As she stirs, it's almost immediately clear to Petrana that she isn't where she belongs. This is not Riva, nor any of the bedchambers she's most accustomed to occupying there or elsewhere. She considers this new development in her situation with slightly more tranquility than might be expected of her, her hands folded on her stomach as she regards
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"It's not often that death is a good sign. How may I help you, Lady?"
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"I'm sorry to make you break your streak," she says carelessly, brushing her hand 'apologetically' over his shoulder as she passes by him to peer through the doorway behind him that leads to the Countess's dressing room.
(Petra has her doubts that they share the same taste in clothes, and this robe hangs oddly enough that she doesn't think they're the same size, but what else is she going to do?)
"You'll have to forgive me."
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"A lady never throws a man out of the window if she can pay another one to do it for her- and since you seem to be my own personal bringer of violence, it'd be dreadfully impractical on my part to take a dislike to you. Wouldn't it?"
The witch of Riva is not a fool.
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"I do trust her choice, but I'd like to hear why she made it all the same. Tell me about yourself while I rummage through her things, would you?"
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"I was born and raised in the necrocracy of High Cromlech. Until my mother had herself put down and raised from the dead, my family was of middle to low standing. After that, I devoted myself to my studies, which took me in an unexpected direction," he says, neatly glossing over the more unpleasant aspects of his work. "I found my sword, the Might Sword, so called because it acts both as a weapon and as a probability device, and was press-ganged into service. I spent the next decade at sea, serving the Lovers aboard the great, floating city of Armada. I can fight in a variety of styles, and did so in holy gladiatorial combat."
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Petra's head emerges from the dressing room's open doorway again when he says 'necrocracy' and she's leaning there against the frame by the time he's finished. "I was right," she laughs, with a little edge in it, "you do remind me of Martel. The more things change...I wouldn't repeat my observation to your Countess, if I were you. That's a very interesting tale, Doul."
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"Oh, no...my husband was a great man. A madman and a murderer, but a great man. Suffice to say it's complicated."
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"He wasn't," she says, and the mockery in that isn't directed at Doul. Herself, maybe, and definitely Martel. "Now. Is there anyone in this city worth my time to meet before I leave?"
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"Other than myself, it depends on what you consider valuable."
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And he is- both dead, and gone. Just not sorry. Martel had never been good at sorry.
"'Interesting'. What will not bore me while I investigate this city of yours?"
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"I've always preferred to learn those ones the hard way," she says brightly- which has less to do with actually wanting to throw herself into danger and straightforwardly not really trusting anyone else's judgement on who she shouldn't be around. (For instance, 'Martel' used to be top of that list. On a lot of lists.)
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