TEXT: ®
  Alan Bligh
  Matthew sanderson
  and friends
  ®
  Dead Light
  D
  t
  & Other dark turns
  two unsettling encounters on the road
  
  Dead Light
  & Other dark turns
  two unsettling encounters on the road
  Alan Bligh
  Matthew sanderson
  and friends
  
  CREDITS
  Authors
  Alan Bligh
  Matt Sanderson
  Lynne Hardy
  Mike Mason
  Editorial and Development
  Mike Mason and Lynne Hardy
  Art Direction
  Nicholas Nacario, Lynne Hardy, and Mike Mason 
  Cover Art
  Wayne Miller
  Interior Art
  Magda Meiszczak, Doruk Golcu,  
  Caleb Cleveland, David Oliver
  Cartography
  Stephanie McAlea and Miska Fredman 
  Handouts
  Nicholas Nacario and Miska Fredman
  Layout
  Nicholas Nacario
  Proofreading
  Keith Mageau
  Call of Cthulhu Creative Director
  Mike Mason
  Special Thanks 
  Thanks to our playtesters: Sean Connor, Stephen Pitson, 
  Mathieu Booth, Barry Spryng, Andrea Pitson, Rachel Booth, 
  Dan Kramer, Jim Phillips, Mike Medwick, Edwin Nagy, Suzan 
  Bator, Michael Beck, Andrew Burbidge, Daniel Campbell, Rom 
  Elwell, Robin Farndon, Elena Giordano, Beverley Gordon, 
  Bethan Harris, Martin Harris, Eleanor Hingley, Alexis Maes, 
  Tiffany Sanderson, Frank Shea, Dominic Walden, Jessica 
  Waters, Wanru Zhang, Max Mahaffa, Brian Murphy, Keith W. 
  Davis, Tristan Goss, Magnus Nordlander, and Emil Kowalczyk.
  Clear Credit 
  Dead Light was written by Alan Bligh and Mike Mason. 
  Saturnine Chalice was written by Matthew Sanderson. 
  Additional material was written by Lynne Hardy.
  This supplement is best used with the Call of Cthulhu (7th Edition) roleplaying game, available separately.
  Call of Cthulhu (7th Edition) copyright ©1981, 1983, 1992, 1993, 1995,  
  1998, 1999, 2001, 2004, 2005, 2015, 2019 by Chaosium Inc. All rights reserved.
  Dead Light and Other Dark Turns © copyright 2015, 2019 Chaosium Inc. All rights reserved.
  Call of Cthulhu, Chaosium Inc., and the Chaosium dragon are registered trademarks of Chaosium Inc. 
  Chaosium recognizes that credits and copyrights for the Cthulhu Mythos can be difficult to identify, and that some elements 
  of the Mythos may be in the public domain. If you have corrections or additions to any credits given here,  
  please contact us at mythos@chaosium.com.
  This is a work of fiction. This book includes descriptions and portrayals of real places, real events, and real people; these 
  may not be presented accurately and with conformity to the real-world nature of these places, people, and events, and are 
  reinterpreted through the lens of the Cthulhu Mythos and the Call of Cthulhu game in general. No offense to anyone living or 
  dead, or to the inhabitants of any of these places, is intended.
  This material is protected under the copyright laws of the United States of America. Reproduction of this work by any means 
  without written permission of Chaosium Inc., except for the use of short excerpts for the purpose of reviews and the copying 
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  TABLE OF CONTENTS
  DEAD LIGHT � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �5
  Introduction  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .5
  Keeper's Information: Events So Far   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .5
  Dramatis Personae .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .8
  Start: The Encounter on the Road .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 12
  Orchard Run Map .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 13
  What Happens Next?  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 14
  Orchard Run Gas Station & Café Map  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 15
  Greenapple Acre Cottage Map  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 19
  Driving the Action Forward and Maintaining Suspense   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 22
  Reaching a Conclusion   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 24
  Characters & Monsters  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 25
  SATURNINE CHALICE� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �31
  Introduction  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 31
  Keeper's Information: Events So Far   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 31
  Dramatis Personae .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 35
  Start: Out of Fuel  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 38
  Outside the House.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 39
  Weyland Estate Plan.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 39
  First Floor and Basement  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 40
  Weyland House Plan   .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 43
  Second Floor and Cupola  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 47
  Scenes  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 51
  Conclusion.  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 56
  Characters & Monsters  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 57
  APPENDIX: STORY SEEDS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �60
  COLLECTED PLAYER HANDOUTS AND MAPS � � � � � � � � � � � � � � � �64
  INDEX � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �82
  INVESTIGATOR DOWNLOAD
  Six ready-to-use investigators are available for use with both Dead Light and Saturnine Chalice. The PDF pack of characters can 
  be downloaded from Chaosium.com.
  
  4
  
  5
  INTRODUCTION
  Dead Light is a short, encounter-based scenario for Call of 
  Cthulhu set in the Arkham countryside during the 1920s. 
  It involves the investigators quite literally running into a 
  chain of unnatural and nightmarish events that are a threat 
  both to the lives and sanity of all who are entangled in them. 
  Essentially an exercise in Lovecraftian-flavored survival 
  horror, the scenario takes place during a dark and stormy 
  night on a lonesome road outside Arkham, and its course (in 
  narrative time) lasts for the duration of that storm—some 
  several hours at the least or until the dawn at most. Although 
  there is an option to investigate the whys and wherefores 
  of what is happening, ultimately the investigators’ chief goal 
  will be to survive the night. Engaging with the unfolding 
  events, rather than fleeing from them, will likely be the best 
  path to ensuring survival.
  Dead Light is intended to be used in multiple ways. One is 
  as a short play adventure of the type that can provide a change 
  of pace for an on-going campaign—particularly if inserted 
  as the investigators are traveling on to somewhere else, thus 
  encouraging them to resolve the situation as swiftly as possible 
  so they can continue their journey and return to the main plot. 
  Alternatively, it could be used when not all the players are 
  available, possibly as a sidetrack adventure. It will also work 
  perfectly well as a stand-alone scenario for one night of play.
  This scenario, albeit brief, has the potential to be 
  quite deadly. The threat is embodied almost entirely in a 
  factor under the Keeper’s direct and absolute control: the 
  eponymous “Dead Light” itself. So, in the case of campaign 
  play the Keeper can, if they wish, keep the worst ravages of 
  this entity directed against non-player characters (NPCs), 
  preserving the condition of their investigators. While for 
  one-off games, the gloves can come off more readily!
  The scenario is intended for use with groups of between 
  two and five investigators. Note that pure manpower is not 
  likely to avail in the situation presented, as experience and 
  old-fashioned guesswork will likely provide more value in 
  this case. Thus, any investigator occupations are acceptable. 
  Social interaction and observational skills are likely to be 
  of the greatest use here, while an average to good POW 
  characteristic will provide some measure of defense—at least 
  for a time—against the Dead Light itself.
  Once the investigators have become embroiled in the 
  situation, it is up to the Keeper to handle the reactions of 
  the NPCs and the Dead Light itself, while the actions of the 
  players, and their reactions to what is happening, should drive 
  events forward. There is no set order or timeline for them to 
  follow. The players’ first reaction to the unfolding situation 
  is likely to be a mixture of suspicion, wariness, and curiosity, 
  which may readily give way to a determined desire to flee or 
  to get to the bottom of things. Regardless, it should dawn 
  fairly rapidly that the investigators (and everybody else) are in 
  imminent danger, and their survival is far from certain.
  KEEPER’S INFORMATION
  EVENTS SO FAR
  In this scenario, the investigators encounter a Mythos 
  incident as it happens. In order to represent the course of 
  events leading up to the investigators’ involvement, the 
  following Keeper information is presented as a narrative.
  The Keeper may choose to extrapolate such evidence and 
  explanation they wish from this narrative for the investigators 
  as they uncover its aftermath. This same information can 
  Surviving One Night Outside of Arkham
  DEAD 
  LIGHT
  5
  Opposite: The Dead Light
  
  t
  u
  r
  n 
  6
  DARK TURNS
  also be recounted in relevant parts by the NPCs involved, 
  as desired.
  On the high hill above Orchard Run, set back amid the 
  trees, sits a cottage known as Greenapple Acre. A solid, 
  unpretentious and pretty rural retreat, refurbished and rented 
  out from a Bolton realty firm. For the last few years, the 
  cottage has been the residence of one Godfrey Webb, a retired 
  local doctor in his seventies, and his granddaughter, Emilia. 
  A fixture of life in the surrounding area for more than 40 
  years, Webb was a very well regarded family physician, known 
  to generations hereabouts and from a long line of his kind. 
  He was a New England rural doctor of the “old school”—
  which is to say, one that knew how to keep secrets. There were 
  certain old families who relied on Webb’s discretion; he was 
  also the kind of doctor who would provide certain private 
  and unrecorded medical services… for a price. So it was 
  that when Webb retired due to failing health, he did so with 
  more than enough money to live in comfort, giving over his 
  practice and townhouse in Bolton, and renting the beautifully 
  appointed Greenapple Acre Cottage. His accumulated 
  wealth also extended to paying for his last remaining kin, 
  his granddaughter Emilia (herself having had a somewhat 
  troubled life), to move in with him to keep him company. He 
  supplied her with a generous allowance for her maintenance 
  and a brand new automobile for her to get around in. Their 
  supplies and sundries were delivered by order and paid for 
  in cash. They wanted for nothing. However, their wealth 
  and the vulnerability of an old man and his pale, skittish 
  granddaughter, both living alone and hidden from the world 
  by the surrounding woodland did not go unnoticed.
  Down at the Orchard Run Gas Station and Café, the 
  young Mary Laker was stuck waiting tables for truck drivers 
  and commercial travelers. She would regularly watch the 
  shining black ford roadster and its young lady driver, Emilia 
  Webb, pass by, sometimes stopping for gas and paying her 
  boss, Sam Keelham, with folding bills. Mary’s astonishment 
  at this young woman, who was no more than her own age and 
  already had more than money than she would ever see in a 
  lifetime’s earnings, grew quickly into jealousy and resentment; 
  which in time, blossomed into something like hate. 
  Mary’s hate spilled over to her boyfriend, the feckless Clem 
  Tailor, and through him, to the crowd he ran with—a bunch 
  of local hoodlums—the extent of whose larceny usually ran 
  to petty theft, running moonshine, and drunken bar fights. 
  Thus, the Webbs became the subject of the gang’s schemes 
  for a “big score,” schemes that might have come to nothing 
  more than moonshine-laced dreams if it wasn’t for the mettle 
  of Mary Laker’s jealousy and the desire to break the chains of 
  her downtrodden life. She laid the plan for the robbery of the 
  Webb’s house and waited for the right opportunity. 
  The rural road to Orchard Run
  
  7
  DEAD LIGHT
  When the thunder and the rains came, she saw that 
  opportunity. The storm had already taken out the telephone 
  lines and she knew that timed correctly, the robbers could 
  be in and away before the rains washed out the hill road 
  (further slowing any chance of an alarm being raised). Under 
  the guise of a trip to the restroom, Mary met with Clem 
  and his accomplice—a local tough called Billy Esterhouse—
  behind the café and sent them on their way. They had 
  sackcloth masks to cover their faces, a sawn-off shotgun, and 
  a crowbar (the latter to break open the door if needed). They 
  were already half-drunk for courage and what was intended 
  to be a robbery by intimidation was to turn into something 
  far worse—but the conspirators had no idea just how much 
  worse it was going to be.
  It was just as the fat raindrops that heralded the storm’s 
  true strength were beginning to fall that the robbers entered 
  the Webb house; the door had not even been locked. They 
  found the old man and his granddaughter in the reception 
  room, making up the fire. Things did not go easily for them. 
  Despite the masked faces, Clem’s sawn-off shotgun, and the 
  brandished crowbar, the Webbs fought back. The somewhat 
  unstable Emilia threw the grate poker at Billy and her 
  grandfather grappled with Clem. The shotgun discharged 
  and its blast winged Dr. Webb’s shoulder. Moments later 
  Emilia was knocked insensible to the floor. Enraged and 
  panicked, Clem demanded the money from the bleeding 
  doctor, prostrate over his unconscious granddaughter. His 
  only answer was to point to a small, archaic-looking metal 
  coffer placed above the hearth. Clem seized the heavy coffer 
  but could find no lock or catch, but if his adrenaline-charged 
  mind registered the strange-smelling sealing wax that held 
  fast its lid or the bone-deep chill of the metal, it offered him 
  no warning he heeded. Clem threw down the coffer, the seal 
  broke, the lid opened, and all hell broke loose. The Dead 
  Light came forth.
  Two hours have passed since that moment. Night has 
  fallen like a black shroud, and the storm is in full force. The 
  rain and winds lashing down are fit to be the end of the 
  world. At the café by the gas station, Mary Laker waits with 
  a paralyzed dread; Clem and Billy should have returned from 
  the robbery long before now and given her the signal, but 
  there has been no sign of them.
  Looking out into the storm between the flashes of lightning, 
  a farmer’s truck has just swerved to avoid hitting the gas pumps. 
  The farmer, babbling incoherently about a “Dead Light” he saw 
  on the road, is now passed out at one of the tables, sweating 
  feverishly, with Sam, the station’s owner, fussing helplessly over 
  him. Mary keeps glancing at the clock but has just realized the 
  one above the counter in the café has stopped.
  Meanwhile, a little south of the café and gas station… the 
  investigator’s automobile is traversing the storm-lashed road, 
  its headlights sweeping through the sheets of rain, down into 
  Orchard Run.
  LOCATION, TIME, AND PLACE
  This scenario takes place on a fairly major, although rural, 
  road that connects Arkham to another principle town. 
  Exactly which one is left up to the Keeper to fit with their 
  established campaign as they desire. As default, the scenario 
  takes place midway on a country road north out of Arkham 
  heading for the prosperous town of Ipswich. The scenario has 
  no particular requirement in time of year, but to encompass 
  its stormy night, either a late spring or early fall will set the 
  scene admirably.
  The immediate area of the scenario is a stretch of road 
  running between two low wooded hills, known as Orchard 
  Run, on which sits a gas station and a small attendant café 
  and rest stop. The area around this stretch of road is itself 
  quite picturesque, featuring several well-spaced out and 
  well-maintained farmhouses and cottages, some dating 
  back to the colonial era. In daylight, it has a very wholesome 
  and prosperously sedate aspect, which may be remembered 
  from previous journeys along this road (in stark contrast 
  to certain other districts within a day’s journey one might 
  name, such as Dunwich or the Innsmouth coast). However, 
  on the night on which the scenario is set, this is far from 
  the case and a storm has gathered, the likes of which hasn’t 
  been seen in decades.
  All that is required of the investigators for the start of this 
  scenario is that they be driving through the falling rain, along 
  the road north out of Arkham, with what they hope is the 
  worst of the storm at their backs and some intended urgent 
  business ahead of them, hoping to reach their destination 
  before the storm overtakes them.
  An Alternative Option
  The scenario is presented as a fateful, unexpected encounter 
  on the road; however, some Keepers may wish to focus the 
  players’ attention on Orchard Run. One possible option is 
  for Dr. Webb to have contacted the investigators, asking for 
  them to drive to his home on a matter of some import. How 
  the doctor knows of the investigators is left to the Keeper 
  to determine (perhaps they are known paranormal experts). 
  The retired doctor wishes to unburden himself of the horror 
  of the Dead Light, intending to ask the investigators to take 
  the box away and find some way of destroying it. Of course, 
  by the time the investigators actually arrive, the Dead Light 
  will already have been released, Dr. Webb will be dead, and a 
  rain-soaked Emilia will be found on the road.
  
  t
  u
  r
  n 
  8
  DARK TURNS
  DRAMATIS PERSONAE
  This section contains the descriptions and roleplaying 
  hooks for the key NPCs in this scenario. Their statistics can 
  be found in their profiles in the Characters & Monsters 
  section, starting on page 25. 
  Emilia Webb,  
  age 23, semi-amnesiac granddaughter
  Miss Webb’s sudden appearance in front of the investigators’ 
  vehicle plunges them into this nightmare scenario. 
  • Personal Description: thin, slightly gaunt-looking, with 
  dark hair and arrestingly wide, pale gray, almost colorless 
  eyes. After her flight through the woods she is disheveled, 
  bruised and dangerously cold, as well as barely coherent, a 
  situation that will be remedied only by care and warmth.
  • Traits: loyal.
  • Ideology/Beliefs: science reveals truth.
  • Treasured Possessions: antique silver chain with a small, 
  coin-like medal (a gift from her grandfather; see the 
  Antique Chain and Coin-like Medal box on page 14 for 
  further details).
  • Significant People: Dr. Webb, her grandfather.
  • Roleplaying hooks: Emilia is not only the investigators’ 
  introduction to this scenario, she may also be used to point 
  the investigators in the direction of the Dead Light’s casket 
  and Dr. Webb’s bureau, which contains important clues as 
  to the nature of the horror they face. (See What Emilia 
  Knows, page 14.)
  Sam Keelham,  
  age 48, cowardly gas station manager
  The manager of the gas station, Sam Keelham is a blustery, 
  somewhat overweight man in his late forties. He will not 
  want to leave the gas station, even before any overt attack, 
  citing “his responsibility to the company” as the reason he 
  can’t leave. The truth is he is afraid.
  • Personal Description: overweight, bald with a bad comb-
  over, and a broom mustache that hasn’t yet faded to the same 
  grey as what’s left of the hair on his head.
  • Traits: by nature, Sam is both a pedant and loudly 
  opinionated, but beneath he is harmless, guileless, and lost. 
  As matters get stranger and more dangerous he is likely 
  to grow increasingly louder and more opinionated, but 
  increasingly less likely to actually do anything, save wringing 
  his hands, jumping at shadows and demanding that someone 
  do something.
  • Roleplaying hooks: Sam will recognize Emilia Webb and 
  where she is from, but doesn’t know anything beyond the 
  basic facts about her and her grandfather. He will happily look 
  Emilia Webb
  Sam Keelham
  
  9
  DEAD LIGHT
  after her and volunteer to do so at the café (or at least chide 
  Mary Laker into doing this), as something he understands 
  and feels useful doing. Sam knows most of the locals, at least 
  by sight, and he can connect Clem to Mary, and also Billy to 
  Clem, knowing them both as “local troublemakers, not worth 
  spit.” He also knows Jake Burns as a regular customer and 
  something of a drunk and is therefore doubtful of his story.
  Jake Burns, age 42, disturbed pig farmer
  Jake Burns is a local pig farmer with a small farm about four 
  miles (6.5 km) away in the countryside toward Bolton. He 
  is in his early forties, yet a hardscrabble life and a number 
  of bad habits (including being a long-time bush-league 
  moonshiner too fond of his own product), have left him 
  looking twenty years older. 
  • Personal Description: prematurely aged, with a bushy beard 
  and a thick, pink, fleshy face.
  • Traits: an unpleasant piece of work; superstitious, sexist, 
  addled by drink, and ill-tempered. And very, very stupid. 
  • Roleplaying hooks: Jake is present in the café after almost 
  crashing his flatbed truck in panic after encountering a 
  “Dead Light” on the road. By the time the investigators 
  arrive, he will have almost calmed down, thanks to several 
  cups of hot coffee, and is starting to feel angry rather than 
  afraid. Investigators handling him with anything less than 
  earnest belief may well provoke an unpleasant response and 
  even a violent outburst. Jake is used to “talking” with his fists. 
  If confronted with the Dead Light a second time, he will 
  prove cowardly but vicious and may try to escape by stealing 
  someone’s car, which is likely to prove a suicidal endeavor 
  in more ways than one.
  Mary Laker,  
  age 19, conspirator and proto-femme fatale
  In some ways a physical counterpoint to Emilia, Mary is a 
  trim, healthy-looking, and athletically built young woman. 
  Her demeanor (as the investigators encounter her) is caught 
  between wary and distracted, and masks her slowly mounting 
  panic that something has gone horribly wrong with her plan 
  for her boyfriend to rob the Webb’s cottage. Thus, she takes 
  Emilia’s arrival as proof positive of this.
  • Personal Description: athletically built, just under 5 feet 
  (1.5 m) tall, with short, ash-blond hair cut into a bob.
  • Traits: wary, calculating and cunning, and not afraid (if push 
  comes to shove) to get her hands dirty. She is both clever 
  and determined, and will not fold easily under accusation 
  or threat. She will, however, desire to preserve her own life 
  above anything and anybody else.
  • Ideology/Beliefs: nothing is more important than 
  self-preservation.
  Jake Burns
  Mary Laker
  
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  DARK TURNS
  • Significant People: Clem Tailor, her boyfriend (and possible 
  ticket out of this dump).
  • Roleplaying hooks: it is likely that Mary will act 
  increasingly suspiciously as matters worsen—possibly 
  noticed by observant investigators (Psychology roll). She 
  may also accidentally incriminate herself by knowing 
  too much or reacting badly if screams are heard in the 
  woods. Likewise, should Billy Esterhouse be discovered 
  (alive or dead), she will claim not to know him (although 
  Sam Keelham can easily see through such a bluff if he is 
  present or overhears). In extremis, she is not above trying 
  to silence Emilia if she thinks it necessary, taking off 
  when nobody is looking or even using the gun kept in the 
  drawer of the café’s cash register (a loaded .22 revolver) 
  to defend herself (or take a car and money by force). This 
  desperate action might come into play if Clem’s remains 
  are recognized and linked to her (Sam Keelham; plus, 
  there is an incriminating photograph of Mary in Clem’s 
  wallet). If cornered with hard evidence and no means of 
  escape, she may then spill her story in full. She will not 
  stop looking for a way out, however.
  Winifred and Teddy Brewer,  
  ages 68 and 71, unfortunate travelers
  An old, respectable lower-middle-class couple from Boston 
  (he is a retired bank teller and she a homemaker), Winifred 
  and Teddy Brewer are about to have the most ill-fortuned 
  and, most likely, last night of their lives. They are innocent 
  and ineffectual and have no idea what is going on, so will 
  watch all from the sidelines, naturally trying to fade into 
  the background. Occasionally they will offer comments like, 
  “Ooh, Winnie, did you see that lightning?” “There’s so much 
  rain, the angels must be crying,” and, “Perhaps we should 
  call the police?” at wildly inopportune moments. As things 
  worsen, they will likely respond to the nightmare of what is 
  about to unfold with the doe-eyed confusion of lambs in the 
  slaughterhouse line.
  Winifred Brewer, age 68
  • Personal Description: slightly stooped, thick and curly 
  white hair, spectacles.
  • Traits: generous, quiet, and reserved.
  • Ideology/Beliefs: strongly religious and a devout Christian.
  Winifred Brewer
  Teddy Brewer
  
  11
  DEAD LIGHT
  Teddy Brewer, age 71
  • Personal Description: balding with a touch of wispy, white 
  hair, deep blue eyes, and a kind smile.
  • Traits: generous, quiet, and reserved.
  • Ideology/Beliefs: the wonder of life is all around.
  Billy Esterhouse, age 20, terrified thug
  A young tough from the local area, Billy is barely out of his 
  teens but built like an ox and veers between honest work as 
  a day laborer and dishonest work as dumb muscle for what 
  passes for Bolton’s criminal element, plus the odd piece of 
  petty thievery with his friend Clem. Though not actually evil 
  in a conscious way, he is lazy, none too bright, and a bully by 
  nature, as well as being easily led by anybody he looks up to, 
  like Clem.
  On witnessing the Dead Light erupt from the coffer in 
  the cottage and devour the life from his friend Clem, Billy’s 
  mind broke down. He fled in blind panic and has now 
  regressed to a child-like state of sheer terror. 
  • Personal Description: broad, stocky, and built like an ox, 
  thick dark hair and bushy eyebrows.
  • Traits (Currently): panicky, childlike, and afraid.
  • Ideology/Beliefs: currently: Something BAD is coming 
  and it’s going to eat everyone!
  • Significant People: Clem Tailor, best friend.
  • Roleplaying hooks: as the scenario commences, Billy is 
  hiding it the woods, trying to keep dry under the trees 
  and jumping in panic at every lightning flash and peel of 
  thunder. He is lost and has been going in circles since the 
  attack. He knows the Dead Light is out there, having seen 
  it already twice and fled from it. Whether the Dead Light 
  finds him before he encounters the investigators is left up 
  to the Keeper. He remembers everything he’s seen but can’t 
  deal with it above an almost infantile emotional response. 
  If questioned, he will blabber the truth in childlike terms 
  without fear of recrimination.
  The Dead Light 
  The Dead Light is an otherworldly, wholly alien and inimical 
  entity. It is not alive, sapient, or tractable in any sense that 
  can be understood by humanity. It is a devourer, a carrion-
  feeder on the energy of life and the remaining echoes of 
  consciousness that may linger on tainted living remains.
  For a full description of the Dead Light and its abilities, 
  see the Characters & Monsters section, page 27.
  Billy Esterhouse
  The Dead Light
  
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  DARK TURNS
  START: THE ENCOUNTER 
  ON THE ROAD
  Read the following aloud, or paraphrase, for the players:
  Despite racing against the rain on your way northwards, the 
  storm has finally caught up with you in earnest and with it, the 
  night has fallen, abyssal black and riven by lightning. Conditions 
  on the rain-swept road force your speed down to a virtual crawl 
  so that your head-lamps can pierce the gloom and keep you on the 
  path. The only thing certain now is that the weather behind you 
  is worse than that which surrounds you, driving you onwards. 
  What should have been an eventless journey has become something 
  dangerous and unpredictable.
  Without warning, something runs into the path of your car! A 
  pale figure rears up as if from nowhere. As you swerve and brake 
  to avoid hitting it, you have just enough time to realize the figure 
  is a woman—her eyes wide and her mouth open in a scream.
  Thanks to their relatively slow speed, the investigators’ car 
  is not likely to hit the woman, although Keepers may wish 
  to call for a Drive Auto roll to add some dramatic tension. A 
  failure means that the car just clips her, bowling her over and 
  leaving her somewhat battered and bruised.
  The woman in the road is Emilia Webb (see her 
  Dramatis Personae entry on page 8). She is in shock, semi-
  conscious, and borderline suffering from exposure. She is 
  clearly not dressed for the outdoors and she is soaked to 
  her skin. Disheveled, her clothes are torn from running 
  through the woods and she has a livid bruise on her 
  forehead (a successful First Aid or Medicine roll ascertains 
  that this is at least an hour old by its coloration). She carries 
  no identification or jewelry save for what appears to be an 
  antique silver chain with a small medal made from what 
  looks like an old gold coin (see The Antique Chain and 
  Coin-Like Medal, page 14).
  The investigators will get nothing out of her at this point, 
  but efforts made to warm her and get her out of the rain 
  (possibly a First Aid roll as well) will stop her suffering 
  further and illicit the words “grandfather” and “the light” 
  from her, but little else for the time being. 
  The investigators’ next actions and assumptions are up to 
  them, but the following may be applied:
  • The longer they wait stationary, the worse time they will 
  have getting started again as the storm is intensifying and 
  the car may end up getting stranded. Just being outside the 
  car for a few seconds means getting clothing soaked with 
  bitter cold, lashing rain.
  Encounter on the road
  
  13
  DEAD LIGHT
  Orchard Run Environs Map
  
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  DARK TURNS
  • Anyone familiar with the area might remember (Know 
  roll) that there should be a gas station and café maybe a 
  mile up the road.
  • Anybody lingering or searching the immediate woodland 
  may make a POW roll, which if passed, results in a creepy 
  feeling of being watched. The conditions are dreadful and 
  getting worse and any search of the surroundings reveals 
  nothing useful.
  • If particularly intransigent investigators wait too long, there 
  is a chance the Dead Light will show itself, either stalking 
  closely in the woods as an indistinct and eerie presence or by 
  a direct approach, resulting perhaps in an early direct attack.
  • If they turn back toward Arkham, the weather will worsen 
  swiftly to far more than a 1920s automobile can handle. 
  They risk crashing, stalling, or slipping entirely from the road 
  (Extreme Drive Auto rolls), by which time the Dead Light 
  may seize its chance to strike for one of them. Alternatively, 
  a fork of lightning hits a roadside tree, felling it across the 
  road and preventing the investigators’ car going any further.
  WHAT HAPPENS NEXT?
  How the night unfolds after meeting Emilia on the road is 
  entirely up to the Keeper and the actions of the investigators. 
  Although they don’t yet realize it, they are in a fight for their 
  very survival.
  WHAT EMILIA KNOWS
  Once Emilia is more herself she will be revealed, over the 
  course of conversation, to be a clearly educated woman with a 
  cosmopolitan, middle-class background and a predominately 
  Bostonian accent. She will, thanks to the shock of her 
  immediate ordeal, remain somewhat dazed, very nervous, and 
  unresponsive socially unless directly addressed (successful use 
  of Charm or perhaps Persuade certainly helps the situation). 
  She will not deliberately lie or dissemble, except that she has 
  a very real fear of being “crazy”—she spent some time in a 
  sanatorium (the Boston Society for the Care of Girls) for 
  emotional disturbance and recurrent night terrors, after her 
  parents died when she was 15)—and will not willingly subject 
  herself to that accusation. Just how much she remembers of 
  what has happened to her from the attack to the investigators 
  encountering her on the road is for the Keeper to decide.
  • Emilia has lived with her grandfather at the cottage for a 
  little over seven months, while his heath has visibly declined, 
  owing to a heart condition. He has shown her nothing but 
  kindness.
  • She knows nothing of Webb’s secret save for that “creepy 
  old urn-casket thing.” If she is asked, she remembers it from 
  childhood (in his old Bolton house) and even then it used 
  to give her nightmares. It was something important to him, 
  some kind of family heirloom that she was told never to 
  touch. She was more than happy to comply.
  • She knows her grandfather had a locked bureau in his 
  study where he kept valuables (or wherever else the Keeper 
  decides the journal should be) but never saw inside it or 
  knew exactly what was in there. She knows he kept the key 
  on his pocket-watch fob.
  THE ANTIQUE CHAIN 
  AND COIN-LIKE MEDAL
  A gift from her grandfather, Emilia treasures this item and 
  is careful to avoid losing or damaging it. While its monetary 
  value is approximately $60–$100, its worth to Emilia is 
  priceless. The coin-like medal is inscribed with a series of 
  peculiar symbols, which may or not be some form of writing. 
  Only a successful Cthulhu Mythos roll will identify the 
  symbols as Aklo script. As to what the medal is, what it 
  says, and its importance is left to the Keeper to determine 
  and may provide a possible seed for a future scenario. The 
  medal bears no further role in this scenario unless the Keeper 
  wishes it to.
  The antique chain
  
  15
  DEAD LIGHT
  Orchard Run Gas Station and Café Map
  
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  DARK TURNS
  TRAVELING WITH EMILIA
  Emilia is being stalked by the Dead Light. Although, having 
  recently fed, it will—for the time being—keep its distance if 
  the investigators drive on with her.
  Particularly observant investigators who keep their eyes 
  on the woods beside the road might, between the lightning 
  flashes, spot a glimmer (Hard Spot Hidden roll) of a strange 
  white light that lingers behind the trees—there for an instant 
  and then gone again. The Keeper can use such mysterious 
  glimpses to begin to build a sense of growing strangeness 
  and threat.
  ORCHARD RUN GAS 
  STATION AND CAFÉ
  The set up here is a modern but modest affair. The businesses 
  are no more than a few years old, comprising a single pump 
  gas station with a wooden framed office and parking garage 
  set back from the road. Likewise, a small diner has been built 
  with an outhouse around the side. It’s owned by the Vacuum 
  Oil Company out of New York and managed by the stuffy 
  and slightly officious Sam Keelham.
  The diner is run by a local woman, Doreen Atler, who 
  doubles as cook and manageress. Doreen is assisted by a 
  couple of waitresses in the mornings through till mid-
  afternoon when the café sees most of its trade. In the 
  evenings, Mary Laker, our conspirator, works alone, plying 
  coffee and reheating food to the much thinned-out clientele 
  until closing.
  At the time that the investigators encounter it, the lights 
  above the pump and the café are burning brightly through 
  the driving rain. The only sign that anything is amiss through 
  the storm is that a four-wheeled flatbed cattle truck has 
  been slewed across the road at an angle where clearly it 
  has skidded to a halt in the mud, seemingly abandoned, its 
  driver’s cab door left open to the elements. The truck almost, 
  but not quite, blocks the road to Bolton. Its wheels rest half 
  sunk into the thick, wet mud.
  There is a single, two-seater Ford roadster parked out in 
  front of the café and another, older Packard lodged by the 
  gas station office. No other vehicles are evident. Observant 
  investigators will be able to see figures moving inside the 
  brightly lit café through the windows, but the rest of the 
  rain-sodden scene is deserted, and the gas station office is 
  shut and locked.
  INSIDE THE CAFÉ
  As the investigators arrive, there are five people inside the café:
  1. Sam Keelham—the manager.
  2. Mary Laker—waitress and conspirator.
  3. Winifred Brewer—see following.
  4. Teddy Brewer—Teddy and Winifred are an older couple 
  who are trying to wait out the storm, unfortunate travelers 
  returning from visiting relatives in Bolton.
  5. Jake Burns—newly arrived, the shaken farmer who has just 
  almost crashed into the gas station.
  Notes on these characters and their potential reactions 
  to what’s going on can be found in the Dramatis Personae 
  section for this scenario (page 8). Their statistics can be found 
  in their profiles in the Characters & Monsters section at the 
  end of the scenario.
  The situation the investigators walk into is already an 
  unsettled one. The attention of everyone present (other than 
  Mary) is, before their arrival, focused on Jake Burns. When 
  the investigators enter, they hear him insisting that a “Dead 
  Light” drove him off the road. Investigators who decide to 
  take a closer look at Jake can see that he is clearly shaken-up.
  The only telephone is in the gas station’s office. It is not 
  working due to damage caused by the storm.
  ORCHARD WOOD
  The woods of the surrounding area were once planted apple 
  orchards (as the name suggests) but have since largely run 
  wild and been partly overwhelmed by invasive species, such 
  as elm and ivy. The result in daylight is picturesque, yet at 
  night and in the storm, the woods are something out of a 
  gothic nightmare. Walking (let alone running) through the 
  dense, gnarled trees is treacherous to the sense of direction 
  and dangerous underfoot due to the many vines, creepers, 
  and roots that can easily tangle and catch up on a shoe. DEX 
  and/or Navigate rolls should be called for if the investigators 
  wish to make a journey through the woods in the darkness 
  and rain.
  It is these woods the Dead Light now haunts. Straying 
  from the established paths into the woods this night without 
  extreme caution and preparedness would be courting broken 
  limbs. Given the storm, a case of exposure might even prove 
  fatal—quite aside from the fact an otherworldly entity is 
  making the woods its hunting grounds.
  At the start of the scenario, Billy Esterhouse, Clem’s 
  accomplice in the doomed robbery of the Webb cottage, 
  is lost somewhere in the woods; half out of his mind with 
  shock and fear. As already mentioned, Billy’s presence in 
  the scenario is left to the Keeper to determine. If things are 
  progressing apace and the players have enough to keep them 
  busy, then Billy may never appear, consumed off-stage by the 
  Dead Light. However, if the Keeper wants to spice things up 
  and introduce a new NPC, then Billy can show up at the café 
  or in the woods, scared and raving about “a light that kills.” 
  Perhaps the Dead Light is hot on his heels, soon to make a 
  grand appearance?
  
  17
  DEAD LIGHT
  GETTING OUT  
  BY ROAD OR ON FOOT
  At various points, the players may be quite tempted to brave 
  the storm either by car (incredibly dangerous given the nature 
  of the vehicles involved and the weather) or on foot to go to 
  Greenapple Acre Cottage (see following) or to try and fetch 
  help. Either course of action is desperate and hazardous, but not 
  impossible, and the Keeper is recommended to simply make 
  plain just what perils this might entail, and then enforce them!
  Driving a vehicle (even at slow speed) requires successful 
  Hard Drive Auto rolls at a minimum to maintain control 
  and avoid stalling or crashing, increasing to Extreme 
  difficulty as the rain begins to wash mud and other debris 
  into the vehicle’s path. Other rolls could include:
  • Luck rolls to avoid lightning strikes or falling tree branches.
  • Hard Spot Hidden rolls to detect obstacles or dangers ahead 
  (then a Drive Auto roll to avoid them).
  • Sanity rolls to avoid being driven back by the fury of the storm.
  • If walking, Navigate rolls to avoid becoming lost in the woods.
  • If walking, increasingly difficult CON rolls to avoid suffering 
  debilitating exposure (failed CON rolls may result in 1D4 
  hit points loss per hour while out in the freezing cold wind 
  and rain, as well as a penalty die to all physical skill rolls and 
  a penalty die to mental skill rolls).
  If walking or straying from the car, don’t forget to check 
  if the investigators have flashlights (perhaps using Luck rolls 
  to determine if there is one or more in the investigator’s car). 
  It’s dark and stormy, and the woods are going to be very 
  dark. Use the gloom to heighten the tension, separate the 
  investigators, and generally create a foreboding atmosphere.
  An attack by the Dead Light is almost certain against 
  anybody caught in severe distress or who crashes a car in the 
  woods—such things will be like flares in the darkness to it.
  GREENAPPLE  
  ACRE COTTAGE
  During the course of the scenario, the investigators should 
  learn of Greenapple Acre Cottage (either directly from 
  Emilia, or from another in the café). Draw the investigators 
  to the cottage. Perhaps they might wish to go there to seek 
  Emilia’s grandfather, to uncover the source of the danger, 
  or perhaps simply to flee a café under siege, depending on 
  how matters progress. Most likely, Emilia could request they 
  accompany her to the cottage to help her grandfather (who 
  she believes may be injured rather than dead) and to ensure 
  the robbers are gone.
  The cottage is set back some distance away from the main 
  road, on the other side of a rising hill, and is therefore quite 
  Orchard Run gas station and café
  
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  DARK TURNS
  secluded. Although now rain-slick and muddy with run-off 
  from the storm, the road is freshly graveled and shaded by a 
  deliberate planting of trees and therefore still passable, even 
  in the storm. Note that the Keeper might have one or more 
  of these trees felled and blackened by a lightning strike, or 
  perhaps the bark strangely scarred by the nearby passage of 
  the Dead Light.
  It might take ten minutes or longer to reach the cottage by 
  cautious automobile ride (this still requires a successful Hard 
  Drive Auto roll), and perhaps 20–30 minutes to reach on 
  foot from the gas station (a slower, wetter, but safer option).
  The cottage is a recently renovated, single-storied, old 
  colonial-era property. Behind it sits a small barn (now 
  serving as a garage). The cottage comprises a small hall, a 
  large reception room, two studies, two bedrooms, a kitchen-
  diner, and a washroom. It is well-appointed and well-
  furnished to a more than comfortable standard. Traditional 
  New England rustic tastes dictate throughout. There is also 
  a large, dry cellar beneath the cottage in which a modern 
  heating furnace and kerosene-powered electrical generator 
  have been installed. It is suggested that the generator is not 
  working when the investigators arrive—dark houses are, 
  after all, much more creepy! To get the lights working in 
  the cottage, someone will need to go down to the cellar and 
  refuel the generator.
  The cottage’s front door is banging open and shut in the 
  wind and rain. The whole place is in darkness. A successful 
  Spot Hidden roll reveals an abandoned crowbar lying in the 
  mud of the lawn near the front door. It looks as though a 
  man has slipped and fallen, leaving a visible skid-patch that 
  has not yet been eroded by the rain.
  Outside of the main reception room, which is the site of the 
  thieves’ attack and the unleashing of the Dead Light, nothing 
  is out of order in the house save that the telephone line is as 
  dead as the one in the gas station’s office (the storm’s fault).
  A detailed search of the cottage reveals a lifetime’s accrual 
  of knick-knacks, gifts, and mementos crammed into every 
  available space. There is plenty of evidence of a late wife and 
  daughter in numerous photographs, as well as a long career as a 
  well-known and well-regarded country physician, judging from 
  the certificates on the walls. Most of the rooms are unremarkable 
  and feature nothing out of the ordinary or unexpected.
  The Reception Room
  Obviously, the site of a violent altercation, the three key points 
  of interest here are: two dead bodies—those of Dr. Godfrey 
  Webb and Clem Tailor—and the opened metal coffer.
  Webb, in life a classic example of a New England patrician 
  with a thin, heavily lined face and close-cropped white hair, 
  is slumped against an armchair, his shoulder bloody and face 
  The aftermath of a violent altercation
  
  19
  DEAD LIGHT
  Greenapple Acre Cottage Map
  
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  DARK TURNS
  ashen. A successful Medicine roll determines that he died of 
  heart failure (as the Dead Light was unleashed), otherwise it 
  may appear that Webb died from blood loss as a result of the 
  shotgun wound in his shoulder. Searching the body reveals a 
  small key on a pocket-watch fob.
  Clem Tailor’s remains are in a strange and horrific 
  condition. He was a young man in his early twenties, 
  but now his features are contorted in agony and almost 
  unrecognizable. His jawbone and many of his joints have 
  been self-dislocated in the throes of violent convulsions and 
  he lies like a discarded and broken marionette on the floor. 
  The lower half of this body has been reduced to ashes, as if 
  some intense heat had burnt him from the ground up. On 
  what remains of his upper body, his skin is blood-blotched 
  and blackened as if his veins had exploded within him, 
  and his eyes are red-black masses of hemorrhage. Why the 
  Dead Light did not finish completely consuming Clem is a 
  mystery—perhaps it was affected by the storm, or the warm 
  blood of Clem’s accomplice, Billy Esterhouse, lured it away.
  Witnessing the broken remains of Clem Tailor calls for 
  a Sanity roll (1/1D4+1 loss). A crude, sack mask (torn off 
  during the struggle) and a recently fired, single-barreled 
  20-gauge shotgun lie next to Clem’s body. Two spare 
  shells can be found in Clem’s pocket, while his wallet 
  contains a single dollar bill, a gas coupon, and a small, 
  folded photograph of Mary Laker eating cotton candy 
  at the county fair. If the investigators have already 
  met Mary at the café they instantly recognize her; 
  otherwise, her face is unknown to them.
  The overturned metal coffer immediately looks out 
  of place both with the décor and the room. Perhaps 
  16 inches wide by 9 inches tall (41 cm by 23 cm), it is 
  trough-shaped, featureless, and is mounted on small, 
  clawed metal feet. The remnants of an oddly smelling 
  wax seal remain around the edges of its hinged lid. The 
  inside appears lead-lined. There is something distinctly 
  funereal about its appearance (although it seems too 
  large for an urn), an assumption compounded by a 
  heavy spill of fine white ash from where it has been 
  dropped onto the floor beside the hearth. Anybody 
  with POW 70 or greater gets a feeling of distinct unease 
  while handling or looking for too long at the coffer. 
  The unease turns to physical revulsion and nausea the 
  longer the coffer is held or looked upon—call for a 
  Sanity roll if this becomes the case (1/1D2 loss).
  Emilia Webb’s Bedroom and Study
  A search of Emilia’s bedroom and study reveals that 
  she takes regular sleeping drafts. Some correspondence 
  shows that she has recently spent time at the Boston 
  Society for the Care of Girls (a successful Know, 
  Medicine, or Psychoanalysis roll confirms that this 
  is an up-market sanatorium), but has been released 
  with a clean bill of health.
  The Doctor’s Study
  This room is given over to Dr. Webb’s old personal 
  letters and records, largely out of date books on 
  medicine, a small library on the natural history of 
  New England, and a sizable collection of Lepidoptera, 
  pinned out in glass-fronted frames hung on the 
  walls. A sturdy, locked bureau contains the following 
  items of interest: $600 in cash, an account book for 
  Handout: Dead 1a
  
  21
  DEAD LIGHT
  the Arkham First National Bank (containing a balance 
  of $19,000), a pot of funny-smelling wax-ointment, and 
  a small black leather-bound journal hidden under piles of 
  legal papers and professional certificates. If the key from 
  the doctor’s pocket-watch fob is not found, a Locksmith or 
  Mechanical Repair roll is required to break into the bureau. 
  While a casual inspection of the bureau’s contents will find 
  most of the items described, a successful Spot Hidden roll 
  is required to find the journal (Handout: Dead 1—parts a, 
  b, c, and d)).
  The majority of the journal has been left blank except 
  for the innermost pages, on which what the Dead Light is 
  used for and the means to recall it has been written out in 
  cool and rational—yet shocking—terms, painstakingly set 
  in a small, neat hand. However, the page describing how to 
  control and send the Dead Light against a specific target 
  has been torn from the book. An initial (skim) reading of 
  the journal provides +1% Cthulhu Mythos and costs 1D4 
  Sanity points. 
  Beside the “instructions” is a page on which single letters 
  are matched with dates and three and four-figure numbers. 
  From the stains and smears on this page, it appears the 
  previous page may have been removed due to a catastrophic 
  ink spillage. There are 16 entries in all, and the dates are 
  erratically interspersed over the last 40 years or so, with the 
  most recent date listed being 11/10/1919. The full realization 
  DR. WEBB’S JOURNAL
  The real Lovecraftian element in this scenario lies not 
  just with the otherworldly and outré nature of the entity, 
  but also in the secret of how it came to be there. What 
  the (outwardly decent) Dr. Webb and his predecessors 
  used it for, without any understanding of what it really 
  was, is terrible knowledge. Discovering this will hopefully 
  add a greater depth to the experience for the players than 
  simply encountering a strange monster alone. As an idea, 
  it speaks to the generations-old “wrongness” that pervades 
  Arkham, Dunwich, and the surrounding lands. Should such 
  knowledge become known, call for Sanity rolls (1/1D4 loss). 
  Perhaps Dr. Webb’s journal can be used as a springboard to 
  other investigations and ties to conspiracies further down the 
  line, affecting remote families, farms, and other less pleasant 
  locales. Such developments may be enhanced through the 
  investigators’ connection with Emilia Webb—assuming she 
  survives this scenario.
  Dr. Webb’s Journal 
  English, late 19th–early 20th century
  • Sanity loss: 1D4
  • Cthulhu Mythos: +1 percentile (skim)/+3 percentiles  
  (full study)
  • Mythos Rating: 6
  • Study: 8 weeks
  • Spells: Recall Sin-Eater. (The spell to safely deploy the 
  Dead Light is missing from the journal.) 
  Handout: Dead 1b
  
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  DARK TURNS
  that these 16 entries represent a likely tally of murdered 
  newborns and others by the agency of Dr. Webb and the 
  Dead Light requires a further Sanity roll (0/1 loss).
  Dr� Webb’s Bedroom
  Dr. Webb’s room seems to be quite ordinary. In fact, 
  everything points to a well-ordered and structured man, 
  with clothes neatly stored, shoes polished, and only useful, 
  functional items in abundance. A successful Spot Hidden 
  roll does locate a small, soft leather-bound pocket Bible, 
  tucked away in a sock drawer. Inside, there is a handwritten 
  inscription (Handout: Dead 2):
  The inscription, in faded blue ink, appears to have been 
  written many years before. If shown to Emilia, she can confirm 
  it is her grandfather’s Bible given to him by his father, and 
  that the handwriting is definitely not her grandfather’s (the 
  Bible has been passed down, father to son, across a number 
  of generations). She isn’t sure as to the full meaning of the 
  inscription, remembering that her grandfather once told her 
  that, “The sins of the physician shall be judged by the Lord alone.” 
  Whatever that meant?!
  Further searching proves fruitless—it is the doctor’s 
  journal in his study that would most benefit the 
  investigators’ attention.
  The Cellar
  Apart from dust, cobwebs, and packing crates, the 
  only item of interest down here is a domestic electrical 
  generator system, which could be used to shock the 
  Dead Light back to its natural habitat outside of this 
  world. The investigators will need to either lure the 
  monster to the cellar or run some form of a trap off from 
  it (requiring a successful Electrical Repair roll).
  DRIVING THE 
  ACTION FORWARD 
  AND MAINTAINING 
  SUSPENSE
  This scenario features elements of both the gothic (the 
  storm, an abandoned cottage, a conspiracy to do harm, 
  the sins of the past unleashed on the present), and pure 
  survival horror (the monster in the woods, being hunted, 
  being cut off from the outside world, being trapped in 
  a confined space with strangers, possibly being picked 
  off one-by-one). It is up to the Keeper to choose which 
  of these elements to bring to the fore and exploit as 
  they wish, while they may let others languish or simply 
  serve as set dressing for the scenario as needed. Select 
  what is appropriate for the kind of game your players 
  will enjoy and the kind of game you like to run.
  The following are a few notes for consideration:
  Slow the Pace for Investigation 
  If you want to bring out the investigative element in 
  this scenario, do not rush to unveil the Dead Light or 
  have it attack too early, as this may provide a defensive 
  mentality in the investigators too soon. Instead, bring 
  Handout: Dead 1c
  
  23
  DEAD LIGHT
  up the strange phenomena more slowly. You may also wish 
  to have the storm abate somewhat to more readily allow 
  the investigators to walk about (the roads are completely 
  washed out and muddy enough to make leaving the area still 
  dangerous). Make Emilia Webb, rather than the monster, 
  the focus of the mystery to begin with. Keep her incoherent 
  and suffering from amnesia early on, unable to remember 
  what happened until she sees the Dead Light for herself (or 
  is taken back to the cottage and has it all come flooding 
  back to her). In this case, it may be advisable to make the 
  doctor’s journal less accessible or dangerously so—for 
  example: having Emilia as the only source of knowledge as 
  to its existence, placing it behind a loose brick in the cellar 
  wall, or in a locked strongbox out in the barn (and therefore 
  exposing the investigators to danger in order to retrieve it).
  Foreshadow the Monster 
  A slow and suspenseful build-up of strange phenomena 
  can be used to build tension and thrill. Dimly seen lights 
  glowing in the woods or across the gas station lot, getting 
  closer—particularly if first seen by one of the NPCs and not 
  the investigators—is an excellent start. Strange noises on the 
  (dead) telephone line or wailing interference on the radio, 
  power fluctuations, phosphorescent glows on metalwork 
  and power cabling—all can point to something strange that 
  could just be the storm… or is it? Have an NPC picked off 
  by the creature (all that is heard is a terrifying scream), with 
  the investigators finding the body in a state akin to that of 
  Clem Tailor—thus seeing the horror it can inflict before 
  they see the thing that caused it.
  The Grand Entrance 
  Early or late in the proceedings, when the Dead Light 
  appears, give it a grand entrance. Whether flowing like 
  a monstrously unnatural silver-like fire through the air 
  between the trees, somewhat like a hunting serpent, or 
  pouring, like liquid light, from the mouth of one of its 
  victims as it exits the ravaged body. Its first arrival in the 
  scenario should be a pivotal event and you should treat it 
  as such. Take time to describe it fully, its utter alien-ness, 
  how it glows deathly white and leaves a phosphorescent 
  afterglow, as well as its contemptuous disregard for the 
  investigators and any threat they or anybody else poses. It 
  is an almost languid terror, as unhurried a predator as a 
  butcher selecting a fatted pig from a pen, and as certain as 
  the Grim Reaper.
  The Weak Fall By The Wayside 
  The set up and the situation of this scenario contains 
  multiple NPCs. They not only provide narrative exposition 
  and someone for the investigators to interact with but also 
  supply the Keeper with victims as needed to establish the 
  danger of the Dead Light (and its modus operandi) before 
  the investigators try to combat it. Use them as such. It’s also 
  worth remembering on the players’ behalf that, like the old 
  joke about two men fleeing a hungry lion, you don’t have to 
  run faster than the lion to escape, just faster than the man 
  next to you…
  Tear Down The Walls 
  The Dead Light will not relent, and mere physical barriers 
  alone will not stop it. Its hunger is implacable, as the 
  creature is truly alien and it should be presented as such. 
  Handout: Dead 1d
  
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  DARK TURNS
  This relentlessness is particularly important if the Keeper 
  is emphasizing the survival horror element of the scenario. 
  If the investigators flee, it will pursue. If they hole up, it 
  will tear down or burn through any barriers they attempt 
  to put between it and them. It does not tire and it cannot 
  be reasoned with or deceived. It also cannot be entrapped 
  like a common animal, and while incomprehensible, it is also 
  clever. Clever enough to destroy sources of light, smother 
  flames, damage cars, topple trees, and strike from ambush 
  (such as, say, from the roof of the café). Its natural inclination 
  is to strike, feed on one life and then to depart to consume 
  that stolen energy properly before returning. However, it 
  is not a slave to that behavior and is more than capable of 
  dealing harm at will or acting simply to prevent the escape of 
  the humans. In short it is as clever, persistent, and as vicious 
  as the Keeper desires.
  Present Them With Hope, Then Snatch It Away
  If the trope of a situation contrived to have no easy means 
  of escape—in this case, the isolation of the storm—seems 
  too simplistic to the Keeper, then they might consider 
  confounding 
  the 
  expected 
  convention 
  by 
  allowing 
  communication with the outside or temporary escape—but 
  leaving a sting in the tail. Have the police or other potential 
  help reachable by phone, but either in complete disbelief 
  or simply not willing to risk the roads. Or worse, allow the 
  police to be called in and have them arrive at the gas station 
  mid-adventure only to have the Dead Light kill them. 
  Likewise, you might leave the possibility of escape open, but 
  not for all involved.
  Make Them Choose And Make Them Act 
  As this scenario operates on a countdown imposed by the 
  confined situation and timescale, as well as the predation 
  pattern of the Dead Light itself, it is of vital importance to 
  the scenario that the investigators not be passive participants 
  in unfolding events once they intersect with the situation. It 
  should always be obvious that if confronted with the Dead 
  Light and left to their own devices, the NPCs are going to, at 
  best, cower and panic and, at worst, turn on each other and the 
  investigators—ultimately, they are going to die. If they remain 
  passive, so are the investigators. If the players become passive, 
  spur them into action by threat, strange phenomena, or NPC 
  activity of a dangerous or dangerously foolish kind. Give them 
  something to react to. Only the investigators can take matters 
  in hand, and it is only they that can ensure their own survival.
  REACHING A CONCLUSION
  As the night travels toward dawn, and matters at Orchard 
  Run progress, the creature’s attacks should be accelerated, with 
  fewer and fewer intervals between them. If, at last, perhaps 
  only one or two investigators and it remain, and if they haven’t 
  come up with a cogent plan by this point, the Keeper should 
  feel no particular qualms in hunting them down mercilessly 
  with the Dead Light. Staying alive until dawn is the only 
  victory they can hope for. 
  If the investigators try hard enough to simply flee, leaving the 
  NPCs behind, have the price of escape be those NPCs’ deaths on 
  their conscience (along with the accompanying Sanity loss), and 
  perhaps further deaths beyond those as well as the Dead Light 
  slowly, night by night, cuts a swathe through the countryside. 
  Not only do the surviving investigators lose 1D6 Sanity points 
  for leaving the NPCs to their deaths, have the investigators lose 
  a further 1D6 Sanity points a week later as the realization grows 
  that the creature is still loose and eating its way through the local 
  inhabitants. (Some Keepers may wish to inflict further Sanity 
  losses as the investigators sit back and hope someone else deals 
  with the situation.) Of course, others may begin to watch the 
  investigators—the taint of suspicion following them.
  Handout: Dead 2
  
  25
  DEAD LIGHT
  Should the investigators contrive to extinguish the Dead 
  Light by their own means, be it electrical or incendiary—
  from experience, players presented with such a conundrum 
  will come up with some wildly inventive ways of trying 
  to achieve this—this is an unalloyed victory and should 
  see a return in reinforced Sanity to them (award +1D10 
  per investigator who helps deal with the Dead Light). 
  Additionally, there may be a possible financial gain with 
  Emilia rewarding them (should she live) for saving her, as 
  well as corroborating whatever story they come up with for 
  explaining what has happened. Loudly proclaiming the truth 
  will likely not get the investigators further than a padded cell, 
  and the Bolton authorities will most likely be glad to accept 
  anything that sounds vaguely sane, however unlikely, from a 
  lightning strike to a murderous rampage by Clem and Billy. 
  If the investigators pursued the Containing the Dead 
  Light option (page 28), then they may have achieved a 
  darker form of victory, which might equally scar their minds, 
  depending on who was chosen and how they arranged for 
  the Dead Light to feed. 
  CHARACTERS  
  & MONSTERS
  Emilia Webb,  
  age 23, semi-amnesiac granddaughter
  STR 40 
  CON 50 
  SIZ 45 
  DEX 70 
  INT 80 
  APP 60 
  POW 50 
  EDU 85 
  SAN 50  
  HP 9
  DB: 0 
  Build: 0 
  Move: 8 
  MP: 10 
   
  Combat
  Brawl  
   
  25% (12/5), damage 1D3
  Dodge  
   
  35% (17/7)
  Skills
  Accounting 30%, Climb 30%, First Aid 50%, History 40%, 
  Listen 40%, Medicine 30%, Persuade 45%, Psychology 20%, 
  Science (Biology) 30%, Science (Chemistry) 25%, Spot 
  Hidden 35%, Stealth 40%.
  The generator in the cellar
  
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  DARK TURNS
  Sam Keelham,  
  age 48, cowardly gas station manager
  STR 40 
  CON 50 
  SIZ 50 
  DEX 50 
  INT 80 
  APP 70 
  POW 45 
  EDU 60 
  SAN 45  
  HP 10
  DB: 0 
  Build: 0 
  Move: 7 
  MP: 9 
   
  Combat
  Brawl  
   
  45% (22/9), damage 1D3
  Dodge  
   
  25% (12/5)
  Skills
  Accounting 70%, Appraise 40%, Charm 30%, Electrical 
  Repair 20%, History 40%, Listen 30%, Mechanical Repair 
  50%, Persuade 40%, Psychology 30%, Spot Hidden 40%, 
  Stealth 30%.
  Jake Burns, age 42, disturbed pig farmer
  STR 80 
  CON 70 
  SIZ 55 
  DEX 50 
  INT 80 
  APP 45 
  POW 55 
  EDU 50 
  SAN 55  
  HP 12
  DB: +1D4 Build: 1 
  Move: 7 
  MP: 11 
   
  Combat
  Brawl  
   
  50% (25/10), damage 1D3 + 1D4
  12-g Shotgun  
  40% (20/8), damage  
   
   
   
   
  4D6/2D6/1D6 (not on person)
  Dodge  
   
  25% (12/5)
  Skills
  Accounting 20%, Appraise (Pig) 60%, Drive Auto 30%, Fast 
  Talk 35%, Listen 25%, Mechanical Repair 60%, Natural 
  World 45%, Psychology 20%, Spot Hidden 30%, Stealth 
  40%, Throw 55%, Track 50%.
  Mary Laker,  
  age 19, conspirator and proto-femme fatale
  STR 40 
  CON 50 
  SIZ 45 
  DEX 70 
  INT 80 
  APP 60 
  POW 50 
  EDU 85 
  SAN 50  
  HP 9
  DB: 0 
  Build: 0 
  Move: 8 
  MP: 10 
   
  Combat
  Brawl  
   
  25% (12/5), damage 1D3
  .22 Revolver  
  35% (17/7), damage 1D6 (not on   
   
   
  person, in cash register)
  Dodge  
   
  35% (17/7)
  Skills
  Art/Craft (Sketch) 40%, Charm 80%, Climb 40%, First Aid 
  35%, Listen 50%, Persuade 50%, Psychology 40%, Sleight of 
  Hand 40%, Spot Hidden 30%, Stealth 35%.
  Teddy Brewer, age 71, unfortunate traveler
  STR 35 
  CON 65 
  SIZ 50 
  DEX 40 
  INT 70 
  APP 60 
  POW 65 
  EDU 66 
  SAN 65  
  HP 11
  DB: 0 
  Build: 0 
  Move: 3 
  MP: 13 
   
  Combat
  Brawl  
   
  25% (12/5), damage 1D3
  Dodge  
   
  20% (10/4)
  Skills
  Accounting 80%, Drive Auto 35%, History 60%, Listen 30%, 
  Mechanical Repair 40%, Natural World 60%, Psychology 40%, 
  Spot Hidden 70%.
  Winifred Brewer, age 68, unfortunate traveler
  STR 20 
  CON 70 
  SIZ 35 
  DEX 45 
  INT 60 
  APP 55 
  POW 60 
  EDU 43 
  SAN 60  
  HP 10
  DB: –2  
  Build: –2 
  Move: 4 
  MP: 12 
   
  Combat
  Brawl  
   
  10% (5/2), damage 1D3–2
  Dodge  
   
  25% (22/9)
  Skills
  Accounting 40%, Appraise (Apple Pie) 90%, Fast Talk 55%, 
  First Aid 60%, Natural World 45%, Occult 40%, Psychology 
  60%, Spot Hidden 50%.
  Billy Esterhouse, age 20, terrified thug
  STR 70 
  CON 70 
  SIZ 85 
  DEX 50 
  INT 65 
  APP 60 
  POW 40 
  EDU 60 
  SAN 32*  
  HP 15
  DB: +1D4 Build: 1 
  Move: 7 
  MP: 8 
   
  *(indefinitely insane: underlying insanity—loss of any further 
  Sanity points results in an immediate bout of madness for 1D10 
  rounds, prone to delusions).
  Combat
  Brawl  
   
  70% (35/14), damage 1D3+1D4
  Dodge  
   
  25% (12/5)
  Skills
  Climb 30%, Cthulhu Mythos 05%, Drive Auto 25%, 
  Intimidate 70%, Mechanical Repair 30%, Navigate 30%, 
  Psychology 15%, Stealth 25%, Throw 40%.
  
  27
  DEAD LIGHT
  The Dead Light, hideous devourer
  When the seal on the metal coffer in Greenapple Acre 
  Cottage was broken without the proper precaution, the entity 
  was released from the burnt human ashes within and into the 
  world. The name given to it by Jake Burns, the farmer whose 
  truck almost crashed into the gas station, of “Dead Light” is 
  a purely descriptive one; it resembles nothing so much as a 
  spill of silver-white ink, which somehow both sickens and 
  attracts anybody who looks on it. 
  In size it is perhaps 6.5 feet (2 m) long, moving at waist-
  height through the air with little recourse to gravity, much 
  like a denser fluid flushing through disturbed water. It 
  radiates a deathly-cold light that pulses and flares erratically, 
  but which increases in proximity to intelligent life. Such a 
  curious effect often exerts a fatal attraction that paralyzes 
  the weak-willed onlooker, allowing the entity to draw close, 
  and then to attack and feast (which it will do compulsively 
  if given the opportunity). Having fed, unless attacked, it will 
  then temporarily retreat to digest its meal before returning 
  for more.
  What It Wants
  It has no real desires understandable to humans except a 
  desire to consume; it has slumbered for years in the lead 
  casket and now is rather hungry, especially having been 
  violently disturbed into action during the attempted robbery. 
  The electrical storm is also confusing its otherworldly senses 
  and corralling it to some extent, making it respond as if 
  threatened.
  What It Will Do 
  It will erratically patrol the area near its release, never staying 
  in one place for long, but not straying far from its prey (i.e. 
  any humans in the area). It will shadow, stalk, attack, and 
  consume a single victim, then retreat and later repeat the 
  pattern; it will carry on doing so until it has either feasted on 
  everybody in the area, been dealt with successfully or until 
  the light of day drives it back into the place it came from. 
  (See Other, page 29, for further details.)
  How Can It Be Harmed? 
  The Dead Light is not made from terrestrial matter nor 
  bound by terrestrial laws. It has no discernible organs or 
  biological structure, and has the physical constancy of 
  an extremely dense liquid (such as mercury); all of which 
  make it very difficult to directly harm. Kinetic, physical, and 
  chemical attacks that would normal inflict 6 or less points of 
  damage are completely ignored; damage greater than 6 points 
  causes only minimum damage. Fire will harm it (doing half 
  normal damage). Touching the entity inflicts painful injury 
  on contact (1D6+2 damage). See Tendril Lash and Armor 
  for further details (following).
  How Can It Be Stopped? 
  The Dead Light has two principle vulnerabilities: daylight, in 
  which it cannot exist—not a lot of help to the investigators 
  at present—and electricity. A source of electrical energy, of 
  sufficient strength, in contact with it will disrupt its hold on 
  Euclidian reality and is the surest way of getting rid of the 
  entity by force. In game terms, this needs to be something like 
  a full jolt from a suitably rigged domestic electrical generator 
  system (such as the one in Dr. Webb’s cellar, page 22), or a 
  lightning bolt (if enterprising investigators can arrange such 
  a thing by creating an improvised lightning rod). 
  Such an attack forces the Dead Light to make a CON 
  roll. If it fails this roll, it disintegrates and is cast back into 
  the extra-dimensional angles from whence it came. The 
  Dead Light’s vulnerability to electricity can be hinted at by 
  its reaction to lightning; it perceivably flinches at the storm’s 
  lightning flashes, and if lightning strikes nearby it forcibly 
  recoils and flees from the immediate area. At the Keeper’s 
  discretion, any “magical” forces and weapons experienced 
  investigators may already be in possession of may harm it 
  to some degree, particularly those intended to banish forces 
  from other spheres of existence. There is also another, darker, 
  solution to the Dead Light as discussed in Containing the 
  Dead Light (following).
  The Dead Light
  
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  DARK TURNS
  Containing The Dead Light 
  The secret and terrible purpose of the Dead Light lies in the 
  journal of the now late Dr. Webb, which lies hidden in his 
  cottage (The Doctor’s Study, page 20). Webb knew not of its 
  origin or true nature, nor the means by which it was bound 
  (which long predated him, going back to the colonial period 
  and perhaps far, far beyond that). Only its use to him was 
  known. It was for Dr. Webb and the one whose practice he 
  inherited (and who knows how many before them) a kind 
  of “sin-eater.” A thing for safely getting rid of nightmarish 
  and misbegotten children born to certain families. A device 
  for the murder of half-formed monsters and tainted kin too 
  terrible to live, but which might not have been safe or certain 
  to “kill” by normal means. A particular spiraling mark would 
  be painted in blood on the forehead of the intended living 
  victim; certain words (phonetically written in his journal, 
  though now lost) spoken and the coffer would be opened. 
  It was that simple, the Dead Light would feast unto the 
  rendering of the victim to a fine ash and then return with the 
  dust to the coffer, glutted, and satiated; bound by the alien 
  phrases spoken aloud by the doctor. There was also another 
  ritual, subtly different, for attracting the Dead Light’s 
  attention and returning it to its imprisonment, should it 
  ever accidentally escape. (Its existence suggests tonight is 
  not the first time such an occurrence has taken place.) This 
  “procedure” still remains. Should the investigators uncover 
  it, they are free to repeat it and thereby deal with the Dead 
  Light. All they will need, of course, is a sacrificial victim…
  STR 70 
  CON 70 
  SIZ 90 
  DEX 80 
  INT 80 
  APP — 
  POW 100 EDU — 
  SAN —  
  HP 16
  DB: +1D6 Build: 2 
  Move: 6 
  MP: 20 
   
  Combat
  Attacks per round: up to 4 (1D4 tendril lash or 1 consume).
  Tendril Lash: 1D6+2 damage and ignores armor (inflicts 
  necrotic wounds not dissimilar to frostbite). By concentrating 
  this effect, the Dead Light can burn through materials 
  and intervening barriers short of dense metals and stone. 
  Individuals touching or striking it with bare hands will also 
  automatically suffer this damage, as will any physical object 
  used to strike it.
  
  29
  DEAD LIGHT
  Consume (maneuver): if it succeeds, the Dead Light melds 
  inside its victim. The victim suffers 1D10+5 CON damage 
  per turn until dead. They die in agony as deathly light pulses 
  from within their body and boils from their eyes and mouth, 
  and their flesh begins to burn and turn to ash (Sanity roll for 
  viewing the Dead Light consume a victim is 1/1D6 loss).
  Mesmeric Effect: anybody directly looking on the Dead 
  Light for more than a few seconds will need to make a POW 
  roll or suffer from its mesmeric effect for every minute they 
  are exposed. This increases in severity if within 6 feet of the 
  creature to a Hard POW roll. If the POW roll is failed, the 
  victim is subconsciously held by the otherworldliness of the 
  entity, unable to move. All actions while held are made with 
  one penalty die. The victim may attempt a POW roll (with 
  the penalty) once per round if they wish to escape from the 
  mesmerism and flee.
  Tendril Lash  
  70% (35/14), damage 1D6+2 
  Consume (mnvr)  
  60% (30/12), damage 1D10+5  
   
   
  CON per turn until dead
  Dodge  
   
  40% (20/8)
  Armor: 6-point against all kinetic, physical, blast, and 
  chemical attacks (damage up to 6 points is completely 
  ignored); damage greater than 6 points causes minimum 
  damage. See vulnerabilities.
  Vulnerabilities: the Dead Light cannot exist in daylight, 
  which has a cumulative 5% chance per turn of full exposure 
  of pushing it back from whence it came. Likewise, direct 
  electrical discharge of considerable strength forces it to make 
  a CON test or suffer the same fate. Fire will harm it but 
  less than it would a terrestrial creature, inflicting half normal 
  damage (e.g. 1D3 per turn if it can be engulfed in flame). 
  Merely poking at it with burning brands will give it pain and 
  may force it back, but will not seriously hurt it.
  Other: its senses are better than a human’s and it does not 
  require light to see. It can also burn its way through anything 
  short of lead given enough time. Materials less dense than an 
  inch (2.5 cm) of metal, or five inches (12.5 cm) of wood or 
  earth, are transparent to it. It is also drawn toward creatures 
  in pain or severe emotional distress, which attract it like a 
  shark is drawn to blood. Worse for anybody trying to evade 
  it, although not actually intangible, it can control its mass 
  and form to compress itself and squeeze through confined 
  spaces (about an inch/2.5 cm wide at the narrowest), much 
  as in the manner of a slug.
  Sanity Loss: 1/1D4 Sanity points for seeing the Dead Light. 
  Viewing the Dead Light consume a victim costs 1/1D6 
  Sanity loss.
  Opposite: The Dead Light pursues an investigator
  
  t
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  DARK TURNS
  
  31
  DEAD LIGHT
  INTRODUCTION
  Saturnine Chalice is a short scenario, playable in one session, 
  that can be run either as part of an ongoing campaign or as 
  a stand-alone adventure. Set in the 1920s, the scenario—like 
  Dead Light—can be run any time the investigators are taking 
  a long drive through the countryside. 
  A faulty fuel gauge leaves the investigators stranded on 
  a lonely road. The nearest town is miles away, but there is 
  a large house nearby. The occupants might have some fuel, 
  or even a phone to call for assistance. Unknown to the 
  investigators, inside the house, almost nothing is as it seems. 
  An incorporeal horror is imprisoned there and intends to use 
  them to help it escape.
  The scenario works best with groups of up to five 
  investigators. The atmosphere is intended to be weird and 
  strange. More of an investigative than a combative scenario, 
  the investigators have to deduce what is really going on and 
  what the consequences of their actions might be, rather than 
  face a straight-up monster fight—although it might be that, 
  too, depending on what your players enjoy! 
  KEEPER’S INFORMATION
  EVENTS SO FAR
  Miles from the nearest town or village, off a little-used 
  country road, is the Weyland house. A two-story building 
  in the Second Empire-style, topped by a cupola, it was built 
  towards the end of the 19th century by Augustus Weyland. 
  The Weylands were an old-money family. As well as being 
  wealthy, Augustus Weyland was a learned occultist. 
  Even as a child, Augustus had a controlling personality. 
  The family’s wealth meant he was used to getting his own 
  way; however, he was not without compassion or kindness. 
  He met his future wife, Evangeline, while they both studied 
  history at university. It was during this time that Augustus 
  discovered the occult—a fascination with the dark and 
  forbidden arts that would shape the rest of his life. The 
  reason for its allure was simple: it promised him power and 
  knowledge that money could not buy.
  Evangeline died giving birth to their only child, Veronica. 
  Augustus never truly recovered from this loss and it led to him 
  being a distant figure in Veronica’s early years as he retreated 
  into solitary research (during which he first discovered The 
  Book of Abramelin). The family’s maid, Rosemary Lynwood, and 
  manservant, Jeremiah Lynwood, cared for Veronica throughout 
  her childhood, although Augustus was finally able to “connect” 
  with Veronica as her tutor, home-schooling his daughter in the 
  arts, sciences, mathematics, history, and the occult. 
  Due to the isolation of their home, Veronica had only 
  occasional contact with the outside world as a child. While 
  Augustus hosted a number of dinner parties for fellow 
  occultists, she was usually confined to her room during these 
  events. In time, Veronica grew to share her father’s interest 
  in the occult, convincing him to let her study philosophy and 
  the occult at university. The resulting experience gave her a 
  taste of travel—and she wanted more. Augustus granted her 
  wish when she asked to embark upon a round-the-world 
  tour after she graduated. 
  Veronica and Augustus kept in touch via letters as she 
  traveled. In one such missive, Augustus informed her that 
  her extended absence from the house had given him the 
  opportunity to attempt a ritual he had been preparing for 
  since she was a young girl: the Abramelin Operation (see The 
  Book of Abramelin box, nearby).
  Where Angels Fear to Tread
  SATURNINE 
  CHALICE
  31
  Opposite: The Weyland Estate
  
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  DARK TURNS
  THE BOOK OF ABRAMELIN
  The Book of Abramelin is a 15th-century grimoire written 
  by Abraham of Worms (born c. 1392, died c. 1458), a Jew 
  from Worms, Germany. The focus of the book is a long and 
  complex ritual known as the Abramelin Operation, named 
  after Abramelin the Mage who taught it to Abraham. It 
  allows magicians to contact their Holy Guardian Angel. 
  There are numerous benefits from “knowledge and 
  conversation” with one’s Holy Guardian Angel. Initially, this 
  allows the magician to summon and bind a myriad of demons so 
  they can no longer have a negative influence upon the magician’s 
  life. Following this, the magician has the ability to use a number 
  of magic squares in the book, giving them access to a wide 
  range of powers (e.g., premonition, transmogrification, flight, 
  invisibility, conjuration, etc.). The text advises these powers are 
  only to be used when there is a true need for them. 
  Copies of the text from the 15th century have been found 
  written in German and Hebrew. The book returned to 
  popularity in 1897 when Samuel Liddle MacGregor Mathers 
  published The Book of the Sacred Magic of Abramelin the Mage, 
  his translation of a French edition from 1850. Mathers was 
  one of the founders of the Hermetic Order of the Golden 
  Dawn. The book became particularly important to members 
  of the Order, such as Aleister Crowley, especially when he 
  later developed the mystical system of Thelema. 
  The Book of the Sacred Magic of Abramelin the Mage is divided 
  into three “books:”
  • Book One is a letter from Abraham to his son, Lamech, 
  explaining that the knowledge imparted in this collection 
  will be his inheritance. Abraham then outlines the quest he 
  undertook to obtain the “Veritable and Sacred Magic” that 
  has been passed down through the ages and ultimately to him 
  by Abramelin the Mage.
  • Book Two contains the very detailed and complex instructions 
  on how to perform the Abramelin Operation. This involves 
  months of prayer and studying of religious texts in a precisely 
  constructed environment before the magician’s Holy Guardian 
  Angel will appear. After this, the magician summons and 
  binds the demons of Hell.
  • Book Three contains a large number of magic squares and 
  explains the powers that each one grants. They can only be 
  used once the magician has communed with their Holy 
  Guardian Angel. 
  Its systematic and scientific-like approach to magic made 
  the book popular with occultists of the period, but it also 
  developed a reputation as being dangerous. Because it detailed 
  how to bind demons, some believed that dark forces desired 
  this knowledge to be suppressed, and it, therefore, put owners 
  of the book in danger. 
  Unknown to Mathers, the French edition he translated 
  contained many errors and omissions. For example: older 
  German and Hebrew copies had an additional book between 
  Book One and Book Two of the French edition that contained 
  additional spells; the French magic squares were only partially 
  filled in; the French edition stated the Abramelin Operation 
  took six lunar months, whereas the older texts stated 18 
  months, etc. This meant that the only English translation of 
  the text available in Western occult literature in the 1920s 
  was inherently flawed. This would not be rectified until 
  the publication of a new edition in the early 21st century, 
  comparing and translating various older German and Hebrew 
  editions. 
  The Book of Abramelin
  
  33
  SATURNINE CHALICE
  The Operation
  Augustus had rooms on the second floor of the house 
  converted into the perfect environment required to perform 
  the Abramelin Operation. The Lynwoods were given paid 
  leave during the six lunar months Augustus believed he 
  would need to complete the ritual. Despite such preparations, 
  his Holy Guardian Angel did not appear. Augustus refused 
  to believe it was his self-centered desire for knowledge and 
  power that caused the ritual to fail. Instead, he blamed the 
  text, believing it was flawed (correctly, as it turned out).
  Augustus searched for older copies of The Book of 
  Abramelin. He made it known far and wide in the occult 
  community that he was willing to pay large sums for them. 
  News of his search ultimately reached Lester Goodman, a 
  personification of the Dark Man avatar of Nyarlathotep. 
  Lester, a procurer of rare books and artifacts, visited Augustus 
  and offered him what he sought: a 15th-century copy in Early 
  New High German. Additionally, he provided Augustus with 
  a lamp that he claimed had previously been used by magicians 
  who had successfully performed the Abramelin Operation. 
  Augustus was unaware the lamp was really a Beacon of Chaos 
  (see box, nearby). He purchased both items and the Crawling 
  Chaos departed, amused by what would follow.
  After examining the texts and identifying various 
  inconsistencies (such as the ritual actually requiring 18 
  months, not six), Augustus communicated his findings to 
  Veronica and attempted to perform the Abramelin Operation 
  a second time. After 18 months, when an intensive three-day 
  period of prayer was due to begin that would culminate in the 
  appearance of Augustus’ Holy Guardian Angel, the Beacon of 
  Chaos activated and a Shapeless One appeared instead. 
  The entity asked Augustus why it had been summoned. 
  Augustus, believing it was his Holy Guardian Angel, revealed 
  his motivation: to see proof of the divine with his own eyes. 
  He hoped this would renew his faith that he would one day 
  see his wife, Evangeline, again in a life beyond this. When the 
  Shapeless One offered him the chance to see “the face of God,” 
  Augustus accepted, although he did not realize which “god” the 
  entity meant. The Shapeless One transformed Augustus into a 
  being of pure energy and took him to the Court of Azathoth. 
  The experience broke his mind and Augustus joined the dancers 
  there, where he will remain until the end of time.
  Days later, when the ritual should have been complete, 
  the Lynwoods returned to the house, found their employer’s 
  corpse, and alerted the authorities. The following inquest 
  declared Augustus died from a heart attack. 
  Veronica Returns
  Veronica was informed of the tragedy and returned home. As 
  the sole beneficiary of her father’s will, she inherited the family 
  fortune. She knew her father had been fit and healthy, making 
  a heart attack unbelievable to her. Instead, she believed the 
  Abramelin Operation had been sabotaged. Reading Augustus’ 
  BEACON OF CHAOS
  To the untrained eye, these artifacts appear to be ornate glass 
  hanging lamps, such as those required in the Abramelin 
  Operation. They are actually comprised of a clear, flawless 
  crystal not found on Earth. A Beacon of Chaos harvests 
  a large number of magic points that are eventually used 
  to summon a Shapeless One (page 58) from the Court of 
  Azathoth.
  Every time a beacon is lit, it absorbs and stores 1 magic 
  point from all those in the immediate vicinity, who feel a 
  brief moment of tiredness that swiftly passes. The number of 
  magic points required for activation is dependent upon the 
  amount of crystal used in its construction; that amount is 
  never less than 1,000 magic points. 
  Once the required amount is reached, all magic points 
  stored in the beacon are spent. It shines with an unearthly 
  brightness and a Shapeless One appears. The beacon 
  summons the same Shapeless One again on subsequent uses 
  if it still exists. Otherwise, another is summoned. 
  The beacon in this scenario requires 1,280 magic points 
  to activate, corresponding to the number of times the lamp 
  would be lit from the start of the Abramelin Operation to 
  the beginning of the stage during which the Holy Guardian 
  Angel is said to appear.
  The Beacon of Chaos
  
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  DARK TURNS
  journal, she learned Lester Goodman had sold Augustus the 
  German manuscript and lamp. Lester became Veronica’s 
  prime suspect, but without proof or apparent motive, she 
  could not confirm her suspicions. So, Veronica formulated a 
  plan to obtain the evidence she needed.
  Working on the assumption that the operation had summoned 
  a malevolent spirit rather than a Holy Guardian Angel, Veronica 
  intended to capture the entity responsible and interrogate it to 
  learn who was ultimately responsible for her father’s death. This 
  would mean following in her father’s footsteps to summon the 
  same entity; however, Veronica took additional precautions. 
  Concluding that magic squares were acceptable practices 
  (as the last section of both the English and German texts 
  were full of them), Veronica set a trap to imprison the 
  entity once it appeared. Using the magic square (or kamea) 
  of Saturn, Veronica created four sigils aligned with the 
  planet’s correspondences: barrier, bind, obstacle, and prison. 
  She carved these onto four lead items, each depicting one of 
  the four faces of the cherubim, and positioned them within 
  the house at the four cardinal points (north, east, south, and 
  west). In case anything went wrong, she left a record of her 
  preparations and motivations in her journal.
  Veronica would have made her father proud in that she 
  successfully performed the operation. As she was (also) unaware 
  of the true purpose of the Beacon of Chaos, the Shapeless One 
  appeared before her, too. Veronica demanded to know what had 
  happened to her father and the entity told her. When it said it 
  knew nothing of Lester Goodman, Veronica became enraged 
  and threatened the entity that there would be dire consequences 
  if it lied to her. The Shapeless One became hostile and began 
  stealing her memories, making Veronica believe she was trapped 
  in the oratory with no way of escape. Before the Shapeless One 
  could steal all of her memories (including knowledge of the 
  ward on the house), Veronica impaled herself on the wand she 
  would have used in the summoning and binding of demons.
  When the Shapeless One subsequently attempted to leave, 
  it could not. Veronica’s sigils created a barrier that trapped 
  it inside the house. Furthermore, Veronica’s death deprived 
  the Shapeless One of the knowledge of how the ward was 
  constructed, and what could break it. The fruits of its victory 
  had proven to be a lead-poisoned, or “saturnine” chalice. 
  When the Lynwoods returned at the end of their paid 
  leave, the Shapeless One trapped them inside the house 
  and stole Jeremiah’s memories, trying to find the knowledge 
  of how to break the ward. Of course, the hired help knew 
  nothing that could help the Shapeless One, causing it to fly 
  into a rage and drive Rosemary to insanity and then death.
  Since then, the Shapeless One has waited for someone to 
  enter the house and thereby facilitate an escape. During this 
  passage of time, its hatred for humanity has grown. Before 
  it returns to the Court of Azathoth, it will make humanity 
  pay for what it has done—but, it knows it must change its 
  tactics in order to escape and enact its revenge. 
  HANDLING PUZZLES
  During the scenario, various occult puzzles will be 
  encountered. For most groups, the puzzles can be solved 
  with a successful combined Occult, INT, and Language roll; 
  however, some groups may prefer to work out the puzzles for 
  themselves rather than using skill rolls. For the latter, please 
  refer to the Quick Reference guidance on pages 44 and 45. 
  The Keeper may wish to have the group try and figure out the 
  first puzzle for themselves to give them a sense of the “work,” 
  while later puzzles are resolved with a skill roll to keep the 
  pace of the game moving along. There’s no right or wrong way 
  to handle the puzzles other than determining what approach 
  will most appeal to your players.
  RECOMMENDED READING 
  AND VIEWING
  The Book of Abramelin is a real book. As mentioned, Mathers’ 
  The Book of the Sacred Magic of Abramelin the Mage is the 
  only published English translation available during the 
  1920s. Georg Dehn and Steven Guth compiled, edited, and 
  translated revised and expanded editions entitled The Book of 
  Abramelin in 2006 and 2015. 
  That said, the author would like the stress the following: 
  Keepers should not feel that they have to read any version of 
  The Book of Abramelin in preparation for this scenario. The 
  information contained herein should be sufficient to answer 
  any important questions the investigators may ask. If it is not, 
  then these answers are not critical to the investigators’ success.
  To help the Keeper get a feel for the weird atmosphere 
  intended in this scenario, the author recommends Robert 
  Aickman’s short story “The Hospice” from Cold Hand in Mine. 
  The story was particularly inspirational for this scenario. 
  TIME AND SETTING
  The scenario can take place at any time during the 1920s, 
  Veronica’s death having occurred in the fall preceding the 
  investigators’ arrival. This helps to determine what date the 
  calendar shows in the bedroom (see Bedroom, page 48). 
  Augustus died two years before Veronica.
  The Weyland house can be anywhere the Keeper wishes, as 
  long it is miles from any town, in the deserted countryside. An 
  ideal location is somewhere to the “west of Arkham, where 
  the hills rise wild, and there are valleys with deep woods that 
  no axe has ever cut.” (The Colour Out of Space, H. P. Lovecraft). 
  
  35
  SATURNINE CHALICE
  The Keeper may also find A Dark Song (Gavin, 2016) to 
  be of interest. The film tells the story of a woman who hires 
  an occultist to help her perform the Abramelin Operation. 
  Although the aspects of the ritual in the film differ wildly 
  from those outlined in The Book of Abramelin, this does not 
  undermine the story and it contains some powerful imagery.
  DRAMATIS PERSONAE
  This section contains the descriptions and roleplaying hooks 
  for the key NPCs in this scenario. Notes on their statistics 
  can be found in the Characters and Monsters section, 
  starting on page 57. The ages given for the Weylands and 
  Lynwoods are those when they died.
  Augustus Weyland, age 67, master of the house
  Augustus performed the Abramelin Operation to see proof 
  of the divine and renew his faith that he would see his wife, 
  Evangeline, again. His body now rests in the mausoleum 
  alongside his wife, but his broken mind dances forever before 
  Azathoth. In the scenario, the Shapeless One conjures an 
  illusion of Augustus to interact with the investigators. 
  • Description: appears exactly as he does in a painting of him 
  in the lounge. Augustus has an above-average build and wears 
  a well-tailored suit, with a pocket watch and chain hanging 
  from his waistcoat pocket. Silver streaks his hair and beard. 
  • Ideology/Beliefs: there is more to this life, and he will 
  learn the truth.
  • Traits: a natural leader; confident, firm but polite, and a 
  talented multi-linguist. 
  • Roleplaying hooks: Augustus, like the house’s other 
  inhabitants, is a conjuration created by the Shapeless One. 
  He is there to help convince the investigators to “banish” the 
  demon and, more importantly, break the ward that allegedly 
  traps his, and the others’, souls within the house.
  Veronica Weyland, age 34, lady of the house
  Veronica performed the Abramelin Operation to obtain proof 
  that her father was murdered. She constructed the ward that 
  now traps the Shapeless One in the house. Her body is in the 
  oratory, impaled by her wand. In the scenario, the Shapeless One 
  conjures an illusion of Veronica to interact with the investigators.
  • Description: beautiful and graceful, with long, pale hair, 
  twisted into a loose, slightly messy chignon. She wears the 
  black mourning dress she died in. Ashes occasionally fall 
  from her hair and trickle down her forehead, but she is 
  oblivious to this. 
  • Ideology/Beliefs: the world is a beautiful place, and she 
  will explore it all.
  Augustus Weyland
  Veronica Weyland
  
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  DARK TURNS
  • Traits: happy, inquisitive, and driven; like her father, also a 
  talented multi-linguist.
  • Roleplaying hooks: another of the Shapeless One’s 
  phantoms, there to manipulate the investigators. The 
  Shapeless One also stole some of Veronica’s memories before 
  her death, which it is using to help create its illusions. 
  Jeremiah Lynwood, age 55, loyal manservant
  Jeremiah was married to his wife for more than 30 years. 
  During this time they were in the employ of the Weyland 
  family. He had simple tastes and enjoyed his work. His 
  memories were stolen by the Shapeless One, leaving him a 
  mindless wreck. His body is in the basement, in his wife’s 
  arms, although the Shapeless One uses his form to interact 
  with the investigators.
  • Description: Jeremiah is dressed in typical butler’s attire: 
  long black jacket, grey waistcoat, white shirt, etc. He has a 
  rugged and stern face, with slightly sunken eyes, as well as 
  an impressive head of silver/gray hair. 
  • Ideology/Beliefs: the happiness of his employers and guests 
  is paramount.
  • Traits: he is polite and firm, with an unreadable poker face.
  • Roleplaying hooks: poor Jeremiah’s memories have been 
  instrumental in helping the Shapeless One create its charade. 
  He, too, is unaware that he is actually dead (at least initially) 
  and being used to push the investigators towards freeing the 
  thing that murdered him.
  Rosemary Lynwood,  
  age 53, devoted maid and cook
  Rosemary took much pride in her work, keeping Mr. 
  Weyland’s house spotless. She was happily married to her 
  husband, and they’d hoped to retire in ten years’ time and buy 
  a home in the country. She was driven to madness and death 
  by the Shapeless One. Her body is in the basement, holding 
  her husband’s corpse, although the Shapeless One uses her 
  form to interact with the investigators.
  • Description: dressed in a traditional maid’s dress, Rosemary 
  is tall and wiry. Her curly black hair is held in a neat bun. 
  She always smiles but rarely seems to blink. 
  • Ideology/Beliefs: perfection and cleanliness come above 
  all else.
  • Traits: attentive and intense, Rosemary can be somewhat 
  unnerving.
  • Roleplaying hooks: trapped like her husband and her 
  former employers, Rosemary has no idea she is assisting 
  the Shapeless One in gaining its freedom.
  Jeremiah Lynwood
  Rosemary Lynwood
  
  37
  SATURNINE CHALICE
  Evangeline Weyland, age 33, demonic torturer
  Evangeline died giving birth to Veronica. Augustus never 
  got over her death. Her body is interred in the mausoleum, 
  although the Shapeless One uses her form to interact with 
  the investigators.
  • Description: once beautiful, Evangeline is recognizable 
  from the portraits in the lounge. However, she is now dirty 
  and naked, with clawed hands. Her eyes have been gouged 
  out and long claw marks run down her cheeks. Her mouth 
  is full of sharp, blackened teeth and her long black hair 
  partially obscures her face.
  • Traits: psychotic and filled with rage.
  • Roleplaying hooks: Evangeline has been cast by the 
  Shapeless One as a terrifying, relentless demon, determined 
  to slaughter everyone in the house, starting with the 
  Weylands and their servants, until she can be “banished.” 
  Lester Goodman,  
  age unknown, avatar of Nyarlathotep
  The Shapeless One crafts a vision of Lester from Jeremiah’s 
  memories, from the one time Lester visited the house. 
  • Description: dressed in an expensive, tailored suit, Lester 
  has a regal bearing. Slightly above average height and build, 
  he has a firm handshake and piercing eyes. His smile appears 
  predatory.
  • Ideology/Beliefs: unknowable to human minds.
  • Traits: suave and charismatic, yet disquieting.
  • Roleplaying hooks: Lester’s true nature should not be revealed 
  (as it was not revealed to Jeremiah), but the Keeper should 
  convey a sense of power and menace in their portrayal of him. 
  The Shapeless One,  
  angel from the Court of Azathoth
  In the Court of Azathoth, creatures, gods, and all manner 
  of things between dance forever around the Demon Sultan. 
  Among their number are the Shapeless Ones, beings born 
  from the dreams and blasphemous mutterings of the Blind 
  Idiot God. They may be the inspiration behind the concept 
  of angels in various religions, as they act as intermediaries 
  between lesser beings and the “Vast Lord of All.” 
  Being insubstantial means the Shapeless One relies on 
  the investigators’ assistance to break the ward imprisoning 
  it, believing the best way to accomplish this is to 
  manipulate the investigators into thinking they are doing 
  something “good.” 
  For a full description of the Shapeless One and its tactics 
  and abilities, see the Characters and Monsters section, 
  page 58.
  Evangeline Weyland
  Lester Goodman
  
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  DARK TURNS
  START: OUT OF GAS
  The scenario begins with the investigators traveling 
  through the countryside. The Keeper can set the scene by 
  paraphrasing the following or reading it aloud to the players: 
  The investigator acting as the navigator for your group has 
  identified a short cut through the countryside that could take an 
  hour or more off your journey. Since leaving the highway, you’ve 
  seen fewer and fewer cars on the road to the point where you’ve 
  now not seen another vehicle for quite some time. 
  It is mid-afternoon on a deserted, tree-lined country road, 
  flanked by picturesque rolling hills, fields, and the occasional 
  patch of woodland. Suddenly, the engine starts to splutter. Your 
  driver hasn’t noticed that the fuel gauge has failed to move from 
  “full” since you stopped at a gas station a long time ago. The 
  vehicle judders to a halt. A quick tap on the fuel gauge sends the 
  needle straight to “empty.” 
  The map shows that the next town in either direction is miles 
  away. On foot, you wouldn’t reach a town until well after sunset; 
  however, although it is not on the map, just ahead you can make 
  out a large house in a clearing, surrounded by trees, set back from 
  the road. Surely, in such an isolated location, they must have a 
  vehicle—maybe even some fuel or a telephone to call for a tow-
  truck. There is no need for anyone to stay with the vehicle—there’s 
  no-one around to steal it. Going to the house for help seems the 
  obvious way for you to get back on your journey…
  Out of gas
  ALTERNATIVE BEGINNINGS
  If you’ve used the investigators’ running out of gas to start 
  a scenario before, then instead, their shortcut through the 
  countryside leads to them becoming hopelessly lost—they 
  must have missed a turn somewhere. Fortunately, for them, 
  there’s a big house over there where they could stop to ask 
  for directions.
  Once the investigators and their vehicle are within the 
  grounds of the Weyland estate, then the Shapeless One 
  can convince them that their car just won’t start, leading to 
  the phone calls for assistance or recovery, or a search of the 
  Weylands’ garage to find tools to fix it themselves. Either 
  way, they’re here now for the rest of the scenario…
  
  39
  SATURNINE CHALICE
  OUTSIDE THE HOUSE
  The investigators will most likely spend some time exploring 
  the house and grounds during the scenario. As such, these are 
  detailed first in the following section. After this, the various 
  encounters and events are presented. Some encounters are 
  tied to particular locations while others can occur anywhere, 
  as noted in the text. These events can also occur in any order 
  the Keeper wishes. 
  GARDEN
  A gravel driveway leads from the road, cutting through the 
  woodland surrounding the grounds before forming a ring 
  around the house. Between the drive and the house is a once 
  well-kept garden that Veronica planted. Low shrubs line 
  the edge of colorful flowerbeds where weeds are now taking 
  hold. Three paths lead through the garden: to the garage 
  from the rear west door; to the driveway from the front door; 
  and to the mausoleum from the rear east door. 
  In the corner of a flowerbed near the front door, a 3 foot 
  (90 cm) wide pit is full of ashes and lumps of charcoal. This 
  is where Augustus and Veronica deposited waste from the 
  censer in the oratory, using the coal pan on the landing. The 
  pit is several feet deep. Ashes below the surface retain some 
  odor of the incense from the censer (cinnamon, olive oil, and 
  so on). 
  GARAGE
  North-west of the house, the garage is a converted stable with 
  three doors and three stalls within. The left-most stall holds 
  an imported 1913 Rolls-Royce 40/50 hp (from 1925, this 
  model became known as the Silver Ghost). Workbenches 
  and racks house tools and spare parts. A red two gallon (7.5 
  liter) tin gasoline can is on the bench. It is full of gasoline, 
  but the Shapeless One makes the investigators believe it is 
  empty. Likewise, the car’s tank is half full but appears empty. 
  Attempts to start the car results in apparent failure.
  The middle stall is lined with equestrian equipment, 
  unused for years (Veronica kept a pony as a young girl). 
  The stall is now a workshop. There are woodworking tools 
  and a pile of white pine offcuts from the work done in the 
  oratory. The right-most stall holds Veronica’s gardening 
  equipment, including hand tools, a lawnmower, and a 
  chainsaw (lacking fuel). 
  Weyland Estate map
  
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  DARK TURNS
  WELL
  North of the house, near the tree line, halfway between the 
  garage and the mausoleum, is a stone-lined water well. It is 
  covered by a roof. Attached to a winch is a bucket that has 
  fallen into the well. The well is deep; if anything is dropped 
  into the well, water, shrouded in darkness, can be heard at the 
  bottom. The water is drinkable. 
  MAUSOLEUM
  North-east of the house is a modestly-sized neoclassical 
  mausoleum constructed from marble, with pillars flanking 
  its double doors. A skylight in the domed roof allows interior 
  illumination. 
  The interior room is sunk into the ground. A handful of 
  steps lead down from the entrance to where a central stone 
  sarcophagus contains the coffins of both Evangeline and 
  Augustus. Life-size effigies of the pair on the lid show them 
  laying side by side, eyes closed, holding hands. The lid can be 
  lifted with a combined STR of 100 or more. The Shapeless 
  One only makes Evangeline’s coffin visible. 
  On the left- and right-hand walls are 16 openings 
  intended for the coffins of future Weylands. The rear wall 
  has a row of alcoves with marble vases for flowers.
  EXTERIOR OF THE HOUSE
  No smoke rises from any of the three chimneys (this may 
  confuse investigators who later notice fires in all the fireplaces). 
  There are balconies above the veranda (accessible from the 
  oratory) and the kitchen (accessible from the bedroom and the 
  chamber). The latter has been covered with two inches (5 cm) 
  of fine sand, like the chamber. The wind has caused some sand 
  to drift down the east and west sides of the building. Lines of 
  sand can be seen between the roof tiles. Curtains are open at 
  every window, and every room is illuminated.
  Keeper note: if looking through the lounge, library, and 
  dining room windows, the investigators can spot three of 
  the four items that form the ward (the bust, the lectern, and 
  the ox statuette; see Quick Reference: The Ward Items and 
  Sigils, pages 44-45). These stand out as they point towards 
  the window, rather than into the room (no roll required). 
  FIRST FLOOR  
  AND BASEMENT
  HALL
  The double front doors are inlaid with stained glass in an 
  art deco design. Mahogany paneling is used throughout the 
  hall, which also contains a number of oil paintings of local 
  landscapes in expensive frames. A successful Spot Hidden 
  roll reveals that the skies in the paintings change over time 
  to mirror the sky outside (0/1 Sanity point loss). 
  An impressive chandelier illuminates the hall. A successful 
  Hard Spot Hidden roll reveals the wires leading to some 
  of the lightbulbs are loose and others disconnected. Yet, 
  impossibly, all the lightbulbs still shine. 
  There is a telephone on the wall, next to the door to the 
  basement. 
  LOUNGE
  White paneled walls make this room appear very bright. 
  There are five large portraits around the room:
  • Evangeline in a white ballgown is the largest, above the 
  fireplace.
  • Augustus and Evangeline together.
  • Augustus in a well-tailored suit.
  • Augustus with Veronica as a child.
  • Veronica in her university graduation gown, holding her 
  diploma. 
  A piano occupies the north-west corner. Its stand holds 
  sheet music featuring works by Mozart, Beethoven, and 
  Bach. A chandelier hangs from the center of the ceiling and, 
  below it, is a coffee table. A recently lit cigar perches upon 
  the edge of an ashtray. A successful Spot Hidden roll reveals 
  the cigar is not burning down. Four long sofas form a square 
  around the coffee table. 
  The fire in the fireplace is lit (a successful INT roll to recall 
  there was no smoke from any of the chimneys outside). On 
  the mantlepiece is an ornate French Empire-style mantel 
  clock made of gold, flanked by two candlesticks. The clock-
  face is to the left, with a figure of Minerva to the right (the 
  Roman goddess of wisdom, medicine, strategy, trade, and 
  various arts and crafts). 
  Keeper note: the item in this room that forms part of the 
  ward is a bust of Augustus. It stands atop a white marble 
  pillar in front of the south-facing window. Curiously, the 
  bust looks out of the window, not into the room. It is covered 
  in a thin layer of black paint that can easily be scratched 
  Opposite: The exterior of the house
  
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  SATURNINE CHALICE
  
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  DARK TURNS
  away to reveal the lead beneath. A successful Spot Hidden 
  roll reveals the bust depicts Augustus wearing a tie, into 
  which is carved the sigil representing “Obstacle.” (Handout: 
  Saturnine 1 plus 1B, if the players are solving the puzzles 
  for themselves.) A successful STR roll is required to lift and 
  carry this heavy item. 
  LIBRARY
  Floor-to-ceiling mahogany bookcases occupy all the room’s 
  wall space. They contain an extensive (and expensive) 
  collection of books, most of which are leather-bound. The 
  main topics are the occult, theology, history, and philosophy. 
  Some books lay open on a central reading table surrounded 
  by comfortable chairs. All are open at passages discussing 
  depictions of angels in the three main Abrahamic religions 
  (e.g., the nine choirs of angels in Catholicism; the invisible 
  messengers in Protestantism; the mal’akhim in Judaism; the 
  mala’ikah in Islam). Descriptions of these can be paraphrased 
  from Handout: Saturnine 5.
  There are several gaps on shelves around the room, but 
  more than the number of books on the table. The remainder 
  Handout: Saturnine 1a
  Handout: Saturnine 1b
  
  43
  SATURNINE CHALICE
  Weyland House map
  
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  DARK TURNS
  is filled by the books currently located in the bedroom. A 
  successful Library Use roll determines that among the missing 
  books are likely the Torah, the Bible, and the Quran. 
  Keeper note: the item in this room that forms part of the ward is 
  a lead sculpture of an eagle attached to the back of a lectern that 
  faces out of the west-facing window. The wings of the sculpture 
  wrap around the sides of the lectern, holding it in place. A 
  successful Spot Hidden roll reveals the sigil representing 
  “Prison” is carved onto its breast feathers (Handout: Saturnine 
  2, plus 2B if the players are solving the puzzle for themselves). 
  A successful STR roll is required to lift and carry this heavy 
  item. It cannot be separated from the lectern.
  DINING ROOM
  Pastel blue paneling makes the room bright and cheery. Large 
  mirrors facing each other across the room give it the illusion of 
  being much larger than it is. A long dining table with space for 
  22 diners is fully set with fine plates, soup bowls, and silver 
  cutlery. Three large silver candlesticks are positioned along 
  the table with well-stocked bread bowls between them. The 
  candles always appear to have just been lit. A successful Spot 
  Hidden roll reveals they are not burning down. 
  A sideboard runs along the east wall. Most of the 
  compartments are empty as the table is set. The central 
  compartment was once a well-stocked drinks cabinet with 
  several expensive decanters. As the Abramelin Operation 
  forbids the consumption of alcohol, these were emptied 
  long ago.
  Keeper note: the item in this room that forms part of the 
  ward is a small lead statuette of an ox. It is four inches (10 
  cm) cubed in size and one of several animal sculptures on the 
  sideboard, but the only one sat on a doily and the only one 
  facing out of the east window. The sigil representing “Bind” 
  is carved into its base (Handout: Saturnine 3, plus 3B if the 
  players are solving the puzzle for themselves).
  QUICK REFERENCE: THE WARD ITEMS AND SIGILS
  Each item is described in more detail later.
  Item
  Room
  Cardinal Direction
  Sigil Meaning
  Lion Statuette
  Servants’ Room
  North
  Barrier
  Ox Statuette
  Dining Room
  East
  Bind
  Bust of Augustus
  Lounge
  South
  Obstacle
  Eagle on Lectern
  Library
  West
  Prison
  Barrier
  Bind
  Obstacle
  Prison
  A successful combined Occult, INT, and Language (English) roll identifies that the sigils were constructed using the kamea 
  of Saturn (see box) as each item is made from lead, the metal ruled by Saturn in alchemy. It also indicates where each sigil is 
  positioned on the kamea (see following) and gives their meanings (as each item is discovered).
  
  45
  SATURNINE CHALICE
  QUICK REFERENCE: THE WARD ITEMS AND SIGILS (CONTINUED)
  Kamea of the (wherein the sum of every horizontal, vertical, and diagonal path is 15)
  Barrier
  Bind
  Obstacle
  Prison
  Saturn’s correspondences (or associations) for spells concerning certain spheres or desires are: protection spells, warding, and 
  banishing. To create a sigil, the magician first selects a word that is both synonymous with one of the planet’s correspondences 
  and represents their goal or intention. The letters of the word are then converted into numbers using the following chart. 
  1
  2
  3
  4
  5
  6
  7
  8
  9
  A
  B
  C
  D
  E
  F
  G
  H
  I
  J
  K
  L
  M
  N
  O
  P
  Q
  R
  S
  T
  U
  V
  W
  X
  Y
  Z
  Thus, BARRIER = 2199959, BIND = 2954, OBSTACLE = 62121335, and PRISON = 799165. The circle in each sigil 
  represents the number at the start of the word. Lines then proceed in order to the next number (or to another part of the same 
  box if it is the same number). The small perpendicular intersection marks the last number.
  If the players enjoy solving puzzles, instead of giving them the solutions via the combined Occult, INT, and Language 
  (English) roll, the Keeper can instead present them with the correspondence table and the sigils and invite them to decipher 
  their meanings for themselves. The investigators can then try to identify the word from the combination of letters corresponding 
  to each number. (Handouts: Saturnine 1B, 2B, 3B, and 4B.) 
  
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  DARK TURNS
  KITCHEN,  
  STOREROOM, PANTRY
  The kitchen has a range of modern appliances, including a 
  refrigerator and a large range cooker. The main workspace 
  is a central island counter. Cupboards and drawers around 
  the room hold various utensils and cooking equipment—
  including an unused kettle, confusing investigators who are 
  given tea or coffee at any point (successful INT roll to recall). 
  Various vegetable and meat offcuts are sat on chopping 
  boards beside sharp knives. Nearby are two pestles and 
  mortars. Beside one is a bottle of olive oil and labeled tins 
  containing myrrh, cinnamon, and galangal. Beside the 
  other are tins labeled as containing frankincense, storax, 
  and agarwood. These are for the preparation of the oil and 
  incense in the oratory. 
  Two very large cooking pots sit on the cooker. While 
  the Shapeless One makes the investigators believe there is 
  soup and stew gently bubbling inside, rats have made nests 
  in the pots. The rats are disturbed by anyone stirring a pot. 
  They appear to emerge from the cooking food and run away, 
  unharmed (0/1 Sanity point loss; see Evangeline Inside, 
  page 54, for where the rat might go).
  The storeroom contains a miscellanea of household 
  supplies and equipment (e.g., cleaning equipment, supplies, 
  step ladder, tools, spare lightbulbs, etc.). Importantly, there 
  are some bottles of kerosene for a handful of lamps in the 
  event of a power failure. The pantry is sparsely stocked, as 
  only Veronica’s food was last stored there. A successful Spot 
  Hidden roll reveals a momentary odor of decaying food.
  STORE/ACCESS ROOM
  This additional room was built after the house was 
  constructed. Originally, there was a gap between the main 
  house and the servant’s quarters. What was once a covered 
  walkway with a white-painted concrete floor is now 
  additional storage space. All the furniture removed from the 
  oratory and the chamber is here, including two dismantled 
  four-poster beds, two wardrobes, two chests of drawers, etc. 
  SERVANTS’ ROOM  
  AND BATHROOM
  The Lynwoods lived in a modestly furnished room. There 
  are two single beds with a bedside table, lamp, and carriage 
  clock between them. Still-packed suitcases sit on each bed. 
  Two wardrobes and two chests of drawers separate their 
  work-clothes, and a writing desk stands near the door. The 
  bathroom contains little of note. 
  Under an old, worn rug at the foot of the bed is a trapdoor 
  that leads to an empty basement unconnected to the main 
  house.
  Handout: Saturnine 2a
  Handout: Saturnine 2b
  
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  SATURNINE CHALICE
  There are few personal items (some are in the suitcases, 
  taken with the Lynwoods on their extended leave). Some 
  porcelain animals stand on a shelf on the north wall.
  Keeper note: the item in this room that forms part of the 
  ward is a small lead statuette of a lion. It is four inches 
  (10 cm) cubed in size and sits on the shelf, but is the only 
  ornament facing the wall. The sigil representing “Barrier” is 
  carved into its base (Handout: Saturnine 4, plus 4B if the 
  players are solving the puzzle for themselves).
  LAUNDRY ROOM
  Apart from two large washing machines on the south wall, 
  and an old mangle in one corner, the laundry room is mostly 
  empty. Four washing lines hang across the room. No clothes 
  are suspended from them.
  MAIN BASEMENT
  A pull-string at the top of the stairs turns on all the lights 
  in the basement under the main house. Most come on, but 
  some flicker or fail, leaving areas in darkness. An alternative 
  way into the basement is to extinguish the fires in the 
  fireplaces, remove the grates, and climb down. 
  The basement is a huge storage area with old furniture 
  stacked against walls. Boxes contain items of sentimental 
  value, such as Veronica’s childhood doll collection, 
  Evangeline’s clothes, Augustus’ childhood toys, and so on. 
  In the south-east corner, under the lounge, are the bodies 
  of the Lynwoods (The Lynwood Bodies, page 54). Rosemary 
  carried Jeremiah here in a mindless state, attempting to 
  escape the house via a window under the veranda, before the 
  Shapeless One gave her a vision of Azathoth that caused her 
  to tear out her eyes and die soon after. 
  SECOND FLOOR  
  AND CUPOLA
  LANDING
  From the hall, the stairs ascend the west wall then bend 
  towards the landing on the right. There are four closed doors. 
  In order, from the top of the stairs, they lead to: the bedroom 
  (above the library); the chamber (above the dining room); 
  the oratory (above the lounge); and the bathroom (and the 
  cupola above). Leaning against the wall beside the oratory 
  door is a copper coal pan (containing minute traces of the 
  ash found in the pit outside) and a long-handled broom. 
  Handout: Saturnine 3a
  Handout: Saturnine 3b
  
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  DARK TURNS
  BEDROOM
  This is the only remaining bedroom. In the southwest corner 
  are a desk and a comfortable chair. A large four-poster bed 
  with drapes stands in the northwest corner with a table 
  beside it. In the northeast corner, beside the fireplace, is a 
  nearly-empty built-in closet. A French door on the north 
  wall leading to the rear balcony is locked and nailed shut. 
  The gap along its base and 3 inches (7.5 cm) up each side 
  has been sealed with wax, in an identical fashion to the main 
  door into the chamber from the landing. 
  Augustus and Veronica spent much of their time here 
  during the 18 months required to perform the Abramelin 
  Operation. Between prayers (conducted in the oratory) they 
  were required to spend their time studying religious texts 
  and in deep contemplation.
  The desk is neatly arranged with a row of texts and books 
  along its back edge (see Books on the Desk, page 49). A 
  large portion of the desk is clear so two or more of the texts 
  can be opened at a time. 
  At one end of the desk are a pen stand and a tear-off calendar. 
  The calendar shows one of the dates from the following list (on 
  the front and all subsequent sheets), being the date Veronica died. 
  Keeper note: for how to determine which date the 
  investigators find on the calendar, see Time and Setting, 
  page 34. This is 18 months on from the day after Passover 
  when the Abramelin Operation begins. Augustus died on 
  the date shown two years before Veronica’s death. 
  • Tuesday, October 1, 1918
  • Monday, September 22, 1919
  • Saturday, October 9, 1920
  • Wednesday, September 28, 1921
  • Tuesday, October 17, 1922
  • Sunday, October 7, 1923
  • Friday, September 26, 1924
  • Monday, October 26, 1925
  • Saturday, October 16, 1926
  • Thursday, October 6, 1927
  • Wednesday, October 24, 1928
  • Saturday, October 12, 1929
  The bed is tidy. Nearby are a pair of plain slippers. On the 
  table is a brass carriage clock (now stopped; the alarm set for 5 
  am), a half-burnt candle in a silver holder, and a small octagonal 
  silver plate upon which sit two boxes of long matches (one 
  pack full, the other half full). Stacked on the floor under the 
  table are five boxes, each containing 100 blank square sheets of 
  paper, which would have been used to write out magic squares 
  from Das Buch Abramelin and in summoning demons. 
  There are only three hangers in the closet. One used to hold 
  the mourning dress on Veronica’s corpse. Upon the other two 
  hang identical plain white dresses that smell faintly of incense. 
  Handout: Saturnine 4a
  Handout: Saturnine 4b
  
  49
  SATURNINE CHALICE
  CHAMBER
  A successful Spot Hidden roll reveals that the gap along the 
  bottom of the door and three inches (7.5 cm) up each side has 
  been sealed with wax. It can be forced open without a STR 
  roll. This is because the entire floor of the otherwise empty 
  room is covered in fine sand, two inches (5 cm) deep. Grooves 
  from a rake (propped against the wall between the built-in 
  closet and the door to the oratory) uniformly run the length 
  of the room, indicating the care that went into laying the sand.
  Keeper note: this room would have been used in a later 
  part of the Abramelin Operation that neither Augustus nor 
  Veronica reached. Here, they would have summoned and 
  bound demons so they could not be a negative influence in 
  their lives thereafter. 
  Opening the door from the landing pushes aside an arc of 
  sand, revealing the gaps between the floorboards beneath have 
  also been sealed with wax. The door to the oratory is open. 
  BOOKS ON THE DESK
  There are seven books on the bedroom’s desk:
  • One: the Torah; in scroll form, kept in an upright silver 
  case; in Hebrew.
  • Two: the Bible (King James Version); a large leather-bound 
  volume with metal clasps; in English.
  • Three: the Quran; a leather-bound volume decorated with 
  gold leaf; in Arabic.
  • Four: The Book of the Sacred Magic of Abramelin the Mage, 
  translated by Mathers; a red cloth-bound hardback book; 
  in English.
  • Five: Das Buch Abramelin; a bound, handwritten manuscript 
  in dense gothic script; in Early New High German.
  • Six: the journal of Augustus Weyland; a thick, octavo leather-
  bound volume, written in neat copperplate script; in English.
  • Seven: the journal of Veronica Weyland; a slender, buckram-
  bound volume, written in cursive script; in English.
  One, Two, and Three: these are the holy books of the three 
  main Abrahamic religions (Judaism, Christianity, and Islam). 
  They are of varying ages but are of consistently high quality 
  and value. They have been used frequently with care and 
  respect. 
  Four: a detailed description of this book can be found in The 
  Book of Abramelin (page 32). Key passages that describe the 
  preparation of the oratory and the chamber are bookmarked. 
  (Sanity Loss: none. Occult: +4 percentiles.)
  Five: a successful Hard Language (German) roll is required 
  to read the dense gothic script. Even readers lacking German 
  can determine this is a German copy of The Book of Abramelin 
  from its title page. A successful Appraise roll identifies 
  it as dating from the mid to late 15th century. Sections 
  corresponding to those in the English translation are 
  bookmarked. A visible difference to the English translation is 
  that the magic squares in the last section have no blank spaces 
  in this volume. (Sanity Loss: none. Occult: +6 percentiles.)
  Six: Augustus kept an infrequent journal, which he also used 
  as a notebook, making the flow of its contents sometimes 
  hard to follow. The Keeper can use this to relay information 
  from the Events So Far section (page 31). The journal states 
  that Augustus purchased both the lamp and the German 
  manuscript (Five) from Lester Goodman, the latter of which 
  confirmed that the English translation by Mathers was 
  flawed. The differences between the texts are listed, referring 
  to the bookmarked sections. The major difference is the length 
  of the ritual (6 months in English, 18 months in German). 
  Copious notes from months of study of the religious texts 
  (One, Two and Three) follow, including depictions of angels 
  (Handout: Saturnine 5). 
  Keeper note: the faces of the cherubim mentioned in 
  Handout: Saturnine 7 are described in Augustus’ journal and 
  the books on the library table. If the investigators have not 
  read either, a successful Occult roll provides the descriptions.
  Seven: Veronica’s journal is similar to her father’s, being part 
  journal and part notebook. The Keeper can use this to relay 
  information from the Events So Far section (page 31), such 
  as her belief that her father was murdered, along with details 
  of the extra precautions she took (Handout: Saturnine 6). 
  Keeper note: the reference to “the angels that guard the gates 
  of the Garden of Eden” in Veronica’s journal can be explained 
  with a successful Occult roll, or a successful Library Use roll 
  using the King James Bible, to find Handout: Saturnine 7.
  
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  DARK TURNS
  Sand has been laid out around it, held back from flowing into 
  the oratory by a wooden beam. The French door to the rear 
  balcony can be opened with some effort due to the drifts of 
  fine sand piled up against the outside of the door. An empty 
  built-in closet (identical to those in the bedroom and oratory) 
  to the right of the door has also been sealed with wax.
  ORATORY
  This sparsely furnished square room conveys the sense of 
  being a place of worship. Another empty built-in closest is in 
  the corner beside the door to the chamber. The floorboards, 
  wall-paneling, and entire ceiling are all made from white pine. 
  Windows are on the east, south, and west-facing walls. With 
  the door to the chamber open, there is direct line of sight to 
  the north-facing French door. In the middle of the room is a 
  cuboid altar (four feet (1.2 m) high, four feet (1.2 m) across 
  and eight feet (2.4 m) wide) also made from white pine. 
  Keeper note: this room, with its very precise specifications, 
  is central to the Abramelin Operation. Here, Augustus and 
  Veronica conducted their prayers, each time during which 
  they lit the Beacon of Chaos. If all had gone to plan, it is 
  here they would have met their Holy Guardian Angel and 
  learned its divine secrets.
  The south-facing length of the altar has two open doors 
  revealing a cupboard-like interior. Within are the following: 
  • A pure white linen tunic with full-length sleeves.
  • A knee-length scarlet and gold silk robe with shorter sleeves.
  • A girdle of pure white silk.
  • A headband of golden silk.
  • A large globular glass bottle containing oil that smells of 
  myrrh, cinnamon, galangal, and olives.
  • A pine shoebox-sized case containing powdery incense that 
  smells of frankincense, storax, and agarwood. 
  On top of the altar is a large silver censer. It contains the 
  same ash and incense found in the pit outside. A successful 
  Spot Hidden roll reveals four discolored patches on the 
  upper corners of the altar where it has been touched with 
  the oil stored inside the altar’s compartment. Additional 
  discoloration can be seen where Veronica wrote, with oil-
  covered fingers, the same phrase on all four sides of the altar: 
  In whatever place it may be wherein Commemoration of My 
  Name shall be made, I will come unto you and I will bless you.
  Handout: Saturnine 5
  
  51
  SATURNINE CHALICE
  Suspended above the altar from the ceiling is an ornate 
  glass lamp (the Beacon of Chaos, see page 33). While 
  its wick remains, all of its oil has been used. A successful 
  Science (Physics) or a successful Hard INT roll reveals that 
  the lamp is not made of glass. Light directed at it refracts as 
  though it were crystal, causing a myriad of subtle colors to 
  dance around the room.
  Veronica’s body lies between the altar and the double 
  French doors on the south-facing wall that open on to the 
  balcony above the veranda (0/1D3 Sanity loss). She died 
  wearing a simple black mourning dress. Her feet are bare 
  and her body appears in a natural state of decay, while ashes 
  from the incense burner cover her hair and forehead. The 
  faintest hint of a smile can be seen on her face despite her 
  wand being impaled through her ribcage and protruding 
  from her back. 
  The wand is made from almond-tree wood (a successful 
  Natural World or Science (Botany) roll); it is as long as 
  Veronica’s own arm and two inches (5 cm) wide at the 
  base, progressively narrowing to a sharp point. Her hands 
  are wrapped around the wand above the entrance wound. 
  A successful First Aid, Medicine, or INT roll confirms she 
  deliberately fell upon it. 
  Handout: Saturnine 6
  BATHROOM AND CUPOLA
  The bathroom is fashionably decorated, with a toilet, sink, 
  and bathtub, all of which are expensive and immaculately 
  clean. To the right of the entrance is a door to an enclosed 
  spiral staircase leading to the cupola. 
  The cupola is empty except for a single high-backed chair 
  that faces the east window, where one could watch the sun 
  rise. The views of the surrounding countryside are impressive 
  and beautiful.
  Keeper note: if the investigators venture here around 
  sunset or after dark with a torch, a successful Extreme Spot 
  Hidden roll reveals a glimpse of the Shapeless One’s outline 
  (see Characters and Monsters, page 58), which prompts a 
  Sanity roll (0/1D10 loss). This is where the monster hides 
  throughout most of the scenario—it will not communicate 
  or react to the investigators until the conclusion.
  SCENES
  The scenes following are provided in the most appropriate 
  sequence, although the Keeper may move them around to 
  suit the actions of the investigators.
  
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  DARK TURNS
  INTRODUCTIONS
  Approaching the house, the investigators hear someone 
  (Jeremiah) in the hall, standing on an unstable stepladder, 
  trying to change a lightbulb in the chandelier. Investigators 
  knocking on the front door hear, “Please do come in, I’m 
  somewhat preoccupied at present.” 
  Once inside (even if the investigators let themselves in at 
  the rear of the house) Jeremiah apologizes again and asks 
  for help steadying the stepladder. Those helping may notice 
  (Spot Hidden) the loose wires in the chandelier. If this is 
  pointed out, Jeremiah is surprised but assumes it must be 
  alright. 
  Keeper note: throughout the scenario, only the investigators 
  should open and close any exterior doors, as the Weylands 
  and Lynwoods cannot physically do this. 
  Augustus descends the staircase upon hearing the noise 
  in the hall and introduces himself. Veronica appears from 
  the library, with Rosemary close behind, and does the same 
  (neither being previously seen by any investigators if they 
  peered through the windows or entered via the rear doors). 
  The investigators are invited to take a seat in the lounge and 
  make themselves at home as guests. While they can look 
  around the grounds and the first floor, they are requested 
  to respect the privacy of the first three rooms on the second 
  floor, although they are free to use the bathroom up there.
  Augustus and Veronica explain they are hosting a dinner 
  party tonight. The investigators, if they wish, are welcome 
  to join them. Augustus holds parties for his friends every 
  few months. If pushed, he confirms the party is to celebrate 
  Veronica’s upcoming performance of the Abramelin 
  Operation (something he has tried, but failed before). He 
  wishes her success. Veronica says her motivation is to prove 
  herself to her father as an accomplished magician and that 
  she intends to use any power she might attain for the benefit 
  of everyone she knows.
  DRINKS
  Rosemary infrequently asks the investigators if they would 
  like a drink. She takes their orders and leaves the room, 
  returning minutes later with cups and glasses on a silver 
  tray. Common drinks (tea, coffee, water, etc.) are provided 
  without incident. Requests for alcohol cause Rosemary to 
  look confused before she nods and says she will look for 
  some. Jeremiah did not drink much alcohol when he was 
  alive, nor did Veronica due to the strictures of the operation, 
  leaving the Shapeless One with a limited frame of reference 
  to create the taste of such drinks. 
  Handout: Saturnine 7
  FALLIBILITY
  While the Shapeless One has complete control of the 
  investigators’ perceptions, it is also fallible. If its plan was 
  flawless, the investigators would find no hints of its deception 
  or presence. This would make the scenario dull for both the 
  Keeper and the investigators. 
  Because the Shapeless One only has Jeremiah’s and 
  fragments of Veronica’s memories to draw upon, the visions 
  it crafts are sometimes flawed (e.g., Drinks, nearby). Also, 
  because Veronica was unaware of the Shapeless One being 
  able to use its influence outside the house, the line in her 
  journal that states her ward would not allow the spirit out of 
  the house should prompt the investigators to question how 
  Evangeline could be seen outside (Handout: Saturnine 6). 
  These elements are intended to make the investigators 
  question their situation and dig deeper to uncover the truth.
  
  53
  SATURNINE CHALICE
  Alcoholic drinks Rosemary gives the investigators look 
  normal but are devoid of taste. Questioned about them, 
  Rosemary apologizes and states that is all they have. Pressed 
  on the issue, Rosemary becomes distraught and drops 
  the tray, crying. Jeremiah enters, apologizes for his wife’s 
  perfectionism, which sometimes makes her upset, and guides 
  her back to the kitchen. 
  TELEPHONE
  Investigators wishing to call for help are directed to the 
  phone—everything they hear using it is in their mind. The 
  switchboard puts the investigators through to the general 
  store in the nearest town. The owner is hesitant about a 
  quick resolution but sympathizes with their predicament, 
  and can explain that while they have no gasoline in stock, 
  they can send a delivery truck to the nearest gas station, fill 
  some two-gallon (7.5 liter) tin cans and get them over to 
  the Weyland house within two hours. Of course, the truck 
  and fuel never arrive.
  If later calls are made to find out what has happened to 
  the delivery, the investigators’ questions are met with various 
  excuses (the truck broke down, the gas station was closed, 
  they are on their way, and so on). 
  Calling the police is futile. The switchboard connects 
  them, but after a moment of silence, all the investigators hear 
  is menacing laughter on the line. 
  ASKING FOR GASOLINE
  Augustus believes they have some gasoline somewhere and 
  asks Jeremiah to help the investigators. He first leads them 
  out to the garage (asking them to open the stiff door) where 
  the “empty” can is found (Garage, page 39). While they 
  have little use for the car these days (all their food being 
  delivered), Jeremiah suggests there might be some gasoline 
  left in the car that could be drained via a valve underneath 
  the tank—his bad back prevents him from bending down 
  to do this. 
  Investigators looking under the car do not find a valve, 
  but instead see Evangeline’s bare feet, dirty and with broken 
  toenails, standing on the other side of the car. Looking up, 
  there is no-one there, prompting a Sanity roll (0/1 loss). 
  EVANGELINE OUTSIDE
  The Shapeless One allows the investigators to explore 
  outside for a while before using Evangeline in the following 
  ways to scare them back inside. 
  • Evangeline’s shadow stretches across the garden in addition 
  to the investigators’, although they cannot see anyone there 
  to cast it. 
  • Examining the flowers, investigators hear footsteps and 
  breathing behind them. 
  • In the mausoleum, scratching can be heard from her coffin 
  as quiet, malicious laughter echoes around them.
  • Investigators looking into the well can hear something 
  moving in the darkness. Slowly, Evangeline climbs up the 
  wall (see her description in Dramatis Personae, page 37). 
  If they linger, she swipes at them with her claws when close 
  enough but then vanishes. 
  CONVERSATIONS
  The characters (largely) remain downstairs and can be 
  engaged in conversation with the investigators. Some 
  suggestions follow.
   
  • Augustus stays mostly in the lounge and acts as host. He 
  talks about the house; his interest in the occult; Evangeline; 
  his pride for Veronica attempting the Abramelin Operation; 
  and how he wishes to see proof of the divine. He knows 
  he failed to perform the Abramelin Operation but cannot 
  remember what happened. 
  • Veronica moves between the lounge and library, playing the 
  piano or reading. She talks about her childhood; her own 
  interest in the occult; her time at university; and her love 
  of travel. She cannot remember why she came home early 
  from her travels and how that led to her preparing for the 
  Abramelin Operation—there is also something that she 
  realizes she has forgotten. 
  • Jeremiah appears throughout the house, frequently checking 
  if everything is to the investigators’ liking. If they are making 
  a mess, he politely asks them to refrain from doing so. He 
  talks about his long and happy marriage; the roles he and 
  Rosemary played in Veronica’s upbringing; their long-term 
  service to the Weylands; and their retirement plans. He 
  recalls helping Veronica through a recent bereavement but 
  cannot remember who died. 
  • Rosemary moves between the dining room and kitchen, 
  always smiling and polishing something if it looks dirty. 
  Otherwise, she is preparing food for the party. She talks 
  about the same topics as Jeremiah, but also about how 
  much she liked their three long periods of paid leave. She 
  remembers the first (six months) was when Augustus 
  attempted the Abramelin Operation, but cannot remember 
  what happened when she returned after each instance, or 
  why they were given the other two periods of leave. 
  If any are pressed about the holes in their memories, 
  they may start to remember the truth (see Questions and 
  Deaths, page 55).
  
  t
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  54
  DARK TURNS
  EXPLORING UPSTAIRS
  Distracting the characters with conversation provides an 
  opportunity for inquisitive investigators to go upstairs and 
  explore its rooms. The Keeper should not prevent this from 
  happening as there is nothing there (apart from itself) that the 
  Shapeless One does not want them to see. Polite investigators 
  may not wish to ignore their host’s request to leave most of 
  the rooms on the second floor undisturbed, but odd noises 
  (rats; a successful Listen roll) or a distinctly odd smell (from 
  Veronica’s decaying body; a successful Spot Hidden roll) 
  should be enough to tempt them into exploring further.
  The Keeper can accelerate events by having a character 
  catch them in one of the rooms (e.g., Veronica returning to 
  her bedroom, or Jeremiah hearing them where they shouldn’t 
  be)—this allows the investigators to confront them with 
  proof that might trigger Realization (page 55).
  DARKNESS FALLS
  As the sky outside darkens (somewhat quicker than normal), 
  all the curtains in the house shut at the same time in a flurry 
  of motion (0/1 Sanity loss). Asked about this, the characters 
  respond by stating that it is getting dark outside and they 
  prefer the curtains shut. Any that are opened shut again 
  when the investigators look back at them. 
  EVANGELINE INSIDE
  Initially, Evangeline should be glimpsed at a distance 
  (in the kitchen from the hall, looking over the railing of 
  the second-floor landing, moving behind an ajar door). 
  Investigators in the kitchen or nearby see or hear a rat 
  jump out from one of the large pots (0/1 Sanity loss). It 
  does not appear injured despite emerging from a hot and 
  bubbling soup or stew, and leaves a steaming trail of liquid 
  across the floor as it runs into the pantry to hide behind the 
  door, where the Shapeless One (appearing as Evangeline) 
  stands in the shadows. The Shapeless One makes a Steal 
  Memories attack (page 59) on the investigators and then 
  vanishes (returning to the cupola).
  THE LYNWOOD BODIES
  Jeremiah enquires if the investigators have seen Rosemary. 
  Having finished preparing dinner, she mentioned she would 
  check the house for gasoline. He has not seen her since 
  and has checked every room in the house apart from the 
  basement. It is a large area, and if she has fallen down there, 
  there are many places she might be hidden from view. He 
  apologizes for imposing but asks the investigators if they 
  could help him search the basement for her. 
  Crying can be heard from the south-east corner of 
  the basement. Moving around the boxes of childhood 
  possessions, the investigators hear creaking sounds behind 
  them. Dolls and teddy bears stare at them from now open 
  crates while others look up from the previously clear floor, 
  prompting a Sanity roll (0/1 loss).
  Under flickering lights in the south-east corner are the 
  Lynwoods as they were moments before their deaths. 
  Rosemary cries, her eyes torn out, holding Jeremiah who 
  mindlessly gurgles. The light goes out but returns a moment 
  later to reveal their true months-old corpses, prompting a 
  Sanity roll (1/1D4 loss). 
  Jeremiah looks horrified. He is attacked and killed seconds 
  later by Evangeline who then chases the investigators from 
  the basement. Jeremiah and Rosemary then appear from the 
  kitchen, apologizing for not finding any gasoline.
  THE DINNER PARTY
  A knock at the front door announces the arrival of the party 
  guests. Jeremiah opens the door and they enter. All the 
  guests are identically dressed and have the same face: Lester 
  Goodman (1/1D3 Sanity loss). Jeremiah met Lester on his 
  visit to the house, allowing the Shapeless One to create a 
  vision of him.
  There are enough Lesters to fill the remaining seats at the 
  dining table after the investigators, Augustus, and Veronica 
  sit down. Augustus greets them each individually (“Welcome, 
  Lester! Hello, Lester!”) before leading them through to the 
  dining room.
  The Lesters do not find it strange that there are multiple 
  copies of them present. They all state they are procurers 
  of rare books and artifacts, and that Augustus is a valued 
  customer. 
  Dinner is delicious, although the investigators note that 
  the Lesters are eating rotten food and dead rats. These 
  disappear when the investigators look again. As dinner 
  concludes, Augustus stands to toast his daughter and praises 
  her intent to attempt the Abramelin Operation. The Lesters 
  raise their glasses, the lights go out, and when they come 
  back on, the Lesters are gone. Augustus praises Jeremiah and 
  Rosemary for a wonderful dinner. 
  ATTEMPTING TO LEAVE
  If the investigators want to leave, despite it being a long walk 
  to the next town, they discover all the windows and exits 
  from the house have become brick walls. They are trapped 
  in the house. Bringing this to the characters’ attention 
  initially leads to confusion but with persistence could lead to 
  Realization (page 55).
  If some of the investigators are outside when the topic of 
  leaving is being discussed, the Shapeless One can make them 
  hear their friends inside calling for help. Upon entering, the 
  doors turn to walls behind them, thus trapping them.
  
  55
  SATURNINE CHALICE
  If the investigators are all outside, the Shapeless One makes 
  them believe a sudden blizzard or sandstorm has descended 
  on the area, inflicting 1D3+1 damage per round that they 
  remain outside from being frozen or shredded. This should 
  force them inside the house where they are then trapped.
  In extreme cases, this could drive the investigators to set 
  fire to the house in an attempt to escape. The kerosene in the 
  storeroom will easily set the house ablaze. Doing so destroys 
  the ward and frees the Shapeless One. 
  QUESTIONS AND DEATHS
  Questioning the characters about strange incidents in the 
  house, or the holes in their memories (e.g., Conversations, 
  page 53) has several results. Initially, they deny anything is 
  wrong. Persistence, or presenting them with any evidence, 
  leads to them being confused before partially “remembering” 
  their imprisonment. This culminates with them being killed 
  by Evangeline before they reveal significant details to the 
  investigators (which finally occurs in Realization, following). 
  The Keeper is encouraged to be creative with such deaths and 
  the subsequent reappearances of the characters. Two examples 
  follow, and each prompts a Sanity roll (1/1D4 loss).
  • If Evangeline is encountered in the well, and Augustus is 
  informed, he takes the investigators to the well to investigate. 
  Seeing nothing, he protests that they have a poor sense of 
  humor. Evangeline then pulls him (mid-protestation) into 
  the well. His neck snaps and bones break as be bounces off 
  the walls and splashes into the water. Augustus then appears 
  by the house, calling to the investigators if everything is 
  alright. He thought he heard a commotion.
  • Veronica becomes confused if she tries to remember why she 
  came home. Evangeline flies into the room, grabs Veronica 
  and carries her at speed into a wall. Evangeline passes through 
  but Veronica’s body is spattered across the wall upon impact. 
  Flesh and blood remain stuck to the wall as Augustus enters 
  the room with Veronica, enquiring if the investigators would 
  like any more drinks. They do not appear to notice what is on 
  the wall, or it has disappeared when the investigators look back. 
  REALIZATION
  Repeatedly confronting the characters about the holes in 
  their memories results in them “remembering” everything. 
  Certain evidence can trigger this immediately, such as the 
  journals, or the bodies of Veronica and/or the Lynwoods. 
  When a character “remembers,” they rush to the nearest 
  window and open the curtains, revealing that the window 
  is now a brick wall. All the windows and exits are the same. 
  They declare that it is too late to escape, the demon wants to 
  torture the investigators for eternity too. 
  Augustus and Veronica now convey the rest of the Shapeless 
  One‘s cover story (see The Shapeless One’s Tactics, page 
  58). To banish the demon, the investigators must command 
  it to leave with their willpower. The wand in the oratory was 
  intended for such a purpose and can help. Asking Augustus 
  or Veronica for further help, or with a successful Occult roll, 
  the investigators can be directed towards a thin leather-bound 
  book in the library: The Lesser Key of Solomon the King. This 1904 
  book, also translated by Mathers, is a grimoire on demonology. 
  Its chapter on magical requisites details various symbols and 
  tools necessary for the summoning and commanding of 
  demons. Drawing the intricate magic circle described therein 
  to protect magicians would take too long; however, the Magical 
  Triangle of Solomon, wherein demons would be commanded 
  by the magician, is simpler (Handout: Saturnine 8). 
  Keeper note: the flight through the house to retrieve the 
  book, and the subsequent battle against the demon, should 
  be as dramatic as possible. The Shapeless One wants the 
  investigators to succeed but also needs to ensure it doesn’t 
  look too easy. Evangeline flies through the walls, attacking 
  with her claws, picking off Jeremiah and Rosemary first in a 
  gruesome manner.
  Handout: Saturnine 8
  
  t
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  56
  DARK TURNS
  BANISHING THE DEMON
  After retrieving the wand from Veronica’s corpse and 
  reading the relevant pages in The Lesser Key of Solomon the 
  King, the investigators need to draw out the three-foot-wide 
  Magical Triangle of Solomon on a white surface. The Store/
  Access Room floor is ideal (INT roll to remember the floor’s 
  color if they’ve forgotten). Conveniently, Veronica provides 
  the different colors of chalk required: black for the triangle 
  and writing “Michael” (split into three syllables within the 
  triangle); red for the three sacred names of God (around 
  the outside of the triangle); and dark green for filling in the 
  central circle. 
  It takes 1D4+2 rounds to draw the Magical Triangle 
  of Solomon. Each round, from the moment they begin 
  to draw the triangle, Evangeline attacks the investigators 
  indiscriminately. Once the triangle is complete, Evangeline is 
  pulled toward it by an invisible force, kicking and screaming. 
  The investigator holding the wand can feel it grow warm 
  in their grasp—it feels like it is an extension of their will. 
  Call for an opposed POW roll against Evangeline (who uses 
  the investigator’s own POW). If the investigator wins, the 
  demon is banished, vanishing in a flash of light and a rumble 
  of thunder. Each time the investigator loses the opposed roll, 
  the Shapeless One inflicts 1 point of damage to all other 
  investigators present via a vision of a growing whirlwind in 
  the room that hits them with debris.
  CONCLUSION
  There are several different ways the investigators could 
  bring this scenario to a close. Some possible options are 
  discussed below.
  FREEING THE  
  TRAPPED SOULS
  Once Evangeline is banished, the characters cry out that 
  they are worried that they are unable to pass on, begging the 
  investigators to find and destroy whatever the demon has put 
  in place to hold them here. Once the investigators identify 
  the items forming the ward, the characters can suggest 
  smashing them or melting them in the large pots in the 
  kitchen (if the investigators don’t come to this conclusion). 
  Doing this to even just one of the items breaks the ward. 
  Once done, the characters and the bricks over the windows 
  and exits disappear. 
  If the Keeper wishes, the Shapeless One can appear 
  to the investigators to thank them for its freedom. It 
  spares them (for the moment) in thanks for releasing it 
  and then departs to take its revenge on the human race. 
  Alternatively, the investigators might only see a winged 
  ball of light flying away into the night sky and be none 
  the wiser about what just happened. Discovering the truth 
  and dealing with the consequences of their actions may 
  await in a subsequent scenario if the Keeper wishes to 
  design some kind of follow up. 
  CONFRONTING  
  THE SHAPELESS ONE
  If the investigators disbelieve the characters and their cover 
  story, the Shapeless One’s response is determined by what 
  they know at that point.
  • If the investigators haven’t read Veronica’s journal and they 
  don’t know about the ward, the Shapeless One appears to 
  them as an angelic seraph, telling them in a quiet voice—yet 
  powerful enough to shake the house to its foundations—
  that it was summoned here and cannot leave without their 
  help. It asks them to find and break the ward. It apologizes 
  for deceiving them: it doubted they would believe it was 
  an angel and claims that revealing itself to the Lynwoods 
  ultimately scared them to death, so it was hesitant to do so 
  again. It admits to killing Veronica, but only in self-defense 
  as she threatened it. It can try to bribe investigators with 
  a thirst for knowledge by offering them the chance to see 
  the face of God, as it did for Augustus, if they set it free—a 
  successful Extreme Psychology roll reveals its deception. 
  • If the investigators refuse to act in any way, the characters 
  invite them to find their way out, alone. They click their 
  fingers and the Shapeless One ends its visions (except the 
  walls over the windows and exits) and leaves the investigators 
  to find and break the ward, whether they know about it then 
  or not. This could lead to the confrontation below.
  • If the investigators know about the ward and where all the 
  items are but refuse to destroy them, the Shapeless One 
  may appear in its natural form, speaking with their voices, 
  presenting them with an ultimatum: break the ward or die. If 
  the investigators refuse to act, now that it knows what to do, it 
  can wait until others pass by and use them to break the ward.
  To dismiss the Shapeless One, a minimum of two (ideally 
  four) investigators need to hold the four ward items around 
  the entity and bring them together, as if tightening a noose. 
  The entity is repelled when in close proximity to the items, 
  so by bringing the items together, the investigators can herd 
  the Shapeless One into a place where they can surround it.
  Once the entity is surrounded, the investigators holding 
  items should attempt a combined POW roll versus 
  the Shapeless One’s POW—the investigator with the 
  highest POW makes the roll, with the POW of the other 
  investigators holding items being deducted from the 
  Shapeless One’s POW to determine the difficulty (as per 
  the Call of Cthulhu: Keeper Rulebook, page 88). Each attempt 
  costs each investigator involved 1D20 magic points and 1D4 
  
  57
  SATURNINE CHALICE
  Sanity points (if reduced to zero magic points, hit points are 
  then reduced).
  The Shapeless One fights back during this time. If this is 
  a standalone game, use its Inflict Madness skill (page 59) 
  to inflict anything up to a 1D100 Sanity point loss, at the 
  Keeper’s discretion. If the investigators are in an ongoing 
  campaign, the Keeper may want to consider visions with 
  lesser Sanity losses. Using its Steal Memories attack (page 
  59) is also effective in a standalone game, whereas damage 
  through psychosomatic trauma is less debilitating to 
  investigators in an ongoing campaign. 
  If the investigators manage to withstand the Shapeless 
  One’s attacks and are successful in their combined POW 
  roll, then the creature is forced to vacate this reality and 
  return to Azathoth’s Court. If not, then the Shapeless One 
  is now aware of what makes up the ward and offers the 
  investigators the same ultimatum as previously described: 
  destroy the items or die. 
  CONTINUATION
  If the Shapeless One escapes, the Keeper could use this as a 
  springboard for future scenarios. The investigators may wish 
  to track down and confront the entity at a later date. They 
  may also try to track down Lester Goodman to question 
  him, bringing them to the attention of the Crawling Chaos. 
  Once the entity has left, either because the investigators 
  successfully dismissed it or because it escaped, the Keeper 
  can reveal the gasoline in the garage or have a passing car 
  stop and help the investigators on their way. 
  REWARDS
  Suggested Sanity awards for investigators completing this 
  scenario are: 
  • Dismissing the Shapeless One: +1D6 Sanity points.
  • Destroying the Beacon of Chaos: +1D3 Sanity points.
  • Freeing the Shapeless One: –1D6 Sanity points.
  CHARACTERS  
  AND MONSTERS
  CHARACTER PROFILES  
  AND REACTIONS
  No profiles are provided for the Weylands or Lynwoods, 
  with the exception of Evangeline in demonic form, as they 
  are visions created by the Shapeless One, existing only in the 
  investigators’ minds. 
  Using the Psychology skill on any of the characters always 
  returns an unsure answer, as the investigators are trying to “read” 
  an illusion. The characters never appear to lie, but something 
  about their body language or expression does not feel right. 
  If investigators make opposed rolls against the 
  characters, the Keeper opposes with the relevant skill 
  or characteristic using the value listed on the acting 
  investigator’s character sheet. 
  Example: an investigator rolls Fighting (Brawl) to punch 
  Augustus. The Keeper elects to Dodge using the value of the 
  attacking investigator’s own Dodge skill. It is recommended that 
  Keepers make a copy of all the investigators’ character sheets before 
  play so they have all of these values to hand. 
  For the purposes of determining initiative, the characters 
  use the Shapeless One’s DEX 100. As they are not real, the 
  characters do not technically suffer damage. They appear to 
  take damage normally and can “die” whenever the Keeper 
  wishes. They then reappear in the house. The Keeper can use 
  this tactic to scare the investigators. 
  Example: Veronica is killed. Her body falls to the floor and the 
  “new” Veronica enters the room. She sighs and calls for Rosemary 
  to clean up the mess before addressing the stunned investigators. 
  “What’s the matter? You look like you’ve seen a ghost!” 
  The Keeper could build on this by having the house 
  littered with duplicate corpses if the investigators go on a 
  killing spree, or as Evangeline kills them. Alternatively, 
  corpses could vanish after a new copy appears. Such events 
  prompt a Sanity roll (1/1D4 loss). 
  Evangeline Weyland, age 33, demonic torturer
  As with the other visions conjured by the Shapeless One, 
  Evangeline uses the investigators’ own characteristics and 
  skills, and the Shapeless One’s DEX 100 for the purposes 
  of combat.
  Move: 12, can fly and pass through matter at will.
  Combat
  Attacks per Round: 1 (claws)
  Claws 
  investigator’s Fighting (Brawl) skill,  
   
  1D3+1 damage.
  Sanity Loss: 1/1D3 Sanity points to see Evangeline in her 
  “demonic” form.
  
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  58
  DARK TURNS
  SHAPELESS ONES
  Shapeless Ones do not have physical bodies. They are invisible 
  beings of pure energy, capable of passing through all forms of 
  matter. When subjected to intense bright light or bursts of 
  radiation, their outline becomes visible: a shifting body with 
  a varying number of wing-like appendages that allow them 
  to fly through space and atmosphere alike. Shapeless Ones 
  can also choose to become visible using their Manipulate 
  Perception power, taking any form they desire.
  While Shapeless Ones are born with human-level intellect, 
  they can steal the knowledge and memories of other beings 
  to increase their own intelligence. They instinctually sense 
  which beings in their presence possess greater intelligence 
  than them; thus, identifying worthwhile prey. 
  The Shapeless One’s Tactics 
  Despite being trapped in the house by Veronica’s ward, the 
  Shapeless One can still use its powers up to their normal 
  range (thus, it is able to manipulate the investigators’ senses 
  outside the building). This is akin to a prisoner reaching 
  through the bars of their cell—they are still trapped in the 
  cell but can touch anything within their reach. 
  The Shapeless One’s visions in the scenario are designed to 
  make the investigators believe the following cover story and lead 
  them towards choosing to break the ward of their own free will.
  The Shapeless One’s Cover Story
  The ritual Augustus performed was sabotaged, possibly by 
  Lester Goodman. Instead of his Holy Guardian Angel, 
  a demon (that has taken Evangeline’s form) appeared and 
  killed Augustus. The demon also killed Veronica when she 
  performed the ritual. When the Lynwoods returned to the 
  house, the demon killed them, too.
  The “souls” of the Weylands and the Lynwoods are trapped 
  in the house and grounds in a purgatory-like state. They cannot 
  wander far, and when they “die,” they reappear in the house. 
  They are initially unaware of their confinement, although these 
  memories slowly return if prompted. This allows the demon 
  to torture them repeatedly, as an eternal punishment for its 
  imprisonment, without them becoming numb to its efforts. 
  The Weylands and Lynwoods lack the force of will to confront 
  the demon and are reliant on the investigators to help them. Once 
  the demon is banished, the Weylands and Lynwoods believe they 
  will be released; however, they are still trapped in the house even 
  when the “banishment” ritual is successfully completed. They 
  suspect the demon has done something to bind them to the area. 
  The investigators must find and destroy what is holding them—
  only then will they be free and able to rest in peace.
  Keeper note: to help drive the investigators toward 
  confronting the demon and then breaking the ward, 
  the Shapeless One intends to scare them and create an 
  atmosphere of increasing “wrongness.” Of course, the entries 
  in Veronica’s journal (Handout: Saturnine 6) should give 
  the investigators a clue that all is not as it seems.
  Special Powers of the Shapeless One
  Area of Influence: this is defined as a sphere around the 
  Shapeless One, with a radius in yards/meters equal to its 
  POW, and represents the range to which its powers can be 
  used. The Shapeless One can also see and hear everything 
  that takes place within this area. 
  Transform Consciousness: Shapeless Ones are sometimes 
  summoned by magicians wishing to cross the abyss of space 
  to the Court of Azathoth. So that these “pilgrims” can 
  survive the journey, Shapeless Ones can transform a willing 
  being’s consciousness into an entity of pure energy similar to 
  themselves (able to pass through matter, fly through space). 
  The magician leaves their physical form behind, becoming an 
  entity resembling geometric shapes made of violet light (such 
  as the prisms, labyrinths, and clusters of cubes and planes 
  that Walter Gilman observed in Lovecraft’s “The Dreams 
  in the Witch House”). The transformation costs the target 
  1D10/1D100 Sanity points. Those driven insane are taken to 
  join the dancers at the Court of Azathoth. The few that are 
  not driven insane (either by the transformation, or later seeing 
  Azathoth) are free to wander the universe as they desire. 
  Manipulate Perception: those within a Shapeless One’s area 
  of influence must succeed at an opposed POW roll to prevent 
  the entity gaining complete control of their senses, allowing it 
  to manipulate everything they see, hear, and feel. Unless the 
  Shapeless One has a POW below average (less than 200), this 
  is impossible for investigators with a POW score within normal 
  physical human limits. The vast majority of investigators will 
  immediately fall under its influence without a roll and will not 
  realize that they can no longer trust their senses. This effect lasts 
  until the investigator leaves the area of influence.
  Everything that an investigator sees, hears, and feels while 
  under the Shapeless One’s influence is completely real to 
  them, even if they have no real substance. An investigator 
  struck by an imaginary club will suffer psychosomatic trauma 
  making it feel like they were hit by a real club (i.e. they lose hit 
  points). Sufficient trauma could result in death; however, such 
  damage is limited to a maximum of 1D3+1 damage per attack.
  This effect does not allow Shapeless Ones to “mind 
  control” opponents like the Dominate spell; however, these 
  entities can trick opponents into doing things by controlling 
  what they think they see, hear, and feel. For example, should 
  it wish to prevent the investigators from entering a room, 
  they might see a wall where really there is a door.
  Shapeless Ones can also create mobile visions, such as people 
  or environmental conditions. The investigators can see, hear, 
  and interact with dozens of people when they are actually alone. 
  They could also be made to believe they are in a freezing blizzard 
  
  59
  SATURNINE CHALICE
  on a hot summer’s day. Only the Shapeless Ones’ imagination 
  limits what visions they can craft. The memories the creatures 
  have stolen can help to form very convincing false realities. 
  Shapeless Ones,  
  angels from the Court of Azathoth
  char. 
  roll 
   
  average 
  STR 
  n/a 
   
  n/a 
   
  CON 
  n/a 
   
  n/a 
   
  SIZ 
  (6D6+9)×5  
  150 
   
  DEX 
  (4D6+6)×5  
  100 
   
  INT 
  (2D6+3)×5  
  50* 
   
  POW 
  (8D6+12)×5  
  200 
   
  *Base amount, which increases as it steals INT.
  Keeper note: the Shapeless One in this scenario has INT 
  90 after stealing Veronica and Jeremiah’s INTs. For all other 
  characteristics, use the average values presented above.
  Hit Points: equal to magic points (50).
  Average Damage Bonus: n/a
  Average Build: n/a
  Average Magic Points: 50
  Move: 12
  Combat
  Attacks per Round: 1 (but can target multiple opponents 
  per attack)
  Due to having no physical body, a Shapeless One cannot 
  perform direct physical attacks. Instead, it uses its Manipulate 
  Perception power to inflict psychosomatic trauma; however, 
  this can be sub-optimal in direct confrontation, with other 
  attacks neutralizing opponents faster. 
  Steal Memories: can steal the memories and experiences of any 
  number of living beings within their area of influence per use 
  of this attack. It appears as tendrils of light emanating from the 
  investigators’ eyes and mouths that the Shapeless One “breathes” 
  in. Investigators attacked this way are overwhelmed by intense 
  pain and unable to act unless they succeed with a CON roll.
  Each investigator targeted loses 3D10 INT per attack, 
  manifesting as conscious memories being stolen in order 
  from oldest to newest. Stolen INT and memories are only 
  temporarily lost, providing the investigator survives. If they 
  do, they regain 5 points of INT per day up to its original 
  value, with their memories returning in the opposite order to 
  which they were lost (newest first, then oldest).
  Should an investigator survive a Steal Memories attack, 
  consult the table on page 37 of the Call of Cthulhu: Keeper 
  Rulebook to gauge what their new temporary INT means for 
  them and their personality. The investigators’ skills are also 
  affected by a degree relative to the amount of INT lost. These 
  penalties increase throughout any confrontation, as long as 
  the investigator continues to lose INT.
  • If the investigator has lost less than one-half of their starting 
  INT, then they incur one penalty die to all mental skill rolls.
  • If the investigator has lost more than one-half of their 
  starting INT, then they suffer a penalty die to both mental 
  and physical skill rolls (except for inherent physical skills 
  such as Climb, Dodge, Fighting (Brawl), and Jump).
  • If the investigator has only one-fifth or less of their starting 
  INT left, then they incur two penalty dice to all skill rolls, 
  both mental and physical (except for inherent physical skills 
  such as Climb, Dodge, Fighting (Brawl), and Jump).
  • Should an investigator reach zero INT as a result of 
  the Shapeless One’s attack, they lose their subconscious 
  ability to maintain bodily functions (e.g., breathing) and 
  die moments later. 
  A Shapeless One retains all the memories it steals. 
  Furthermore, if an investigator has more INT than a 
  Shapeless One when attacked, any INT stolen increases the 
  Shapeless One’s INT. 
  Example: a Shapeless One has INT 50, an investigator has INT 70. The 
  investigator loses 25 INT during an attack, meaning the Shapeless One’s 
  INT increases to 75. The next attack would not result in the Shapeless 
  One’s INT increasing because it is now greater than the investigator’s.
  Inflict Madness: this attack inflicts sanity-blasting visions 
  upon any number of investigators within its area of influence. 
  Investigators make opposed POW rolls: if the investigator 
  wins, the attack has no effect; if the Shapeless One wins, 
  the investigator makes a Sanity roll with losses relevant to 
  the vision created. For example, a vision of the servitors of 
  the Outer Gods at the Court of Azathoth incurs a 1/1D10 
  Sanity point loss, whereas a glimpse of Azathoth itself 
  causes a 1D10/1D100 Sanity point loss (although we only 
  recommend this if the scenario is a one-off, standalone 
  adventure as opposed to part of an ongoing campaign).
  Steal Memories  
  90% (45/18), damage 3D10 INT  
   
   
  (see above)
  Inflict Madness  
  100% (50/10), opposed POW roll,  
   
   
  Sanity loss determined by vision  
   
   
  (see above)
  Dodge  
   
  75% (37/15)
  Armor: immune to all physical and non-magical attacks; 
  magical attacks drain magic points rather than hit points as 
  Shapeless Ones have no physical body; if reduced to zero 
  magic points, a Shapeless One is destroyed.
  Spells: none, although they can gain spells previously known 
  by those they have stolen INT from.
  Sanity Loss: 0/1D10 Sanity points to see a Shapeless One’s 
  true form; other appearances it chooses may have varying 
  sanity losses.
  
  60
  SCENARIO SEEDS
  The clerk in the reception cabin seems a little surprised 
  to see the investigators, and even a little reluctant to rent 
  them a cabin, claiming they’re very busy this evening—
  something born out by the number of vehicles in the 
  parking lot and around the individual cabins. But, with a 
  bit of persuasion, he relents and hands them the keys to a 
  cabin way off on the edge of the camp—the only one he 
  has left. 
  It’s late now, and as the investigators are settling in, they 
  hear hushed voices outside. Looking out of the window, 
  they see shadowy figures and lights moving about in the 
  nearby woods. What is happening out there? Are they 
  going to go and investigate?
  What’s Going On?
  There are two possibilities as to what the investigators have 
  stumbled on to: one perfectly mundane but nevertheless 
  dangerous, and one tied to local Mythos cult activity. In 
  both options, the investigators have unfortunately arrived 
  at Tully’s on the worst possible night they could have 
  chosen.
  Mundane Option
  Tonight’s the night the local criminals meet to resolve 
  any disputes nice and friendly-like, out in the woods here, 
  away from prying eyes. The evening may also see a little 
  bit of gambling and drinking in the cabins once business 
  is taken care of. Maybe even the odd bit of score-settling, 
  if things in the woods don’t go well. These toughs aren’t 
  going to take too kindly to strangers spying on them, 
  although they may be happy to fleece them at poker. And 
  the investigators better not be hoping for any assistance 
  from the desk clerk: he knows better than to interfere and 
  is more than happy to mind his own business for the sake 
  of a quiet—and prolonged—life.
  This appendix contains six story seeds for further roadside 
  adventures. Like Dead Light and Saturnine Chalice, they 
  could all be used as stand-alone scenarios suitable for one 
  night’s play, or be woven into an ongoing campaign as the 
  investigators journey between destinations.
  NEUTRAL GROUND
  Location: a roadside cabin camp somewhere in the United 
  States.
  Background
  The first recognized “motel” wasn’t built until 1925 in San 
  Luis Obispo, California (the Milestone Mo-Tel). Before 
  that, motorists either had to risk sleeping in their cars by the 
  roadside or bed down in “autocamps”—campgrounds that 
  provided water, restrooms, picnic grounds, and even laundry 
  facilities. A later, more refined option was the “cabin court” 
  or “cabin camp,” where visitors could hire single cabins. Later 
  still, these cabins were combined under one roof to create 
  the “motor court,” more commonly known as the “motor 
  hotel” (or motel, for short). 
  Set Up
  It’s been a long day. The investigators have driven a very 
  long way, and still have just as far to go (if not farther) 
  before they reach their destination. But the sun is setting 
  and they need to find somewhere to rest up for the night. 
  There are no towns nearby that might have a hotel or 
  lodging house, and the thought of camping by this lonely 
  and desolate roadside just isn’t all that appealing. 
  Fortunately, as they’re driving along, the investigators 
  pass a sign for Tully’s Cabin Camp, just a few more miles 
  down the road. The sign promises cheap cabins—some even 
  with their own bathroom facilities—as well as a laundry and 
  canteen! Looks like fortune is finally smiling on them.
  APPENDIX
  
  61
  SCENARIO SEEDS
  Mythos Option
  Those aren’t local criminals—they’re cultists! The woods 
  behind Tully’s are treated by all the local cults as neutral 
  ground, and used as both a secluded ritual space, should they 
  need one, as well as a convenient, out of the way place to 
  dump any corpses, body parts, or anything else incriminating 
  that might have resulted from ceremonies held elsewhere. 
  The desk clerk isn’t a cultist but is well paid to keep his 
  mouth shut and not ask any questions about what his guests 
  get up to. Tully’s is so remote that it doesn’t often have many 
  other visitors, so the clerk is quite happy to take business 
  where he can find it.
  Exactly which cult is visiting tonight, and what they’re 
  up to, is left to the Keeper to decide. Perhaps it’s a new 
  organization that the investigators haven’t stumbled across 
  before, and the meeting launches them into a new adventure 
  or campaign involving that cult. Or, perhaps, it’s one they’ve 
  had dealings within the past. While the local branch might 
  not know the investigators in person, they may well be aware 
  of them by reputation.  
  THE BIG BLUE BUOPOTH
  Location: a roadside attraction along any reasonably-sized 
  road in the United States.
  Background
  Although most roadside attractions didn’t start appearing 
  in America until the 1920s alongside the rise of the 
  automobile, gigantic creatures as tourist attractions have a 
  much longer history. Lucy the Elephant, who still stands to 
  this day, was built by real estate magnate James V. Lafferty 
  in Margate, New Jersey in around 1882 as the “Elephant 
  Bazaar”—inspired by P. T. Barnum’s Jumbo the Elephant. 
  Lafferty was also responsible for building the Elephant 
  Colossus at Coney Island, which, in its heyday, served as 
  a hotel and concert hall before later becoming a brothel. It 
  burned down in 1896.
  Set Up
  As they are driving along to their next destination, the 
  investigators spy a 65 foot (20 m) high pale blue behemoth 
  by the side of the road. The thing looks a little like an 
  elephant from a distance, but as they get closer, they realize 
  that the structure represents no known Earthly creature. 
  For a start, the thing’s ears are distinctly human-like rather 
  than elephantine, and its mouth is clearly at the end of its 
  trunk-like proboscis; two rows of protuberances stretch 
  along its back. If none of the investigators have visited 
  the Dreamlands, or seen a buopoth, a successful Cthulhu 
  Mythos roll may identify the colossus for what it is. 
  The sign outside the structure proclaims that this is 
  “Professor Malcolm’s World of Dreams.” The parking lot 
  out front is dusty and empty, but the entry fee is cheap and 
  another sign promises refreshments and a restroom. Perhaps 
  it might be nice for the investigators to stop and stretch their 
  legs for a little while?
  What’s Going On?
  Poor Professor Malcolm was a Dreamer, but his link to the 
  Dreamlands was severed many years ago. He doesn’t know 
  why, but he is determined to find a way back again. To this 
  end, he quit his teaching position at a nearby university 
  and built his big blue buopoth, where he’s collected all his 
  souvenirs from the Dreamlands, along with everything he’s 
  managed to hunt down and convince other Dreamers to 
  part with. There are also some more mundane attractions 
  inside the buopoth—two-headed calves, mermaids, and the 
  like—the usual mix of whimsy and fakery to be found in 
  such cabinets of curiosities. Some of the fakes have been 
  created by Malcolm to resemble the creatures he used to see 
  while Dreaming, which look very fantastical to anyone who 
  is unaware of their origins. 
  The professor hopes that, by recreating a slice of the 
  Dreamlands here inside his steel, wood, and papier-mâché 
  masterpiece, he can somehow reestablish his connection to 
  his lost world—possibly through the creation of a physical 
  gateway—or attract the attention of someone who can aid 
  him in his quest. 
  It’s just possible that the professor has been successful in 
  creating a gate into the Land of Slumber; one that opens just 
  as the investigators arrive. Will they find themselves helping 
  Professor Malcolm defend his museum from an invasion of 
  zoogs, or has something bigger and nastier forced its way 
  into the real world as a result of Malcolm’s obsession? 
  THE SUITCASE
  Location: any road, anywhere.
  Set Up
  As the investigators are driving along on a pleasant, sunny 
  morning, the driver has to swerve to avoid a large suitcase 
  in the middle of the road. Stopping to take a closer look, the 
  case appears to be somewhat battered, as if it’s either fallen 
  from a luggage rack or been thrown from a moving vehicle. 
  One catch is undone. A luggage label lists the address as 
  being somewhere in the vicinity—a couple of miles away 
  from their current location, at most. There is a set of initials 
  inlaid into the leather: AGW.
  Do the investigators open the suitcase to see what’s inside, 
  or do they attempt to return it to its owner?
  
  t
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  62
  DARK TURNS
  What’s Going On?
  There are several options as to what could be going on here.
  What’s in the Case?
  The contents of the suitcase could be completely mundane—
  clothing, toiletries, etc.—but the case appears to have been 
  packed somewhat hurriedly, as if someone was in a rush to be 
  on their way. On the other hand, there could be something 
  mysterious inside: an eldritch tome, a strange statuette, a 
  blood-stained knife, or even a detached body part! Any of 
  these odd items could plunge the investigators into their 
  next adventure, or be a clue in their ongoing one.
  Returning the Case
  If the investigators decide to try and return the suitcase 
  to the address shown on the luggage label, there are also a 
  number of options available. Perhaps they stumble upon a 
  scene of violence and horror at the house, indicating that 
  the suitcase’s owner fled the scene. But were they the victim 
  or the aggressor? And what if the police happen to show 
  up at just the wrong moment and catch the investigators 
  snooping around?
  Then again, perhaps a nice, friendly, little old lady answers 
  the door and invites them in. She is most grateful for the 
  return of the suitcase, which must have fallen from the taxi’s 
  luggage rack last night when she returned from a trip abroad. 
  She was so tired she didn’t check the bags the taxi driver 
  left in the hallway. But what if the investigators have opened 
  the suitcase, and know it contains a man’s clothing—and a 
  young, tall, athletic man at that? What if there’s something 
  more sinister inside the case? Who is this woman and what 
  is she doing in a house that quite probably isn’t hers? Who is 
  AGW, if it isn’t her?
  THE NEVERENDING ROAD
  Location: any road, anywhere.
  Set Up
  The investigators knew it was going to be a long trip, but 
  it feels like they’ve been on the road for hours and hours 
  and hours, and there’s still no sign of them reaching their 
  destination. A successful Spot Hidden roll alerts the 
  investigators to the fact that, actually, they’ve been past that 
  signpost before. And that tree. And that weird scarecrow in 
  that field over there. And that signpost, too…
  What’s Going On?
  Someone has cast a Gate spell on the second signpost the 
  investigators see. Every time they drive past it, they disappear 
  through the Gate and come out at the first signpost, 20 miles 
  (32 km) back down the road. It costs 1 magic point and 1 
  Sanity point every time they journey the Gate. So that it isn’t 
  immediately obvious what’s happening, the Keeper should 
  keep track of the lost magic and Sanity points, but should 
  flag up to the players that something odd is happening—
  their investigators feel tired, they feel twitchy, they’re having 
  odd dizzy spells, and so on. We suggest allowing them to 
  pass through the Gate no more than three times before you 
  offer the players the Spot Hidden roll, if they haven’t already 
  realized that something is very wrong with this journey.
  But why? Perhaps the investigators’ adversaries are trying 
  to delay them sufficiently so that they can put their nefarious 
  plans into action without the investigators interfering. 
  Perhaps someone (the mi-go?) is carrying out a warped 
  experiment to see how long the same automobile can go 
  through the Gate before its occupants notice they’re stuck in 
  a loop. Perhaps a cult created the spell to trap an adversary? 
  It could even be a weird natural phenomenon and not a spell 
  at all.
  If the Gate has been set up by someone, then the 
  investigators should have the opportunity to find clues as 
  to who, which should hopefully lead them to why. There 
  may well be arcane sigils on the back of the offending 
  signpost, scrawled in handwriting that is all too familiar to 
  the investigators. Or, there could be a trail from the signpost 
  (paint, blood, footprints) that leads them to their nemesis. 
  And, if the investigators are particularly altruistic, they 
  may even wish to deactivate the Gate to make sure no one 
  else gets trapped in it, either before or after they deal with 
  whoever conjured it in the first place. 
  And, of course, there’s nothing to stop it from being 
  a Time Gate, which drops the investigators back the 20 
  minutes or so it took them to drive between the signposts…
  
  63
  SCENARIO SEEDS
  THE DIVERSION
  Location: any road that could lead to an out-of-the-way 
  scrapyard, far from habitation.
  Set Up
  The road ahead is closed. There are barriers blocking access 
  and signs clearly stating that the road is under repair and that 
  drivers should follow the diversion. It would have been nice 
  if there had been warning signs further up the road so that 
  the investigators could have figured out their own alternative 
  route, but they’re here now and there’s nothing else they can 
  really do unless they want to turn around and backtrack to 
  the next major junction.
  Following the diversion takes the investigators on a 
  merry old trail through fields and woodland along a road 
  that gradually deteriorates into little more than a dirt track, 
  before running out at what appears to be a scrapyard of 
  some sort. It’s full of all sorts of detritus, including a lot of 
  automobiles—some old, some new, all in various states of 
  disrepair but none sufficiently damaged they should have 
  been scrapped. But there doesn’t seem to be anybody around 
  to ask about this bizarre vehicular graveyard. 
  What’s Going On?
  The scrapyard is home to a Mythos creature, kept there 
  by local cultists who worship it. Perhaps it was attracted 
  to the scrapyard and the cultists found it there, or perhaps 
  they summoned it there due to the yard’s isolated location. 
  Whatever the reason, the creature is hungry, and its devoted 
  acolytes have set up their customary roadblock to channel a 
  nice, juicy offering to their “pet.” Cue a deadly game of hide 
  and seek among the cars. Can the investigators survive their 
  ordeal, or are they destined to become the creature’s dinner?
  THE HITCHHIKERS
  Location: any suitably isolated stretch of road.
  Set Up
  Two bedraggled figures are walking along the side of the 
  road—a woman in her late 30s and a girl in her early- to 
  mid-teens. They are soaked to the skin from the current 
  downpour, and only half-heartedly attempt to flag the 
  investigators down as they drive by. Do the investigators 
  stop to help, or do they keep on driving?
  What’s Going On?
  If the investigators stop to help, they discover that the 
  woman and girl are mother and daughter. They claim their 
  car broke down a couple of miles further up the road and 
  they’re walking to town to try and find a garage with a tow-
  truck. The thing is, the investigators don’t recall seeing the 
  car as they passed that spot a few minutes ago. Could the 
  women be mistaken about where they left their car? Do 
  they even have a car? If they don’t, what are they doing on 
  the road is this awful weather? Are they really heading into 
  town? Does one of the investigators recall a story about a 
  phantom known to prowl the roads in this area? What if the 
  story was wrong—what if there is more than one ghost, and 
  what if they’re not very friendly? 
  
  t
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  64
  COLLECTED MAPS 
  AND HANDOUTS
  Orchard Run Environs Map
  
  65
  COLLECTED MAPS 
  AND HANDOUTS
  Orchard Run Gas Station and Café Map
  
  t
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  66
  COLLECTED MAPS 
  AND HANDOUTS
  Greenapple Acre Cottage Map
  
  67
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Dead 1a
  
  t
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  68
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Dead 1b
  
  69
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Dead 1c
  
  t
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  n
  70
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Dead 1d
  
  71
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Dead 2
  
  t
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  n
  72
  COLLECTED MAPS 
  AND HANDOUTS
  Weyland Estate Map
  
  73
  COLLECTED MAPS 
  AND HANDOUTS
  Weyland House Map
  
  t
  u
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  n
  74
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Saturnine 1a
  Handout: Saturnine 1b
  
  75
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Saturnine 2a
  Handout: Saturnine 2b
  
  t
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  76
  DARK TURNS
  Handout: Saturnine 3a
  Handout: Saturnine 3b
  
  77
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Saturnine 4a
  Handout: Saturnine 4b
  
  t
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  78
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Saturnine 5
  
  79
  COLLECTED MAPS 
  AND HANDOUTS
  Handout: Saturnine 6
  
  t
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  80
  DARK TURNS
  Handout: Saturnine 7
  
  81
  SATURNINE CHALICE
  Handout: Saturnine 8
  
  82
  INDEX
  DEAD LIGHT
  A
  Antique Chain and Coin-like Medal  . . . . . . . . . . .8, 12, 14
  B
  Billy Esterhouse. . . . . . . . . . . . . . 7, 9, 10, 11, 16, 20, 25, 26
  Boston Society for the Care of Girls . . . . . . . . . . . . . 14, 20
  Bureau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8, 14, 20
  Bureau Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14, 20, 21
  C
  Cellar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18, 22, 23, 27
  Clem Tailor . . . . . . . . . . . . .6, 7, 9, 10, 11, 16, 18, 20, 23, 25
  Coffer  . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 8, 14, 20, 27, 28
  Containing the Dead Light . . . . . . . . . . . . . . . . . . . . 25, 28
  D
  Dead Light . . 5, 7, 8, 9, 11, 14, 16, 17, 18, 20, 21, 22, 23, 24, 
  25, 27, 28, 29
  Doreen Atler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
  Dr. Godfrey Webb . . . . . . . . . . .6, 7, 8, 14, 17, 18, 20, 22, 28
  Driving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12, 17, 18
  Dr. Webb’s Bedroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
  Dr. Webb's Journal  . . . . . . . . . . . . . . . . . . 14, 21, 22, 23, 28
  Dr. Webb’s Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 28
  E
  Emilia's Bedroom and Study . . . . . . . . . . . . . . . . . . . . . . 20
  Emilia Webb . . . . . . . . . . . .6, 7, 8, 10, 12, 14, 17, 22, 23, 25
  Escape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  F
  Foreshadowing  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  G
  Generator  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18, 22, 27
  Greenapple Acre Cottage . . . . . . . . . . . . . . . . . . . .6, 17, 27
  H
  Harming the Dead Light  . . . . . . . . . . . . . . . . . . . . . . . . 27
  J
  Jake Burns . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9, 16, 26, 27
  M
  Mary Laker . . . . . . . . . . . . . . . . . . . . . . . . 6, 7, 9, 16, 20, 26
  O
  Orchard Run . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6, 7, 24
  Orchard Run Gas Station and Café  . . . . . . . . . . . . . . 6, 16
  Orchard Wood  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
  P
  Pacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 24
  
  83
  INDEX
  R
  Recall Sin-Eater Spell . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
  Reception Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
  S
  Sam Keelham  . . . . . . . . . . . . . . . . . . . . . . . . 6, 8, 10, 16, 26
  Spiral Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
  Stopping the Dead Light  . . . . . . . . . . . . . . . . . . . . . . . . 27
  V
  Victory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 25
  W
  Winifred and Teddy Brewer . . . . . . . . . . . . . .10, 11, 16, 26
  SATURNINE CHALICE
  A
  Abramelin Operation .31, 33, 34, 35, 44, 48, 49, 50, 52, 53, 54
  Altar  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50, 51
  Area of Influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
  Ash pit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
  Augustus' Journal. . . . . . . . . . . . . . . . . . . . . . .34, 49, 50, 78
  Augustus Weyland . .31, 33, 35, 36, 39, 40, 47, 48, 49, 50, 52, 
  53, 54, 55, 56, 57, 58
  Azathoth . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35, 37, 47, 59
  B
  Bathroom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47, 51
  Banishing the Demon . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
  Beacon of Chaos . . . . . . . . . . . . . . . . . . . . . . .33, 34, 50, 51
  Bedroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47, 48
  Book of Abramelin . . . . . . . . . . . . . . . 31, 32, 33, 34, 48, 49
  C
  Chamber . . . . . . . . . . . . . . . . . . . . . . . 40, 46, 47, 48, 49, 50
  Cherubim  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
  Court of Azathoth . . . . . . . . . . . . . . . . 33, 34, 37, 57, 58, 59
  Cupola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47, 51, 54
  D
  Deaths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53, 55
  Dining Room  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
  Dinner Party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52, 54
  Drinks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
  E
  Escape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
  Evangeline Weyland  . 31, 33, 35, 36, 40, 47, 53, 54, 55, 56, 
  57, 58
  F
  French Door . . . . . . . . . . . . . . . . . . . . . . . . . .48, 49, 50, 51
  G
  Garage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39, 53
  Garden. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
  Gasoline  . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39, 53, 54, 57
  H
  Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
  Holy Guardian Angel . . . . . . . . . . . . . . . . . . .33, 34, 50, 58
  I
  Inflict Madness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57, 59
  J
  Jeremiah Lynwood . . . . . 31, 34, 36, 37, 47, 52, 53, 54, 55, 59
  K
  Kamea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34, 44, 45
  Kamea of Saturn . . . . . . . . . . . . . . . . . . . . . . . . . .34, 44, 45
  Kitchen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
  L
  Landing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
  Laundry Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
  Lead Bust  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
  Lead Eagle Sculpture  . . . . . . . . . . . . . . . . . . . . . . . . 40, 44
  Lead Items  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
  Lead Lion Statuette  . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
  Lead Ox Statuette . . . . . . . . . . . . . . . . . . . . . . . . . . . 40, 44
  
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  INDEX
  Lesser Key of Solomon . . . . . . . . . . . . . . . . . . . . . . . 55, 56
  Lester Goodman . . . . . . . . . . . . . . . . . 33, 34, 37, 54, 57, 58
  Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
  Lounge  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
  M
  Magical Triangle of Solomon  . . . . . . . . . . . . . . . . . . 55, 56
  Magic Squares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 48
  Main Basement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47, 54
  Manipulate Perception  . . . . . . . . . . . . . . . . . . . . . . . 58, 59
  Mausoleum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40, 53
  N
  Nyarlathotep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, 37
  O
  Oratory . . . . . . . . . . . . . 34, 35, 39, 40, 46, 47, 48, 49, 50, 55
  R
  Realization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54, 55
  Religious Texts  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
  Rewards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
  Ritual Incense . . . . . . . . . . . . . . . . . . . . . . 39, 46, 49, 50, 51
  Ritual Oil. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46, 50
  Rosemary Lynwood . . . . . . .31, 34, 36, 47, 52, 53, 54, 55, 57
  S
  Samuel Liddle MacGregor Mathers . . . . . . . . . . . . . 34, 55
  Servants' Room and Bathroom . . . . . . . . . . . . . . . . . . . . 46
  Shapeless One . .33, 34, 35, 36, 37, 38, 39, 40, 46, 47, 51, 52, 
  53, 54, 55, 56, 57, 58, 59
  Shapeless One's Cover Story . . . . . . . . . . . . . . . . . . . . . . 58
  Shapeless One's Tactics . . . . . . . . . . . . . . . . . . . . . . . 55, 58
  Steal Memories . . . . . . . . . . . . . . . . . . . . . . . . . . .54, 57, 59
  Store/Access Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
  T
  Telephone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
  Transforming Consciousness . . . . . . . . . . . . . . . . . . . . . . 58
  V
  Veronica's Journal . . . . . . . . . . . . . . . . . . . . . .49, 56, 58, 79
  Veronica Weyland . .31, 33, 34, 35, 36, 37, 39, 40, 46, 47, 48, 
  49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59
  Victory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 25
  W
  Ward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 35, 37, 40, 44
  Ward Items and Sigils . . . . . . . . . . . . . . . . . . . . . . . . 44, 45
  Well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
  STORY SEEDS
  Neutral Ground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
  The Big Blue Buopoth . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
  The Diversion  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
  The Hitchhikers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
  The Neverending Road . . . . . . . . . . . . . . . . . . . . . . . . . . 62
  The Suitcase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
  MAPS AND HANDOUTS
  Orchard Run Environs Map . . . . . . . . . . . . . . . . . . . 13, 64
  Orchard Run Gas Station and Cafe Map . . . . . . . . . 15, 65
  Greenapple Acre Cottage Map . . . . . . . . . . . . . . . . . 19, 66
  Weyland Estate Map . . . . . . . . . . . . . . . . . . . . . . . . . 39, 72
  Weyland House Map. . . . . . . . . . . . . . . . . . . . . . . . . 43, 73
  Handout: Dead 1a . . . . . . . . . . . . . . . . . . . . . . . . . . . 20, 67
  Handout: Dead 1b . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 68
  Handout: Dead 1a . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 69
  Handout: Dead 1a . . . . . . . . . . . . . . . . . . . . . . . . . . . 23, 70
  Handout: Dead 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 71
  Handout: Saturnine 1a  . . . . . . . . . . . . . . . . . . . . . . . 42, 74
  Handout: Saturnine 1b . . . . . . . . . . . . . . . . . . . . . . . 42, 74
  Handout: Saturnine 2a  . . . . . . . . . . . . . . . . . . . . . . . 46, 75
  Handout: Saturnine 2b . . . . . . . . . . . . . . . . . . . . . . . 46, 75
  Handout: Saturnine 3a  . . . . . . . . . . . . . . . . . . . . . . . 47, 76
  Handout: Saturnine 3b . . . . . . . . . . . . . . . . . . . . . . . 47, 76
  Handout: Saturnine 4a  . . . . . . . . . . . . . . . . . . . . . . . 48, 77
  Handout: Saturnine 4b . . . . . . . . . . . . . . . . . . . . . . . 48, 77
  Handout: Saturnine 5 . . . . . . . . . . . . . . . . . . . . . . . . 50, 78
  Handout: Saturnine 6 . . . . . . . . . . . . . . . . . . . . . . . . 51, 79
  Handout: Saturnine 7 . . . . . . . . . . . . . . . . . . . . . . . . 52, 80
  Handout: Saturnine 8 . . . . . . . . . . . . . . . . . . . . . . . . 55, 81
  
  85
  AUTHOR BIOGRAPHIES
  ALAN BLIGH
  1974—2017
  Alan was an author, game designer, and a devoted fan of 
  science-fiction, fantasy, and horror. While working with 
  Games Workshop, Alan was the lead writer for Forge 
  World and created numerous contributions to the worlds 
  of Wahammer Fantasy and Warhammer 40,000, and was 
  instrumental in the development of the Dark Heresy RPG 
  and other lines for Black Industries and later Fantasy Flight 
  Games. Alan’s fiction touched the Cthulhu Mythos with 
  novels such as Dance of the Damned and The Hungering God, 
  while his love of Call of Cthulhu saw fruition in scenarios 
  like Dead Light, Crimson Letters, Bad Company, and a chapter 
  of Chaosium’s forthcoming The Curse of Seven campaign for 
  Cthulhu by Gaslight. Apart from his literary output, Alan 
  loved monster movies and was a wise source of film and book 
  recommendations. His humor, erudition, and scholarship is 
  missed by many.
  MATTHEW SANDERSON
  Matthew Sanderson had ambitions to be a writer long before 
  he heard of roleplaying games. An avid reader of horrors and 
  thrillers, he learned of RPGs two weeks before his high school 
  exams and has not looked back since. As a regular attendee of 
  UK gaming conventions, he was discovered running a game of 
  Call of Cthulhu at a local event and this led to the publication 
  of his first scenario. Since then, Matthew has written for 
  several RPG lines, but predominantly those concerned with 
  the machinations of the Great Old Ones.
  
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  AUTHOR BIOGRAPHIES
  LYNNE HARDY
  Associate Editor for Call of Cthulhu
  Lynne Hardy discovered roleplaying games back in the mists 
  of time—or the early 1990s, as they’re more commonly known. 
  The second game she ever played was Call of Cthulhu and, 
  after writing and editing for companies such as Nightfall 
  Games, Cubicle 7, and Pelgrane Press, she returned to the 
  non-Euclidian fold to act as the lead writer, editor, and line 
  developer on the multi-award winning Achtung! Cthulhu 
  Kickstarter project for Modiphius Entertainment. Lynne 
  doesn’t like horror films much as they’re far too scary, but she 
  is rather fond of tea and fountain pens.
  MIKE MASON
  Creative Director for Call of Cthulhu
  Mike is the co-writer of Call of Cthulhu 7th edition and Pulp 
  Cthulhu. Around the turn of the millennium, Mike edited and 
  published The Whisperer, a zine devoted to Call of Cthulhu. 
  In the intervening period Mike set up and ran the Kult of 
  Keepers, a group of scenario writers who organized the UK’s 
  Cthulhu Nationals Tournament. Mike, no stranger to the 
  arcane workings of games companies, previously worked for 
  Games Workshop as Black Industries Line Manager for the 
  ENnie Award winning Dark Heresy RPG. Nowadays, Mike 
  lives in Nottingham, England, and enjoys coffee, strong 
  beer, and whiskey in equal measure. Mike edits, writes, and 
  produces all books for Chaosium’s Call of Cthulhu line and, 
  when not doing that, can be found watching horror films and 
  searching for Innsmouth gold.
  
  87
  INDEX
  Gateways to Terror contains three frightening scenarios for 
  three evenings of nightmare!
  The Necropolis
  What ancient horrors lie slumbering in a newly discovered 
  tomb deep in Egypt’s Valley of the Kings? Are you allowing 
  local superstitions and the unfortunate events surrounding the 
  opening of Tutankhamen’s tomb to play on your mind as you 
  wait to step down into the darkness…
  What’s in the Cellar?
  Did a respected businessman really commit the bloody murder 
  of his beloved wife in the cellar of the family’s ancestral holiday 
  cabin? While the body has never been found, it seems like the 
  criminal has been caught. Is a terrible injustice abut to be 
  served? Just what happened in that cellar?
  The Dead Boarder
  And, what has happened to that nice, quiet neighbor of yours? 
  You’ve not seen hide nor hair of him in days! He wasn’t always 
  the friendliest of sorts, but he did seem very pious, what with all 
  the late-night prayers coming from his room…
  Gateways to Terror contains three short-play scenarios for the 
  Call of Cthulhu 7th Edition roleplaying game, ideal for beginning 
  and experienced players and Keepers alike. Originally, all three—
  The Necropolis, What’s in the Cellar? and The Dead Boarder—were 
  designed as demonstration games to give a taste of the game’s 
  core motifs—mystery, investigation, and horror—for those with 
  limited time. The scenarios can be played in as little as one hour 
  but can be expanded for slightly longer play, and each comes 
  with four ready-made investigators so you can jump right into 
  the action! Each scenario includes hints and tips for Keepers 
  new and old, suggestions for additional investigators for larger 
  groups, and a summary of the key rules needed to play.
  AVAILABLE NOW!
  
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  INDEX
  That is not dead 
  which can eternal lie,
  And with strange aeons 
  even death may die
  A nightmare of horrors from 
  without and within. A collection 
  of monsters, alien gods, and 
  beasts to fill your games of Call 
  of Cthulhu with dread.
  Drawn from across the pages of 
  over thirty five years’ worth of 
  scenarios, the entries include 
  descriptions, background histories, 
  and game profiles to bring these 
  creations to life.
  COMING IN  
  2020
  
  For more information about Chaosium
  and Chaosium publications, please see
  our website at chaosium.com
  Printed in USA
  CHA23159 $14.99
  23159
  23159
  ®
  With the rise of the automobile in the 1920s, people were 
  no longer tied to the railways as a means of getting to distant 
  locations. For those who could aford the relative luxury of a 
  car, the expanding United States’ highway network brought 
  with it the opportunity to travel and see new places, as well 
  as visit those that the railways didn’t reach—and all at your 
  own pace, too.
  But the new road network also meant that strangers began 
  making their way into once isolated and secluded locations. 
  Places where they may not be welcome, and where old secrets 
  have been hidden for generations. Who knows what lurks 
  behind the lace curtains of the houses you drive past? What 
  dangers lie in wait for the unwary along the out of the way 
  highways and byways?
  Dead Light and Other Dark Turns contains two scenarios 
  for Call of Cthulhu 7th Edition dealing with the theme of 
  roadside adventure, along with six story seeds for the Keeper 
  to expand and develop. In the classic Dead Light scenario, now 
  revised, a chance encounter with a distressed young woman 
  leads the investigators into the hideous aftermath of a crime 
  gone terribly wrong. While in the brand-new Saturnine Chalice
  scenario, seeking help from a nearby homeowner after their 
  vehicle runs out of gas traps the investigators in a house where 
  nothing is quite what it seems.
  Both scenarios can be used as standalone adventures suitable 
  for one to two sessions’ worth of play, or they can be slotted 
  into an ongoing campaign as the investigators journey 
  between locations. Suitable for use with either the Call of 
  Cthulhu: Keeper Rulebook or the Call of Cthulhu Starter Set.
  Dead
  ead Ligh
   Light
  & Other dark turns
  & Other dark turns
  two unsettling encounters on the road
  two unsettling encounters on the road
  
SOURCE: textdata/thevault/Call of Cthulhu (CoC) (BRP) [multi]/7th edition/CoC 7e - Call of Cthulhu - Dead Light and Other Dark Turns {CHA23159}.pdf