TEXT: TM
  ™
  By David L. Pulver
  
  A Solo Adventure For 
  One Brave Hero
  It started out as a simple 
  bounty hunt. But your 
  quarry has fled to a 
  place that belongs to 
  the dead. If you’re 
  lucky, they might 
  be your friends 
  against foes that 
  mock both life and death.
  Dare you enter the RED CRYPT?
  By David L. Pulver
  Illustrated by Rick Hershey
  Front Cover by Terry Pavlet
  Back Cover by Rick Hershey
  SJG 3480 
  Printed in the USA
  1st Edition, 1st Printing
  Published May 2020
  ®
  #TheFantasyTrip
  thefantasytrip.game
  
  You study the face on the wanted poster. 30-ish, with ash-
  blond hair and a hook-shaped scar under his right eye. Jack 
  Smoke.
  Smoke is a Redcap, part of a secret society plotting to 
  overthrow the established order of wizards, priests, and 
  guilds. Like many Redcaps, Smoke trusts gadgets or potions 
  over magic. You heard he was once a priest who earned his 
  nickname burning heretics. Then Smoke discovered his cult’s 
  “miracles” were mere spells cast to delude the congregation. 
  He lost his faith and turned against all wizardry as well, 
  embracing the Redcap cause. What he didn’t lose was his 
  fanaticism.
  Recently, Smoke detonated a gas bomb at a town fair. 
  It poisoned the wizard he targeted – and several children. 
  “Unfortunate collateral damage,” said the Redcap 
  communiqué that claimed credit for the assassination.
  You intend to bring Jack Smoke to justice . . . and claim the 
  1,000 silvers the baron offers for his head!
  By David L. Pulver • Illustrated by Rick Hershey • Cover by Terry Pavlet
  Thanks: Henry Cobb, John W. Nowak, Timothy Pulver • Playtesters: Henry Cobb, Steve Jackson, Michael Tourette
  thefantasytrip.game
  TM
  TM
  President/Editor-in-Chief: Steve Jackson  •  Chief Executive Officer: Philip Reed 
  Chief Operating Officer: Susan Bueno  •  Chief Creative Officer: Sam Mitschke 
  Copy Editor: Susan Bueno  •  Production Manager: Sabrina Gonzalez
  Production Artist: Ben Williams  •  Art Director: Shelli Galey
  Project Manager: Darryll Silva  •  Prepress Checkers: Susan Bueno, Monica Stephens
  Operations Manager: Randy Scheunemann  •  Director of Sales: Ross Jepson
  The Fantasy Trip, Red Crypt, Warehouse 23, the pyramid logo, and the names of all products published by Steve Jackson Games Incorporated are trademarks or registered trademarks 
  of Steve Jackson Games Incorporated, or used under license. The Fantasy Trip: Red Crypt is copyright © 2020 by Steve Jackson Games Incorporated.  
  Some artwork copyright William McAusland, used with permission. All rights reserved.
  The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal, and punishable by law. Please 
  purchase only authorized electronic editions, and do not participate in or encourage the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated.
  ®
  
  2 • Red Crypt
  If playing a Melee hero only, assume your character has 
  IQ 8 for purposes of making any saving rolls against IQ, and 
  assume they possess the Literacy talent.
  Red Crypt will work for either a hero or a wizard. If you 
  play a wizard, the instructions do not support the infinity of 
  ways you could use your spells in non-combat situations 
  (such as scouting while invisible). However, Red Crypt is 
  quite survivable if your wizard’s spells are mainly combat 
  magic, especially if they are mostly of IQ 13 or less.
  You can take magic items (a magic weapon will be useful 
  if you have one!), but a character fully loaded with magical 
  gear faces fewer challenges.
  Record sheets should be made up for each entering 
  figure. Experience is awarded to survivors based on their 
  performance.
  Beginning the Red Crypt Adventure
  To enter the adventure, first reread the opening text (p. 1). 
  Then turn to instruction 1 on p. 6 and read it.
   Like each later instruction, it provides information and 
  directions. Some instructions call for a decision, often a 
  choice between options leading to different entries. Choose 
  what you will do before turning to the next instruction.
  To avoid losing your place, you can make a note of each 
  instruction number as you pass it. You should try never to 
  read instructions you have not legitimately come to; that 
  would lessen your enjoyment.
  As you read the instructions, you will find yourself moving 
  down outdoor paths or long tunnels and into clearings or 
  rooms. In the labyrinthine catacombs, all combat takes place 
  in the rooms; the tunnels take you from one room to the next. 
  (However, you must follow the tunnel or path instructions 
  carefully, or you’ll get lost.)
  When you enter a room, Melee turns begin. It is permitted 
  to stop just before entering a room, either to change weapons 
  and armor or to cast protective spells on your party.
  If you find yourself in a combat situation using a map, 
  start by placing obstacles, foes, etc., on the appropriate 
  arrangement of megahex tiles or Melee/Wizard maps as 
  indicated. Place your own figures in the specified entry hexes 
  at the end of the room you entered.
  Combat maps have entry hexes, often marked N (north) 
  or S (south). These often represent doors or tunnel entrances. 
  Instructions that send you to a room will indicate which side 
  of the map you enter from . . . e.g., (117, N entry) means 
  you go to paragraph 117 and enter from the north-side hexes 
  marked N on the map. (Your characters will be facing the 
  opposite of that. For instance, if you enter from the north 
  side, you’re facing south.)
  The map diagram will show the appropriate orientation 
  (e.g., north-south).
  Finally, read the rest of the room instructions to see what is 
  happening and what your options are.
  In each new location, combat turns begin with your figures 
  standing in the indicated spot, having just approached the 
  encounter or stepped through a door.
  Unless noted, no figure may both pass through a door and 
  do anything else on the same move.
  Obstacles (black hexes) shown on the room maps stop 
  both movement and thrown/missile weapons and spells.
  How to Play Red Crypt
  This is a programmed adventure for a single character. 
  It is designed for TFT: In The Labyrinth. If you instead 
  have both Melee and Wizard, you can still play, with a few 
  simplifications.
  This adventure establishes locations, gives you decisions 
  to make, and tells you the outcomes of those decisions. You 
  will need six-sided dice, a straightedge, and scratch paper, 
  along with counters and megahex tiles.
  Since Red Crypt uses only one player character, it can be 
  played two ways:
  Solitaire: One lone player creates or selects an existing 
  adventurer character. That character may acquire friends 
  during the adventure, creating a party, but they are all run 
  by the same person. When combat occurs, this book gives 
  instructions regarding the foes in each location; the player 
  sets up figures on a tactical map and plays out the battles, 
  running both sides.
  Two-Player: One player creates a character (or uses an 
  existing one) and plays through the scenario. When foes 
  are encountered, the other player controls them and tries 
  to defeat the adventurer. The second player can also act as 
  Game Master (GM); they read the paragraphs and resolve 
  rules disputes or actions not covered by these instructions.
  Creating Characters for Red Crypt
  You can play an existing character or create one for this 
  adventure. Additionally, two ready-to-go adventurers can be 
  found on p. 21.
  A single 34-point to 36-point character should have a 
  decent chance of making it through if played well and the 
  Red Crypt is unfamiliar. Weaker characters may survive on 
  subsequent attempts, as you will know what to expect.
  Playing this adventure with characters whose combined 
  armor, shields, and magic items can stop 7+ points of damage 
  is less fun, as they can easily survive many opponents. (Of 
  course, you can try it anyway.)
  
  Red Crypt • 3
  You should also make a record for each inhabited location 
  as you enter it. The paragraphs will tell you what foes you 
  encounter. The location record is made up of one record for 
  each foe there, together with any other notes you make. If 
  you leave living enemies in a room, they will be there if you 
  return.
  Any corpses (friendly or enemy) will remain as you left 
  them. However, unattended treasure may vanish, or wounded 
  friends may die (see Abandoning Treasure or Companions). 
  Therefore, you should keep all the room records until you 
  finish the adventure. When you re-enter a room, go by the 
  record sheet instead of the printed instructions. Anything 
  killed will not come alive and attack again (unless raised as a 
  zombie, of course . . .). However, foes left alive will be back 
  in their starting positions with the wounds you gave them, 
  and will attack on sight.
  You may wish to keep a record of the number of each 
  instruction you take, in case you lose your place.
  Picking Up Treasure
  When you find treasure or equipment, make notes on the 
  figure record sheets to show who is carrying it. If you are using 
  the full TFT rules, keep track of weight and encumbrance.
  Abandoning Treasure or Companions
  If a party wishes to avoid being slowed by the weight 
  of treasure or gear, some or all of these may be left in any 
  encounter area or room after it has been cleaned out – that is, 
  after its occupants are dead. Note the abandoned treasures on 
  the record sheet for that room.
  If the party comes back for them, roll one die. On a 5-6, 
  everything is gone; scavengers or denizens carried it off. 
  Otherwise, they’re still there. Roll the same way for wounded 
  but living friends left behind in an empty room; when you 
  come back, they’ve been eaten or carried off by the things 
  that lurk in the graveyard on a 5-6, but remain alive otherwise. 
  Treasure, weapons, or bodies left in a tunnel are always gone 
  when you return.
  Illusions
  It is legal for a wizard to summon something, or create 
  an illusion, to scout a room. However, images cannot pass 
  through doors.
  It takes at least 12 turns to travel each tunnel or cemetery 
  path. Thus, any image or illusion created in one area will 
  vanish before it or you can get to another area.
  If two players are involved, the “monster” player can 
  choose whether and when to attempt to disbelieve the PC 
  wizards’ figures. However, when one player is playing 
  solitaire, use the following rule: Only foes with IQ 8 or higher 
  can attempt to disbelieve – that is, wolves, bears, and other 
  animals can’t disbelieve illusions. Foes will only attempt 
  to disbelieve when they see nonhumans attacking them, or 
  when more than four figures at once attack, or if they actually 
  see a wizard create a figure. In any of these cases, roll one 
  die for each foe, each turn. On a 5 or 6, it will attempt to 
  disbelieve one of your figures.
  Any zombies encountered are unaffected by illusions.
  Leaving an Encounter
  When all your foes at a location are dead or fled, your 
  party may freely leave and re-enter that room or encounter 
  area thereafter. Skip events, such as dialogue or fights, that 
  have already occurred.
  However, if you wish to leave a room containing living 
  enemies (even if they are asleep, trapped behind a fire, etc.), 
  you must (a) be given the chance to attempt escape in an 
  instruction, (b) successfully move to one of the starred entry 
  or exit hexes at either extreme end of the board, and (c) have 
  at least one hex of Movement Allowance (MA) left in order 
  to leave through the exit. (It is also permitted to leave by a 
  shift or disengage which takes you off the board from one 
  of those end hexes, or by teleporting to the other side of the 
  door.)
  All doors are unlocked unless specified. So, when a figure 
  trying to escape reaches the edge of the board, it may use that 
  last hex of MA to get out and to safety.
  Mapping and Record-Keeping
  You will need to keep the following records as you play: 
  (1) the standard record sheets for your own figures, (2) a map 
  of the adventure as you explore it, and (3) a record sheet for 
  each location you enter.
  The figure record sheets are kept in normal style. Keep 
  track of treasure and weapons carried, hits taken and Strength 
  (ST) expended, and MA reductions for armor worn or 
  encumbrance carried (see below).
  Your map will show which rooms you have passed through. 
  Playing without a map makes it harder to explore multiple 
  routes, which could impede completion of the adventure. You 
  will need the map if you double back, either accidentally or 
  on purpose.
  
  4 • Red Crypt
  the idea that, for certain situations, a higher attribute gives 
  you a better chance to succeed. A saving roll is made in the 
  same fashion as a “to hit” roll – that is, you are trying to roll 
  less than or equal to a given attribute. However, the number 
  of dice is variable. To escape a shower of arrows, a character 
  might need to roll his DX or less on four dice; this would be 
  a “4/DX” saving roll. The attribute need not be DX; it could 
  be IQ or ST depending on the challenge.
  Plot Words
  Sometimes your character will do things during one 
  encounter that will affect future events, such as finding a key 
  in one room that may later be needed to open a lock in a 
  different room. When this happens, you will be instructed 
  to record a particular plot word that is in all caps (such as 
  KEY). If the triggering event later comes up, it will ask if you 
  have that plot word. If you possess it, that will direct you to a 
  different paragraph.
  A few plot words have no direct effect on the adventure, 
  but can determine your final experience award. Rules for this 
  are at the end of the adventure.
  Companions
  It is possible you may make friends in the adventure.
  If so, you will be provided with the statistics for your 
  companions, and may control them. You must stick together: 
  they are relying on you for leadership or protection, and will 
  not enter rooms in advance to scout, stay behind as guards, or 
  the like. (But if you make it out of the adventure and return, 
  they won’t come back.)
  If your character dies but your companions manage 
  to survive, you have two options. First, you can assume 
  the adventure is over and end it. Second, you could opt to 
  complete the adventure using your companions.
  Unless noted, it is you (rather than your companions) who 
  attempt any saving rolls: it’s assumed you’re in the lead. 
  However, if the instructions mention a particular talent is 
  required to do something (e.g., Literacy to read a message), 
  you can use a companion’s talent.
  Companions will not give you equipment, but if they’re 
  killed, you can take their stuff. If incapacitated, assume 
  you’re as good as dead – your foes finish you off, or the rats 
  do – unless a companion wins the fight and can use Physicker, 
  a healing potion, etc., to treat your injuries.
  Monster and NPC Statistics
  Full descriptions of the monsters encountered appear in 
  TFT. If you just have Melee and Wizard, enough information 
  is provided to run figures you encounter.
  The exception to this would be two types of nuisance crea-
  tures common in graveyards: Rats and Bats. These creatures 
  come in large swarms and use the rules detailed below.
  Some NPCs have talents listed. If only using Melee/
  Wizard, ignore them except where a companion’s talent 
  is said to provide a particular benefit. Exception: assume 
  unarmed foes with Brawling use the talent to fight dirty (ITL, 
  p. 35), adding +2 to bare-handed damage.
  Playing the Adversaries
  If playing solitaire, you may use any strategy you like 
  while playing your own character as long as you follow 
  the instructions. To play the monsters, use the following 
  guidelines:
  (1) Monsters and foes always fight to the death, and never 
  run, unless an instruction specifically says otherwise. If an 
  instruction says they might run, assume they will do so as 
  soon as they are hurt worse than you are.
  (2) Most foes use standard tactics – that is, they will run at 
  you and try to engage and kill you. Multiple foes facing you 
  will try and surround you to take advantage of side or rear 
  attacks. Humanoid foes that are barehanded or armed with 
  daggers may try to initiate HTH combat on the turn after they 
  engage you. If they try and fail, they may return to regular 
  attacks.
   (3) Some opponents, especially wizards, will have favorite 
  tactics (mentioned in the instructions). Use these tactics as 
  long as they seem sensible.
  (4) In general, use common sense to decide what the 
  foes will do. If two or more reactions are equally likely (for 
  instance, one monster trying to decide whether to attack your 
  figure or your ally, or whether to risk HTH combat or fight 
  normally), roll a die to decide.
  (5) If playing as a GM, it is perfectly all right to keep the 
  beginning ST of the monsters and foes a secret – though of 
  course the players should have a good idea just because of the 
  nature of the menace.
  (6) Don’t let Charisma or any other talent keep a helpless 
  player from being slain – but a GM may let them be useful in 
  a negotiating situation.
  (7) Rather than list languages, this adventure assumes 
  everyone you have an option to talk to knows the common 
  (human) tongue, and all writing is in that language.
  (8) If you end a fight incapacitated, assume someone will 
  kill you, unless you have an ally who won the fight and can 
  use Physicker, a healing potion, etc., to treat your injuries.
  Listening
  It’s assumed your character will listen at doors without 
  having to specify doing so; if loud noises can be heard in the 
  graveyard or past the door, the instructions will mention it 
  and give you an option to react.
  Crossing a Room
  Many rooms have a door or passage at both ends. You 
  can try to move through a room without fighting, but unless 
  occupants are noted as friendly and willing to let you pass, 
  they will generally try to attack you when doing so.
  Beings within a room will not usually try to follow you 
  out if you leave (as long as you aren’t attacking). A few 
  exceptions are noted where enemies may pursue.
  Saving Rolls
  In several locations, a “saving roll” – a roll made against 
  one or more of a character’s attributes – may be required to 
  notice something or escape danger. If you have the full TFT 
  rules, you know how these work. The saving roll represents 
  
  Red Crypt • 5
  you keep any loot you found. Your accumulated Plot Words 
  determine experience and rewards.
  If your character is killed, the adventure is over, but you 
  may replay Red Crypt with the same or a different character. 
  You could have the replay occur in a different reality, in 
  which case everything will re-set. Alternatively, you can play 
  another bounty hunter who appears shortly after your last one 
  perished or retreated. If so, erase any plot words, but records 
  for rooms, treasure, slain foes or companions, etc., are as 
  per the prior expedition; enemy wizards who lost ST due to 
  spellcasting recover it.
  Beginning Your Adventure
  1 
  You’ve been tracking Smoke for a week. Now you have 
  a lead at the Thirsty Wyvern, an inn near the village 
  of Thorvald. The innkeeper admits that a fellow matching 
  the Redcap’s description visited earlier today. He met two 
  companions: a redheaded swordswoman wearing spectacles 
  and a blond man with an arquebus. They asked for directions 
  to an old graveyard out by Thorvald Wood. They haven’t 
  returned.
  That graveyard? Rarely used by decent folk. No longer 
  consecrated ground. The monks who tended it died off a half-
  century ago, after the plagues. A few burials still take place, 
  seen to by an old gravedigger, but mostly paupers, madmen, 
  criminals, lepers, or plague victims. Some say it’s haunted. A 
  few children have disappeared nearby . . . although that might 
  be due to wolves.
  Unwilling to let Smoke escape, you leave the inn and set 
  out for the graveyard. What could Smoke and his friends be 
  up to there?
  It’s a cool, foggy afternoon, but a few hours of daylight 
  remain. The road meanders past farmhouses, boulder-strewn 
  fields, and the outskirts of a dark wood. There, a quarter-
  mile west of the village, you can see the high walls of the 
  graveyard, shrouded in thickening fog. Go to 4.
  Rats
  Each individual rat has ST 1, DX 10, IQ 6, MA 10. Any hit 
  on a rat will kill it.
  When attacked by rats, a figure can strike once per melee 
  turn (if a weapon is ready) and stomp once. The stomp is 
  rolled like a regular attack. If you are trying to stomp a rat in 
  an adjacent hex, and you miss, you do not roll to see if you hit 
  the character in that hex, as you would normally.
  A rat can attack adjacent figures and up to two rats can 
  occupy the same hex. Rats have DX 10 to simplify the GM’s 
  rolling. DX 10 gives a 50% chance of hitting. Therefore, 
  unless other modifiers apply (e.g., fighting a torch-wielding 
  or Blur-using foe), instead of rolling 3d for each rat, roll 1d 
  and let the rat hit on a roll of 1, 2, or 3. This is faster! (But 
  remember animals fear fire: if you have a torch ready, rats 
  attack at -2 DX.)
  If a rat successfully bites you, you take 1 hit. Rat bites are 
  cumulative against armor each turn, and shields don’t count. 
  Thus, if you’re wearing leather, which stops 2 hits, then the 
  first two rat bites each turn don’t count, but the rest do; if 10 
  rats attack and five succeed, you’d lose 3 hits.
  Vampire Bats
  These are like rats, but they fly. If you get more than 15 
  hexes away from bats, they won’t pursue. Each bat has ST 
  1, DX 10, IQ 6, and MA 20. Handle them like rats, except 
  that when attacking a bat, you have DX -4 to hit because it is 
  flying, and you have no chance to stomp it. 
  Magic Items
  Determining the nature of a magical item will require 
  either an Analyze Magic spell or experimentation. Some 
  magic items may be explained in the text.
  Restoration of Lost Strength
  It is permitted to rest in a room or outdoor location after 
  any fighting is over. By resting 15 minutes, a character can 
  recover one ST point of fatigue (e.g., ST spent spellcasting). 
  This may only take place if the occupants were killed, 
  subdued, driven out, or made allies.
  Healing Wounds: If you are a Physicker or a Master 
  Physicker, or have one as a companion, you can use that 
  talent – but remember the time required. All other Physicker 
  rules must be followed as well.
  Encounters and Resting
  If you sit around resting, you might run into something 
  wandering about. For every 15 minutes you spend resting, 
  being treated by a Physicker, etc., roll 1d. If you roll 2-5 
  nothing happens. On a 1, encounter 1d+3 rats; on a 6, 
  encounter 1d+2 bats.
  Place yourself in the middle of the room or area; they enter 
  from a random entry hex (stacked 1 or 2 per hex). Fight them 
  on the map of the area you’re resting in.
  Ending the Adventure
  You can end the adventure by taking a route out of the 
  graveyard, returning to Thorvald village. When you leave, 
  
  6 • Red Crypt
  Special Abilities/Weaknesses: +4 DX to hit it; it must beat 
  your roll by 3 to win initiative; fire, cold, or illusions have 
  no effect.
  If you hit the slime with a metal weapon or you’re in metal 
  armor and it hit you, that item corrodes away and is destroyed 
  in 12 turns (after the combat). Exception: Silver or gold is 
  unaffected.
  11 
  Leaving the Playroom, go to 89 if you exited through 
  the north door, or 142 if through the south door.
  12 
  You are at the bottom of a flight of steps. You can go 
  up the steps and through an open trap door (48), or 
  head north through a narrow tunnel, smelling of decay (83).
  13 
  Your path winds among unremarkable headstones in 
  the graveyard’s eastern quarter. You notice a fresh 
  grave. If you investigate, go to 46. Otherwise, go southwest 
  past more graves (94), northwest toward a stone angel (77), 
  west past some simple headstones toward a stone building 
  (72), or east toward the cemetery gate (8).
  14 
  You are in the Common Pit (see map below). Your 
  foe, a man wielding a pick and wearing muck-
  stained clothing, is at B. You’re at E (or your choice of any E, 
  S, or N hexes if you gained surprise). Shaded areas contain 
  one corpse each; use Fallen Bodies rules for movement and 
  cover.
  COMMON PIT MAP
  If you slay him, you can leave his corpse in the pit – a fitting 
  end! If you reduce him to 5 or less ST, he’ll run, vanishing 
  into the fog. You won’t meet him again here; go to 112.
  To break off the fight, leave the map from either the N or 
  S entry hex; if you get that far, he won’t pursue (go to 112). 
  If you defeat him, go to 7. If you die, be reassured that your 
  corpse will help Physickers learn their trade.
  2 
  You find meat of uncertain origin, a cushion, burial urns 
  holding water, and hundreds of bone dolls. You can take 
  a few: if you have Recognize or Assess Value, you pick the 
  best dolls (worth 3d x $100); otherwise, you get a random 
  sample (worth 2d x $50). Return to 119.
  3 
  Its wearer can activate Speed Movement (cost 1 ST/
  turn) and Dark Vision (always on). Return to the prior 
  paragraph.
  4 
  You stand before an iron gate in the graveyard’s eastern 
  wall. You can try the gate (8), or circumnavigate the 
  cemetery walls seeking other entrances (109). Or you may 
  think better of the whole idea and return to the village, ending 
  your adventure (166).
  5 
  Only dust and bat droppings. Return to 9.
  6 
  You’re at a four-way tunnel intersection. You can head 
  northeast to a door (151, S entry), southeast to a door 
  (35, N entry), southwest to a passage (89), or go northwest to 
  a door (117, S entry).
  7 
  Besides his gear, he had 30 silver pieces in his pouch. 
  Take what you like; go to 112.
  8 
  You are inside the graveyard, near its east gate. Peering 
  through the fog, you look around. You can head 
  northwest, where you glimpse an equestrian statue atop a 
  mausoleum (59), or go southwest toward a thick patch of 
  headstones (13). Or you can go east out the gate, exiting the 
  graveyard (4).
  9 
  Inside the mausoleum is a sarcophagus, its lid carved 
  with an effigy of a knight. It’s inscribed, “Here lies Sir 
  Roger of Thorvald, a valiant knight.” If you pry it open, go 
  to 100. To search the tomb, go to 5. To step outside, go to 59.
  10 
  As you lift a big urn from a wall niche, a gelatinous, 
  crimson, oozing thing extends itself out of the 
  container. A red slime!
  Refer to the Catacombs Map (70). You start at U; if you 
  have companions, position them in adjacent hexes.
  Roll 3/DX. Success means you tossed the urn aside in 
  time; the slime crawls out and is 2 hexes away from you at G. 
  Otherwise, it’s in hex U with you, already in HTH.
  Combat begins! If you flee the room or win, take either 
  the north door (95) or southwest passage (6). If you kill it, 
  go to 49.
  Red Slime
  ST 12, DX 1, IQ 1, MA 2
  Attacks and damage: 2 
  hits/turn if in same hex 
  (armor protects for 
  only 1 turn).
  
  Red Crypt • 7
  20 
  Inside is a well-preserved corpse, dressed in a 
  simple blue robe. She wears a silver crescent-moon 
  amulet around her neck. If you have the plot word CAT, go to 
  56, then return here.
  You can take the amulet or leave it. If you try on the 
  amulet, go to 3 and then return here. If you take the amulet 
  but don’t try it now, record 3; go there if you try it later (then 
  return to your current paragraph).
  After you take or leave the amulet, go to 117.
  21 
  Zora accepts your story. “This graveyard is certainly 
  full of monsters,” she remarks. “I also heard a 
  necromancer was buried here; perhaps he left things behind to 
  guard his tomb. But magic doesn’t interest me. I seek the crypt 
  of another resident – Dr. Hieronymus Morse. Perhaps you’ve 
  heard of him?” If you have the Scholar talent, roll 3/IQ, or 5/
  IQ otherwise. If you succeed, go to 37. Go to 25 if you fail.
  22 
  He drops the corpse. Roll 1d. On a 1-3, he readies 
  a pick and runs toward you (go to 14). On a 4-6, he 
  does as you ask, heaving it into the pit and fleeing (go to 112).
  23 
  Perhaps this miserable creature is starved for 
  company more than flesh, for she is interested in 
  gossip of the surface world. After you describe your quest, 
  she reveals such a party of intruders entered the graveyard 
  a few hours ago. They battled rats and ghouls in the eastern 
  passages; at least one fell. She hid when two of them passed 
  through her crypt; she didn’t like their smell. The survivors 
  are likely worm-food now, she cackles: “There are nastier 
  things than our sort here, for while we hunger for strange 
  fruits, we still breathe.”
  She whispers of the black dog the priests buried alive, 
  whose grim red-eyed ghost prowls the cemetery, of foolish 
  monks who worshiped death and were surprised when it 
  claimed them . . . and of something else in the crypts below, 
  “a red, dead, mad-eyed thing even ghouls fear . . .”
  If you wish to continue this morbid conversation, go to 40. 
  If you’d like to take your leave, roll 1d: on a 1-3, go to 28; on 
  a 4+, go to 85. If you want to fight, go to 74.
  24 
  The shadow-cat suddenly materializes before the 
  closest two stacks of rats! It hisses and claws at 
  them, and they scatter, fleeing from you, the ghost cat in 
  pursuit. Return to 52, with four fewer rats to fight.
  25 
  “No? Well, I am not surprised.” Zora is clearly an 
  academic: even in a labyrinth she loves to lecture. 
  Pushing her spectacles back up her nose, she informs you 
  Dr. Hieronymus Morse was a brilliant natural philosopher, 
  mathematician, and inventor whose work was suppressed by 
  jealous rivals. Letters Zora uncovered hinted the good doctor 
  was on the verge of a major discovery before his untimely 
  death. However, his papers have not resurfaced; Zora thinks 
  it possible they were buried with him. To this end, she and 
  two companions, a “fellowship dedicated to scientific truth,” 
  sought his crypt. Zora believes it is nearby, but she became 
  separated from her friends during a skirmish. Whether her 
  friends got past these zombies or retreated, Zora doesn’t 
  know. She’s lost! Go to 66.
  Kregg the Body Snatcher
  Heinous Human
  ST 13, DX 10, IQ 9, 
  MA 12 
  Talents: Axe/Mace, 
  Climbing, Knife, Running
  Weapons: Dagger  
  (1d-1), pick (2d)
  Equipment: Belt 
  pouch, rations, 25’ rope, 
  torches (2), wineskin with 
  cheap wine
  15 
  You feel a chill, as if something is looking over 
  your shoulder. You can turn (135) or depart without 
  looking back (90).
  16 
  You’re in a tunnel with doors at the south end (119, 
  N entry) and north end (35, S entry).
  17 
  You are two hexes from Zora in the center of the 
  map (see 148 for the map and her stats). If you came 
  here from 57, you have initiative; otherwise, roll it. Zora 
  fights to the death, fearful you might thwart her quest. If you 
  defeat her, go to 19.
  18 
  You’re in the Bone Crypt (see Catacombs map at 
  70). Bones are everywhere, strewn on the floor and 
  stuffed into wall-niches. A huge ghoul with yellow eyes and 
  fangs squats amid this detritus, gnawing on a human femur. 
  Angered by the intrusion of light or life into his stygian larder 
  (or just hungry), he howls like a hyena and attacks!
  Position yourself at the designated entry hexes (N or S as 
  appropriate). The ghoul is at G. He’ll attack barehanded, but 
  if that hits and fails to do damage (due to armor or spells), 
  next turn he’ll use a Ready option and grab a leg bone as a 
  club (1d+3 damage).
  To leave the crypt during or after the fight, you may exit 
  north (32) or south (95). If the ghoul isn’t dead, he’ll follow 
  and attack in the narrow tunnels beyond the door.
  If the ghoul is slain, you can examine the corpse he was 
  manhandling (58) or search the crypt (101) before leaving as 
  above. If you are killed, the ghoul will add you to his larder. 
  He’s a big fellow, and very hungry . . .
  Huge Ghoul
  ST 16, DX 9,  
  IQ 7, MA 10
  Talent: Brawling
  Weapon: Bare-
  handed (1d+1), may 
  grab club (1d +3)
  19 
  Take any 
  of Zora’s 
  possessions (see 
  148); then go to 116.
  
  8 • Red Crypt
  35 
  This is the Ossuary, a deserted section of catacombs 
  lined with shelves holding moldering human bones. 
  You can search them (42), if you haven’t already done so. 
  Otherwise, take the south door (16) or the northeast tunnel (6).
  36 
  The trap door opens to reveal stairs leading down. A 
  musty odor of decay wafts up. Descend (12) or stay 
  upstairs (48).
  37 
  You’ve heard of the legendary scholar Hieronymus 
  Morse! Mad Morse, they called him: a natural 
  philosopher, “smart as a dragon, crazy as a prootwaddle!” 
  Different tales claim he tried his hand at all kinds of things: 
  arcane mind-boggling hyper-dimensional mathematics, 
  untried chemical formulas, even war-ending weapons, but 
  who knows if they ever came to anything? He got into nasty 
  academic feuds with both the Scholars’ and Wizards’ Guild, 
  got kicked out of both guilds, and died in obscurity a few 
  decades back . . . Go to 66.
  38 
  You find a loose wall stone behind the altar. As you 
  jiggle it, a door to a hidden chamber swings open, 
  revealing a descending stairway. You see dusty footprints, 
  leading down. Go down (104), or leave the chapel by the 
  south door (75).
  39 
  You stand beside a fresh-dug grave, which the black 
  dog was defending. Walk northwest toward a stone 
  building (43) or turn back east (94).
  40 
  Her name is Erictho. She speaks of the jests ghouls 
  play with corpses, of nights spent capering madly 
  under the pale moon, of revels on beds of bloated bodies, and 
  dark bargains struck with necromancers and grave robbers. 
  She hints some ghouls are made, not born, and describes 
  creeping into farmhouses to snatch babes in the dark of the 
  moon, then weaning them on maggots till their teeth grow 
  strong. If you’ve heard enough, go to 28 to take your leave, 
  or 74 if you’re disgusted enough to attack.
  41 
  As the first zombie and the swordswoman exchange 
  blows, the second zombie circles behind, driving its 
  blade into her back. She gasps and falls dead. Go to 127.
  26 
  His name’s Kregg: add him as your companion. If 
  you capture Smoke and Kregg survives, you’ll split 
  that bounty. Check 14 just to record his stats, then go to 112.
  27 
  It’s a humanoid corpse, but you can’t identify the 
  race . . . it’s horribly burned. It had a sword, but the 
  iron blade is so badly corroded as to be useless. Return to 86.
  28 
  “Goodbye, surface dweller,” she cackles. “When 
  you die, ask to be buried here!” On that ominous 
  note, go to 30 if you leave by the south door or 16 if by the 
  north door.
  29 
  The door creaks open. You enter a dark, spacious 
  chamber that smells of mildew – and blood. Go to 48.
  30 
  You are in a tunnel that runs northeast to a door (119, 
  S entry) and southwest to an intersection (130).
  31 
  The zombies don’t pursue if you shut the door. If 
  you re-enter the fight, return to 148. Otherwise, go 
  to 75.
  32 
  You are in a narrow tunnel that runs northwest to an 
  intersection (103) and southeast and then south to a 
  door (18, N entry).
  33 
  Roll 1d; add any reaction modifiers (e.g., +1 if you 
  have Charisma). On a 1, the ruffian decides to kill 
  you first so he can hunt Smoke himself; go to 14. On a 2-4, 
  he wishes you luck, slings the body over his shoulder, and 
  departs; go to 112. On a 5+, the rogue’s eyes light up with 
  avarice after you mention Smoke’s bounty. Promise him half 
  and he’ll join you; go to 26, but if you refuse, treat as 2-4.
  34 
  “Thank you for saving me,” The swordswoman 
  says. “I’m Zora Dranzig, a scholar, seeking the 
  tomb of Dr. Hieronymus Morse. But who are you, and what 
  are you doing in this terrible place?” If you tell Zora you’re 
  hunting the Redcap outlaw Jack Smoke, go to 84. If you’d 
  rather just say you’re a treasure or monster hunter, or change 
  the subject, go to 21.
  
  Red Crypt • 9
  51 
  Go to 14, but start the fight at S with a free turn to 
  act, thanks to your surprise attack.
  52 
  You are in the Rat Nest (see map below), a large, 
  dirty cellar or storeroom swarming with big rats. To 
  get past, kill the rats or make it to the opposite side; the north 
  entrance is a door, the south a tunnel. 
  There are 16 hungry rats (placed two in each R hex). 
  There’s a gnawed skeleton at C (a fallen body), but the rats 
  seek fresher prey and attack you! Position yourself at your 
  appropriate N or S entry hexes. Shaded hexes are solid walls.
  Use the Rats rule (p. 5). If you have the plot word CAT, go 
  to 24 before starting this fight.
  If you exit via the south, go to 93. If you take the north 
  door, go to 140; after you leave, the rats won’t pursue. If you 
  stay and kill them, go to 110.
  RAT NEST MAP
  53 
  You find an empty sack, 25 feet of rope, and some 
  dried sardines. Take anything; return to 63.
  54 
  He’s a friendly rogue. “What am I doing? Helping 
  the cause of medical science!” A Physicker in a 
  nearby town needs fresh cadavers to teach students anatomy. 
  He supplies them, for a consideration. He hasn’t seen anyone 
  else tonight, and that’s odd! It’s his first time raiding this 
  cemetery, but village gossips told him an old gravedigger 
  worked as a watchman. If you wish to leave him to continue 
  his work, go to 112. To fight him, go to 14. To invite him to 
  join your bounty hunt for Smoke, go to 33.
  55 
  Using a staff to prop herself up, the crone shades her 
  eyes. “Well, well, well,” she croaks. “What have we 
  here? What brings you into the realm of the dead? Seek ye 
  bodies to steal or graves to rob? So few guests had I before, 
  yet now so many!” If you want to talk further, or ask if she’s 
  seen the Redcaps, go to 23. To attack, go to 74. To simply ask 
  leave to pass, go to 153.
  42 
  You notice a human skull that 
  radiates an unnatural cold. 
  Suddenly, you feel a prickling sensation 
  on the back of your neck. Turning, you 
  behold a thin woman, dressed in a 
  shroud, standing before you. You can 
  see through her transparent, faintly 
  luminous body!
  If you haven’t encountered this 
  apparition before, roll 4/IQ. If you 
  fail (or you failed the same roll 
  upon seeing her before and less 
  than a week has passed), go to 60. 
  Otherwise, you retain your wits 
  as she drifts toward you. You may 
  attack (79), disbelieve (91), wait and 
  see what she wants (97), or retreat 
  south (16) or northeast (6).
  43 
  If you have the plot word GRIM, go to 72. 
  Otherwise, roll 1d. On a 1-3, go to 72. On a 4-6, 
  go to 128.
  44 
  Engravings on nearby headstones mark animal 
  burials. If you haven’t been here before, go to 15; 
  otherwise, return to 94.
  45 
  The zombies collapse and won’t reanimate. Record 
  the plot word FREE. If Zora is dead, go to 19. If 
  Zora survived, go to 34 if you allied with her, or return to 148 
  and resume battle if you were fighting her.
  46 
  You pass a fresh-dug grave, indicated by a simple 
  wooden marker. It seems this cemetery is still 
  in use, but the marker is wood, not stone. You can stop to 
  examine it (go to 128 unless you have plot word GRIM; if 
  so, go to 39), walk past it northwest toward a stone building 
  (43), or turn back east (94).
  47 
  This dusty tomb is empty, but the floor is 
  bloodstained. Roll 3/IQ (2/IQ if you have Chemist 
  talent). If successful, go to 158. If not, take the north door 
  (142) or the south door (118).
  48 
  This may have once been the hall of a small chapel. 
  You notice a broken stained-glass window high 
  in the wall, and symbols of the local religion, including a 
  wooden statue of a local saint or angel and faded frescos. 
  There’s a door on the west and a trap door on the floor. You 
  can exit out the front door (72), try the west door (63), open 
  the trap door (36), or search the room (143).
  49 
  You find a jewel ($200) in the urn. Return to 151.
  50 
  You’re in the graveyard’s northern quarter, next to 
  the old cemetery wall. Outside the wall is a stand of 
  ancient yew trees. You may head south toward a foul-smelling 
  open area (126), or walk southeast past more graves, where 
  you glimpse an equestrian statue (59).
  
  10 • Red Crypt
  63 
  The door opens into a dingy side room: perhaps a 
  converted monk’s cell. You find a table, an unmade 
  bed, a washbasin, a few candles, and a chest. On the wall is 
  a framed woodcut. On the floor lies a dead man with a long 
  beard and a ragged wound in his torso. You can search the 
  room (53), open the chest (69), search the body (108), study 
  the woodcut (114), or return to the other room (48).
  64 
  Move everyone 3 hexes away from the Grim and 
  go to 150.
  65 
  You may examine the coffin the ghoul was opening 
  (98) or return to 117 and choose an exit.
  66 
  Zora says she ran into trouble after entering the 
  chapel. “Like a fool, I touched that skull altar,” she 
  explains. “Its eye sockets glowed, then two corpses stood up 
  off the floor and attacked me!” If any comrades preceded her, 
  she hopes they were less curious!
  Zora proposes teaming up to find her missing friends and 
  Hieronymus’ crypt. To accept, go to 159. To reject her, go to 
  132. To accuse Zora of being a Redcap, go to 115, or 57 to 
  outright attack.
  67 
  Welcome to the Playroom. You’ve entered a small 
  crypt where you hear mingled soft laughter and 
  sobs. Two ragged older children and one toddler squat around 
  a dollhouse, seated atop a broken coffin.
  You notice the older boy and girl’s canine jaws, pointed 
  ears, long, dirt-encrusted nails, and yellow eyes. Ghoul 
  children! The younger child appears to human; he has a dirty 
  face and wide, haunted eyes.
  They notice you and rise. “It’s meat from the surface,” 
  hisses the ghoul-girl. “Not yet ripe, for it still walks . . .” The 
  boy ghoul waves a doll. “Are you here to play with us?” he 
  lisps. “Or tell us a story?” His doll seems made from bones, 
  grave rags, and the severed head of a rat.
  To attack these ghoul-brats or try to rescue the human 
  child, go to the Catacombs map at 70; set up your own figures 
  in the appropriate N or S entry hexes, and proceed to 71. To 
  offer to talk or play with them, go to 136. To retreat, go to 11.
  56 
  The shadow-cat materializes! It licks the robed 
  corpse’s face, rubs against you, purrs, and vanishes. 
  You feel a lingering sense of satisfaction. Was this the ghost 
  of a wizard’s familiar, returning to save its master’s remains 
  from becoming ghoul-food? Gain the plot word MOON. 
  Return to 20.
  57 
  “The crypt of Hieronymus Morse? Nice story,” you 
  tell her. “But you look like a crazy Redcap to me!” 
  Go to 17 and fight; you have initiative on the first turn.
  58 
  It’s a half-eaten male body, doubtless removed from 
  a grave or burial pit. If you wish, you can take a holy 
  symbol (an ivory cross; $100) from the corpse. Return to 18.
  59 
  You stand on a low rise, among graves clustered 
  about a small mausoleum decorated with the statue 
  of a mounted knight. You can try entering the tomb (107), 
  or take a path southeast toward the cemetery’s east gate (8), 
  west toward a foul-smelling open area (126), north toward 
  the graveyard’s wall (50), or south toward a stone angel (77).
  60 
  The ghost’s flesh melts from her face, leaving a skull. 
  Her mouth and eye sockets spill out writhing grave 
  worms, and she reaches to embrace you with bony arms. A 
  mindless primeval terror overwhelms you, and you flee.
  After a minute or so of blind, panicked running, your heart 
  stops pounding. You regain control. But where are you? Roll 
  1d. On a 1-3, go to 6; on a 4-6, to 16. (Any allies remain 
  present, luckily having fled with you.)
  61 
  Besides their weapons, the ghouls had their dolls; 
  their dollhouse is too heavy to carry. A nest of filthy 
  rags fills one corner, beside a bucket of water and several 
  well-gnawed bones. Little Alfie regards you with wide, 
  frightened eyes. You can abandon him (11) or take him with 
  you (87). If you take the ghouls’ dolls (1/2 lb. each), record 
  96; check there if you have them appraised (or immediately, 
  if you have Assess Value talent).
  62 
  You want to talk; it wants to bite you. Go to 150 
  unless you have the plot word CALEB. If so, you 
  have a hunch and address it by that name. It barks twice, as 
  if acknowledging you, then vanishes; record the plot word 
  GRIM and go to 39.
  
  Red Crypt • 11
  Go to 61 if you win. If you lose, take comfort: your 
  ignominious demise fed hungry children! If you exit by either 
  door, before or after winning, note the direction you exited 
  and go to 11. If you carried off 
  the child, go to 87.
  Morphylla and Rictus
  Ghoul Children 
  ST 8, DX 12, IQ 7, MA 10 
  Talents: Brawling, Knife
  Weapon: Bare hands (1d-2, 
  always fighting dirty), dagger 
  (1d-1)
  72 
  You’re outside a small stone building near the 
  graveyard’s southwestern quarter. Its door is engraved 
  with a trumpet-blowing angel and a robed, scythe-wielding 
  Death. To enter, go to 29. Alternatively, go north toward a 
  stone angel (77), or east past rows of headstones (13).
  73 
  You find a fine broadsword (+1 DX), a phoenix 
  carved on its blade. Return to 100, but first, record 
  (but don’t go to) 121. The first time you hit a foe with the 
  sword or successfully cast Analyze Magic on it, check 121.
  74 
  You’re fighting Erictho in the Artist’s Crypt (see 
  Catacombs map at 70). If you came here from 23 or 
  40, you have initiative; otherwise roll it. Position yourself in 
  an N hex if you entered from the north, an S hex if from the 
  south, or at K if talking when the fight begins. Erictho starts 
  at U. Her table, at D, is merely an obstacle; it is too rickety 
  to stand on. She’s a wizard: in combat, she first casts Staff 
  to Snake to create an ally to flank or engage you, then Blur. 
  She’ll follow with Drop Weapon if you’re close and armed, 
  Magic Fist otherwise. If low on ST or engaged, she’ll use her 
  dagger. If you win, go to 2. If you fled, go to 30 if you left by 
  the south door or 16 if the north door.
  Erictho the Tomb Witch
  Ghoulish Wizard
  ST 12, DX 11, IQ 10, MA 10
  Talents: Knife, 
  Sculptor
  Spells: Blur, Drop 
  Weapon, Magic Fist, 
  Staff to Snake
  Weapons: See 
  below
  Magic Items: 
  Staff; Enchanted 
  silver dagger, +2 
  damage (1d+1)
  If you die, the 
  Tomb Witch will 
  use your remains 
  as art supplies for 
  her morbid bone-
  sculptures: it’s 
  immortality, of a 
  sort!
  68 
  You flee the crypt! The wight will pursue as far 
  as the stairs, then turn back as long as you aren’t 
  attacking it. If you lost any allies here, the wight uses 
  their blood to continue scribing its macabre thesis. If you 
  abandoned anyone incapacitated, the wight drains their life 
  and kills them. Go to 124.
  69 
  It’s not locked. You find old clothes, a needle and 
  thread, a prayer book ($20), and a whiskey flask 
  ($10). Take what you wish; return to 63.
  70 
  This is a composite map for the Playroom (71), 
  Warren (117), Burnt Crypt (10), Bone Crypt (18), 
  and Artist’s Crypt (74). Use the letter codes to place figures 
  or objects as instructed in the paragraph you arrived from 
  (ignoring others), then return there to resolve the fight.
  CATACOMBS MAP
  71 
  The two ghoul children shriek like banshees and 
  draw bone-hilted daggers from their ragged shifts, 
  ready to defend themselves and their human plaything.
  Refer to the Catacombs Map at 70. The ghoul-spawn are 
  at B and G, the toddler at K. The dollhouse, at D, blocks 
  movement and is cover (until destroyed: ST 10).
  If you attacked immediately, position yourself in the north 
  or south entry hexes based on your entry to the playroom (see 
  67). If you were playing or talking with them before a fight 
  occurred, start at U.
  The ghouls fight to the death or until you retreat from their 
  playroom. The human boy just hides beside the dollhouse. To 
  snatch him up is like picking up a dropped weapon (you must 
  have a free hand).
  
  12 • Red Crypt
  84 
  Zora’s eyes harden. “So you’re after Smoke, are 
  you? Sorry, but this is too important. I can’t let you 
  live.” She attacks! Use the map at 148. Place yourself at R 
  with Zora in one of your front hexes; fight to the death. She 
  has Initiative on the first turn. If you win, go to 19.
  85 
  “Surface dwellers, prying into our secret places!” 
  she giggles madly. “You know too much, now. It 
  would be wrong to let you get away, wouldn’t it?” She raises 
  her staff. Go to 74; she gets a free surprise turn to act.
  86 
  You find eight dead rats, glass shards, and a red cloth 
  cap. The rats were poisoned; a faint whiff of bitter 
  almonds lingers. There’s also a body and a couple of large 
  burial urns in a niche on the west side, several yards from the 
  dead rats. You can examine the urns (10) or the body (27), or 
  leave (151).
  87 
  The child, named Alfie, stops crying, grateful to be 
  free of the scary ghouls. He wants to go home to his 
  parents’ farm. He becomes your companion; try to keep him 
  from harm! (He has ST 5, DX 10, IQ 7, MA 8, and will wield 
  a dagger, without skill, if given one). Record the plot word 
  KID; erase it if he’s killed or abandoned. Go to 11.
  88 
  You are in the Skull Chapel. Its walls are lined 
  with thousands of skulls and bones, rearranged into 
  strangely beautiful patterns: crosses, spirals, and religious 
  frescos! On the far side of the room is an ornate bone altar 
  and tau cross, upon which are fixed more skulls. The floor is 
  bloodstained, littered with bone debris and viscera.
  If this is your first visit here, a fight rages! Two armed 
  zombies duel a red-haired woman; she faces north, the 
  zombies south. She’s in a long leather coat and fights 
  desperately with saber and dagger, but blood drips from cuts 
  in her arm and side. The zombies are moving to flank her. 
  “Help me!” the swordswoman cries, “I’m Zora!” You may 
  join the fight (148), wait and see what happens (41), or retreat 
  and shut the door (75). If you picked retreat, then return later, 
  the fight may be over: go to 106 instead.
  89 
  You are in a narrow tunnel. Take the door to the south 
  (67, N entry) or head northeast to an intersection (6).
  90 
  The sense of presence fades. Go to 44.
  91 
  Your attempt fails. Go to 97.
  92 
  The angel overlooks a headstone, inscription worn 
  away, decorated with an engraved wyvern drinking 
  from a cup. Maybe the innkeeper’s kin are buried here? Go 
  to 77.
  93 
  You’re in a narrow tunnel. Go southeast and through 
  a door (117, N entry) or head north, where the tunnel 
  widens (52).
  75 
  You’re in a north-south tunnel. Head north through 
  a door (88, S entry) or south to an intersection (130).
  76 
  You feel a familiar sense of presence. Recalling 
  the ghost’s skull you bear, you unwrap it, placing 
  it beside the knight’s corpse. The ghostly woman reappears, 
  but instead of cold or fear, she radiates joy! “My skull now 
  rests beside my beloved knight,” she whispers. Her icy lips 
  brush your hand. “Thank you! But you deserve a gift, as well. 
  Found you my knight’s sword? Its secret name was Logi. 
  May it aid you versus death and darkness, as you aided me.” 
  The ghost embraces the fallen knight – and fades away! If 
  you take, or already have, the knight’s broadsword, record 
  the plot word LOGI. Go to 59.
  77 
  You stand before a marble statue of a weeping angel. 
  You can walk south toward a stone building (72), 
  take a path west through the graves toward an open area 
  (137), go north toward a foul-smelling pit (126), northeast 
  toward a mausoleum topped by an equestrian statue (59), or 
  examine the grave under the statue (92).
  78 
  The corpse is a male human, 50-ish, shot in the back 
  with an arquebus ball. You estimate he died shortly 
  before you first entered the graveyard. Return to 63.
  79 
  Your attacks pass harmlessly through her. Looking 
  peeved, she vanishes. Return to 35.
  80 
  All the skulls on the walls scream and explode! 
  All zombies fall over; everyone else rolls 3/DX to 
  avoid 1d-1 damage from bone fragments. If you survive,  
  go to 45.
  81 
  It weighs 2 lbs.; stash it in a pack or sack, record the 
  plot word LOVE, and go to 35.
  82 
  If you have Climbing or Acrobatics talent, or can fly, 
  you succeed automatically; otherwise roll 3/DX. If 
  successful, go to 50. If you failed, fall for 1d damage; should 
  you survive, try again or return to 109.
  83 
  You can take this narrow tunnel north toward 
  an intersection (103) or south toward a stairway  
  up (12).
  
  Red Crypt • 13
  “You worms would disturb my work? After years and 
  years, beyond life and death, when I’m nearly finished?” His 
  eyes burn like red coals, and he screams: “I just need more 
  red ink!”
  He wrenches the axe out of the corpse and attacks!
  Use the Red Crypt map below. The wight starts at H. You 
  start in any starred hex adjacent the door D. The slab with the 
  corpse is at B and counts as a fallen body.
  RED CRYPT MAP
  If you destroy the wight, go to 164. If you try to flee, go 
  to 68.
  Hieronymus Morse
  Wight and Mad Scientist
  ST 15, DX 11, IQ 16, MA 10
  Talents: Axe/Mace, Chemist, Literacy, Mathematician, 
  Master Mechanician, Mechanician, Scholar
  Weapon: Battle axe (3d)
  Special Abilities/Weaknesses:
  • Only harmed by magic weapons or missile spells
  • Has innate Mage Sight
  100 
  Inside the sarcophagus lies a big human skeleton, 
  clad in a shroud. A fine broadsword rests on his 
  breast. If you have the plot word LOVE, go to 76. Otherwise, 
  if you examine the sword, go to 73. If you leave, go to 59.
  101 
  The niches contain moldering human bones . . . 
  but very few skulls. Go back to 18 and pick 
  another option.
  94 
  You’re in the cemetery’s southeastern quarter. You 
  pass rows of headstones. None stand out: death is the 
  great leveler. You can go northeast toward more headstones 
  in the direction of the cemetery gate (13), south toward an 
  area of oddly shaped headstones near the southern wall (44), 
  or west toward some fresh graves (46) beyond which you 
  glimpse a stone building.
  95 
  You are in a north-south tunnel, with doors at either 
  end. You can take the door to the north (18, S entry) 
  or the door to the south (151, N entry).
  96 
  They’re worth $100 each to a collector. Return where 
  you came from (61, if you assessed immediately).
  97 
  The ghost speaks in a mournful whisper, like leaves 
  in the wind: “He was my knight, and I was but a 
  serving maid, but we loved each other true,” she whispers. 
  “But he fell ill and died, and his kin cast me out. They kept 
  me from his funeral. I could not say goodbye. I have nowhere 
  to go. It is cold. I am hungry. I miss him so . . .”
  She drifts toward and through you; a sudden chill and then 
  she’s gone. Her skull still radiates an unnatural cold. You can 
  leave it behind (35), destroy it (123), or take it (81).
  98 
  The ghoul broke the lock; it opens easily. Go to 20.
  99 
  The gruesome figure turns to face you, revealing his 
  half-skeletal face framed with scraggly red hair and 
  blazing crimson eyes. It is Dr. Hieronymus Morse, returned 
  as an undead wight! Blood drips from his crusted fingernails, 
  and his voice is a raspy croak:
  
  14 • Red Crypt
  During the fight, a figure adjacent D (the tomb gate) can 
  shut the stuck tomb gate on a 4/ST roll; each attempt requires 
  a Ready action. If any bats are trapped on the other side, 
  resume the fight only if you open it.
  If you’re inside the tomb and have killed all the bats there, 
  you can explore the tomb (9) or leave (59).
  Should you run outside, the bats follow. If you run past the 
  northern entry hexes, you’ve lost them (go to 59).
  108 
  Roll 4/IQ (2/IQ if you have Detect Traps talent). 
  If you fail, you hear a click: the body was 
  boobytrapped with a gas bomb with a mechanical trigger! 
  Roll 4/DX (3/DX if you have Detect Traps) to jump away; 
  otherwise, you (and any allies) breathe poison gas, taking 2d 
  hits.
  If you spotted this trap in time, you can leave it or try to 
  disarm it. To do so, roll 6/DX (3/DX if you have Remove 
  Traps or Mechanician talent). Success gives you an intact 
  Simple Poison gas bomb that you can add to your equipment 
  ($120; see ITL, p. 146). Failure detonates it, poisoning you 
  as above!
  Whoever planted the bomb stripped the corpse of 
  valuables. Go to 78 if you’re a Physicker or Master Physicker; 
  otherwise, go to 63.
  109 
  The area outside the cemetery walls is overgrown 
  with ancient yew trees and rosemary bushes. 
  After struggling through the bushes, you discover a tree that 
  overhangs the cemetery’s north wall. You may try climbing it 
  to get over the wall and enter the graveyard there (82), or trek 
  back to the cemetery’s east gate (4).
  110 
  Amid rat droppings and gnawed human remains 
  you find a jewel ($500), a silver dagger, and a red 
  cap. Return to 52.
  111 
  You recognize the butchered corpse: Jack Smoke. 
  He reached his goal, only to fall victim to the 
  undead doctor’s bloody axe. On his corpse is an arquebus 
  (broken) and a pouch with paper, pen, and ink. 
  With Smoke dead, your quest is over – if you can retrace 
  your steps and get out of the graveyard alive! To earn the 
  bounty, you’ll need to return his body (150 lbs.) or just the 
  head (messy, but only 10 lbs.) as proof. If you bring either, 
  record the plot word SMOKE.
  If Zora is with you, she approaches the body – read 129 
  before you decide what you will do. Once you decide what 
  to do, if Zora is with you, go to 129. Otherwise, go to 164.
  112 
  You are beside a common burial pit, mostly 
  covered by sod; nothing here but the smell of 
  old death! Go east toward an equestrian statue (59) or west 
  toward older graves (141), or south toward a stone angel (77).
  113 
  It’s a Church Grim: a spectral guardian created 
  by burying a loyal hound alive under a chapel or 
  church. They are said to protect the sanctity of recent burials. 
  They can’t be reasoned with; their eyes can freeze a man’s 
  soul. If slain, they return the next day unless the original 
  bones are found. Return to 128.
  102 
  If its wielder knows its true name, on mental 
  command it becomes a Flaming Weapon. It 
  illuminates like a torch and does +3 damage. Return where 
  you came from.
  103 
  You are at the north intersection, where three 
  tunnels meet. You can follow a passage to the 
  south (83), southeast (32), or southwest (140).
  104 
  You’re atop a flight of stairs, which descend 30 
  feet. You may take them down (124) or return to 
  the skull chapel (116).
  105 
  Your search uncovers a false wall panel. Pry it 
  open (139) or return to 48.
  106 
  You now face three zombies . . . Zora’s become 
  undead, too! Go to 148 and fight, but position 
  your foes in the 3 hexes south of A (the altar), facing south; as 
  a Zombie, Zora’s at her full ST 10, but IQ N/A and no talent 
  except for her weapon.
  107 
  With effort, you pry open the tomb’s rusty gate. 
  As you enter, there is a rush of wings. A flock of 
  vampire bats swoop down, thirsting for blood!
  You face six vampire bats (see p. 5) in the Knight’s Tomb 
  map (below).
  Set up in the tomb in any clear hex adjacent E or D. K is a 
  sarcophagus (3 MP to move through). There are two bats in 
  each of the southernmost starred entry hexes.)
  KNIGHT’S TOMB
  
  Red Crypt • 15
  If you are slain, the chuckling ghouls get to work. After 
  trying a few sample bits, they’ll leave your corpse to rot for a 
  few days until it is nice and tasty.
  118 
  You can take this tunnel southeast toward an 
  intersection (130), or go north through a door 
  (47, S entry).
  119 
  You are in the Artist’s Crypt, a rough-walled 
  tomb with doors north and south. A figure in a 
  hooded robe uses a coffin lid as a workbench, whittling a doll 
  out of a shard of bone. Yellow eyes gleam from under a cowl, 
  revealing a half-glimpsed hideous face, the rest mercifully 
  hidden. Whether this creature is a ghoul, degenerate human, 
  or some blasphemous hybrid, perhaps not even she can say.
  You can retreat out the door you entered from (16 if N 
  entry, 30 if S entry), talk to the artist (55), or fight. If you 
  fight, remember which side you entered and go to 74.
  120 
  The bloody writing appears to be a series of 
  mathematical equations relevant to Gate spells! 
  You try to copy it down; record plot word MATH. If you 
  have Mathematics talent, go to 157. Otherwise, return to 133; 
  you’ll need to hire a mathematician to understand them.
  121 
  The broadsword is enchanted: +2 damage. 
  Return where you came from. Exception: if you 
  have the plot word LOGI, first go to 102.
  122 
  Behind it you find a niche! Inside is a leather-
  bound book. It’s illuminated with images of 
  cemeteries, skulls, plague pits, and lean, crouching things 
  moving among graves. If you have Literacy, and take 15 
  minutes to read it, go to 165. (Otherwise, note plot word 
  BOOK; erase it if you lose the book; check 165 if you find 
  someone with Literacy to read it.) After you’ve found the 
  book and either read it, or kept it for later, go to 63.
  123 
  The ghost won’t reappear. Go to 35.
  124 
  You are in a foyer. To the north is a heavy wood 
  door engraved with an owl. You can opt to open 
  it and enter (145) or go back upstairs (104).
  125 
  In a small box, you discover a mummified cat 
  paw and a collar with a silver bell marked with a 
  crescent. (If you take it, record the plot word CAT.) Leave the 
  pet cemetery and go to 94.
  126 
  You are beside the Common Pit, filled with 
  rotting corpses, likely local paupers. A horrific 
  stench assails your nostrils. If you’ve been here before, go 
  to 112. If this is the first time here, you spot a furtive figure 
  dragging a body out of the pit. You can approach them (147), 
  attack (51), or hide and let them go (112).
  127 
  The zombies turn to face you. With the swords-
  woman dead, you fight them alone. Go to 149.
  114 
  It’s a crude woodcut (weighs 2 lbs.) of a danse 
  macabre: skeletons at a ball, dancing to an 
  undead orchestra’s tune. Is it worth anything? You don’t 
  think so, but if you have Recognize or Assess Value talent, go 
  to 138. If you take it anyway, go to 122; otherwise, go to 63.
  115 
  “Your sort never understand!” she says. 
  “Sacrifices must be made for the people’s sake!” 
  Mind made up, she attacks you. Go to 17.
  116 
  You can search the skull chapel (38) or exit via 
  the south door (75).
  117 
  You are in the Warren, a cramped, pungent-
  smelling crypt with doors on either side.
  A hideous, half-naked humanoid squats beside an open 
  sarcophagus, slurping water from a cup made of a skull. A 
  second ghoul claws at a wooden coffin, attempting to force it 
  open to get whatever delicacy lies within. Upon seeing you, 
  these ghouls howl like rabid dogs and attack barehanded!
  Refer to the Catacombs Map at 70. You set up in the 
  appropriate entry hexes (N or S). The ghouls are at G and K; 
  the sarcophagus is at D.
  If you kill them, go to 65. If you escape the room, or exit 
  after killing them, go to 6 if you took the south door or 93 if 
  the north door.
  Ghouls
  Fiendish Feasters
  ST 14, DX 10, IQ 8, MA 10
  Talent: Brawling 
  Weapon: Bare hands (1d+1, 
  always fighting dirty)
  
  16 • Red Crypt
  132 
  “I see,” says Zora. “I’m not sure if I can go 
  farther on my own. I’ll try to find my way back 
  to the surface.” You leave her to her own devices; go to 116.
  133 
  The crypt’s walls are covered with line after line 
  of bloody symbols, diagrams, and equations. 
  (If Zora’s with you, first go to 144.) If neither you nor a 
  companion has Literacy, they make no sense; return to 164. 
  Otherwise, spend half an hour studying and copying them, 
  and roll 1d: on a 1-2, go to 154; on a 3-4, to 161; on a 5-6, 
  to 120.
  134 
  It was ready for that and chases you! Go to 150. 
  It has initiative.
  135 
  You see a ghostly apparition: a shadow of a cat. 
  Before you react, it vanishes into the ground. 
  Examining the spot where it disappeared, you see a small 
  stone marker, too faded to read, engraved with a cat face and 
  a crescent moon. You can dig it up (125) or leave the pet 
  cemetery (94).
  136 
  You play with the children to gain their confi-
  dence. They show off their dolls and dollhouse, 
  saying that “a witch made them for us.” Their artless chat-
  ter hints at an extended ghoul family who scavenge the cat-
  acombs. They warn it’s dangerous to play in the southern 
  tunnels due to “nasty meat that won’t stay dead.” They give 
  their names as Rictus (boy ghoul) and Morphylla (girl ghoul); 
  the toddler is Alfie, who sniffles that he misses his mother. 
  “Didn’t we have her for supper?” teases Morphylla, nipping 
  playfully at him. “You’re ours now!” If you decide to grab the 
  toddler and leave, or to rid the world of these ghoul-children 
  before they grow up, go to 71. To peacefully take your leave 
  of all three children, go to 11.
  137 
  You take a shortcut across a grassy field where 
  you see scattered skeletal parts on the ground. 
  Perhaps you’re walking over an old mass grave? You can 
  head northeast across this open area (141), or go east toward 
  a stone angel (77).
  138 
  Crude work, maybe worth $20. Return to 114.
  139 
  You find a tiny space holding a dog skeleton. It 
  wears a collar: the bones turn to dust when you 
  take it. If you have Literacy, go to 131; otherwise, 48.
  140 
  You’re in a narrow tunnel. Go through the door 
  on the southwest end (52, N entry), or take the 
  intersection to the northeast (103).
  141 
  Walking across open ground, you notice bones 
  peeking out of the ground; an old, covered burial 
  pit may lie below. You can head southwest toward a clearing 
  (137), or northeast, where a foul odor wafts (126).
  128 
  From behind a grave marker, a huge black 
  dog with fiery red eyes emerges, growling 
  menacingly!
  Roll 4/IQ (3/IQ if you have Scholar talent); if you succeed, 
  go to 113, then return here.
  Set up on the Graveyard Map (below). G is the fresh grave. 
  The headstones shown cost an extra hex of movement to 
  enter and provide cover against missiles.
  You start anywhere within 3 hexes of G. Place the dog in 
  any north or south entry hex (roll randomly).
  You can try to make friends (62), back slowly away (64), 
  flee (134), or fight it (150).
  GRAVEYARD MAP
  129 
  She mourns Smoke’s death, closing his eyes. “A 
  true comrade,” she says. “He gave his life for the 
  cause of science.” So Smoke was Zora’s patron, which you 
  probably guessed.
  If you’d rather keep Zora as an ally, you can avoid 
  mentioning your hunt for Smoke, erase the plot word 
  SMOKE, and leave the Redcap’s body here. You’ll give up 
  the bounty, but preserve her friendship. Go back to 164.
  If you think she’s outlived her usefulness, you can attack 
  her, too. If so, resume combat on the Red Crypt map where 
  you ended fighting the wight, but now it’s you versus Zora. 
  You get a free turn to act: she’s surprised. If you win, erase 
  the plot word ZORA, loot her body (see 148), and go to 111.
  130 
  You are at the southern intersection. Tunnels run 
  northwest (118), north (75), and northeast (30).
  131 
  It has Caleb written on it. Record the plot word 
  CALEB and return to 48.
  
  Red Crypt • 17
  148 
  You’re in the Skull Chapel (see map below).
  SKULL CHAPEL MAP
  If you joined the fight immediately, Zora is at R; a zombie 
  swordsman is at Z. A mace-wielding zombie is at Y, where it 
  was moving to flank Zora, but will instead charge you. The 
  skull-altar is at A. If you came here from 106 or 149, adjust 
  placement as indicated.
  The zombies attack you. If Zora is still alive, they’ll also 
  fight her. If you turn against Zora it becomes a three-way 
  battle as she fights whoever is nearest her. Zora won’t retreat; 
  she’s determined to slay her foes. 
  If, during the fight, any non-Zombie is dead or dying (0 ST 
  or less), one turn later go to 156.
  Should you retreat out the south door, go to 31. (But don’t 
  split the party; if any allies or companions are left behind, 
  fight on until they win, die, or retreat as well.)
  If you wish, you can attack the skull-altar (treat as a prone 
  foe). After inflicting 20+ cumulative hits (excluding arrows), 
  roll 1d. On a 1-3, go to 80; on a 4+, go to 45.
  If all zombies are slain, go to 19 if you survived but Zora 
  did not. If both you and Zora survive, go to 34 if you have the 
  plot word FREE, or 163 if you don’t.
  Zora
  Fighting Archaeologist
  ST 10 (7), DX 12 (10), IQ 13, MA 10 (8)
  Talents: Chemist, Literacy, Mathematics, Scribe, Sword, 
  Two Weapons, Writing
  Weapons: Dagger (1d), saber (2d-2)
  Armor: Leather stops 2 hits/attack
  Equipment: Labyrinth kit, lantern and oil, notebook and pen
  Magic Item: Dagger (+1 damage)
   
  142 
  Follow this tunnel northeast and through a door 
  (67, S entry), or south, and through a door (47, 
  N entry).
  143 
  In an alcove in one corner, you notice a small 
  fireplace, a table with a rat on a stick, a salted 
  rabbit, a water barrel, and a stool. Shovels, a pick, and rakes 
  are propped in one corner. Roll 5/IQ (3/IQ if you have 
  Architect/Builder talent). If you fail, go to 48 (you can’t 
  search again). If you succeed, go to 105.
  144 
  Despite her injuries, Zora is elated. “The last 
  writings of Hieronymus Morse – a man so 
  dedicated to science, he continued his research beyond the 
  grave!” she enthuses. “But what does it mean?” Perhaps her 
  talents (see 148) or yours can figure it out; go to 133.
  145 
  You are in the Red Crypt, a chamber lit by a 
  candle placed in a human skull. On one side 
  of the crypt, a tall, powerfully built old man with a long 
  beard, dressed only in a stained burial shroud, is mumbling 
  to himself, scribbling on the crypt’s wall – in blood! His 
  ghastly inkpot: a freshly butchered man splayed on top of a 
  sarcophagus, an axe buried in his ribcage. You may retreat 
  out the door (124), talk to him (152), or attack (99).
  146 
  Alfie helps you find his parents’ farm, on the 
  outskirts of nearby Thorvald. A happily-barking 
  dog and two joyful parents greet you, offering profuse thanks. 
  Alfie wandered off while playing one evening; they feared 
  he’d been taken by wolves! You’re the guest of honor at a 
  hearty celebratory feast. His mother promises to name their 
  next child after you. Return to 166.
  147 
  It is a furtive man clad in black, equipped with 
  pick and shovel, a corpse over his shoulder.
  “Be off,” he shouts. “This is my territory!” You can obey 
  and retreat (112), talk with him (54), attack (14), or try to run 
  him off (22).
  
  18 • Red Crypt
  151 
  You’re in the Burned Crypt. There are several 
  niches filled with cobwebs and bones, and dead 
  rats. There are signs of a struggle on the floor and an odd 
  bitter-almond smell in the air. You can search the crypt (86) or 
  leave via the north door (95), or take a tunnel to the southwest 
  that leads to an intersection (6).
  152 
  “No speaking in class!” he shouts. Go to 99.
  153 
  “Come or go, as ye will. You’ll be worm-food 
  soon enough.” Take the south door (30) or north 
  door (16).
  154 
  It is the near-complete plans for a gunpowder 
  weapon: “the Great Organ Gun.” It has 10 
  wrought-iron bombard barrels mounted so a single gunner 
  can fire up to two per turn; you need Engineer talent to fire 
  without a -4 DX penalty. Each barrel fires like an arquebus, 
  except every shot requires 10 charges of gunpowder and 
  each hit inflicts 8d+8 damage. Each barrel takes a man 24 
  turns to reload. It weighs 400 lbs. and must be mounted on 
  a wall, ship, or wagon to use. Record the plot word BANG. 
  Construction requires a Master Mechanician, 10 weeks, and 
  $40,000 in parts. You could sell the plans for $20,000 to the 
  Mechanicians’ Guild (or the Redcaps . . .). Go to 164.
  155 
  This is the formula for a completely new potion! 
  The notes suggest these properties:
  Alertness Potion: You become hyper-alert, gaining the 
  Alertness talent (if you don’t have it) for four hours, but 
  suffering -1 DX (jitters!) during that same period. Requires 
  two bare owl eggs ($50 each), $54 in common ingredients, 
  and 3 weeks. Costs $250.
   You can give away this formula, keep it secret, sell it, etc. 
  Redcaps would like it (to fund their activities), as would many 
  chemists; the Chemists’ Guild will offer at least $20,000 and 
  start selling it in 2d months. 
  Go to 166 if you’re outside and hired a Chemist to tell you 
  this, or 164 if you figured it out in the Red Crypt.
  156 
  If you have the plot word FREE, nothing 
  happens. Otherwise, whenever any living being 
  in the chapel is dead or dying (0 ST or less), the eye sockets 
  of every skull adorning the chapel glow red! That being then 
  reanimates next turn as a zombie (going back to their unhurt 
  ST but having IQ N/A and no talents/spells). It will stand, 
  pick up a dropped weapon, and then fight the living. Return 
  to 148 to continue the fight!
  157 
  It all makes sense! The equations unify esoteric 
  elements of mathematics and magic, explaining 
  how to make magical Gates stable rather than prone to 
  periodic collapse. Can such a thing be, or was Hieronymus 
  off his rocker? Who knows? He was a theoretician, not a 
  magician!
  Zombie Maceman (at Y)
  ST 12, DX 10, IQ 0, MA 10
  Weapon: Mace (2d-1)
  Armor: Small shield stops 1 hit/attack
  Zombie Swordsman (at Z)
  ST 12 (9)*, DX 10, IQ 0, MA 10
  Weapon: Broadsword (2d)
  Armor: Small Shield
  149 
  The zombies attack you! See 148 for map and 
  their stats, except Zora is dying in hex R, and on 
  the fight’s second turn refer to 156.
  150 
  You are fighting the Grim. It tries to kill you. 
  Play out the battle as set up in 128.
  If you run off the south entry side of the map, go to 94. 
  If you run off the north entry side, go to 72. If you defeat it, 
  record plot word GRIM and go to 39.
  The Grim
  Spectral Dog
  ST 16, DX 12, IQ 6, MA 12
  Attacks and damage: Bite (2d)
  Armor: Fur stops 1 hit/attack
  Special Abilities/Weaknesses:
  • Returns 24 hours later if slain • Mage Sight (always on)
  • Can use Stop spell (4 ST)
  • Can’t leave graveyard
  
  Red Crypt • 19
  After you have settled such affairs, Zora may be interested 
  in continuing to adventure with you. With her scholarly 
  talents and contacts, she would be eager to share in exploiting 
  any discoveries you made, especially if doing so seemed to 
  better the cause of science or the common weal. Afterward, 
  perhaps she’ll try and enlist you in another quest in the name 
  of science? Maybe her academic friends have uncovered 
  rumors of a mysterious Mnoren artifact that might fall into 
  the wrong hands (though Zora’s definition of “wrong” might 
  or might not be the same as yours) . . .
  Return to 166.
  161 
  The madman’s scribbles describe an original 
  potion formula, which you record. Add the plot 
  word ELIXIR. Go to 155 if your party has Chemist talent. 
  Otherwise, you write down the formula; when you get back 
  to town, you can consult with a Chemist; go to 164.
  162 
  You present the Redcap’s remains to the local 
  baron, who congratulates you for bringing the 
  outlaw Jack Smoke to justice. You’re awarded a fat purse of 
  $1,000. His head is displayed on a pike on the castle wall, as 
  a warning to other revolutionaries.
  The baron invites you to sup with him and his advisors, 
  and encourages you to tell the story of your adventures in the 
  graveyard. (You may discreetly edit them, should you wish to 
  keep any discoveries you made to yourself!) 
  They shudder at the tales of the creatures you faced 
  below. Present at the repast is the baron’s priest, a young and 
  dedicated servant of the faith. While pleased that justice was 
  served and the murderous Jack Smoke met his demise, he is 
  more concerned with your reports of ghouls and other horrors 
  lurking in the graveyard. He applauds your struggle against 
  these evils, but speaks passionately of the need to protect 
  the sanctity of the dead, and urges the baron to take decisive 
  action.
  A wizard reading these equations who knows the Gate 
  spell could test Hieronymus’ radical theories, researching a 
  spell to cast a variant Gate. The final spell would cost five 
  times the usual energy and the caster or an assistant needs 
  to be a Mathematician. Success creates a metastable Gate: 
  it never fails from repeated passage. This secret would be 
  invaluable to wizards, rulers, merchants, and so on: at least 
  $50,000 (or your life . . .). Redcaps would suppress it, to 
  avoid strengthening their wizard foes! Return to 164 if you 
  discovered this yourself in the Red Crypt or 166 if you 
  consulted a Mathematician.
  158 
  You recognize a lingering scent of gunpowder in 
  the air. Return to 47.
  159 
  “Yes, let us work together to uncover the secrets 
  of the great Dr. Morse!” Zora says earnestly. “We 
  can share our discoveries!” Unfortunately, she is lost, and 
  stumped as to what to do next, but will heed your advice. She 
  joins you as a companion; add the plot word ZORA. (If she’s 
  killed or abandoned, erase it.) Go to 116.
  160 
  You discreetly quiz Zora and discover she had 
  no knowledge of Smoke’s atrocities. She knew 
  he was devoted to the cause, but hadn’t realized what he was 
  capable of. It makes her question her own loyalties.
  You also get the impression the young archaeologist hopes 
  she has shown you not all Redcaps are scoundrels!
  If you witnessed Smoke’s demise, but opted to leave his 
  remains in the labyrinth to avoid offending Zora, you may 
  still inform the local authorities that Smoke will trouble them 
  no more. With Zora’s cooperation, you can provide enough 
  collaborative details to be convincing: the local sheriff is 
  relieved at your testimony, and while no concrete reward is 
  offered, he makes it clear the baron will be well-disposed to 
  you in future. (Treat this as a +1 reaction bonus the next few 
  times you deal with local authority figures, or once if you 
  happen to be a criminal suspect.)
  
  20 • Red Crypt
  163 
  Zora smiles at you, picks up a zombie’s mace 
  and smashes the bone altar! “Most unscientific,” 
  she says. “But satisfying.” Record plot word FREE; go to 34.
  164 
  You have ended the tormented existence of Dr. 
  Hieronymus Morse. He collapses into dust and 
  bones. Record plot word RED. You can examine his last 
  victim (111), study the bloody writing on the wall (133), or 
  leave the Red Crypt (124).
  165 
  It’s a chronicle left by the monks who maintained 
  the old cemetery. A few reported events stand out: 
  a sorceress and her familiar buried after defending Thorvald 
  from raiding orcs; a young knight’s burial party disrupted by 
  a ragged girl who claimed to be his mistress . . . then a great 
  plague devastates the region.
  Many monks die; proper rites are neglected for mass buri-
  als. The chapel falls into disrepair. The plague pits overflow; 
  rats and ghouls appear. Desperate countermeasures are tried – 
  a “rite of the black dog” is alluded to. Fewer respectable folk 
  want burial here; now it’s paupers, criminals, or eccentrics. 
  Among the latter is a “crazy old savant,” Hieronymus Morse, 
  dead of brain fever, interred in his family crypt.
  The last pages record how Father Cadfox, a monk 
  of extraordinary faith, attempted to restore the chapel. 
  Tormented by the hundreds of bodies dumped in the pits 
  without burial rites, he spent years gathering, cleaning, and 
  artistically arranging their skulls in an underground chapel, 
  hoping this would ensure their spirits could rest. 
  A dying Father Cadfox and a few remaining followers 
  found themselves besieged by ever-bolder rats and ghouls. 
  They completed his great “Skull Chapel” – Cadfox’s is the 
  last skull – but all is for naught! Brother Valtor, the final 
  chronicler, records his horrified realization that all their effort 
  achieved was to inadvertently create a vast necromantic 
  nexus beneath the church, concentrating the fear and horror 
  of the plague victims in one spot.
  “They rise!” are the scribe’s final frenzied scribbles: 
  “Trapped between the dead and the eaters of the dead, I hear 
  the scrabble of claws on the door, and the shrieking of mad, 
  dead things below! This altar will be our butcher block . . .” 
  That last page ends in a smear of blood.
  Record the plot word MONKS; return to your last 
  paragraph (e.g., 122 if reading the book upon discovery, or 
  166 after leaving the graveyard).
  166 
  You leave the sinister graveyard behind. If you’re 
  injured, you can recover at the village inn.
  If you acquired plot words, check them in this order: 
  BOOK (165), KID (146), ZORA (160), SMOKE (162), 
  MATH (157*), ELIXIR (155*).
  * Requires finding or hiring ($500) a Mathematician (157) 
  or Chemist (155).
  Recommended experience: 40 for each of these plot words 
  you end with (unless erased): LOGI, GRIM, RED, KID, 
  MOON, MONKS, FREE, or ZORA; 80 for SMOKE. If you 
  are using a GM, the GM may add some small experience for 
  foes killed, if that’s normal in your campaign.
  Moved by the priest’s words, the baron agrees that he cannot 
  tolerate this festering sore near one of his villages. While you 
  may have defeated some of the denizens, it sounds as if there 
  could be other undiscovered hidden tunnels, perhaps even an 
  entire warren of ghouls or other foul creatures infesting the 
  graveyard! That won’t do!
  He decides to dispatch a squad of soldiers under one of 
  his trusted sergeants to scour the graveyard, and also two 
  other nearby cemeteries within his realm, where reports of 
  mysterious disappearances and body snatchings have also 
  occurred. With your proven courage and experience, he asks 
  if you might join them? Of course, he will understand if you 
  have had enough of such stygian horrors to last a lifetime, 
  but if you would agree to lead the party, he can think of no 
  one better! He will be generous: this commission would 
  amount to a job equivalent to that of Army/Police Officer for 
  3-5 weeks, plus a bounty of $100 for every ghoul or undead 
  captured or eliminated. (If you are playing Red Crypt as part 
  of a campaign, the GM could develop this scenario into an 
  actual adventure.)
  Afterward, perhaps while you are thinking about the 
  baron’s offer, the priest takes you aside. He blesses you for 
  your struggle against the monsters, and then quietly inquires 
  if you can tell him anything further of the fate of the monks 
  who once maintained the cemetery. He believes they were 
  once of his order.
  He will be grateful for whatever you can tell him, but 
  should you possess the keyword BOOK, you can relate 
  what you learned within its pages, or allow him to view the 
  recovered chronicle itself.
  If so, the priest is saddened to learn the true fate that befell 
  his brethren, even as he admires their resolve in the face of 
  gathering evil. He will ask if the chronicle might be turned 
  over to him to show to his superiors in the order, and perhaps 
  display as a relic. If you agree, he will be in your debt. He 
  will give you a letter (or holy token) you can present at other 
  churches of his faith: a +2 reaction bonus if you ask a favor 
  from his order, such as sanctuary, healing, or the like. (In an 
  ongoing campaign, the GM can decide which religious order 
  it is, and what resources – physical, social, or magical – they 
  might have to offer).
  Return to 166.
  
  Red Crypt • 21
  READY-TO-GO ADVENTURERS
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Notes:
  22 • Red Crypt
  
  Check your favorite social media platform 
  for new members to add to your party!
  thefantasytrip.game/forums
  thefantasytrip.game/facebook
  thefantasytrip.game/discord
  #TheFantasyTrip
  Official Forum:
  Fantasy Trip on Discord:
  Fantasy Trip Facebook Group:
  There are communities for The Fantasy Trip 
  everywhere on the Internet. 
  Find inspiration for new adventures!
  Share your glorious deeds! 
  
  The Finest in 
  Roll Play
  dice.sjgames.com
  
  STEVE JACKSON GAMES
  STUCK FOR AN ADVENTURE? 
  NO PROBLEM.
  Warehouse 23 sells high-quality 
  game adventures and supplements 
  in print and PDF formats.
  l Free downloadable adventures for 
  GURPS and In Nomine!
  l Fun gaming accessories – shot glasses, 
  shirts, specialty six-siders, and more!
  l PDFs from Atlas Games, Amarillo Design
  Bureau, Goodman Games, and 
  many others – plus gems from 
  the up-and-comers.
  l Original material for Transhuman Space
  and new GURPS supplements from 
  Kenneth Hite, Phil Masters, David Pulver, 
  Sean Punch, and William Stoddard!
  l Fully searchable files of GURPS Fourth
  Edition supplements.
  l Digital editions of out-of-print classics, 
  from Orcslayer and the complete run of ADQ
  to GURPS China and GURPS Ice Age.
  l Buy boardgames and roleplaying PDFs in 
  the same order! Download digital purchases
  again whenever you need to. 
  warehouse23.com
  ®
  
SOURCE: textdata/thevault/Fantasy Trip, The (Steve Jackson Games)/The Fantasy Trip - Red Crypt.pdf