Moon Over GRAYMOOR
A deathly pallor hangs over the moor...
An adventure for the world’s greatest role playing game
'Skellige' Mateusz Michalski
MOON OVER GRAYMOOR
elcome to Moon over Graymoor, an
adventure written for Dungeons and
Dragons 5th Edition, for first level player
characters. Moon over Graymoor is
intended to be a good first adventure to run;
something for new players, or even a new
Dungeon Master to try. It could even serve
as the beginning of an ongoing campaign! That said, this
adventure material does assume you are familiar with the
rules already, and can refer to the Dungeon Master’s Guide,
Player’s Handbook, or Monster Manual, if need be.
Moon over Graymoor is written to be played in one sitting,
of about three hours. However, as all seasoned DMs know,
things are rarely so simple. There is a break near the
middle of the adventure, and you are encouraged to stop
there if you feel like it will become a drag to try finish the E
adventure in one sitting! Better two or three good sessions, m |
than one that becomes too tiring. |
Also, if you're a first time DM, it's worth noting that you
should read this adventure front to back before trying to
Ch ^ e m ! A -
|a N s
a + t
AT = i Oe
EXPERIENCE POINTS `
The players are turned loose in a hamlet that has suffered a
handful of vicious murders, and it’s up to them to
investigate. Players will gather clues, canvass the villagers,
and if they’re smart, pick up a few things along the way that
might just give them enough bite to face off against the
beast and survive...
Eventually, you will have to decide how to implement EXP
in your game. This adventure does not suggest any method
over another, as it would be entirely valid to just play
through this story at level one, and advance all players who
make it through the finale unscathed to level two, if you'd
like to keep playing with the characters. Talk to your
Buy IN players about it, and find out what they want to do.
It's not a bad idea to let your players know what kind of PARTY SIZE
story they're getting into, and how they can get the most out
of it. This is more important when pitching a long This adventure was designed for a party of only three, but
campaign, and less important for a short adventure like four or five could work as well Be aware that the more
this, but if you think it's a good idea, tell your players that players you have, the easier they will find the adventure, but
Moon over Graymoor is a detective story. They shouldn't the longer it will take to play. Consider tweaking things to
expect to mow down goblins. They should expect to puzzle fit your party size.
over hints, squeeze people for the truth, and keep a
paranoid eye on their backs. What little combat there is will MOST IMPORTANTLY, HAVE FUN!
be short, sharp, and bloody- but not unfair. They're going to
i i i As long as everyone is having fun, and your group is able to
have plenty of time to figure out what’s going on.
communicate and compromise if someone isn't, then you're
doing great! Dungeons and Dragons is about teamwork.
SCENES Your players need to have it amongst themselves, but don't
As a short adventure, it has been broken up into scenes, forget the DM needs to have it with them too!
rather than chapters. Don't let the moniker trick you into
thinking that scenes can't be skipped or re-ordered. If the
players do something unexpected between scenes one and
two, or skip ahead, don't worry! They're only there to
provide a framework for you to use.
Sections in boxes such as this are intended to be read aloud
to the players.
Please note that all of that artwork is credited on each
image and the last page. I'm eternally grateful to the artists
who allowed me to make this homebrew look beautiful!
Cover: '1863 - after party' Jakub Rozalski
As the DM, you should know from the outset that Father
Daragor is the villain. He is a werewolf, who has recently
discovered that the blacksmith’s daughter, Eryn Gilly, has
also contracted lycanthropy. While he is a fully-fledged
werewolf, she is not, and cannot yet control her
transformations. The murders are his doing, but he is
trying to convince her that she is the one who has been
killing people, while out of control. Father Daragor believes
that he can control her with this guilt, and convince her to
join him as an evil werewolf, taking her as a surrogate
daughter. He plans to turn her just before the Feast of the
Moon, so she can help him massacre the townsfolk.
Ultimately, the setting is up to the DM. The adventure
includes some elements from the default Fifth Edition
setting, Faerün, but the adventure refers to the
surrounding land as Argoloth. This adventure aims to be
easy to drop into any setting, and an enterprising Dungeon
Master should easily be able to change cosmetic elements
of the story to suit another world.
'1920 - a walk through the woods' Jakub Rozalski
First of all, the players should feel free to make their own
characters! Making characters can be half the fun of
playing Dungeons and Dragons. That said, if they want to
play quickly, or they want to try the game before
committing to a character they've made themselves, the
following are three pre-made character concepts that fit the
adventure. You are encouraged to roll stats for them
yourself, to foster a connection with them!
KATHRA FENGLOVE / HALFLING FIGHTER
Kathra was the only daughter of Al Fenglove, until he died
of a sickness late last spring. She knows nothing of her
mother, and has lived a drudging, solitary life, working her
father’s farmland outside Graymoor. She has had little to
no opportunity to make friends, pursue romance, or do
much of anything else. Long has she dreamed of a new life,
and when she woke up one cold morning to find all her
livestock with their throats torn out by something with a
wicked set of teeth, she finally decided to abandon the
farmhouse. She dug her late father’s arming sword from
the cellar, and planned to hunt down whoever or whatever
killed her cows. On the way into town, she ran into
Coroner Oswald, the man sent to investigate the recent
murders, and decided to tag along, if only because she
knows she will do a better job investigating than him.
WILLEM QUARREL / HALF-ELF ROGUE
Willem has spent a lifetime in the King’s Law, the force
that patrols Formianth, the Capital. He joined when he
was young and thirsty for adventure, and promptly got
assigned to a watchtower as a marksman, where he spent
several years of his life doing nothing. After begging his
superiors for a new assignment, he was put forward for a
deep-cover assignment, slated to infiltrate a criminal
organisation that was smuggling drugs under the city. He
' was a double-agent for five years, and a very successful one,
until someone sold him out, and his entire operation was
blown. The criminals killed everyone involved, and left him
. for dead, missing a hand. After recovering, he was ejected
from the King's Law, and retired to the countryside, where
he has lived since. Now that something grim is unfolding in
Graymoor, Willem feels that he needs to put a stop to it,
perhaps for fear that violence has followed him from the
ODETTE SNOWFALL / HUMAN CLERIC
Odette was orphaned in an accident that she doesn't
remember, and as is the local custom, a child orphaned by
sudden inexplicable death becomes an altar server in a
chapel of the Raven Queen. Clerics of the Raven Queen
are respected by most in Argoloth, if only because they deal
with the dead; a job no one else wants. Odette is currently
on her first assignment away from the temple, investigating
a series of strange and potentially unnatural deaths in the
nearby town of Graymoor. When she arrives, she finds
others on a similar path, and joins them, meaning to let fate
eventually draw her to the truth.
SCENE 0 | WELCOME
‘dinner in the open air' Jakub Rozalski
This adventure takes place over three days. This timeline is
intended to give the DM something to refer to quickly if
they want a rough idea of when things tend to happen,
based on play testing.
Remember, if players skip scenes, or do them ina
different order, that’s totally fine! You can reorganise things
on the fly as much as you want.
Murder Outside the Graymoor Bend
The Players investigate the body of George Gilly, and
speak to Sagh Gazara, owner of the inn George was killed
The players investigate George Gilly’s house for clues.
The Veteran's Quill
The players investigate the house of Ser Thames.
The players turn in for the night, and by the time they
wake, Xalyth the locksmith is dead.
Key Behind Lock
The players investigate Xalyth’s house.
By Our Lady’s Grace
The players talk to Grimmund at the Chapel of Selüne
The players turn in for the night, but are roused by Sagh,
who has bad news.
Take a break here if you need!
The players are called out to a strange old woman’s
house in the forest.
Blade in the Woods
The players hunt down the sword that Ser Thames has
The players attend the Feast at the chapel of Seliine, and
face off against Father Daragor.
Don't feel beholden to this timeline. It's not the way things
have to go; it's just here to help you remember the different
strands of the story as they happen. If the story starts to go
in a direction that's not covered here, go with it! Listen to
what your players are saying; if they have a good idea, steal
it. They'll be amazed they could predict what was going to
happen with such accuracy!
SCENE ONE: MURDER
OUTSIDE THE GRAYMOOR
A light mist drifts from the loamy sky above you. The drizzle
quickly freezes into glass in the streets. In the middle of the
small town’s square, Graymoor’s blacksmith, George Gilly,
lies face down in the snow, still, and ashen.
The party stands around the latest victim, in the middle of
the town, outside it's only Inn, the Graymoor Bend. With
them are a handful of the townsfolk, and the Coroner.
Oswald, the Coroner, is in town specifically to investigate
and tax the death of Ser Thames, a knight who lived in
Graymoor, and the one who was first to wind up dead. Ser
Thames was the closest thing Graymoor had to a sheriff.
Oswald the Coroner has enlisted the help of the players,
and will often try to boss them around, and even sneer at
their ideas during the investigation. He is interested in
investigating Ser Thames' death, but feels little empathy for
anyone else affected by whatever is going on in town. It’s
likely he plans to pocket the money from the taxation, too,
as he's very finely dressed, and obviously profits well from
the suspicious deaths of others. Think of him like the
Pardoner, from Chaucer’s Canterbury Tales; A hypocrite
through and through.
These are some of the other characters that could be
standing around during this opening scene, but they don't
have to be.
Sagh Gazara Sagh is the proprietor of the Graymoor Bend.
As a half-orc, she stands a full six and a half feet tall, and
generally has a cheery disposition. Her and Henriette are
long-time friends and on-again-off-again lovers, and the pair
of them essentially run the town together.
Henriette Pascal Retired wizard, hasn't cast magic in
years, and is no longer sure if she can. Maintains an
impressive library, and is often approached for help by the
townsfolk with problems that require academic insight.
Eldariel Hoxaris Non-binary elven apothecary. Presents as
androgynous. Fiercely proud of their horticultural work,
and has been successful breeding several new species of
flower. Bottles potions, but sells them only to friends.
Grimmund Daldrin Burly dwarvern man, with grand
dreams of performing opera in the big city. Is a remarkable
tenor, and the star singer in the town's chapel choir.
Xalyth Tass A shy and timid drow woman, who works
primarily as a locksmith, but tinkers with other mechanical
oddities in her workshop. Extremely paranoid about what's
going on in the town, and is convinced that she's going to
UL -o A ——— ——À— ^
Note that there are also quick sketches of
townsfolk who are less important to the tale, at
the back of this adventure! Feel free to grab one
of them if your players put you on the spot by
talking to passers-by, when the characters on this
page are not around.
INVESTIGATING THE BODY
Oswald will impatiently allow the players to inspect the
body, to see if it’s connected to Ser Thames' death. Any
Intelligence (Investigation) check reveals that George was
killed by a long laceration from his left shoulder blade to
his right hip. It likely severed his spine, and could have
been done with a sword or dagger, but not with bare hands.
Exceeding DC 10 also reveals that there is a trail of
blood, frozen between layers of snow, leading behind the
Graymoor Bend. This suggests he was attacked there, and
then chased out into the street.
Exceeding DC 17 reveals something else...
Near the start of the bloody trail, you find a deep gouge,
scored into the earth, as though someone had been digging
for treasure with a mattock. On a hunch, you ask for a
shovel, and start clearing snow away. A cold dread prickles
up your back when you find another... and another... all in a
trail toward the body. They're footsteps, you're sure of it, but
so deep and far apart as to suggest whatever chased the
poor blacksmith down was running at a speed you can only
describe as inhuman.
4A... ES EE a S
A WORD ON SKILL CHECKS
The DM has the final say on how skill checks
work, but this adventure includes a lot of them,
and if you're a new DM, there's a few things you
should consider keeping in mind.
First, if someone fails a check, don't let them just
keep rolling until they make it! Try not to think of
skill checks as a gate the players have to get
through. Instead, try thinking of them as a fork in
the road. Beating a check should make the player
feel good, but failing a check can still be
interesting, if you spin it into the story and move
Secondly, if it feels like only one person is doing
all the investigating, remind the players that they
can use the Help action outside of combat to
give each other Advantage on skill checks.
SCENE 1 | MURDER OUTSIDE THE
INTERVIEWING THE lOWNSFOLK
Anyone the players talk to can tell them that George Gilly
lived about three to four hours walk out of town, and was
staying in the Graymoor Bend while in town for the
market. Anyone would also be able to give them a list of
victims to date, which are as follows:
Sagh's horse: Killed a month ago. Most people think it
was unconnected, and probably a wild dog, because of the
bite marks on the animals throat.
Ser Thames: Killed two weeks ago, and buried in his
garden. Coroner Oswald is anxious to investigate his
Quintin Nary: A cooper, killed on the road a week ago.
Was just passing through town, but had got in a fight with
someone in the Graymoor bend, over the Gods. Nary
claimed the Gods didn't care for common folk, and
Grimmund Daldrin gave him a black eye.
Kathra's cattle: Killed in the same way as Sagh's horse.
If Kathra Fenglove isn't one of the player characters, she
becomes an NPC who stays in the Graymoor Bend,
bemoaning the loss of her livestock.
George Gilly: Blacksmith, killed at the start of the
adventure. Ran from the inn, chased into the street, and
killed by a slash to the back.
The exact details of these killings are hazy, but people can
confirm they recogonize the slash on George Gilly's
cadaver from Ser Thames and Quintin Nary. Only the
horse and cattle have not been killed by a sharp implement.
The players would be smart to interview Sagh Gazara, as
the Graymoor Bend is hers, and she was working the bar
that night. She knows all the details in the list above, and
will try her best to help the players with any of the murders.
"Poor old bastard. Someone's going to have to go tell his
If the players ask specifically about George Gilly, she
remembers seeing someone talking to him last night, but
she didn't see who they were, as they were clad in dark,
She can only say they were probably male from their
figure. If no-one else has mentioned his daughter, Eryn, she
will, and will let them know that someone needs to make
the trip out to his house to find her and let her know what
has happened. Since the party are probably going there to
investigate anyway, she will suggest they speak to Eryn
while they are there.
'Escort' Sean Sevestre
SCENE Two: STONE COLD
Oswald will complain if the party decide to go to George
Gilly’s house, and insist that they either split up, or go
straight to Ser Thames' house afterwards.
When the party investigate the blacksmith’s house, they
find it turned upside down.
The doors and windows hang open, and the curtains shiver
in the frigid wind. Snow has begun to creep onto the sills,
and over the threshold, into the dark and empty home. As
you enter, you find the floorboards in the kitchen have been
pried up, and on the table next to them sits a small, artless
INVESTIGATING THE HOUSE
Any Intelligence (Investigation) check made will turn up
the obvious; someone was looking for something.
Beating DC 10 will also turn up a set of small bootprints
leading away from the back of the house, in the snow.
Beating DC 15 will turn up the item that was being
hunted in the house; a key to the lockbox, sitting on top of
one of the rafters, just barely peeking over the edge.
A DC 12 Wisdom (Perception) check can spot this key
Grabbing it is only a DC 8 Strength (Athletics) check,
assuming the player isn't playing a Gnome or Halfling, in
which case they can't reach it without tools or help.
While they search the house, the players run across
Georges tiny study, where they find his book-keeping. The
past few months have been slow for the Smith, until he was
commissioned to make a large and complicated system of
latches and bars. Unfourtunately, he's doesn't keep
extensive notes, and hasn't written down who ordered it.
The face of the lockbox is scratched as though someone
has been trying to force it open. The players can open it by
force, with a DC 17 Strength check. Alternately, they can
use the key, or pick the lock with a DC 15 Dexterity check,
(plus your proficiency with Thieves Tools, if relevant!) The
town locksmith, Xalyth, can open it for a handful of coins,
if the party promise not to involve them in whatever is
INSIDE THE LOCKBOX
Within the lockbox, wrapped in some linen, is a letter, and a
Dear Eryn. Now that you're grown enough to leave on your
own, | want you to have this. | found it in the woods one day,
and I think it's some sort of arrowhead. There's an old
tradition of plating lost arrowheads in silver to use as
amulets; they say an Elf-Arrow can ward off witchcraft. So |
thought l'd make it into one for you, to take on your travels,
wherever they lead you. l'm not much of a jeweller, but l'd
hope the charm proves that these old hands of mine can do
more than rough work. Hopefully, it'll always remind you of
me. You're the best thing that ever happened to me, Eryn.
The players won't know this at first, but the Elf-Arrow is
part of an Arrow of Shapechanger Slaying, dropped in
the woods by a fey on the run, years ago.
Only an DC 18 Intelligence (Arcana) check can reveal
this. For the magic to work properly, it needs to be first
affixed to a shaft, and then fired from a bow.
If the players do this, any shapechanger struck by the
missile must make a DC 17 Constitution saving throw,
taking an extra 6d10 piercing damage on a failed save, or
half as much extra damage on a successful one.
Victor Alphear, the young half-elf who owns the hunting
shop, could fit it to a shaft for them, as long as they promise
not to kill anyone with it. They'll likely want to use it even if
they don't know it's true power, as silvered arrows are hard
to come by at first level.
Passing a DC 12 Wisdom (Survival) check, allows the
players follow the tracks for about an hour into the woods
behind the house. The tracks quickly become muddled;
mixed up with what appear to be the tracks of a giant dog.
A DC 10 Wisdom (Nature) check can reveal they are the
tracks of a wolf, but one larger than normal.
Investigating around the outside of the house reveals
something else of note; the forge has burned out
completely. Since it’s nearing the dead of winter, that
means the house has been abandoned a little before
George was killed, or around about the same time.
Oswald will start to complain that the party are wasting
time soon enough, and press them to investigate Ser
Thames house, especially since Eryn is nowhere to be
SCENER- STONE COLD
SCENE THREE: THE
The late knight’s house is old, and well kept on the exterior.
It’s obvious he had a penchant for gardening, and he was
buried in his backyard, amongst some of his prized lilies.
The door into the house is locked, and the players will
have to break in. The house is dusty and in disarray, but
hasn't been turned upside down like the blacksmith’s was.
There is a drafting table with a letter half written on it.
Tell the players that another letter was written next to the
unfinished one, on a fresh stack of parchment, and it has
left some nearly legible indents. If the players are clever,
they can make a rubbing of it with some charcoal from the
THE KNIGHT’ S LETTERS
SER THAMES’ UNFINISHED LETTER
My old mentor, I pray this letter reaches you in time. After
years of the seclusion I wanted from this town, something is
afoot, and I fear it’s the shadow of that old curse you once
told me about.
| can't prove anything yet, but I’ve started taking measures,
and hopefully l'Il have what | need in two nights; something
to defend myself with. Don't fear, | wouldn't be so stupid as
to ask for it sent directly to me. My old contact in the
Swords of the Lady will hide it near my house. That said, |
need you to tell me if you remember t
— — m
SER THAMES' FINISHED LETTER
I need the blade. Send it to Graymoor, but not to my house. |
fear | need to work in secrecy, as anyone among us could
harbour the curse. Instead, send it by courier to the woods
near my house. There's an oak tree with an owl carved into
it's trunk. Tell them to bury it at it's foot. Have it delivered
on the night of the full moon; any earlier, and my intent may
be discovered. By Our Lady’s Grace, Cillian, | had hoped I'd
never have use of it.
By now the players have probably spent their whole day
Oswald, at the very least, will want to turn in at the
Graymoor Bend after Ser Thames' house has been
searched. This gives the players a chance to talk about what
they've found, to theorise, and to talk to some more
townsfolk if they like, as anyone the DM chooses can be
present in the Inn, having a quiet drink. Now is also a good
time to bring up Quintin Nary's death, and his fight with
Grimmun Daldrin, if it hasn't already been mentioned.
The next morning, Sagh is waiting for the players with
breakfast, and sour news. Xalyth Tass, the locksmith, was
found dead in her house that dawn.
SCENE Four: KEY BEHIND
Eldariel the Apothecary found the body. They had agreed
to come by early in the morning and help Xalyth pack, as
her paranoia had finally convinced her to stay out of town
for a while.
The door is broken, but Eldariel admits to doing that
themselves. When they arrived, the door was locked, and
the key was in the keyhole on the inside, where it still sits.
Xalyth was also killed by a slash to the back, though this
time it looks like the implement that did it had prongs, like
a fork. Two shallow cuts run perpendicular to the fatal
slash. A DC 13 Wisdom (Nature) check reveals this to
most likely be the work of claws, though of immense size.
INVESTIGATING XALYTH'S HOUSE
It's quickly apparent that the upstairs window is the point
of entry, and a DC 10 Intelligence (Investigation) check
here points out that to jump and reach the sill wouldn't be
impossible, but would require above average height.
Going through the books for Xalyth's business reveals that
she was hired by the local Chapel of Seliine to help install
the giant lock that George Gilly was hired to make.
She has made a note that the chapel would be the safest
place in an attack on the town, as one could lock it from the
inside with everyone safe, and the old stone building would
be impenetrable from the outside.
"Winter Forest' Mihkel Matas
SCENE 4 | KEY BEHIND LOCK
IF QUESTIONED ON THE RECENT INFLUX OF
SCENE FIVE: By OUR LADY'S FUNERAL SERVICES
GRAC He is mournful, and expresses regret at what’s happening,
but is hopeful the party can solve it.
The party may have a few different reasons for going to the
nearby Chapel of Selüne, at this point. Maybe they have IF THE PARTY ASKS TO SEE GRIMMUND
spoken to someone who told them of Quintin Nary's death, Daragor will pull Grimmund from a rehearsal, and make
right after a fight with someone in the congregation. Maybe sure that he goes with the party to be interrogated.
they've looked into Ser Thames' use of the phrase "By Our
Lady's Grace," and traced it to worship of Selüne. Or, GRIMMUND DALDRIN
e ee Oe ETE Grimmund will run, and the players must chase him down.
When caught, he is a terrified mess. He knows nothing
WHO ts SELÓNE? about the murders, but understands how bad it looks that
seines si ccdideec enr eH Ae he was in a fight with Nary, and so panicked, and bolted.
default Dungeons and Dragons setting, Forgotten
Realms, and was created by Ed Greenwood. “Y'know, one thing | can tell you about that fella Nary... he
If you want to alter this adventure for a won that fight we had."
different setting, feel free to change the name to
anything else you think suits a God or Goddess
of the Moon.
Grimmund shows you a nasty bruise on his side.
"Turns out before he was a Cooper he was a Soldier, but
didn't have a blade or nuthin’ on ‘im. Stayed real cool when I
hit him, and just rolled me over his shoulder onto the
As you approach the Chapel of Selüne, you see the with it."
ground. l'd- I’m sorry he's gone. I hope | had nothin’ to do
congregation deep in preparation for the Feast of the Moon,
busying themselves refilling small bowls of milk, out on the ~
steps. A stray cat prowls from a distance, eyeing the milk a
preistess tips out. Above you, a banner unfurls, hanging
above the door; deep blue trimmed with silver. On it, an
invitation to the whole town of Greymoor to attend the
feast, two nights from now.
Father Daragor will meet them outside, as they arrive. He
is a older, weathered man, in his forties or fifties. Silver .
haired, with a scar on his jaw, and a set of fake teeth. His
dentures are made of cow bone, if they care to ask. He is as
helpful and forward as possible.
^l'll do whatever I can to help. | hope the chapel can be a
sanctuary. As it should, in dark times."
He doesn’t allow them to investigate inside the chapel, as
the preparation for the feast is taking up much of the space
inside. If they insist, he will let them, but once they are
inside, stress that they are in the way of the congregation,
who are busy building tables, carrying furniture around,
hanging banners across the room, etc.
There is nothing of note in the chapel Yet.
If questioned on the new locks, he will freely admit that
they were recently installed, but will lie and say that orders `
came down from the Curia, a governing body of the church,
to increase security as a response to a band of roaming `
Gnolls, which ransacked a temple on the other side of the
kingdom. A DC 15 Wisdom (Insight) check reveals that
he's being cagey, but there's little the party can do about it
now. Accusing him of anything without evidence, or
attacking him, is bound to draw the ire of the entire
SCENE SIX: THE BARN
At this point, the party can probably tell that the feast is
going to be significant, and are also probably waiting for
the Ser Thames' sword to arrive. In any case, the next time
they turn in for the night is a good time to spring the next
scene. Wait for them to sleep, and then wake them
suddenly, roused by Sagh, who has bad news.
“Sorry to wake you all, but- you’ve got another body, up at
the abandoned barn. That Kalkian fella’s come in pretty
shook up about it. And you’re not gonna like who it is.”
When they ask who the body is, Sagh just says, “Youd
better go look,” with a grim expression. If the players ask
where Oswald is, tell them he is nowhere to be found.
When the party goes downstairs, they indeed find Kalkian
Cartoris, Elven Merchant (see Page 16) drinking heavily,
and vowing to leave and never return. He is innocent, and
attempted Insight checks should reveal as such. If the party
is suspicious of him, he’s liable to get angry, and leave town
then and there, without allowing himself to be questioned.
He will struggle against any effort to be held, and
continually plead that there is zero evidence linking him to
anything; he found the body because he has been
considering buying the land the barn is on.
The walk to the abandoned barn is a solid half hour of
trudging uphill in the woods outside the town. The dark
creeps in from the trees, and you can only imagine Kalkian’s
fearful flight into town. The light of the moon, just a hair
away from full, breaks the canopy in long, silken ribbons of
light. Eventually, you find a clearing atop the hill, and the
Barn looms before you in the tall grass, foreboding.
Inside, the players find the corpse of Oswald, the Coroner.
He has been torn to pieces horrifically. Either a DC 10
Intelligence (Investigation) or a DC 10 Wisdom (Nature)
check reveals that it's likely the work of something with
giant claws. Choosing to use Wisdom (Nature) also points
out that if it was the work of an animal the corpse would
likely be at least partially eaten, but there are no teeth
As you investigate, you hear a soft thunk and turn suddenly
to find the barn shut. Within seconds, the scent of burning
mould envelopes you. Black smoke starts to rush up the
walls like an inverted waterfall. Flames climb from the
corners to the rafters.
What do you do?
At this point, the Player Character's lives are in danger, but
they shouldn’t die here. It's time to flex some DM muscles!
A Strength check of around DC 13 could break the door,
revealing the log propping it shut on the other side.
Remember to give Advantage if at least one other player is
helping out, as per the Help Action. Whatever the party
does here to escape, be prepared go with it. This scene is
an opportunity to get creative, for both the Players and the
DM. Party taking too long to plan an escape? A burning
rafter falls! Make a Dexterity Saving Throw!
THE DICE ARE THE DICE; WHAT CAN BE
A new DM may run into a common problem
here. What if your players roll nothing but ones in
a scene like this? It's unlikely but distinctly
possible that they will be a wealth of creative
ideas, daring, and heroism... and then break
probability by rolling five failures in a row.
But the dice must be respected! The players
will be unhappy if they die at this junction, but
they also won't feel good about cheating the
What can the DM do about this? A lot!
If a player has had a good idea that plays to
their strengths, but they roll poorly, it's easy to
let their plan succeed but with a complication.
Say the Fighter asks to charge the doors and
break them open with a Strength (Athletics)
check. If they roll a one, what does this mean? It
doesn't make much sense to say they miss, or
find that the barn is made of iron. What you can
do is say something like:
Ww" 7495 17.299 IE a a
“You charge the door, but forget to stay low, and clear of the
thickening smoke. It burns in your lungs as your short sprint
forces you to inhale a lungful of the choking air. You close
your eyes, feel the wood splinter against your skin, and then
are free, coughing and hacking on the cold grass outside.
Roll 1d8, and take it as fire damage."
AL... UE Doom EA S
This is still failure, but it's interesting and fun.
Doing this gets easier the more you practice it,
and players tend to love it.
You shouldn't do this all the time; sometimes a
failing a check is a dead end, or worse, and
should be. Just remember it doesn't have to be,
and that not all scenes are created equal! This
one requires some flexibility, but a scene like the
finale does not, and a failure there will be far
more costly than 1d8 of fire damagel
SCENE 6 | THE BARN
You stumble out of the burning structure, panting steam in
the frigid air, sweat cooling on your back. Behind you, the
barn collapses, and a geyser of sparks climb up into the
night. Around you, the dark of the woods is torn away by the
fire, and cast into jumping, leering shadows. For just a
moment, two yellow eyes reflect the firelight back at you,
before they vanish into the trees.
If the players give chase, they find the trail of a large four-
legged creature, which has left paw prints the size of
There is no way for them to catch up with it.
A DC 10 Wisdom (Nature) check could reveal that this
is certainly the trail of a wolf, but one bigger than any
should be. If the players also found the wolf tracks at
George Gilly’s house, they will be able to tell they are the
If the players think to ask whether or not the claws in these
prints could have killed Oswald, or any of the other victims,
you can tell them they are not big enough.
FOR THE DM:
The wolf stalking them is Eryn, as she is now begrudgingly
working with Father Daragor, trying to cover up the crimes
that he’s made her believe she committed. She is not able to
control or remember her transformations into her wolf
form, and cannot take the shape of a Hybrid, like Father
This isn’t a bad spot to take a break, as playing any further
than here will probably make you feel as though you have
to see it through to the end!
‘Barn Fire' Josh James
SCENE SEVEN: LADY SYBIL
When the players return to the Graymoor Bend, Sagh is
busy gathering a rescue party, as the fire has become
visible from the hill. None of the townsfolk can sleep, for
fear that they will be next. As the players explain what has
happened to them, an owl will land nearby, and the
townsfolk grow quiet.
Henriette steps out of the crowd and points. "It's got a
letter," she says. Sure enough, tied around the birds neck
with a piece of twine, is a pale, sealed envelope. The owl
preens itself, cutting the string with it's beak, before flying
away, leaving the letter to flutter down into the frosty mud.
The envelope is blank on the outside, but when opened,
reads; ^Send them to me."
Henriette can explain that there's an old woman who lives
alone in the woods, named Old Lady Sybil Most of the
townsfolk don't trust her, because no one normal could
survive alone out there for so long at her age, but Henriette
has asked her for help translating scrolls and books in the
past, and she has been friendly in the past. The children of
Graymoor are often told she will eat them if they don't do
Henriette is also able to tell them how to get to her house,
as Sybil obviously wants to speak with them regarding the
mystery, but recommends waiting until morning, as it's
nearly a whole days walk there and back.
Its likely that at this point, your players are caught between
waiting for the sword that will be delivered to Ser Thames
house in the morning, and investigating the Chapel again,
but only have one more day before the feast. They may
need to split up in order to go to Ser Thames' and Old Lady
Sybil's houses at the same time, and this should be allowed.
If some players do go to Ser Thames' house, just skip to the
next scene for them; Blade in the Woods.
You gather out the front of the Graymoor Bend, as the sun
rises. The cloud above has broken up; tonight will be clear,
and the full moon will be bright.
Henriette arrives quickly, having dug up a scroll from her
library. She hands it to the players, and explains that it is
instructions for reaching Old Lady Sibil's house safely. The
instructions are as follows;
1. Go to the edge of the wood. It doesn't matter where.
2. Whisper the following;
Freedom on the edge
of the wood, a pale star
Guided by the spirit
who walks freely
3. Walk forward until the trees block out the sun.
4. Close your eyes, and keep walking until you feel her
5. Do not go inside unless invited.
6. To leave, do everything in reverse.
If the party follow the instructions, they do indeed
inexplicably wind up standing before a overgrown, shadowy
house, deep in an unfamiliar part of the woods.
As you open your eyes, Sybil's house stands before you, not
the ramshackle hut you may have expected, but a tall, thin
manor. At least three stories high, the house must have
once looked magnificent, but standing for so long in the
woods has turned it grey, and covered it with coiling vine
and cobwebs. As you walk up to the door, you find a bronze
door knocker, half oxidised and green. It's a lion, with a ring
in it's mouth, but something about it keeps you from
knocking. It's as if it can see you. At your feet, you realise, is
a package. With all of your names on it.
If the players try to open the door, they find that the door is
locked, and cannot be picked open. If they try to force the
door open, they can make a Dexterity Saving Throw to
avoid falling into the gaping void behind the door, and on a
failure they topple in and vanish. What happens to them is
up to the DM.
The package with the Player Character's names on it is a
nicely wrapped box, with a brown ribbon tied in a bow
around it. Inside is another letter to the party, and two
objects. The letter reads:
“Hello lovelies! l've been interested in you since you started
poking around, and | think it's only fair | make myself known
to you, given that it's likely you would have crossed paths
with me later anyhow. The long and the short of it is, | want
to help you. | can't tell you exactly what it is you must do,
because frankly, | have no idea. But | can give you this key.
Take it to Henriette's library, and follow the map. You'll find
what you need there. And don't forget Ser Thames' sword!
Remember, do your best, and if you don't figure it out by
midnight tonight, everyone in Graymoor will die.
The key is an old, wrought iron thing, heavy and rusted. The
map is scawled on a roll of parchment, and is labelled as
SCENE 7 | LADY SYBIL
To successfully escape the woods, the players must do
everything on the list in reverse. You can split this into
stages; each time they do something backwards, they do
not have to do it again.
1. close their eyes and walk backwards away from the
house, until they can feel the sun. If they don’t do this,
they will be stuck in the woods until they do.
2. Once they can see the sun again, they must walk
backwards until they are on the edge of the wood, where
3. Once on the edge of the wood, they must whisper the
rhyme in reverse. Simply saying the lines in reverse
order is enough, but extra points if they manage to say
each word backward too! If they do not do this correctly,
they find that no matter how fast or far they run, they
never actually leave the edge of the woods.
HENRIETTE S LIBRARY
If the players take the key to Henriette's library in the
basement of her house, she will be shocked that they have
it, and somewhat perturbed that they found it at Old Lady
Sybil's house. She can help them decipher the map, it's a
rough floorpan of her library, with an X in one of the
corners, and the key is to get into her special collections; a
part of the library that is locked behind bars. She tends to
keep scrolls and tomes that she thinks could be dangerous
there, but lost the key a year ago.
The key grinds into the lock with a scream and a clink, but
turns easily, and the lock pops free. Motes of dust float
around the candle that Henriette has brought with her,
hanging back by the gate, for fear of setting anything
She calls out you.
"Have you found it yet? It's in that back corner."
The book they find is a book of folktales, and has one dog-
ear in it, marking the page on Lycanthropy. At this point,
you may read to your players anything you see fit from the
Lycanthropes page of the Monster Manual, page 206.
From the pages also flutter a loose sheaf of paper, folded up
many times so it can fit. It is a Scroll of Moonbeam. Rules
for Scrolls can be found on page 200 of the Dungeon
SCENE 7 | LADY SYBIL
SCENE 8 | BLADE IN THE WOODS
Casting Time: 1 action
Range: 120 feet
Components: V, S, M (several seeds of any moonseed plant
and a piece of opalescent feldspar)
Duration: Concentration, up to 1 minute
A silvery beam of pale light shines down in a 5-foot
radius, 40-foot-high Cylinder centered on a point within
range. Until the spell ends, dim light fills the Cylinder.
When a creature enters the spell's area for the first time
on a turn or starts its turn there, it is engulfed in ghostly
flames that cause searing pain, and it must make a
Constitution saving throw. It takes 2d10 radiant damage on
a failed save, or half as much damage on a successful one.
A shapechanger makes its saving throw with
disadvantage. If it fails, it also instantly reverts to its
original form and can't assume a different form until it
leaves the spell's light.
On each of your turns after you cast this spell, you can
use an action to move the beam 60 feet in any direction.
SCENE EIGHT: BLADE IN THE
RETURN TO SER THAMES HOUSE
When the party go back to claim the sword, they may go
back into Ser Thames house. If they do, they find that
someone else has been in the house since they were there,
and it has been turned upside down. A DC 20 Intelligence
(Investigation) check can turn up a strand of silver hair.
The sword is exactly where Ser Thames asked. If the
players have the letters he sent, they know that they can
find it buried at the foot of the tree carved with an owl. If
the players don't have a shovel, there is one near the garden
Ser Thames was buried in.
After digging for a few minutes, you hear your shovel hit
something hard. You stoop to brush away the dust, finding a
long, black box in the earth. In the dimming sun of the
glade, you open it, and soft, blue light bathes your face.
MOoOoN-TOUCHED SWORD +1
In darkness, the unsheathed blade of this sword sheds
moonlight, creating bright light in a 15 foot radius, and dim
light for an additional 15 feet.
Furthermore, you have a +1 bonus to Attack and Damage
Rolls made with this weapon.
1d8+1 magic X 3lb.
Versatile (1d 10)
SCENE NINE: THE FEAST
By now, the party may be starting to realise what the feast
really is. The full moon just starts to rise as they make their
way to the chapel Even if they don't think Father Daragor is
the killer, they need to go there anyway, as everyone else in
the entire town is there, ready to drink and eat into the
When they arrive, the first course is about to start, and the
priests and priestesses can tell the party they haven't seen
Father Daragor yet, but he's due to make a speech shortly.
If they look around the Main Hall, they'll notice that the
locks George Gilly made, and Xalyth installed, have
engaged since they walked in.
The lock is comprised of three giant metal rods that can
be controlled by a wheel next to them. Two of the priests
are arguing nearby, because they seem to have engaged
themselves, and won't budge.
The congregation won't appreciate the party going into
Father Daragor's sanctuary to look for him, but can't stop
In the sanctuary, they find a 40ft by 40ft room of white
stone, with beatiful stained glass along the top of the
outside wall, and a single effigy of Selüne. It sports a large
set of wings, which can be used like a lever to reveal a
secret entrance to the undercroft.
Inside the Undercroft, the players find Father Daragor
bent before a shrine to a different God.
A DC 12 Intelligence (Religion) check can reveal it as a
shrine to the Dark God Malar, Lord of Evil
Father Daragor is keeping Eryn shackled to the shrine,
having convinced her that she carried out the murders,
while shifted into the form of a wolf.
As you approach, you hear Father Daragor speak;
“Eryn, it’s too late for you. The beast within has taken you,
and you’ve spilled the blood of your own father. But it’s not
too late to atone. Come with me. We will wipe the slate of
Graymoor clean, and then go elsewhere, where you can learn
to control your gift."
Eryn is resigned to her fate, but can be convinced that he is
tricking her. If the players are able to point out that her wolf
form doesn't have claws that match the murders, so all she
killed was livestock and a horse, she will believe that Father
Daragor must be manipulating her, without them having to
make any checks at all.
Father Daragor has a second wheel for the upstairs lock
down here, in the Undercroft. He plans to sway Eryn,
butcher the townsfolk in the locked church with her, and
then control her with the guilt of it for the rest of her life.
If the party gets in the way of this, which they already
have, by entering the Undercroft, he will be forced to shift
into his hybrid form and kill them. E
Note that he doesn't have a bite attack, as his false teeth fall « «998m
out when he shapeshifts. a
He'll also free Eryn, and ask for her help. The stress will
cause her to shift into her wolf form. She does not attack
the party, but will if they attack her first.
The adventure ends when Father Daragor is dead or
otherwise incapacitated, and Eryn has either been killed in i
her wolf form, or convinced to either return to her human *
form, or turn on Father Daragor.
BATTLE IN THE UNDERCROFT
Medium humanoid (shapechanger), lawful evil
Armor Class 11 (12 in Hybrid or Wolf Form)
Hit Points 58 (9d8+18)
Speed 30 ft.
STR DEX CON INT WIS CHA
15(»2) 13(+1) 14(+2) 10(+0) 11(+0) 10(+0)
Skills Perception +4, Stealth +3
Damage Immunities bludgeoning, piercing, slashing (all
damage immunites only apply to non-magical attacks, not
made with silvered weapons.)
Senses passive Perception 14
Languages Common (can't speak in wolf form)
Challenge 3 (700 XP)
Shapechanger. Father Daragor can use his action to polymorph
into a wolf-humanoid hybrid or into a wolf, or back into his true
form, which is humanoid. His statistics, other than its size and
AC, are the same in each form. Any equipment he is wearing or
carrying isn't transformed. He reverts to his true form if he
Keen Hearing And Smell. Father Daragor has advantage on
Wisdom (Perception) checks that rely on hearing or smell.
Claws (Hybrid Form Only). Melee Weapon Attack: +4 to hit, reach
5 ft., one target. Hit: 10 (2d4+2) slashing damage.
ERvN (Worr Form)
Medium beast, true neutral
Armor Class 13 (natural armor)
Hit Points 11 (2d8+2)
Speed 40 ft.
STR DEX CON INT WIS CHA
12(4+1) 15(«2) 12 (+1) 10 (+0) 12 (+1) 10 (+0)
Skills Perception +3, Stealth +4
Senses passive Perception 13
Languages Common (can't speak in wolf form)
Challenge 1/4 (50 XP)
Keen Hearing And Smell. Eryn has advantage on Wisdom
(Perception) checks that rely on hearing or smell.
Pack Tactics. Eryn has advantage on attack rolls against a
creature if at least one of the wolf's allies is within 5 feet of the
creature and the ally isn't incapacitated.
Bite. Melee Weapon Attack: +4 to hit, reach 5 ft., one target. Hit: 7
(2d4+2) piercing damage. If the taget is a creature, it must
succeed on a DC 11 Strength saving throw or be knocked
A Dragonborn vagrant who blew into town a month ago.
Had a drinking problem when he arrived, has since
4 recovered and is looking for work.
Half-Elf of about eighteen, who took over his fathers
| hunting shop a year or two ago, after his father went
Elf who is trying to purchase land in Greymoor to start his
own vineyard. Must be extremely wealthy, but doesn't look
Dwarvern cobbler and leatherworker. He and his husband
have a comically large family of twelve children.
Woman who was passing through on her way to the
capital, but has stopped. Tells everyone she'll leave
tomorrow, but has lived in Graymoor for three years.
Enormous man from somewhere up north, who has
picked up work in the town as a woodworker and general
‘Road to Destiny' Rob Joseph
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