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Moon Over GRAYMOOR 








A deathly pallor hangs over the moor... 
An adventure for the world’s greatest role playing game 










(GUILD 


Co 








'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 
run it. 


Ch ^ e m ! A - 
|a N s 
3 = 
a + t 
AT = i Oe 
| 3 


* 
p% 


EXPERIENCE POINTS ` 


PREMISE 


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. 


CREDITS 


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 


WELCOME 


— ~~ 


THE VILLAIN 


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. 


THE SETTING 


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. 


No uL 


V j—2cm- 
e = 





'1920 - a walk through the woods' Jakub Rozalski 


THE HEROES 


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 
City. 


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 





‘TIMELINE 


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. 


Day ONE: 
Morning: 

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 
outside. 

Midday: 

Stone Cold 

The players investigate George Gilly’s house for clues. 

Evening: 

The Veteran's Quill 

The players investigate the house of Ser Thames. 

Night: 

Interlude 

The players turn in for the night, and by the time they 
wake, Xalyth the locksmith is dead. 


Day Two: 
Morning: 
Key Behind Lock 
The players investigate Xalyth’s house. 
Midday: 
By Our Lady’s Grace 
The players talk to Grimmund at the Chapel of Selüne 
Evening/Night: 
The Barn 
The players turn in for the night, but are roused by Sagh, 
who has bad news. 


Take a break here if you need! 


DAY THREE: 
Morning/Midday: 

Lady Sybil 

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 
been sent. 

Evening/Night: 

The Feast 

The players attend the Feast at the chapel of Seliine, and 
face off against Father Daragor. 


REMEMBER! 

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 
BEND 


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. 


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. 


THE TOWNSFOLK 

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 
die next. 


UL -o A ——— ——À— ^ 


More TOWNSFOLK 

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 
on. 


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 
GRAYMOOR BEND 


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 
house. 

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 
daughter, too." 


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, 
hooded robes. 

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 
lockbox. 


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 
too. 

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. 


GEORGE'S BUSINESS 

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 LOCKBOX 

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 
happening. 


INSIDE THE LOCKBOX 
Within the lockbox, wrapped in some linen, is a letter, and a 
silver arrowhead. 


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 ELF-ARROW 
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. 


THE TRACKS 

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. 


THE FORGE 

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 
found. 


SCENER- STONE COLD 






















SCENE THREE: THE 
VETERAN'S QUILL 


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 
fireplace. s 


THE KNIGHT’ S LETTERS 


SER THAMES’ UNFINISHED LETTER 

Dear Ulric, 

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 

Dearest Cillian, 

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. 








mp 


INTERLUDE: 


By now the players have probably spent their whole day 
investigating. 

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 
Lock 


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. 


XALYTH'S BUSINESS 

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, 
E 

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 


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 
congregation. / 


LJ 





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 
marks anywhere. 


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 
DONE? 


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 
dice. 

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 
human hands. 

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 
same. 


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 
Daragor can. 


BREAK 


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 


TN 
Roy, 


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p a 


"f 








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 
their chores. 


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 
doorstep. 

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 

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. 

Kisses, 
Lady Sybil" 


The key is an old, wrought iron thing, heavy and rusted. The 
map is scawled on a roll of parchment, and is labelled as 
"Henriette's Library." 





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. 

They must: 





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 
they started. 

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 
valuable alight. 

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 
Master's Guide 





SCENE 7 | LADY SYBIL 
SCENE 8 | BLADE IN THE WOODS 





MOONBEAM 
2nd-level evocation 


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 
WOODS 
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 
Weapon, rare 

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. 


Damage Weight 
1d8+1 magic X 3lb. 


Properties 
Versatile (1d 10) 





s 


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 
night. 


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 
them. 

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. 












Eaa 


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 
Lycanthropes. 

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. 


i 


BATTLE IN THE UNDERCROFT 





FATHER DARAGOR 
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 
dies. 





Keen Hearing And Smell. Father Daragor has advantage on 
Wisdom (Perception) checks that rely on hearing or smell. 





ACTIONS 


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. 


ACTIONS 


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 

prone. 
[A] 


SEPNESOSSSBPAHEAST 





15 





EXTRA TOWNSFOLK 
Belqiroth: 

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. 


Victor Alphear: 

Half-Elf of about eighteen, who took over his fathers 
| hunting shop a year or two ago, after his father went 

| missing. 

Kalkian Cartoris: 

Elf who is trying to purchase land in Greymoor to start his 
own vineyard. Must be extremely wealthy, but doesn't look 
it. 

Morgen Daerwynn: 

Dwarvern cobbler and leatherworker. He and his husband 
have a comically large family of twelve children. 

Dao Xi: 

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. 

Frarth Bearhorn: 

Enormous man from somewhere up north, who has 
picked up work in the town as a woodworker and general 
handyman. 











APPENDIX 








‘Road to Destiny' Rob Joseph 


CREDITS 


Art: 


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ICIII KC 


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Mateusz Michal 


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F 24 mot 
rts 


Sean Sevestre 
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Titty W.d Ste n ( 


Noah Bradle 





TIL 





Resources: 
Formatting 


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Statblocks 


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