cardinal shows that he has been stripped of his office and should no longer hold power or conduct his campaign of moral terror against Katarina. They speculate. Did the Cardinal arrive on Katarina before or after his exile was pronounced? To seek answers, Mon will commune with the Raven Queen and see if he can identify what the Cardinal might have been doing to undermine her authority.

Mon turns the documents over to Marigold. She considers building a small wooden box to safely hide them, and she draws a design.

Mon sends a message to Katiana, thanking her for the documents and inviting her to the premiere tomorrow. She replies that she is in a jail cell in the Palace and will not be able to attend the premiere tomorrow because of her current imprisonment for violating state secrets. Mon sends a message to Pavel asking him to check Katarina’s records to see the exact date of the Cardinal’s arrival on the island, and he also lets him know they found a few antique saws for him. Pavel agrees to look into it, and he thanks the actor for the saws.

Meanwhile, Branna receives a message from her father that he has enough outfits for the performers, but they will require small alterations. Dhuka comes bouncing downstairs, proclaiming to be bored. Branna decides to head to St. Gleb with the child after lunch to help with the alterations to the clothes.

Once across the Lavra River, the two of them have lunch at the Singing Frog Inn. Dhuka buys a strawberry tart. She then spends the afternoon working with Branna and her father. When it comes time to head back across the river, Dhuka asks if she can stay with Branna’s parents. They agree, and Dhuka spends the night in St. Gleb. 

Herald is on time for once.

Back at the Grand Royal Opera, there are lots of people in attendance for the dress rehearsal. Even Herald is on time for once. Mon uses unfailing barding inspiration on the leads, so they do not fail their performance when they start the show. Sir Sergeii advises Branna, Marigold, and Mon that he has secured a four-person security detail, along with ten city guards up front. He also confirmed with the Captain of the Guard that the guards will staff the Upper City gates. If a large party comes from St. Boris to disturb the dress rehearsal or tomorrow’s opening night performance, the gates will be closed.

The dress rehearsal is about to start ...

Legendary 031 - A Dashing Rescue

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.

The trio then splits. Marigolds heads to the public library, and researches previous editions of other Konstantina newspapers and their coverage of the Legendary’s troup. The Konstantina Sun 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. The Shredded Truth is vehemently opposed to the presence of the Second Crew and make no qualms about their partisan approach. The other newspapers have casually mentioned the Legendary presenting a play at the Royal Grand Opera, but stick to factual summaries without opinions. Based on this information, Marigold notes that Branna should  highlight their spending on local supplies and services when she is interviewed by Lady Voloshyna.

Branna and Mon, for their part, prepare to head back to St. Boris to rescue their hotel keeper and the other prisoners currently in Tarashenko’s clutches. 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. Returning in time, Marigold puts on a traditional vest, filled with pockets containing her tools and, obviously, several snacks. 

Traveling through the cramped streets of St. Boris, they spot the boy they hired to keep an eye on the building where they suspect the prisoners are being held for them. Mon approaches the boy, but the boy does not recognize him under his disguise. Marigold stands next to him, and he pushes her aside, telling her “Kid, this is my corner, now scram.” Marigold hands him a silver coin, telling him they’re the ones who hired him last night. The boy accepts the coin, and resets his attitude. “My apologies, I did not recognize you.” He proceeds with his report, which is there were no changes in the situation. No one entered or left the building. 

They thank the boy, who leaves to spend his coin, and they consider their options. If what the boy said is true, the prisoners must still be there. Mon misty steps to the building’s roof, and assesses the situation from there, monitoring comings and goings. Marigold and Branna walk to the building’s carriage door, and the halfling expertly picks the surprisingly new lock. Inside, they see apartment doors on either side, but evidence that the building is uninhabited. In the courtyard, they locate the missing wagon and its horse, munching peacefully on a bale of hay. In the courtyards, two staircases lead up to the second and third floor porches. Branna notices recent scuffmarks, indicating someone has been dragged up the stairs. Carefully, they ascend.

On the second floor, the first and second apartments they peer into are empty. Looking through the windows of the third, they spot plates and empty bottles. Someone was recently eating here. Marigold picks the lock, and they quietly enter the apartment. The kitchen is empty, and the doors leading to the two bedrooms are closed. Opening the first one, they find Hennadii and the missing pageboy, hogtied and gagged. Both of them track them with their eyes. The hotel owner does not recognize them with their disguise. In the next room, they locate Dmitri, the teamster driver, and his son Ivan. Both of them are in a similar situation. 

Up on the roof, Mon observes four burly men who stand out from the locals by their uniforms. He sends a message that they have company coming, and he moves off the roof to warn them. 

With time being of the essence, Marigold disguises herself to resemble the boy who has been guarding the street, and she opens the door. She then turns herself and Branna invisible. Dmitri, who quickly harnessed his horse, whips it in a frenzy, and the wagon, driven by Dmitri and pulling Ivan, Hennadii, and the page boy, almost runs the villains down as they stand by the gate, flabbergasted at this turn of events. Seeking revenge, Dmitri whips one of them on the rear end before driving up the hill back towards Riverside. Mon, who also turned himself invisible, uses misty step and lands perfectly in the wagon’s carriage, next to the page boy. Shocked, the villains do not react as the wagon turns the corner and disappears.

The villains enter the building and realize that their captives are gone. While Branna and Marigold listen nearby, they mention that they were supposed to keep the captive for another 6 hours, but that their escape only moved their project forward. The gang’s leader is not worried about the escape, since the guards will likely not search the building, even if it is identified as the site where captives were taken.

Meanwhile, in the wagon, the former prisoners converse about their experiences, that they were all kidnapped by the same four men, and that they were left tied without food or drink. As the wagon nears the South Gate Hotel, Mon casts disguise on himself so he can disguise himself … as himself, and he intercepts Hennadii as he enters the building. Mon talks with the hotel owner and wonders what happened to him. Hennadii relates the story Mon already heard in the wagon. Mon questions Hennadii as to why they might have wanted to kidnap him. Hennadii does not know, but he wonders if it’s due to the aminotisy from the previous ownership.

Branna and Marigold return to the hotel, and they inquire about Hennadii’s health. The proprietor tells them he will be making a wonderful menu tonight to make up for the lackluster meals of the last two days, and he promises it will tickle their palates. Mon sends a message to Sir Sergeii through a page boy, reporting the events of the afternoon, and Hennadii’s concerns about the guard not investigating as thoroughly as they could.

Departing the South Gate Hotel, Mon returns to the Royal Archives and checks in with Katiya, an archivist. He tells her he would like to hire a scribe or two and conduct research on two specific topics. First, he would like more information about the Cardinal, and how he ended up being exiled to Katarina. Second, he would also like to know the history of a local building, the South Gate Hotel. He’s looking for the history of previous owners, and any connections between the hotel and the Cardinal. He requests a copy for himself, a copy for Katiana, and one for the archives. Wanting to show him something in her office, she leads Mon to a series of rooms off the side of the main entrance. Closing the door behind her, she tells Mon that she tracked who last accessed the census record. Myron, the King’s Chamberlain, was the last one to access the records, 7 years ago, in 1059. She also warns him that if there is indeed a missing royal branch, it was hidden for a reason, and he should not go poking around.

Returning to the South Gate Hotel, Mon tells Marigold and Branna about his discovery and outlines steps he can take to confirm that Myron is indeed the last person to look at the records. Marigold tells him things don’t always have to be overly complicated. He could just send him a letter with his questions. Branna laughs and departs the hotel for her appointment with Lady Voloshyna at the Furry Rabbit.

Once there, she meets Nastia, wide of Dmitri the teamster outside, and they are soon joined by Lady Voloshyna. The three of them enter the restaurant, and are led to a quiet corner booth. Holding a leather-covered journal, Lady Voloshyna takes copious notes as Branna describes Nastia’s story and the disappearance of her missing husband, and the happy reunion that occurred earlier today. Food is ordered and deliered, and the they then move into the heart of the interview about the Legendary staging Masha and the Bear at the Royal Grand Opera. 

Lady Voloshyna first asks Branna if the opposition reported by other newspapers have affected the Legendary’s artistic vision. Branna responds that they did not suspect there would be ire among the people. They modified the play out of respect for the more conservatives morals of Konstantina. they did not put anyone out of work, the Royal Grand Opera’s workers are currently planning their next production while the Legendary runs their own. Lady Voloshyna continues her line of inquiry by asking about the argument a firebrand in St. Boris makes that what people need is food, not entertainment. Branna acknowledges that it’s only when people’s needs are met that they can truly appreciate the value of art, but, 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.

Lady Voloshyna switches gear. She questions Branna about Masha and the Bear, and wonders if the play is a veiled reference to Katarina’s independence. Branna replies that the Legendary performed Masha and the Bear in Katarina, and there was no political empetus for this play. People of Katarina enjoyed it, and the Legendary wanted to bring it here. Lady Voloshyna then asks Branna what a successful opening night will look like for the Legendary’s crew. Branna answers that it will look like 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.

Lady Voloshyna then returns to her previous line of inquiry. She asks Branna how the challenge of collaborating on the space with the local crew, having to share the space, changed the routine of the Legendary’s crew. Branna looks at her and chuckles, before answering that they are familiar with the process of switching plays, but coming here was a challenge that they make work. It has not been ideal because people on both crews feel like they haven’t had enough time, but Branna cannot express enough the gratitude they have for the people of Konstantina and especially of the local crew. They know it’s difficult to share workspace and they could not have done it without them.

Lady Voloshyna then switches the conversation again. She wonders how has it been collaborating with such a great man as Sir Sergeii. Branna answers that the Legendary crew is 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. Lady Voloshyna pursues the questioning, asking Branna to confirm that a rumor is circulating that Sir Sergeii acquired an ownership stake in the Legendary. Branna answers that she does not know about the theater’s ownership structure or its financing. Lady Voloshyna thanks Branna for a wonderful interview, and she looks forward to tomorrow’s opening night.

Throughout the conversation, Nastia looked thoroughly lost, but she enjoyed her dinner. With it now concluded, Branna walks Nastia home. 

Meanwhile, as dinner is served at the South Gate Hotel, letters from Katarina are distributed. To her surprise, Marigold receives a letter from Pavel. Written in a childish hand, reflecting his barely literate status, Pavel shares news of the Legendary and the King’s visit, adding humorous details about Sir Gregory walking through the Legendary with a tie smeared with mustard. He then asks her if they had a chance to take a look at antique saws for his collection. Marigold reminds Mon of Pavel’s request, and Mon agrees they should go out tonight and visit some of these antique stores now, before dress rehearsal tomorrow and opening night the day after. Branna returns to the South Gate Hotel and joins them. Dhuka and Branna’s father return soon after, and Marigold spots the bulging pocket on Dhuka’s coat. Asking her to reveal what she is hiding, Dhuka causes a distraction and runs away, stating she has to look for Anya. What did that girl steal now?

Mon queries the proprietor about local antique stores. Hennaddi first mentions he will have a buffet for them tomorrow morning, before bemoaning the loss of one of his cooks, who abruptly resigned, speaking nonsense about witchcraft. He then turns to Mon’s request and tells him about five antique stores within reasonable walking distance of the hotel. There’s the Old Chests, which specializes in antique furniture, chests, and strongboxes. The Stones of the Age focuses on ancient, heavy artifacts, including stone carvings, forgotten statues, medieval weaponry, and geological oddities. The Sanctuary Lamps sells antique religious artifacts, tarnished icons, old Bibles, reliquaries, and items salvaged from abandoned or ruined churches. The Forgotten World is 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. Finally, Everything that is Old is the quintessential cluttered, dusty, and fascinating antique shop, located in a narrow, multi-story building deep within an older, less fashionable district of Konstantina.

Leaving Dhuka with Anya and Luba, Mon, Marigold, and Branna travel to the Old Chests. There, they locate one antique saw Pavel might like. Mon also stumbles on the Sidorov Mirror, a large 8-foot-tall mirror that used to be in Sidorov Manor, sold decades ago in an estate fire sale. It ended up here about 30 years ago and has remained here ever since. Mon purchases the mirror and will hire Dmitri and his son Ivan tomorrow to move the Sidorov Mirror to the South Gate Hotel until he can arrange transportation back to Katarina. 

At Everything that is Old, they find additional saws and end up purchasing three. In a corner, Mon finds a strange painting called the Claw of the Hidden Word. Examining it further, Mon determines that it is a representation of the Raven Queen's dominion over forgotten secrets and suppressed history. It is an item that would not have been found in a palace, but hidden away in a secret place.

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 is the item's most distinguishing feature. It is carved from dense ebony 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 is carved, all reaching out toward the central painting, representing the living's hands, desperately trying to retrieve the secrets the Raven Queen has stolen.

When one looks closely at the painting, the atmosphere of the room seems to grow momentarily cold, and a subtle rustling—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 Raven Queen.

Mon returns to the South Gate Hotel with his painting, and he hangs it on his wall. Returning home later, Herald sees the painting and is immediately scared out of his wits. He runs out of the room screaming and does not come back for the rest of the night, much to Mon’s delight.

Meanwhile, on Katarina, the King visited House Vasyl and its foundry at Klara, before returning to Katarina to attend a ball hosted by the family.

Legendary 030 - Has the Guard been Notified?

Tuesday, July 5, 1066

As Mon, Branna, and Marigold descend the stairs with Dhuka and Anya to join the rest of the Second Crew for breakfast at the South Gate Hotel, a mournful song greets them as Ioulia sits at the piano. Hennadii informs them that his morning’s food delivery has not arrived. Six days a week, a wagon filled with provisions arrives from the Whispering Market down by the docks and delivers enough food for the day. On Saturday, the wagon brings food for both days of the weekend. Hennadii and the cooks are putting together a small meal with leftovers, but the crew is upset and disheartened because they can't break their fast. Luba complains loudly that she can’t possibly perform her best at work on an empty stomach.

When Branna offers to help, Hennadii readily accepts. He tells her he sent a pageboy to alert Khrystyna about the missed delivery, but he received no reply. He quickly writes down a list of essentials, including five dozen eggs, several bags of flour, two crates of mushrooms, two crates of red peppers, sacks of potatoes, and several bags of fresh fruits. He hands her a purse containing enough silver to cover the purchases and asks them to head down to Riverside and talk with Khrystyna, explain the situation, and bring the food back to the South Gate Hotel. Branna asks Mon and Marigold to accompany them and bring back the food. Branna suggests they take Dhuka with them. The more they keep her occupied, the more she will be tired at the end of the day. At least, that’s their hope.

Coming down the Riverside Hill Road, they quickly locate the Whispering Market. It is a cramped store, filled with the scents of spices and the smells of the river. Khrystyna, the shop owner, greets them. Branna informs her that the morning’s delivery did not arrive. Khrystyna replies that she is aware others sent a message stating the deliveries were not received. She’s nervous about the situation, as the father-son teamsters who deliver to her have worked faithfully for her for over six years and have never missed a day. Khrystyna wonders aloud whether she should notify the guards.

Marigold queries the Whispering Market’s owner about the delivery route. Khrystyna writes down directions and lists the seventeen businesses she provisions. Looking at the list, Marigold sees that the South Gate Hotel is third from last on the list, before the Prince’s Garden, a fine dining restaurant known for its exquisite cuisine and quiet courtyard, and the Living Grain, a bakery and eatery popular for its fresh bread and stews. Before the South Gate Hotel, the teamsters would have delivered to the Ancient Oven, a restaurant famous for its traditional, clay-oven-cooked meats, and the Traveler’s Refuge, a reliable, simple inn just outside the city walls.

After taking the shopping list Hennadii handed Branna, Khrystyna assembles several boxes of provisions, containing everything requested by the South Gate Hotel cooks, except for red peppers, as they are all sold out. Now burdened with the food, they return to the hotel and find themselves ascending the hill much less pleasant than the way down.

Following their return, Hennadii and the cooks get busy, and within half an hour, a decent bread-free breakfast is served to the relief of the whole crew. While eating Mon discusses options to resolve this mystery. Perhaps he could turn himself invisible and follow the wagon in the morning to see if more food disappears. Dhuka perks up from her food and requests to join Mon on his adventure tomorrow. Branna declines but tells Dhuka there is plenty of adventure in the near future.

With breakfast now served, Hennadii informs the Second Crew that he will deliver a light lunch to the Grand Royal Opera after he collects more food from the Whispering Market. 

While altering some of the costumes, Branna wonders if Sir Sergeii will bring some of the critics with him today. She starts crafting a press release for the newspapers, laying it on thick about how grateful the crew is to perform in the beautiful city of Konstantina and how welcoming the city has been. She mentions the South Gate Hotel and its amazing hospitality. 

Dhuka strolls in and wonders when food for lunch will arrive, as she is hungry again. Looking at the clock, Branna notices Hennadii is over an hour late.  Herald, who is standing behind her, mocks her and repeats the same thing. Marigold casts prestidigitation, and Herald finds himself engulfed in a cloud of farts. Mon grabs the cad by the shoulder and casts vicious mockery on him. Herald manages to blurt that the lass he was with last night is interested in meeting him. Marigold tells Dhuka to follow her back to the South Gate Hotel. The hotel is quiet, with all of its guests currently at the theater. Checking in with the cooks, they learn that Hennaddi went back to the Whispering Market around ten, and he has not returned. Marigold sends a page to the Whispering Market to inquire whether Hennadii arrived at the market this morning, and requests an answer at the Opera.

Distressed, Marigold drags a cranky Dhuka back to the Grand Royal Opera, where they see Sir Sergeii has arrived. Joining Branna, Marigold tells Sir Sergeii of the morning’s events. The pageboy returns and reports that Hennadii never made it to the market. With Hennadii now officially missing, Sir Sergeii is concerned about the safety of the Second Crew. Before anything else, he offers to take everyone out to the Furry Rabbit, his favorite restaurant. The Furry Rabbit also experienced a delivery shortage this morning, but there is enough food left to make sandwiches for the crew. Sir Sergeii requests that they return to work by mid-afternoon, but for now, they have about an hour to eat and enjoy the city.

Using his time wisely, Mon rushes back to the Whispering Market. Along the way, he realizes a pageboy seems to be following him. Reaching the bottom of Rierside Hill Road, Mon rushes inside a business and hides in a corner. The pageboy stops in the road, looks around for Mon, but does not find him. Defeated, the boy turns around, and Mon uses the opportunity to sneak up behind him and grab him by the shoulder. The boy is startled and quickly admits he was hired by a stranger to deliver a note, then hands Mon a folded, sealed sheet of paper. Unfolding the note, Mon reads three simple words: Watch your back! He hands the boy three silver coins and tells him to notify him at the South Gate Hotel when he hears back from the stranger who hired him.

Returning to the Whispering Market, Mon questions Khrystyna as to whether she saw Hennadii this morning. She tells him no, she has not seen him. Hennadii is now officially missing. Khrystyna sends a pageboy to request the city guard. Upon the guards’ arrival, she and Mon inform them of Hennadii’s disappearance, along with the vanished wagon and its teamsters. The sergeant informs them that they will report the disappearance throughout Konstantina and that they are investigating it as a crime.

Meanwhile, Marigold heads to the North Portcullis Hotel, the delivery location just before the South Gate Hotel. The hotel’s owner acknowledges that food from the Whispering Market was not delivered this morning and that he had several angry customers as a result. He states he will complain to his alderman, and he vows never to do business with the Whispering Market again. Armed with this information, Marigold returns to the Furry Rabbit to collect a sandwich, figuring that the serving line has probably died down by now.

At the same time as her friends departed, Branna heads to the Konstantina Sun, where she introduces herself to the newspaper editor, Arseniy. He is out for lunch, but the clerk at the front desk directs her to Lady Amina Voloshyna, the art and theater critic, and, luckily for her, Lady Amina just returned from lunch. A message is sent, and soon Lady Voloshyna descends the stairs. Branna is suddenly reminded of the Marquess of Sidorov as the art critic walks towards her. Her mannerisms are similar. Branna introduces herself and delivers a copy of her press release. They talk about the troupe and the upcoming play. They also discuss the current political situation and the Second Crew's feeling of not being welcome in Konstantina. During the conversation, Lady Voloshyna drops several hints that she would love a dress rehearsal invitation to see the play before anyone else, and Branna dutifully invites her to the Thursday afternoon performance.

Lady Voloshyna tells Branna about the other newspapers in town. The Shredded Truth is the radical tabloid, more interested in sensationalizing the news than in reporting the truth. The Direct Voice fiercely champions the rights of the common worker, exposing unsafe labor practices, advocating for higher wages, and railing against the perceived decadence and indifference of the Royal court and the wealthy elite. The Academy News Reports focuses on deep cultural criticism, archaeological discoveries, magical theory, philosophical debates, and complex economic analysis. It avoids common political gossip, but its objective, lengthy articles often subtly undermine the government's positions by presenting inconvenient facts or history. The Merchant Quarter primarily concerns trade laws, commodity prices, tariffs, shipping schedules, and currency exchange rates. It is highly critical of any government regulation or social unrest that threatens the city's profit margins and flow of goods. Finally, the Mad Singer publishes experimental poetry, abstract art reviews, thinly veiled revolutionary manifestos, coded critiques of the monarchy, and highly critical, often darkly humorous, takes on high-society figures, with the aim of challenging the status quo.

Returning to the Furry Rabbit, Mon picks up his sandwich and heads to the fountain. Mykola is there, as always, feeding the seagulls. Mon sits near him, and it becomes quickly clear that Mykola does not remember Mon. He whispers to himself, “The iron hammer of the blacksmith sings a patriotic tune, but the gold it strikes funds the serpent's dinner.” Mon softly replies that “A missing cart makes for absconded meals.” Mykola looks at him and smiles. He questions the actor about who he truly is. Mon replies that he’s a slate that's been wiped clean, and he’s trying to discover what was carved there.

The conversation continues as Mon eats his sandwich. Mykola tells him to “Beware the stage lights. Sometimes, the shadow they cast is more honest than the actors.” He then digs in his pocket, retrieves a playing card, and hands it to the actor. Mon glances at it and is surprised to see that it is the 3 of Spades, one of the cards he is looking for. He feels part of his soul being restored. Looking at Mikola, it is clear that the old man does not remember giving him the card. Mon thanks him anyway, and he gets up to return to the Grand Royal Opera. As he leaves, Mikola says that “Every new key made in this city has a brother that opens a vault better left sealed.”

Back at the theater, Mon shows this new playing card to Marigold and Branna. They are suitably impressed that Mykola would have had such a card with him. 

At the end of the working day, the Second Crew heads back to the South Gate Hotel for dinner. Mon returns to the Royal Archives, where archivist Katiya informs him she has more books for him. Examining some of the books she has put aside for him, Mon comes across the Royal Census of 1050 SE, the year Princess Elara was born. On page 91, the record clearly lists all members of the royal household, including King Stanislas II, his wife, Queen Larysa, his daughters, Princess Darina, born in 1047, and newborn Princess Elara, and Prince Yegar, born in 1045. Servants and those attached to the royal house are then listed. However, an entry has been deliberately blotted out of the census. Carefully analyzing the document with Katiya, Mon is able to remove part of the blot and reveals that Anya Senior and her newborn daughter, Anya Junior, also lived at the Palace, with Anya Senior serving as wetnurse for Elara. The name of the father, however, has been simply excised from the page, and even a mend spell would only restore the paper and not the writing on it. Katiya will search the records to see who last consulted this tome. Mon copies the entry’s information and, upon returning to the South Gate Hotel, distributes it to Branna and Marigold. 

After dinner, with Hennadii still not back, Marigold summons a pageboy and asks him to fetch the guard. When the guard finally arrives, Marigold questions him on the happenings of the day, and he reports that, though he’s not at liberty to divulge information, a wagon was found burning in a wooded area in the Our Lady of Faith neighborhood. The wagon was empty, and no bodies were found nearby. However, a metal plate attached to the wagon indicated the cart belonged to Dmytro the teamster. The investigation remains ongoing, but so far, they have no clue what happened to Hennadii, the pageboy, or Dmytro, the teamster, and his son Ivan.

Determined to investigate the matter, Marigold, Branna, and Mon return to Riverside to meet with the driver’s wife, Nastia. Nastia is distraught that her husband and son are missing, and she tells them that the city guard returned the metal plate with the wagon’s number on it, which they found after the wagon fire was extinguished. Feeling bad for her, Branna invites Nastia to dinner tomorrow night with Lady Voloshyna after the dress rehearsal. 

As they return up the hill, they hear the sounds of a scuffle behind them. Two pageboys are fighting. The smallest one punches the other in the eye, and he takes off into the night. Branna intervenes and realizes that Dhuka has been following them since they left the hotel, dressed in her pageboy clothes. She’s upset that she was left behind again. She tells them that the pageboy just sent a note through another pageboy to the Coughing Raven, a tavern in St. Boris. 

Walking towards St. Boris, Mon suggests to Branna that perhaps Dhuka could intern with her parents at their shop to learn a valuable skill and stay extremely busy. Branna says she will think about it.

As they travel down towards the St. Boris neighborhood from the Walled City, they encounter a very inebriated Herald returning to the hotel. Herald is thrilled to see them. He tells Mon he’s just returning from a little place called the Coughing Raven, where he was hanging out with this girl Rouslana , who keeps asking about Mon. Learning that this is indeed where they are heading now, Herald joins them. 

The Coughing Raven is in a shady part of St. Boris, and appears to be packed despite the late hour. While Herald continues to the door, the rest of them hang back. A man coming out of the Coughing Raven accidentally bumps into Herald and pushes him angrily out of the way. Herald drunkenly staggers inside as the other man walks away. The dim streetlights did not prevent Marigold, Branna , and Mon from identifying this man as Tarashenko, the Cardinal’s right-hand man. What is he doing here? Tarashenko enters the carriage door of the building next to the Coughing Raven.

Using disguise self, Mon enters the Coughing Raven. The tavern is filled with smoke and patrons as alcohol flows. A band stands on a stage and plays music. Walking through the crowd, Mon sees Herald sitting with a redhead woman and a group of other people. Eavesdropping on the conversation, he overhears Herald tell the woman that Mon is coming, and he can’t wait to introduce him. Questioning the barkeep, Mon discovers that the woman is a regular named Rouslana, and she hangs with an unsavory sort. Mon purchases a bottle of Phoenix Blood and sends it over from a fan who saw him perform in Katarina.

Returning outside, Mon finds a pouting Dhuka who was hoping to come into the Coughing Raven. Mon promises her they will do something fun. Tarashenko and four burly men emerge from the building next door and head down the road laughing. Spotting a pageboy, Marigold pays him a gold coin to watch the building for the next day and report back to her at the South Gate Hotel on who went in there. Branna, Marigold, and Dhuka head back to the South Gate Hotel as the night is getting long.

Mon returns inside the Coughing Raven to spy on Herald and Rouslana’s conversation. On his return, he notices that Herald is now asleep, his head on the table. Rouslana is talking with the other folks sitting with her when Tarashenko pushes Herald aside and slides next to her. He asks her about Mon, and she reports that Herald is hoping to introduce her to Mon, but she hasn’t seen the actor yet. He tells her to keep trying and to let him know when she makes contact.

Mon returns to the South Gate Hotel, his mind abuzz ...

Legendary 029 - The Old Man by the Fountain

Sunday, July 3, 1066

Today is a church day. Hennadii is serving breakfast at 8 instead of 7, to give everyone plenty of time to eat, dress, and head to a church service. He helpfully posts a list of several church services within walking distance and provides a short description of each community and the preacher’s style. Folks are encouraged to attend services, but they are not mandatory. However, Hennadii suggests that those who choose not to go should enjoy a relaxing morning in the hotel and avoid leaving until the church bells ring again. Ioulia continues to entertain the Second Crew on the piano as she works on her new composition. Branna tells the Second Crew that this is a good idea, as some of the residents might negatively perceive their presence in town during church services, and rumors in Konstantina spread even faster than in Katarina.

Looking at the list, Branna decides to cross the Lavra River and attend church with her parents at St. Gleb's before going home for lunch. Marigold is intrigued by the proletarian orientation of the St. Boris Basilica and decides this is where she will go. Mon examines the list for any service in the name of the Raven Queen, but does not find any. He decides to travel with Branna. Luba considers all the options and decides to accompany Marigold. Dhuka isn't interested in going to church, and she loudly asks whether they will be doing anything fun after church, since she's tired of being cooped up in the South Gate Hotel. Mon promises her that he will take her and Anya around town after they return from St. Gleb, and maybe they’ll even have a picnic. 

Branna and Mon head to Riverside and catch a ferry across to St. Gleb. Walking to the church, she recognizes many of the congregation's members and soon finds herself in conversation with people curious to hear about her adventures in Katarina. Standing back, Mon observes the scene and takes notes of the various types of people, reflecting that this would make a good scene in a play. Ten minutes before the service starts, Branna’s parents arrive, and they are pleasantly surprised to see their daughter. Branna informs them that she and Mon would love to come to lunch after church, as she has many questions about the town’s social and political climate. They readily agree, and the four of them enter St. Gleb’s church.

The service at St. Gleb Church is exactly the way Branna remembers. The church is well-lit, featuring modern, clear glass instead of traditional stained glass, which emphasizes the community’s spirit of transparency and clarity. The overall look reflects its reputation as a haven for the city's more liberal thinkers, artists, and reformers. The atmosphere inside is one of calm contemplation and intellectual engagement rather than fire-and-brimstone fervor. The preacher's tone is inclusive and philosophical, focusing less on doctrine and more on ethical conduct and personal interpretation of faith.

Observing the service, Mon remembers that his family leaned more towards druidic traditions as professional fishermen. He recalls bits and pieces of the service, and as he compares his memories to what he is observing, he finds the St. Gleb church service to be unstructured and conversational. incorporating music from the folk tradition, and the readings are often drawn from parables or ancient wisdom texts, encouraging open discussion afterward. The preacher, a progressive scholar, delivers a measured and analytical sermon. The focus is on social justice, empathy, and challenging one's own biases, suggesting that true faith requires action to help the disadvantaged and that the church's role is to question authority when it becomes corrupt.

Meanwhile, Marigold and Luba experience a different service. Located in the St. Boris neighborhood, the St. Boris Basilica is dedicated to the patron saint of peaceful martyrdom. The Basilica’s Gothic stone structure is old and dark, cutting an imposing figure that overshadows the surrounding buildings. A large crowd stands outside the church, while the sound of a booming organ inspires the crowd with religious fervor. The congregation is primarily composed of the working class, including dockworkers and small business owners, as well as disenfranchised veterans. With the building filled to capacity, Marigold and Luba barely find enough space in a pew near the back. 

The interior is dark and filled with religious icons. Countless decades of incense burning have covered most of the ceilings with soot. The Basilica’s atmosphere is intense, devotional, and highly charged. The service is highly traditional and ceremonial. It features call-and-response chanting and dramatic rituals, invoking the strength and suffering of the martyrs. 

The preacher is a charismatic, firebrand speaker whose sermon is a dramatic confrontation with the city's corrupt powers. Marigold notices that he’s offering a rallying point for the poor and the traditionalists who feel betrayed by the current government. He preaches a populist message, directly railing against the new Excise Tax that starves the poor and demanding that the church fulfill its duty to protect the suffering. Designed to inspire courage and political resistance, his oration riles the crowd, and Marigold fears she’s witnessing the beginning of a riot. Their collective energy is palpable, and they respond to the preacher with enthusiastic shouts and signs of devotion, leaving the Basilica feeling galvanized to oppose the established order.

With the service wrapping up, Branna and Mon follow her parents back to their home for a light lunch. During the meal, the discussion centers on the Cardinal's political situation and exile, the excise taxes that are now crippling local merchants, and the increased military presence in Konstantina, foreboding a potential conflict. When Branna mentions the incidents at the Grand Royal Opera, her parents wonder whether the local theater crew is feeling professional jealousy or driven by some sinister force. They also mention that the script of Masha and the Bear should be gone through with a fine-tooth comb for any threat of independence on the part of Katarina, as it would not be well received locally.

Branna wonders whether it would behoove the Legendary crew to get interviews from local newspapers to promote the play. Her parents think it is a great idea, and they provide her with the names of several journalists and chroniclers she can contact.

On the other side of the Lavra River, Marigold and Luba return to the South Gate Hotel for lunch. Hennadii serves Marigold with several hafling dishes he researched and prepared, and the food is delicious. Noticing that neither Dhuka nor Anya is in the dining room, Marigold climbs the stairs to their room and finds Anya sitting by the window, looking at the Lavra River in the distance. Communicating through signs, Marigold soon learns that Dhuka left at the end of the church service to explore the city. 

Marigold decides she can’t wait for Branna and Mon to return to look for Dhuka before she gets herself in trouble, so she tells Anya she will search the city. Anya convinces the halfling to take her along. Marigold leaves a note with Hennadii at the front desk explaining the situation to Branna and Mon. Wandering the Walled City, Marigold and Anya see the sights, but after a few hours, they still haven’t located the child.

With their meal finished, Branna and Mon return to St. Gleb and take the ferry across the Lavra River. Coming up the Riverside Hill Road, they soon run into Anya and Marigold, and the halfling explains the current situation. Continuing their search, they soon come upon a public garden with a grand fountain featuring a beautiful woman carved in stone holding a raven. They immediately recognize Dhuka, who is sitting next to an eccentrically dressed, very old man feeding the seagulls. Dhuka introduces him as Mykola, informing Mon and the others that Mykola tells really interesting stories. Branna recognizes the costume was from the Regency period, 85 to 70 years ago. At the time, the King had died, and the Queen served as regent to her young son before he became of age to ascend the throne. The regency came to a tragic end as nobles rebelled and the Queen was forced into exile. The young son eventually became King Stanislas II’s grandfather.

Mon introduces himself to Mykola, and the man shakes the actor’s hand. Mon begins to talk with him, and Mykola tells him he’s lived in Konstantina for more than 90 years. He suddenly looks at Mon, before telling him that “A voice lost to the waters will one day return with the tide.” Turning back to the fountain, the old man returns to his conversation. Mon asks Mykola how he knows this information. Mykola replies that the fountain often whispers secrets to him. He’s been coming to this fountain for more than fifty years, and it always has something interesting to tell him. For example, he tells Mon that the fountain wanted him to know, “The woman from Katarina, they wanted her forgotten.”

They talk a little longer before Mon gets up to look at the fountain. Wondering if there is some sort of magic at work, Mon examines the fountain closely, but does not find any arcane influences on it. As Dhuka, Mon, Branna, Anya, and Marigold bid Mykola goodbye, the old man tells them that “The thrice-born child carries the Raven Queen's silence in their blood, for the cycle of the King's death only turns when her debt to the cradle is paid,” adding that “The lost voice of the Princess sings a tune only the Raven Queen can hear, for stolen breath is a toll paid directly to the void.” 

On the way back to the South Gate Hotel, Branna and Marigold scold Dhuka, telling her she can’t be wandering the streets by herself, as it is not safe. Dhuka complains that boys can be out in the streets, and that she should be allowed to as well. Branna replies that, unfortunately, life is not fair, and Dhuka must be more aware of her surroundings and not wander the city by herself. It’s too dangerous.

At dinner, the Legendary’s crew is joined by Sir Sergeii while Ioulia continues to work on her composition. Branna mentions reaching out to the newspapers. Sir Sergeii tells her it is a brilliant idea, and he will invite the critics to the dress rehearsal on Thursday. Branna informs Sir Sergeii about her parents’ concerns with the script, and Sir Sergeii tasks her to review the script and work on ways to soften any possible reference to independence. 

As they head to their room after a pleasant evening in the South Gate Hotel’s common rooms, Herald returns. He informs Mon he’s met a pretty lass and told her all about him. He soon passes out in his bed.

Herald returns, mentions he met a pretty lass and told her all about Mon, then passes out in his bed.

Meanwhile, on Katarina, King Stanislas II and his entourage attend the church service at the Cathedral and greet well-wishers, before heading to Thunderhead Down to enjoy the horse races

Monday, July 4, 1066

Mon witnesses: Herald departing early. Following breakfast, the Second Crew heads back to the Royal Grand Opera. In the morning, Dhuka is kept busy with theater business. 

Mon returns to the hotel at lunch to pray to the Raven Queen. He tells her what he has seen —the statue with the raven at the fountain —and that he plans to go to the city archives. He asks her for guidance on finding other cards to rebuild his soul.

While working on costumes, Branna re-reads the script and finds that the whole story has an independentist bent. She begins to jot down adjustments to the script. Masha and the Bear is a three-act musical play first performed by the Legendary Theater. The plot follows a young maiden, Masha, who gets lost in a forest and is captured by a bear. In Act 1, the play opens with Masha, a fair maiden played by the actress Luba, in the forest with her friends collecting mushrooms. She gets separated from her group and is ambushed by a bear, played by the actor Vadim, who takes her back to his lair.

In the second act, Masha learns how to live with the bear while plotting her escape. This act features beautiful songs and highlights the lead actors' performances. The final act begins with Masha convincing the bear to deliver pies she has baked to her parents. Masha hides inside the pie basket. Although the bear is tempted to eat the pies multiple times along the way, Masha tricks him by pretending she can see him from his lair. When the bear finally reaches Masha's village, he is chased away by a pack of hunting dogs, forcing him to abandon the basket. Masha emerges, happily reunited with her family and friends, and the show concludes with a final song.

When Mon and Marigold get a break, Branna shows them all of the problematic passages. Mon suggests they add iconography, and the bear is trying to take her away from religion. And the bear makes her work on Sunday. With some minor changes, the play could now be interpreted as a renewal of her faith. Marigold proposes that Masha could have been raised in a convent, and the bear kidnaps her from there. She can pray only when her work is done, and her work is never done. Branna adds that Masha could be collecting mushrooms with the other nuns from the convent, and the pie in the third act could be delivered back to the convent. When the bear is chased off, he is struck by the hand of God. Masha prays when the lightning is delivered.

Departing the theater after the day’s work, Mon heads to the Archives. He wants to research St. Olha and see whether she was associated with dogs or wolves. He also plans to research the royal family tree, as well as the losing side of the conflict 70 years ago. What happened to the losing queen? Are there any portraits that exist in the documentation? Is there a connection to St. Olha? Passing by the fountain, Mon stops and sits next to Mykola. During the conversation, Mykola tells himself that “The mirror on the wall, it shows only what you wish to see, not what is real.” He then breaks into song. Mon remembers this song from when he was a child, and he hums along.

At the Archives, Mon meets archivist Katiya, and requests several records on St. Olha and the royal family. She will look for a portrait of Queen Lyuba, who served as regent.

Looking into the Regency period, Mon discovers that when King Petro died, leaving his young son, only six years old, as heir, his wife, Queen Lyuba, was appointed regent. The Regency followed a protracted period of war with Natavia. The court and upper classes yearned for peace, stability, and beauty, something Queen Lyuba was able to provide, at least at first. The first part of the Regency is  characterized by high fashion, intricate design, and a focus on the arts. It was a facade of cultured elegance that masked deep financial and political rot.

Queen Lyuba herself was renowned for her refined taste and sought to restore the treasury's prestige through lavish patronage of the arts, theater, and construction. While this elevated Konstantina’s cultural standing, the constant stream of balls, fashions, and building projects widened the gap between the spendthrift capital and the struggling provinces. The standing armies and garrisons, essential for defense against Natavia, remained expensive and underpaid, fueling discontent among the veteran noble class.

The nobles' intervention was not a single, sudden act of treachery, but the result of two major, related grievances: Financial mismanagement and the sacrifice of security. Advised by a small clique of new financiers, Queen Lyuba began defaulting on the substantial war bonds owed to the old noble houses, whose wealth had bankrolled King Petro's final conflicts. To fund her extravagant court and cultural projects, she levied increasingly high domestic taxes on rural landholdings and commodity exports controlled by the provincial nobility. They felt the Crown was actively stripping their wealth to pay for silks and new basilicas.

To save costs and redirect funds, Queen Lyuba ordered a significant reduction and restructuring of the border garrisons guarding the Northern borders and the sea fleets protecting the trade routes. The northern frontier houses—who had the most to lose from renewed aggression—saw this as a direct betrayal and a reckless endangerment of their lands and people. They argued that the Queen was sacrificing the realm's security for the Court's vanity.

The combination of financial ruin and vulnerability to foreign threats galvanized the regional Dukes and Counts. The rebellion, led by Grand Duke Volkov (who later became Regent), was publicly framed as an intervention to “restore the King’s solvency and protect the borders” from the Queen’s reckless policies, resulting in her eventual forced exile.

Grand Duke Andriy Volkov's regency is generally remembered as a period of military stability and cautious rebuilding after earlier foreign conflicts.

Digging into a book on St. Olha, Mon reads the history of Sezja’s first Saint. Olha led her people, a devout and freedom-seeking community, to the remote, rocky island where Konstantina now stands. Shortly after their arrival, a vicious plague or magical blight swept through the nascent settlement. Realizing the disease was too potent and could spread to the mainland, Olha, their leader, made the terrible decision to seal off the island. She ordered the healthy to stay and tend to the sick, while she barred any ship from leaving, sacrificing their lives to save the lives of those on the continent. She was the last survivor to remain untouched by the plague. At the end, she stood upon the highest cliff, where she had watched the last of her people perish. Her tears of despair fell onto the black rock of the cliff, cooling instantly into the precious, jet-black stone, the Black Tears of Olha. This makes her not just a founder, but a martyr who traded her community's life for the safety of the greater Sezjan people.

Returning to the South Gate Hotel, Branna delivers the change in scripts to Sir Sergeii. And Herald comes back dishelved….

Legendary 028 - Instruments and Gems

Saturday, July 2, 1066 SE, continued

As the Second Crew finishes its breakfast, a page arrives and delivers working notes from Sir Sergeii. He notes there are several differences between the two theaters. The Grand Royal Opera's stage is shallower in front of the curtain, but longer. The space behind the curtain is slightly larger, but, unlike the Legendary, the facility does not offer a second stage with the same specifications. As a result, the following arrangements have been made. The Legendary’s crew will have unfettered access to the Grand Royal Opera from 8 am to 4 pm every day until Thursday, then they will have full access for the entire weekend. The following week, the schedule will switch and the crew of the Grand Royal Opera will work during the day while Masha and the Bear is performed at night. Sir Sergeii then mentions that until opening night, breakfast will be served at the South Gate Hotel every day at 7 am, while dinner will be served at 6 pm. Lunch will be provided as a brown-bag, or folks can partake of the many restaurants and eateries in the old city at their own expense.

Following this hearty breakfast and sending both a message and a letter to Lady Sirenko about Verushka and Matviyko, Mon, Marigold and Branna walk with the rest of the second crew to the Grand Royal Opera. As they walk, Marigold voices the concern that even though the cargo arrived and all items are accounted for, some props and costumes might have been damaged in transit. Branna is worried that they will need to figure out how to stage the costumes and equipment while another production is occurring in the evening. Perhaps they need to touch base with Maksym, the Grand Royal Opera's stage manager, and figure out a plan of action to ensure that the conflicts between the two productions are minimized.

Returning to the theater, they are greeted by Marta, the theater director, and Maksym. Marta reiterates that the Second Crew should be able to enjoy the facilities and have access to all spaces. She tells them that arrangements have been made and that the local staff should be obliging with any reasonable request. If they encounter roadblocks, they should inform her immediately so she can address the issue and resolve it. Maksym listens to Marigold and Branna’s worries, and he tells them he will have several carts on wheels that can be used to store props and costumes. These will be lockable and can be moved on or off the stage when needed. Marigold agrees it’s a good compromise. With no more questions, Marta tells them she will check on them periodically, but once again reminds them to notify her as soon as possible if a problem arises.

Mon joins the rest of the acting crew, and he experiences a memory about how his family stored their fishing boat for the winter. He remembers how the boats were lifted in the boathouse through a system of ropes and pulleys. Perhaps they could do the same with some of the props, lift them up in the fly tower and drop them down when needed. He makes a mental note to present this idea to Marigold. 

Meanwhile, Marigold and Branna meet with props and costumes to see how those local departments stage their own equipment. Folks working in props are thrilled to work with Marigold, and after spending time discussing and complimenting each other’s props, they soon exchange trade secrets. Their workflow is similar to that of the Legendary, and Marigold is convinced she will be able to make this temporary relationship work. For Branna, things don’t go as smoothly. The costume department’s workers are polite and efficient, but she finds them rather distant and cold. Their costumes are decent, but lack imagination, instead adhering to fashion standards Branna remembers from her youth. She will be able to work with them to repair any costumes that need attention, but it’s clear they won’t become friends.

It soon becomes clear that, for the most part, local theater workers are upset at having to share the space with the Legendary's crew. Laborers are essentially interrupting the actors' rehearsal as it occurs by moving equipment, painting the scene’s floor, or generally making a nuisance of themselves. Not wishing to rock the boat, the actors obligingly move out of the way of the laborers and make do with the various interruptions. Branna takes measurements of all of the actors to make sure costumes still fit, and she notices that Luba has gained some weight. Branna speculates that perhaps the actress might be pregnant.

Near the end of their first day at the Grand Royal Opera, Marigold stumbles upon a conversation between two of the local stagehands. Remaining partially hidden and unnoticed, she sees that the two of them are bickering in whispers, so they are not overheard. She recognizes Oleksandr, an older stagehand, and Kostya, a younger man, both of whom were introduced to the Second Crew earlier in the day. Oleksandr seems frustrated at a pile of ropes and props from the Grand Royal Opera’s current production. He tells Kostya that the rope is frayed and that the paint is still wet. Both of these elements make the stage a more dangerous place. Kostya sneers and tells the old man that they’ve been told to help, but most of the locals agree to do only the bare minimum, adding that it’s not up to them to ensure the Legendary’s success while in Konstantina. Oleksandr replies that the Legendary’s troupe is a group of professionals who deserve a proper stage and, more importantly, a real welcome from fellow theater workers. Kostya tells Oleksandr that the workers will give the Legendary’s crew a show they won’t soon forget, before smirking and walking away, leaving Oleksandr to grumble to himself as he tries to find a replacement prop. Marigold makes a note to mention this situation to Sir Sergeii when she sees him at dinner tonight.

A little after four, Marta walks through the theater while striking a metal triangle, letting the second crew know that it is time for them to depart for the day. She also mentions that she’s sending a handful of tickets to the South Gate Hotel for some of the second crew to use tonight. As they leave the Grand Royal Opera, Branna tells Marigold and Mon that she would like to go see the show. Stopping by the box office, Branna requests a program about the Grand Royal Opera’s current production, the Iron Will of Sezja. 

Reading through the brochure, she discovers that it is a three-act opera of grand scale, celebrating the resilience, faith, and patriotic spirit of the Sezjan people through a story steeped in Sezja folklore. The opera's music is a powerful blend of traditional Sezjan folk melodies and soaring, dramatic classical orchestration. It's a conservative piece that extols the virtues of tradition, family, and national unity in the face of foreign threats. Branna begins to read the text aloud to her friends as they walk to the South Gate.

The opera opens in Act 1, the Gathering Storm,  with a picturesque Sezjan village, where the annual harvest festival is in full swing. The people sing of their love for their land and their deep connection to its history. The central figures are Oksana, a beautiful and virtuous maiden, and her fiancé, Taras, a strong and noble blacksmith. Their love is pure and tied to the land. The arrival of a foreign scout, a member of the invading Horde from the North, shatters the festive mood. He is a menacing figure, arrogant and dismissive of the villagers' traditions. He demands a tribute of their grain and announces that the Horde's army will soon arrive to claim their land. The villagers are terrified, but Taras refuses to submit. He rallies the people, urging them to fight for their freedom and their way of life. The act ends with Taras and the village elders, armed with farm tools and ancient knowledge, preparing to defend their homes.

In Act 2, the Whispering Woods, Oksana, distraught by the thought of war, seeks guidance from a wise Liesha, a forest spirit who lives in the sacred forests surrounding the village. The Liesha tells her that their will is a reflection of the will of the land, and that true strength comes not from iron, but from faith. Meanwhile, the Horde's general, a cunning strategist, leads his army through the dense forest, believing the villagers to be an easy target. But the forest itself seems to conspire against them. The trees twist, the paths vanish, and the air becomes thick with disorienting whispers. Taras and his men, using their intimate knowledge of the land, perform a ritual to call upon the spirits of their ancestors. The spirits answer, and the forest comes alive, with root-like hands grabbing at the invaders and trees blocking their path. The climax of the act occurs when Taras confronts the general. The general mocks him for relying on superstition, but Taras demonstrates the power of their belief. With a powerful aria, Taras channels the energy of the land, and the general's sword shatters against his simple blacksmith's hammer. The invaders, demoralized and defeated by the unseen forces of nature, retreat in disarray.

In the final act, Act 3, the Dawn of Freedom. returns to the village where the people, battered but not broken, sing of their victory and the power of their faith. The Horde's general, humbled, returns and offers a truce, recognizing the unyielding spirit of the Sezjan people. He offers to form an alliance, recognizing that they cannot be conquered. The opera culminates in the wedding of Oksana and Taras. Their union is not just a celebration of love, but a symbol of the nation's renewal. They sing a final, powerful duet, an anthem to their iron will and their unbreakable connection to their land. The final scene shows the villagers, their faces filled with hope, standing proudly under a rising sun, their freedom secured by their faith and patriotism. The chorus swells, and the curtain falls on a tableau of national unity and eternal hope. 

Hearing this description, Marigold expresses concerns that their production of Masha and the Bear might be too colorful for the more conservative scene of Konstantina. She suggests that the second crew evaluate whether the folks who attend the theater here should be dazzled by the brightness and glitz of their production, or whether they should focus more on their storytelling skills and let the crowd enjoy the acting and costumes at the expense of the scenery. Marigold proposes that the chorus should blend more in the scenery than they did for their Legendary production.

Marigold and Branna head back to the South Gate Hotel, while Mon walks to the Royal Library and Archives. Climbing the majestic steps to the stone building, Mon sees that the building is closed for the day. A wooden sign by the main entrance indicates that the Archives are open from 8 am to 6 pm every weekday. The Library is open from 8 am to 8 pm six days a week. Wandering back to the South Gate Hotel, Mon does some window shopping and stops at the Luthier’s Harp. Owned by Yevgen, the store features instruments for sale, a space for crafting and repairing instruments, and a backroom for private lessons. Mon hears music coming from the practice room, with the voices of children. Ringing the bell on the counter, Mon is greeted by Yevgen, who inquires as to what the bard might need. Mon wonders if Yevgen has a lute, a pan flute, and a dulcimer that are lightweight, travel well, and not too flamboyant.

Yevgen selects three instruments, and right away, Mon is impressed both by the quality of the instruments and by the way they match exactly what he requested. Taking the lute made of a luxurious rosewood, Mon plays a simple melody and brings a tear to Yevgen’s eye. The owner is suitably impressed with Mon’s talent. The pan flute is made of a dark wood that is thin like a sheet of paper, yet hardy enough to handle musical mistreatment. Noticing he’s attracted an audience, with three children now watching him, Mon tells the children a story while playing the pan flute, and his performance is incredible. The bard rivets the children. Yevgen then hands him the dulcimer he selected for him.

The dulcimer is crafted from a seasoned combination of maple and rosewood, with well-worn strings that tell the story of every road it has traveled. As he plays it, the instrument sounds like the rhythm of a journey and the clatter of a long road. Mon is convinced he found three decent instruments. Conversing with Yevgen, Mon exchanges tales, and Mon tells him he’s always seeking knowledge. Handing one of the students the lute, Mon encourages her to play it. Using his bardic inspiration, Mon helps the girl’s performance, and she ends up playing better than he did. The girl immediately drops the lute, but Mon catches it before it hits the ground. The girl’s face betrays her fear that she’s been possessed, as she knows there is no way she’s naturally this good a musician. Mon purchases the lute and offers it to the girl, telling her that her performance was inspiring, but she was not possessed; instead, he thinks his earlier playing might have inspired her. He also purchases the pan flute and the dulcimer.

Yevgen then mentions the Jenken Ensemble, a series of stone statues about an arm’s length in height. He owns three of them, and he’s looking for the other six. He would be willing to pay a high price for each of them. Mon tells him he will keep an eye out for them. His business concluded, Mon returns to the South Gate Hotel, with Herald not in the room. Mon places the dulcimer in the extra-dimensional space in his suitcase. 

Back at the South Gate Hotel, the crew discussed Marigold’s findings. She makes a speech about the locals not being helpful and that the second crew needs to keep an eye on the local workers. She suggests that the scenery should be toned down. The folks attending the play are here to see the actors; they should be the true stars of Masha and the Bear. She then mentions Kostya and him being out of sorts. Sir Sergeii, who arrived during the meeting, agrees with the changes in color, and he also offers five tickets to tonight’s performance of Iron Will of Sezja. 

Following the meeting, Hennadii, the proprietor, serves a tasty dinner. Ioulia, one of the second crew’s musicians, is playing in the dining room, and she often stops to jot down notations in her score. Marigold, who is interested in finding semi-precious shops, queries Hennadii, and after a moment or two, he mentions the Golden Griffon, located uptown near the road heading down to St. Boris, and the Sezjan Sparkle, situated in the wholesale district of St. Boris. The Golden Griffon is renowned for its intricate, mythical beast designs and high-end pieces, which are favored by the nobility. The Sezjan Sparkle is a more modern shop that specializes in the wholesale of precious and semi-precious stones, while also offering cutting and setting gem services. Its works are popular with the city’s burgeoning merchant class.

After dinner, Marigold convinces Mon to come with her to visit the two shops. There’s still an hour of daylight, and the streets are safe enough at night with the constant patrols, so she’s not too concerned about their safety. 

They first travel to the Golden Griffon, where Marigold speaks with Vika, the owner. The shop specializes in rare forms of quartz, howlite, cinnabar, and the black tears of Olha. The Black Tears of Olha are a type of gemstone, volcanic glass found only on the island of St. Olha, where Konstantina was founded. It's jet black and said to be formed from the tears of the city's founder, St. Olha, mourning the loss of her people. It's used in mourning jewelry but is also said to offer powerful protection against evil spirits. Marigold purchases several gems.

They then leave for St. Boris, to visit Sparkling Sezja. They soon noticed that they are tailed by Branna and Dhuka, who, when spotted, complains of being cooped up in the South Gate Hotel all day and is ready to go to work. Sparkling Sezja is owned by Ihor, and specializes in stones such as ceruleite, femimorphite, friedelite, xonotlite, and sezjite. Mon experiences a memory related to sezjite. Sezjite's primary colors are cerulean, sky blue, and deep navy, often interlaced with thin, thread-like veins of silvery-white or shimmering gold. These intricate patterns are said to resemble the shifting waters of the Lavra River under a changing sky, from a clear day to a brewing storm. The stone has a soft, almost velvety luster when polished. It is a favored stone for local jewellers, particularly for pendants and rings. It is also carved into small totems and talismans, which are often placed in homes or on boats to protect against misfortune. 

Mon remembers his mother telling him the story that, according to local legend, sezjite is a gift from the River God of Lavra. It's believed that the stone captures and holds the peaceful, flowing energy of the river. Wearing a piece of sezjite is said to bring a sense of calm, improve communication, and ensure a journey is safe and prosperous. It is a popular gift among families and lovers, symbolizing a love as deep and true as the river itself.

Struck with this memory, Mon commissions Marigold to create a talisman made from one of the sezjite stones she purchases from Ihor. Branna and her friends then check out the textile warehouse and find several bolts of cloth that would be very helpful in crafting new outfits. After having a conversation with the shop owner about the quality of buttons, Branna agrees with Mon to make a coat filled with buttons.

Dhuka then notices a bakery. She drags Mon there, and she purchases a couple of honey-soaked pastries, sugar-dusted buns, and candied fruits that look too beautiful to eat. Next to the bakery is a small paper and stationery shop, where she sees a journal with Dhuka’s name embossed in gold on a red cover. Concerned that the book might be a trap, Mon carefully examines it but finds no evidence that it is anything but a journal. The clerk tells him that he can embroider any name on any of the journals. Mon selects his name in black on a light-blue-covered book. Dhuka also chooses a pale rose book and writes Anya’s name on it. Branna selects her name in peach on a deep green reminiscent of the forest. Marigold doesn’t want a journal.

Emerging from the warehouse district, they realize three unsavory youths are following them. Mon tosses them three gold coins and tells them this is a down payment; he might call upon them at some point.

Meanwhile, on Katarina, the doors of Verdant Estate are opened to the public for the first time in decades as everyone is invited to tour the gardens and enjoy light refreshments. In the evening, Sir Staal hosts a black tie dinner...