TEXT: 1
  
  2
  Credits
  Designer: Cat Evans
  Editor: Liz Gist
  Cover Art: Envato elements
  Interior Art: All licensed under CC0
  Layout: Cat Evans
  “Playing in Gothic Earth” taken from Oliver 
  Clegg’s excellent adventure Cliffhanger Abbey, 
  and reprinted here with permission. 
  Special thanks: Jay Griffiths & Noah Grand for 
  beta reading and insights; M. T. Black and the 
  aforementioned Oliver Clegg for turning Gothic 
  Earth loose on DMs Guild; Jay Hulme (@jayhul-
  mepoet on Twitter) for his thought provoking 
  threads on Victorian customs. 
  Thank you for downloading this adventure! I 
  hope it’s everything you want from a gothic hor-
  ror adventure and that you and your players en-
  joy it. If you do, please consider leaving a rating 
  or review, and looking up some more of our re-
  leases.
  If you want to talk, you can find me on Twitter as 
  @perpetualgloom
  DUNGEONS & DRAGONS, D&D, Wizards of the 
  Coast, Forgotten Realms, Ravenloft, the dragon 
  ampersand, and all other Wizards of the Coast 
  product names, and their respective logos are 
  trademarks of Wizards of the Coast in the USA 
  and other countries.
  This work contains material that is copyright 
  Wizards of the Coast and/or other authors. 
  Such material is used with permission under 
  the Community Content Agreement for Dungeon 
  Masters Guild.
  All other original material in this work is copy-
  right 2019 by Catherine Evans, published under 
  the Community Content Agreement for Dungeon 
  Masters Guild.
  Foreword
  The cover may have already tipped you off, but 
  this isn’t a standard D&D adventure. It’s set in 
  Gothic Earth, which parallels our own world at 
  the end of 19th century. The focus is on inves-
  tigating and unraveling a mystery rather than 
  fighting - though fighting is a definite possibility.
  Ghostly occurrences and tangled secrets are sto-
  ries Gothic Earth is made to tell, and if you’re 
  looking for something a little less high fantasy 
  and a little more creeping horror, I hope you’ll 
  enjoy The Ghostly Library. 
  
  3
  Contents
  Welcome to Gothic Earth  
   
   
  4
  Playing in Gothic Earth  
   
   
  5
  Back ground  
   
   
   
   
  7
  The Ghostly Library  
   
   
   
  8
  Appendix A: NPCs & Items  
   
  15
  Appendix B: Amended Spell List  
  16
  
  4
  Content Warnings
  This is a horror adventure. It deals with the 
  exploitation of the working-class poor, violence 
  against women, violation of the dead, and books 
  bound in human skin. I have tried to treat these 
  matters respectfully but if their presence will be 
  upsetting to you or any of your players, consider 
  playing a different module. Horror is enjoyable 
  only with consent. 
  While this is not a gory or ‘jump scare’ type of 
  horror – it has more in common with the ghost 
  stories of M.R. James – sensitive subjects and 
  scary situations require safety tools. If you are 
  unfamiliar with RPG safety tools, this article by 
  The Gauntlet is a great place to start: 
  https://www.gauntlet-rpg.com/tools-of-the-ta-
  ble.html
  Lethality in Gothic Earth
  Gothic Earth is dangerous. Characters are mere 
  mortals, and the threats they face are evil and 
  supernatural. Worse, the world is very much on 
  the monsters’ side. 
  In a traditional game of 5th edition Dungeons 
  & Dragons it is very hard for characters to die. 
  When they do, resurrection magic makes it a 
  temporary pitfall. Not so in Gothic Earth. Com-
  bat here is dangerous, injury traumatic, and the 
  chance of a mistake leading to permanent char-
  acter death is high. 
  Characters can negotiate The Ghostly Library 
  without a single fight, making level irrelevant. In 
  fact, it is suggested for relatively low-level char-
  acters so that they are inclined to do so. Should 
  they choose violence as their primary tool, they 
  are at serious risk of one or more fatalities. 
  Welcome to Gothic Earth
  
  5
  Playing in Gothic Earth
  What is Gothic Earth?
  Gothic Earth is a world much like ours, isolat-
  ed from all other planes by a mysterious dark 
  power. It is not, strictly speaking, a domain of 
  Ravenloft. Or, at least, scholars in the topic dif-
  fer on the matter. All that matters is that Gothic 
  Earth is a strange mirror of our own, laced with 
  dark monsters, evil magic and frozen in a period 
  of time that vaguely reflects the 1890s. Charac-
  ters are whisked away to and from Gothic Earth 
  just as they are to any other domain of Raven-
  loft, often to a bitter and unsatisfying end.
  Character Classes and Subclasses
  Gothic Earth attempts to evoke a Victorian, 
  gothic horror feel, but no classes or subclass-
  es are restricted. Instead, consider reflavouring 
  classes that may seem jarring to fit the aes-
  thetic your campaign is going for. For instance, 
  your Drunken Master monk, instead of being 
  influenced by eastern tropes,  might instead be 
  a drunken sailor with a sore head and enough 
  dumb luck to fool the devil. 
  Magic in Gothic Earth
  Gothic Earth resides in its own plane, isolated 
  from all others. No spell, not even a Wish spell, 
  allows one to escape. Astral Projection, Tele-
  port and all similar spells cast with the intent of 
  leaving Gothic Earth simply fail, as do all effects 
  that banish a creature to another plane of exist-
  ence, which instead spirit affected creatures to a 
  random location on Gothic Earth for their dura-
  tion. These restrictions apply to magic items and 
  artifacts. Magic that allows transit to the Border 
  Ethereal is the exception to this rule. A creature 
  that enters the Border Ethereal from Gothic 
  Earth is pulled back into Gothic Earth upon 
  leaving that plane.
  Magic is strange in Gothic Earth. Spells of fire 
  and thunder are far less common than curses 
  and augmentations. The world of Gothic Earth 
  shuns flashier displays of magic, tending instead 
  towards the subtle movements more easily dis-
  guised as coincidence or providence. Amended 
  spell lists for Spellcasting classes are provided 
  in the Appendices.  Creatures drawn into Goth-
  ic Earth from other worlds find they are unable 
  to remember or prepare spells not on this list 
  whilst on Gothic Earth. Any such spell inscribed 
  in spellbooks or onto a scroll appears as gibber-
  ish whilst on Gothic Earth.
  Firearms and Armour
  Firearms have been commonplace in Gothic 
  Earth for quite some time. Re-imagining cross-
  bows as pistols and rifles (while retaining their 
  in-game statistics) keeps play moving and avoids 
  learning a batch of new rules. However, fire-
  arms have one significant advantage over less 
  sophisticated ranged weapons: firearms ignore 
  non-magical armour. Dexterity, magic items, 
  and spells such as mage armor function normal-
  ly against firearms. 
  The Red Death
  Magic is wrong on Gothic Earth. Dreadful-
  ly wrong. In the ancient past, something evil 
  slipped through the cracks in reality in unknown 
  circumstances, and began to poison the leylines 
  of magic that criss cross the earth. Unopposed 
  for long years, it squats like a hideous spider 
  over the web of magic, and taints every spell 
  cast on the plane. Furthermore, it hungers for 
  the souls of magic users, seeking to corrupt 
  them and steal their delicious life essence for 
  itself. The shadow of the Red Death lies heavy on 
  Gothic Earth, and has caused the plane to take 
  on some unusual traits.
  
  6
  Dark Powers Checks
  Consider using Honor in your Ravenloft cam-
  paign as a way of determining the sway the 
  Dark Powers have over any character as a result 
  of their actions. Honor is a barometer for how 
  tightly the dark powers cling to any particular 
  soul. If creating new characters for a Ravenloft 
  campaign, you may allow characters to roll an 
  extra ability score/spend some of their points 
  on increasing their starting Honor score. See the 
  Dungeon Master’s Guide, Chapter 9: Dungeon 
  Master’s Workshop for rules on Honor. In Raven-
  loft, an Honor Saving throw is called a Dark 
  Powers check. 
  In Gothic Earth having a character make an 
  Honor saving throw when a character comes into 
  direct contact with magic, or uses it for their 
  own ends. Set the DC in accordance with how 
  likely you think the occurrence is to have drawn 
  the attention of the Red Death. On a failure, re-
  duce that character’s current Honor score by 1. 
  If the character’s Honor score ever falls below 
  half of their Spellcasting Ability score, they be-
  come an evil NPC under the Dungeon Master’s 
  Control and are removed from play. Characters 
  who do not utilise magic for their own ends need 
  not fear corruption by the Red Death, but they 
  may find themselves at its mercy without the Art 
  to protect them.
  Dark Supremacy
  In some places on Gothic Earth, where the in-
  fluence of monsters and magic lies most heavily, 
  mortal magic gutters in the face of true evil. No 
  regional or lair effect can be dismissed or coun-
  teracted by mortal magic. In addition, when a 
  spell is resisted by an evil creature’s Legendary 
  Resistance trait, the creature that cast the spell 
  must immediately make a Dark Powers check. 
  Parasitic Siphon
  The Red Death draws magic to it through ley-
  lines, disrupting magical spells as they are cast 
  and making it harder for spellcasters to safely 
  work their magic. When a creature attempts to 
  cast a spell of 1st level or higher, that creature 
  must succeed on a Spellcasting Ability check 
  equal to 10+ the level of the spell being cast. On 
  a failed check, the spell fails to cast and both the 
  action and the spell slot used to cast the spell 
  are wasted. If a creature ever rolls a 1 on this 
  check, the spell backfires in a spectacular man-
  ner determined by the Dungeon Master. 
  As if this were not enough, the casting time of 
  every spell is increased to represent the difficul-
  ty of working magic on Gothic Earth. The usu-
  al rules for casting spells over several rounds 
  apply. 
  Listed Casting Time
  Gothic Earth Casting Time
  Reaction
  Reaction
  1 bonus action
  1 action
  1 action
  2 actions
  1 minute
  10 minutes
  10 minutes
  1 hour
  1 hour
  8 hours
  8 hours
  24 hours
  24 hours
  24 hours
  See the Appendix for amended spell lists for 
  magic users in Gothic Earth.
  
  7
  Back ground
  Dr. Henry Fitzroy is a genteel man of science liv-
  ing in the relatively green and pleasant suburbs 
  of London. Polite to his neighbours and a gener-
  ous philanthropist, he has spent his time since 
  graduating from the University of Cambridge 
  researching diseases of the respiratory system 
  in factory workers of the East End of London. 
  He runs a free medical clinic in the slums of 
  Bethnal Green, is happily married, and is by all 
  accounts a reasonably good man. 
  He also has a small but growing collection of 
  books lovingly bound in human skin. 
  Henry dissects a number of cadavers in the 
  course of his research, and has come to un-
  derstand that they are not just useful objects 
  of study but also pieces of art. The skin of a 
  young woman’s back, in particular, he consid-
  ers a thing of beauty. And so he uses them to 
  bind some of his most precious books. Research 
  notes, favourite novels or scientific texts… even 
  in one case, a book of highly illicit pornography. 
  The rightful owners of these book-bindings, the 
  East End women from whose corpses they were 
  taken, are increasingly displeased by this. Indi-
  vidually, their spirits are not particularly pow-
  erful; in their ever-growing numbers, they have 
  become able to act. By temporarily possessing 
  Henry’s associates – his wife, his friends, his 
  neighbours, even passing ruffians in the street – 
  they are making his life miserable. 
  Henry believes himself to be cursed, and has 
  called in a group of experts to help remedy his 
  situation. Enter the player characters… 
  Dramatis Personae
  Dr Henry Fitzroy – the good doctor. Scientist, 
  philanthropist, and owner of a rather ghoulish 
  library. 
  Mrs. Eva Fitzroy – his wife. Currently recover-
  ing from an episode of “hysteria” with her moth-
  er in Switzerland. 
  Dr Dennis Selcon – Henry’s friend and confi-
  dant. 
  Ms. Dorothea Sisal – Henry & Eva’s neighbour. 
  A curtain-twitching busybody.
  Martin Poulter – an East End labourer. Cur-
  rently in custody, awaiting sentencing for an 
  attack on Dr Fitzroy.
  Sally Quigley – the first woman to become part 
  of Dr Fitzroy’s library. Not entirely displeased by 
  it, but unhappy at sharing the status with oth-
  ers. 
  Rosie Boyle – the second addition to Fitzroy’s 
  library. Revolted by it, and determined to make 
  him see the error of his ways.
  Lucie Poulter – the third addition, now Fitzroy’s 
  spellbook. Offended, angry, and vengeful. She 
  doesn’t care a whit about getting Fitzroy to stop, 
  she wants him dead for what he did to her body. 
  Nancy, Susannah, and Maddie – other addi-
  tions to the collection. They don’t retain as much 
  self-awareness as the other women, but contrib-
  ute their power to hauntings.
  Adventure Outline
  In Part 1, the characters are convened in Dr 
  Fitzroy’s home to discuss gainful employment.
  In Part 2, they follow up assorted leads to better 
  understand the good doctor’s supposed ‘curse.’ 
  In Part 3, their sources lead them back to the 
  doctor, armed with the knowledge of what he 
  has done.
  In Part 4, the characters must decide on and 
  implement a solution to the problem – or simply 
  leave the doctor to suffer. 
  Adventure Hook(s)
  The adventure assumes that the characters have 
  survived previous adventures and gained a de-
  gree of notoriety in the ‘right’ circles. Dr Fitzroy 
  has heard of them and contacted them to deal 
  with ‘a problem of a supernatural strain.’ The 
  DM may wish to forge a stronger connection by 
  giving the characters and Dr Fitzroy a connec-
  tion in common, using an NPC from a previous 
  adventure or a character’s background as a 
  means to put them in contact.
  
  8
  The Ghostly Library
  Part 1: Polite Conversation 
  Read or paraphrase the following: 
  It is a chilly, drizzly, afternoon when you make your way 
  to Dr Fitzroy’s Hampstead home. It stands on a wide street 
  of new, red-brick buildings in an affluent and leafy sub-
  urb, and it might as well be a world away from the teem-
  ing, overcrowded centre of London. The front garden is 
  well-tended and in good order, but the curtains at all of the 
  windows are closed. 
  The maidservant who leads you into the draw-
  ing room is quiet and withdrawn, and departs 
  quickly after she leaves you seated on green 
  leather chairs in the dark, finely furnished room, 
  surrounded by Dr Fitzroy’s books and plants 
  and a pair of very fine human skeletons. 
  The characters are served tea, and left alone for 
  a couple of minutes until… 
  The gentleman himself arrives. He is younger than you 
  might at first take him for, given his haggard countenance, 
  unshaven cheeks, and red-rimmed eyes. He might otherwise 
  be handsome – tall and sandy haired, and well-dressed – 
  but his evident exhaustion precludes that currently. 
  Symptoms & Diagnosis
  Dr Fitzroy explains how he came to hear about 
  the characters – either through contacts at his 
  club in the city (‘The Inquisitive Fellowship of St. 
  James’ – a group of like-minded gentlemen who 
  meet to discuss science, medicine, and spirit-
  ualism as it relates to those topics), or through a 
  mutual friend (see ‘Adventure Hooks’). 
  He relates the tale of his recent troubles calmly 
  and dispassionately, though it causes him some 
  visible distress to reflect on it. For the last three 
  weeks, the people closest to him have turned 
  against him. 
  • 
  It began three weeks ago with a neighbour 
  – an otherwise respectable, elderly, woman 
  named Dorothea  – painting a slogan on the 
  back wall of his garden. It read “ENOUFF IS 
  ENUFF.” She claimed not to recall doing it, 
  while there was still red paint on her hands. 
  A couple of nights later she struck again, this 
  time with “REPENT SINER.”
  • 
  Two weeks ago, his wife Eva tried to smother 
  him in his sleep with a pillow. Afterwards she 
  was distraught, repentant, and hysterical. 
  She has gone to recuperate with her mother, 
  in Switzerland. 
  • 
  After that, matters quieted until, one week 
  ago, when he left the clinic he runs in the 
  slums of the East End, a man assaulted and 
  attempted to stab him. That man, Martin 
  Poulter, is now in custody.  
  • 
  This matter is a high priority for Fitzroy. He 
  will pay the characters £200 in total for their 
  services: £50 up front (he has the cash on his 
  person), and the rest on a successful resolu-
  tion. 
  Fitzroy believes he has been cursed. He thinks it 
  may relate to a book of eastern European folk-
  tales he acquired in an auction a month ago. 
  It is a rare and precious volume, currently dis-
  assembled and awaiting rebinding. He ‘hasn’t 
  found the right leather yet; it needs something 
  really special.’ He will happily show the charac-
  ters the pages, which he keeps in a locked wood-
  en box, allowing them to inspect them as they 
  wish. He will even allow them to take the book 
  off the premises as long as they are willing to 
  provide a signed note stating that they will take 
  care of it and be liable for any harm that comes 
  to it while in their possession. 
  The book is a macabre, but utterly mundane, 
  collection of vampire stories called ‘Tales from 
  the Mists.’ It is several hundred years old, and 
  worth about £100. 
  Development
  Characters now have several leads to follow up, 
  all of which are detailed in Part 2: Pointed Ques-
  tions. 
  
  9
  Part 2: Pointed Questions
  The Maid
  Characters may wish to speak to Daphne. Fitz-
  roy has no objection to them doing so. If they 
  ask for his permission, he will summon her to 
  the drawing room and leave the characters alone 
  with her. 
  Daphne (Lawful Good human commoner, she/
  her) is visibly uncomfortable in the drawing 
  room. She says as little as possible, and is shy 
  and withdrawn. All ability checks to charm/per-
  suade/befriend her are made with disadvantage, 
  while attempts at Intimidation are made with 
  advantage. 
  If characters seek her out privately, they find her 
  in the small, neat kitchen – hard at work peeling 
  vegetables for dinner (she is the Fitzroy’s only 
  servant). Daphne is much more comfortable and 
  talkative here: attempts to intimidate her are 
  made with disadvantage, and speaking to her 
  as an equal means checks to persuade etc. are 
  made with advantage. 
  If persuaded by ability checks (contested by the 
  relevant ability/skill), or after good roleplaying 
  on the players’ part, Daphne reveals that: 
  • 
  She was in the house for the first several in-
  cidents. She was there when Dr Fitzroy found 
  the paint on the walls the mornings after the 
  vandalism took place and was woken up by 
  Mrs Fitzroy’s screaming after she attempted 
  to smother her husband in his sleep.
  • 
  Everything is as Fitzroy said. He has neither 
  hidden nor misrepresented anything that 
  happened.
  • 
  As far as she knows, Ms Sisal was always 
  cordial with the Fitzroys and had no reason 
  to act as she did.
  • 
  Eva Fitzroy is an intelligent woman and a 
  loving wife. 
  • 
  Daphne firmly believes Fitzroy is a good man. 
  He runs a free clinic in the slums of the East 
  End to help “those poor lost souls.” 
  • 
  Daphne recommends that the characters 
  speak with Dr Fitzroy’s friend and fellow club 
  member, Dr Selcon. She knows Fitzroy has 
  discussed matters with him and he may have 
  other insights.
  • 
  If characters are exceptionally successful 
  at befriending (charming, threatening, etc.) 
  Daphne (achieving a total of 20 or higher 
  on a relevant ability check), she admits that 
  she finds the doctor’s work “a little eerie,” 
  and that she doesn’t enjoy being alone with 
  him now his wife is gone. She doesn’t believe 
  he’d hurt her… but he does take apart young 
  ladies’ bodies for science, and sometimes she 
  thinks he catches him… looking at her. 
  The Neighbour
  The house next door to Dr Fitzroy’s is very simi-
  lar to his. The same style and materials; inside, 
  the floor plan is a mirror of what the charac-
  ters have seen already. Ms Sisal is a doddering, 
  elderly lady with dyed red hair who lives entirely 
  alone (she has a housekeeper and a gardener, a 
  married couple who come in twice a week each 
  to keep the place tidy). There is no Mr Sisal. He 
  was cremated 17 years ago. 
  Ms Sisal looks even more haunted than Fitz-
  roy. She is disoriented, her attention wanders, 
  and she jumps at shadows. She’s not terribly 
  certain of the date, or who the king is, or other 
  minor details. Whatever the characters tell her 
  about their reasons for visiting, she asks them 
  to repeat them at least two more times over the 
  course of their conversation. 
  Getting Ms Sisal to talk requires patience and 
  persistence. If characters lose their temper or 
  threaten her, she orders them out of her house. 
  She will subsequently inform the police, who will 
  speak to Fitzroy, who will be most displeased 
  but tell them how to contact the characters. 
  There is no real consequence to this until/un-
  less the characters do something illegal, but it 
  will certainly prompt some questions when the 
  investigating officers find out they have visited 
  Martin Poulter. 
  Ms Sisal knows:
  • 
  She has no memory of defacing her neigh-
  bour’s property but accepts that she did 
  so; she has already paid for cleaning. She’s 
  unclear whether she did so once or twice, or 
  more. 
  • 
  She is, however, absolutely certain that she 
  would never have spelled such simple words 
  so poorly. 
  • 
  She is terrified of anyone finding out that she 
  had these ‘lapses’: her son James will have 
  her committed to an asylum so he can take 
  her money.
  
  10
  • 
  She does, however, know that Dr Fitzroy is 
  in the habit of having young women visit his 
  home in the afternoon, when his wife calls 
  on friends. He claims they are “anatomical 
  models” but Ms Sisal knows full well that 
  the focus of his research is lungs “and how 
  on God’s green earth is he inspecting those 
  through their bosoms, eh?” 
  The Ruffian
  The man who attacked Dr Fitzroy in Bethnal 
  Green is Martin Poulter, and he is in jail in that 
  neighbourhood, awaiting sentence for his crime. 
  Read or paraphrase: 
  Hampstead is to Bethnal Green as heaven is to hell. 
  Narrow alleys and factory smoke replace trees and room 
  to breathe. There are too many people here, all watching 
  you like visitors from another world as you find your way 
  through mazes of streets and dead-ends to the grey stone 
  police station that stands tall and square amongst the list-
  ing tenements and bloated poorhouses. 
  Bethnal Green is not necessarily a dangerous 
  area: most people here are working too hard to 
  keep body and soul together to really interfere 
  with outsiders. However, it should feel danger-
  ous. The characters are being watched, and if 
  they cause any trouble, a group of locals will 
  arrive to see them off (6 True Neutral human 
  bandits).
  Getting in to see Poulter will require a convinc-
  ing fiction (e.g. religious folks concerned for his 
  soul); DM’s discretion. Bribery is a possibility 
  but if the attempt fails, the characters have lost 
  all chance of meeting Poulter short of using 
  magic or powerful connections.
  Poulter looks older than he should. Tired, hag-
  gard, not sleeping well, hair streaked with grey… 
  this is becoming a trend amongst the people 
  associated with Fitzroy. 
  • 
  He knows Fitzroy as the gentleman who 
  “plunders the local morgue” as well as run-
  ning the medical clinic out of a chapel on 
  Swain Street. He bears Fitzroy a certain 
  amount of ill will: his sister died of tubercu-
  losis and he knows her body went to Fitzroy 
  to be “cut up and picked apart and denied 
  a decent burial,” but he swears he had no 
  intention of killing him.
  • 
  He doesn’t know what came over him. When 
  he saw Fitzroy leaving the chapel one after-
  noon, he lost control; it was suddenly like 
  Lucie was right there with him again.
  • 
  Seized by rage and disgust, he ran screaming 
  at Fitzroy and attempted to stab him with a 
  pocket knife.
  • 
  He heard the screams coming out of his own 
  mouth, but it wasn’t his voice. Higher, al-
  most… girlish. And he called Fitzroy a sinner 
  and a ghoul, which is certainly not something 
  he would say about the fellow: he would have 
  used more foul language.
  The Club
  Fitzroy’s club is in a back street in the West 
  End. It’s underground. It’s dimly lit, with a 
  public bar (where the drinks are expensive and 
  strong) and a number of private rooms for mem-
  bers’ use, and it is – unusually – not gentlemen 
  only (though women members are rare).
  Getting into the club is difficult. It is strict-
  ly members only, and the doormen ask for a 
  password at the door (the password this month 
  is theosophy; characters can obtain it from Dr 
  Fitzroy). 
  There are two doormen, both looking like they 
  might be bare knuckle boxers when they finish 
  their shifts here. One (Lawrence; True Neutral 
  human thug, he/him) is open to bribery; the 
  other (Smith; Lawful Neutral human thug, he/
  him) is scrupulously honest and takes his job 
  seriously. Smith will refuse entry to anyone he 
  suspects of being a ‘snooper’ (his word for jour-
  nalists), including people asking too many ques-
  tions or offering bribes. He will be more easily 
  persuaded if characters can convince him they 
  are working on behalf of a club member, and 
  trying to protect the best interests of the club. 
  • 
  Once inside, all members assume the char-
  acters are guests of another member and talk 
  freely with them.
  • 
  Everyone knows of Fitzroy’s troubles – after 
  all, the club is how he acquired contact info 
  for the characters - but not in any detail. 
  He’s a perfectly respectable scientist, and a 
  man who does not deserve this (after all, he 
  runs that free clinic in Bethnal Green). Some 
  suspected it was a delusion until he was 
  stabbed.
  • 
  Fitzroy is generally considered a fine man: in-
  telligent, respected, and decent – though pos-
  
  11
  sessed of a somewhat dark sense of humour. 
  That is, however, not uncommon amongst 
  medics. 
  • 
  As well as being missed at the club, most 
  members joke about the damage his absence 
  must be doing to the brothel a few doors 
  down: he is known to regularly hire girls 
  there for house calls. 
  • 
  Club members will refer the characters to 
  Selcon (a large, bearded man with a hooked 
  nose and a strong hint of a Russian accent) 
  to really talk.
  • 
  Selcon does not believe in a curse. It’s simply 
  not rational. However, he does confirm that 
  Fitzroy has told him the exact same stories 
  as the characters. 
  • 
  Selcon knows that his friend has a specific 
  preference in cadavers. He doesn’t suspect 
  anything… untoward… but he has noted that 
  for the past several months, every cadaver 
  he has seen ‘Fitz’ work on has been a young 
  woman. Not necessarily attractive, but young 
  (late teens and early twenties, broadly speak-
  ing).  
  • 
  Selcon also knows that Fitz gets his cadav-
  ers from a morgue in Bethnal Green. It’s 
  convenient to his work in the clinic, and he 
  likes that the small sum of money he pays for 
  research subjects goes into this poor commu-
  nity where it can do some good. 
  • 
  If characters fail to gain entry to the club, 
  Selcon leaves shortly afterwards. Characters 
  who approach and speak with him can ob-
  tain all of the information as above.
  The Book
  Taking the book might be the characters’ first 
  exposure to the supernatural. On the first night 
  the characters have the book in their posses-
  sion, they have terrible dreams. Nothing visual, 
  but a sense of being powerless, trapped, and 
  abused. Anger, even hatred, focused on Dr Fitz-
  roy. When the characters wake, they each have a 
  grey streak in their hair. They must each suc-
  ceed on a DC 12 Constitution saving throw or 
  reduce their maximum hit points by 2. 
  On the second night, they are visited by a cir-
  cle of six spectral figures (the six ghosts of the 
  library), and shown a vision of Fitzroy. Not doing 
  anything particularly offensive… just reading). 
  They wake with more grey streaks in their hair, 
  and this time the DC for the saving throw is 14. 
  The visitation (and saving throw) repeats every 
  night the characters have the book unless pre-
  cautions are taken to prevent it (e.g. a protection 
  from good and evil spell or similar Abjuration 
  magic). 
  The book contains no information relevant to 
  Fitzroy’s case but you are welcome to seed it 
  with clues for further adventures. It was bought 
  at reputable auction house Sowerby’s, who 
  have provenance for it dating back at least the 
  last hundred years. It came from the estate of 
  a Greek gentleman who died in Surrey at the 
  age of 92. He had the book in his possession for 
  almost 50 years.
  Development
  Various sources will lead the characters to the 
  morgue, or the girls who visit Fitzroy for Part 3. 
  If characters are floundering, the return of Eva 
  Fitzroy should set them on the right path.  
  Some players will jump to the right conclusions faster than others. Some may have already start-
  ed to suspect Dr Fitzroy this point. If they investigate his library, they will find several books that 
  have been recently bound in fresh leather (see pg. 13) but probably can’t identify that the leather is 
  human skin. 
  Fitzroy is not at all ashamed of his collection: he’s actually rather proud of it, and will happily tell 
  the characters everything if they enquire. He will require some kind of evidence to believe that his 
  books are haunted, which should lead characters through at least some of Part 3. See “Confronting 
  Fitzroy” on pg. 14 for what happens once Fitzroy fully understands and believes. 
  
  12
  Part 3: Perplexing Discoveries
  The Morgue
  The morgue is on Swain Street, close to both the 
  chapel where Fitzroy runs his clinic and the jail 
  in which Poulter is imprisoned. 
  When characters visit the morgue, read or para-
  phrase: 
  The morgue is less like a place of rest and more like a 
  warehouse. Windowless and undecorated, the outside of the 
  building is bleakness personified. 
  When they enter, read or paraphrase: 
  Inside, the morgue is no more auspicious than its exterior. 
  Lit only by gas lamps kept at the lowest possible flame, it is 
  cold as an ice box and silent as the grave except for your 
  own shuffling footsteps and the light tread of Mrs Rudge. 
  The twin odours of the place are unmistakable: decaying 
  flesh, and burned remains. 
  The morgue is staffed only by one attendant, 
  Mrs Harriet Rudge (Neutral Good human com-
  moner, she/her). She is a short, briskly efficient 
  local woman who knows full well her job is to 
  supply corpses to various dissectionists to bring 
  in some money to offset the costs of cremating 
  these paupers. Harriet is a firm believer in sci-
  ence, and is glad that at least this way, the poor 
  men and women of Bethnal Green “leave some-
  thing behind to show they were here.”
  She is very impressed by any scientific creden-
  tials, real or imagined, and if approached in this 
  manner, will reveal all of the information below 
  without need for an ability check. Otherwise, 
  make contested rolls using appropriate skills.  
  • 
  Yes, Fitzroy is known here. Harriet can pro-
  vide names of all of the cadavers he’s taken 
  (including the women listed in the NPCs 
  section).
  • 
  In fact, they’ve got a cadaver to send his way. 
  He hasn’t requested her but they know it’s 
  his type. Harriet is willing to show her to the 
  characters. 
  • 
  The ‘specimen’ is unremarkable: a young 
  woman, probably still a teenager (Martha 
  Bailey, aged 18. Mother of two, barmaid). A 
  DC 12 Intelligence (Medicine) check reveals 
  that she has borne children, that she died 
  of tuberculosis, but that she was otherwise 
  healthy. 
  • 
  Martha has exquisite, flawless skin. A soft ol-
  ive complexion, and no moles or birthmarks. 
  Harriet can confirm that this is Dr Fitzroy’s 
  preference: “all the marks of health.”
  • 
  While Harriet respects – is even awed by – Dr 
  Fitzroy as a man of science, she also finds 
  him slightly weird. He has refined his interest 
  from ‘any cadavers who died of lung disease’ 
  to ‘young woman in good condition (who had 
  some kind of lung disease)’.
  • 
  He returns the remains for burning without 
  their lungs – understandable – but also with 
  unusual adjustments: he removes the skin 
  from their torsos. Harriet assumes that there 
  is a medical reason for this, but no other 
  gentleman of science has ever handled bodies 
  this way, to her knowledge. 
  • 
  At this, the girl on the slab, sits up, gasps as 
  if drawing in one awful, rattling breath, and 
  cries, “Don’t let him bind me!” 
  Even if characters are not in the same room as 
  the corpse when this happens, they can hear the 
  cry from anywhere in the morgue.
  This is not Martha, it’s the ghost of Rosie Boyle. 
  This one line from the dead woman is all she 
  can manage. After that, she flees the corpse 
  but remains in the room. Rosie is visible as a 
  vaguely feminine, spectral, form. She throws 
  objects – urns, trolleys, even other cadavers – in 
  a frenzy of poltergeist activity for the next min-
  ute. Anyone in the same room must make a DC 
  15 Dexterity saving throw or take 3 (1d6) points 
  of bludgeoning damage every 6 seconds/at the 
  beginning of their turn. 
  Rosie is a ghost. Characters may choose to fight 
  her, or simply leave her to her own devices, but 
  she cannot coherently communicate with them. 
  If she is defeated here, she will return to Fitz-
  roy’s library.  
  
  13
  No rules are provided for seances, but it would 
  be entirely appropriate for the characters to try 
  and conduct one. Lucie, Rosie, or Sally could all 
  be summoned easily, and can explain exactly 
  why they hold such a grudge against the doctor. 
  They express their wishes to have the books de-
  stroyed but cannot be dissuaded from pursuing 
  their vendetta. 
  However, this is Gothic Earth: ghosts are not the 
  only things attracted to a séance. There is a 25% 
  chance that a ritual also summons an arcan-
  aloth which thanks the characters for summon-
  ing it, and takes a long term interest in them. It 
  requires services and obedience from the charac-
  ters until they somehow manage to defeat or dis-
  miss it. In combat, the arcanaloth largely shrugs 
  off characters’ attacks, and fights only to subdue 
  them. It wants servants, not bodies. 
  It can tell them the facts surrounding Dr Fitz-
  roy’s case, but it will not do so for free (it would 
  be appropriate for at least one character to take 
  a level in Warlock next time they advance, and 
  also to make some Dark Powers checks).  
  The Girls
  Characters may wish to visit the brothel on the 
  same street as Fitzroy’s club. They might be 
  directed there by Fitzroy’s maid, Daphne, or by a 
  member of his club. Unlike the club, Mrs Mitch-
  ell’s Parlour welcomes visitors. It is a perfectly 
  nice, though on the small side, house in the 
  West End. Two stories, kept in good repair. The 
  furniture is a little dated and the curtains are 
  kept closed, but it is a comfortable, unexception-
  al place. 
  Mrs Mitchell, the proprietor, is a handsome 
  woman in her fifties, well-spoken and polite. 
  She – or any of her ladies, but especially a 
  long-standing employee named Polly (a tall, 
  pale brunette with porcelain skin, who swears 
  like a sailor and laughs at her own jokes) – will 
  cheerfully discuss Dr Fitzroy (though they know 
  nothing of his ‘curse’). 
  • 
  Several girls who work for Mrs Mitchell have 
  visited him. They try not to do so more than 
  once. He makes them sit naked, with their 
  backs to him, in a room full of skeletons and 
  cadavers while he sits at his desk and writes. 
  Nobody wants to go back. Every single one of 
  them has a bad feeling about him, and most 
  are absolutely sure that one day he is going 
  to kill someone. 
  • 
  He doesn’t have sex with the women he hires. 
  He seems to like having them as decoration 
  while he works – a kind of aesthetic flour-
  ish – but there is something oppressive and 
  unpleasant about his home and his strange 
  interest in them.
  • 
  Dr Fitzroy hasn’t hired any company for the 
  last three weeks.
  The Wife
  Eva Fitzroy returns when the characters have 
  exhausted all other leads (or investigated as 
  much as they are inclined to). She contacts the 
  characters via a letter: she corresponded with 
  Selcon by telegram prior to returning to London, 
  and she wishes to talk to the people investigat-
  ing her husband’s situation. If the characters 
  have not spoken to Selcon, he knows from Fitz-
  roy and their friends at the club that the charac-
  ters have been hired. 
  Eva is plump and confident; very intelligent and 
  articulate, and used to being treated with re-
  spect. Suggestions that – for example – she is 
  “hysterical” will be met with sharp rebukes and 
  a frosty, imperious attitude. Otherwise, she con-
  veys her story as clearly, concisely, and objec-
  tively as she is able. 
  • 
  She has had some considerable time to think 
  over her experience, and she had the benefit 
  of speaking with a psychoanalyst in Switzer-
  land.
  • 
  Eva remembers what happened the night 
  she attempted to murder her husband. She 
  was not herself. She was a woman named 
  Lucie – but also, simultaneously, many other 
  women. Rosie. Sally. Others. She was angry 
  at something Henry had done to her… to her 
  body… he makes them into books. Beauti-
  ful books. Beautiful skin-cases for beautiful 
  knowledge. 
  • 
  Eva is appalled at her husband’s collection. 
  She fully intends to burn the books and 
  wants the characters’ help to do so.  
  • 
  She knows which books in her husband’s 
  collection are currently bound in skin:
  1.  
  Two volumes of his own research notes 
  (Nancy and Maddie)
  2. An eighteenth century treatise on the func-
  tion of the lungs (Sally Quigley)
  3. A copy of The Magus, a text about magical 
  
  14
  practice, containing certain tried and tested 
  rituals (this is Fitzroy’s spellbook. See the 
  Appendix for its contents) (Lucie Poulter)
  4. A collection of 16th century folk and fairy 
  tales (Rosie Boyle)
  5. One volume of French pornography (words 
  and images) (Susannah)
  Part 4: Possible Solutions
  Armed with all of the information, what the 
  characters do next is entirely up to them.
  The characters may well conclude that Dr Fitz-
  roy has done nothing wrong – or nothing so 
  wrong that he deserves to be haunted for the 
  rest of his life. In this case, a ritual of exorcism 
  can be researched and performed. Its efficacy is 
  determined by the result of an Intelligence (Reli-
  gion) or Intelligence (Arcana) check. The higher 
  the outcome of the check, the fewer ghosts the 
  characters will have to face during the exorcism:
  • 
  DC 15: the characters face only ghosts, not 
  the poltergeists.
  • 
  DC 18: the characters face only the ghosts of 
  Rosie and Lucie.
  • 
  DC 20 or higher: the characters face only 
  Lucie.
  Murdering Dr Fitzroy (see Appendix  for his stat 
  block) for his actions will certainly satisfy the 
  ghosts. Their spirits will move on to peaceful 
  eternal rest. Fitzroy is a mage as well as a medic 
  and will definitely put up a fight. 
  However, the characters have murdered a man 
  who, while possessed of a strange kink, has not 
  done anything criminal or caused the suffering 
  of living beings: they should make high DC Dark 
  Powers checks as a result. It should go without 
  saying but for absolute clarity, Eva Fitzroy is 
  not comfortable with this plan of action, and will 
  alert the police if she is able. 
  Attempting to ‘bring Fitzroy to justice’ is a viable 
  option. Dr Selcon can certainly help them with 
  this. He can have Dr Fitzroy’s dissection licence 
  revoked (making covers for pornographic books 
  is certainly not the use cadavers are intended 
  to be put to), assure that the story is covered by 
  reputable newspapers, and absolutely ruin Fitz-
  roy’s reputation. 
  Characters can destroy the books. Interring 
  them, and the remains of the women they came 
  from, respectfully in a marked grave will allow 
  the characters to do so without incurring the 
  wrath of the ghosts. Burning (as Eva suggests) 
  or otherwise destroying them will lead to an 
  encounter with the ghosts. See the Appendix for 
  their stat blocks).
  Finally, the characters may choose to intervene 
  no further, deciding that Fitzroy’s situation is a 
  just consequence for his actions. In this case, 
  characters will read some weeks later about his 
  death by apparent suicide. They will also make 
  (relatively low DC) Dark Powers checks: however 
  valid their grievances, ghosts are still monsters 
  and tools of the Dark Powers, and letting a man 
  die by inaction is still an evil act.
  Confronting Fitzroy 
  Fitzroy sees nothing wrong or immoral about his 
  library. He simply made use of some particularly  
  beautiful objects. He does not regard “stop mak-
  ing books out of women” as a useful or practical 
  piece of advice. He insists that the characters 
  figure out how to exorcise the library. If they 
  no longer wish to be involved, he will terminate 
  their arrangement and keep the remainder of the 
  promised fee. 
  Fighting the Library
  Sally, Rosie, and Lucie are ghosts. The DM may 
  choose to have the other three women in Fitz-
  roy’s collection manifest as poltergeists. The 
  ghosts are extremely dangerous to low level 
  player characters, and fighting all three of them 
  is likely to end in character deaths.
   
  This is intentional: there are numerous ways to 
  resolve Dr Fitzroy’s haunting without combat 
  and a head-on fight is rarely the best strategy to 
  face evil.
   
  If combat breaks out, the ghosts are not par-
  ticularly tactical. They either face off against the 
  closest target to them, or a character who has 
  caused them personal offence. They do not gen-
  erally pursue characters who leave their immedi-
  ate area. Make full use of the ghosts’ wide range 
  of highly disruptive powers, but make it relative-
  ly easy for characters to retreat if they choose to: 
  death is a possibility, not your goal.
  
  15
  Appendix A: NPCs & Items
  Dr Henry Fitzroy
  medium human, lawful neutral
  Armor Class 11
  Hit Points 32 (5d8 +10)
  Speed 30 ft. 
  Str
  Dex
  Con
  Int
  Wis
  Cha
  12 
  (+1)
  13 
  (+1)
  14 
  (+2)
  17 
  (+3)
  18 
  (+4)
  10 
  (+0)
  Saving throws Intelligence +3, Wisdom +6
  Skills Arcana +5 Medicine +6 Tools (Healer’s Kit) 
  +6
  Senses passive Perception 14
  Languages Ancient Greek, English, French, 
  Latin
  Spellcasting. Dr Fitzroy casts spells as a 5th 
  level Wizard. His spellcasting ability is Intel-
  ligence (spell save DC 14, +6 to hit with spell 
  attacks). He has the following spells prepared:
  • 
  Cantrips (at will): blade ward, light, mend-
  ing, prestidigitation,  
  • 
  1st level (4 slots): absorb elements, compre-
  hend languages, shield, sleep 
  • 
  2nd level (3 slots): arcane lock, crown of 
  madness, suggestion
  • 
  3rd level (2 slots): counterspell, slow
  Actions
  Pistol. Ranged Weapon Attack: +4 to hit, reach 
  80/320 ft., one target. Hit: 4 (1d6+1) piercing 
  damage.
  Sword-cane. Melee Weapon Attack: +4 to hit, 
  one target. Hit: 5 (1d8+1) piercing damage.
  Fitzroy’s Spellbook
  Fitzroy’s spellbook is bound in Lucie 
  Poulter’s flawless skin. The pages within 
  can be removed and rebound, or kept as 
  loose leaves after the ‘cover’ is destroyed. 
  It contains the following spells: 
  1st Level
  Absorb elements, comprehend languages, 
  shield, sleep 
  2nd Level
  Arcane lock, crown of madness, suggestion
  3rd Level
  Counterspell, slow
  
  16
  Appendix B: Amended Spell List
  Bard
  Cleric
  Druid
  Paladin Ranger
  Sorcerer Warlock Wizard
  Cantrips
  Blade 
  Ward, 
  Dancing 
  Lights, 
  Friends, 
  Light, 
  Mage 
  Hand, 
  Mending, 
  Message, 
  Minor 
  Illusion, 
  Prestidig-
  itation, 
  True 
  Strike, 
  Vicious 
  Mockery
  Guidance, 
  Light, 
  Mending, 
  Resist-
  ance, 
  Spare the 
  Dying, 
  Thauma-
  turgy
  Control 
  Flames, 
  Druid-
  craft, 
  Guidance, 
  Gust, In-
  festation, 
  Magic 
  Stone, 
  Mending, 
  Mold 
  Earth, Re-
  sistance, 
  Shape 
  Water, 
  Shillelagh
  Blade 
  Ward
  Control 
  Flames
  Dancing 
  Lights
  Friends
  Gust
  Light
  Mending
  Message
  Minor 
  Illusion
  Prestidigi-
  tation
  Shape 
  Water
  True 
  Strike
  Blade 
  Ward
  Friends
  Infestation
  Mage 
  Hand
  Magic 
  Stone
  Minor 
  Illusion
  Prestidigi-
  tation
  True 
  Strike
  Blade 
  Ward
  Control 
  Flames
  Dancing 
  Lights
  Friends
  Gust
  Light
  Mending
  Message
  Minor 
  Illusion
  Prestidigi-
  tation
  Shape 
  Water
  True 
  Strike
  Cantrips to 3rd Level
  
  17
  Bard
  Cleric
  Druid
  Paladin Ranger
  Sorcerer Warlock Wizard
  1st level
  Animal 
  Friend-
  ship, Bane, 
  Charm 
  Person, 
  Com-
  prehend 
  Languag-
  es, Cure 
  Wounds, 
  Detect 
  Magic, 
  Disguise 
  Self, 
  Dissonant 
  Whispers, 
  Feather 
  Fall, Heal-
  ing word, 
  Heroism, 
  Identify, 
  Longstrid-
  er, Illusory 
  Script, 
  Longstrid-
  er, SIlent 
  Image, 
  Sleep, 
  Speak 
  With 
  Animals, 
  Hideous 
  Laughter, 
  Unseen 
  Servant
  Bane, 
  Bless, 
  Ceremo-
  ny, Com-
  mand, 
  Cure 
  Wounds, 
  Detect 
  Evil & 
  Good, De-
  tect Mag-
  ic, Detect 
  Poison 
  and Dis-
  ease, Heal-
  ing Word, 
  Protection 
  from Evil 
  and Good, 
  Purify 
  Food & 
  Drink, 
  Sanctuary, 
  Shield of 
  Faith
  Absorb 
  Elements, 
  Animal 
  Friendship
  Beast 
  Bond
  Charm 
  Person
  Cure 
  Wounds
  Detect 
  Magic
  Detect 
  Poison 
  and Dis-
  ease
  Earth 
  Tremor
  Entangle
  Fog Cloud
  Healing 
  Word
  Jump
  Longstrid-
  er
  Purify 
  Food and 
  Drink
  Snare
  Speak 
  with Ani-
  mals
  Bless, 
  Ceremo-
  ny, Com-
  mand, 
  Com-
  pelled 
  Duel, 
  Cure 
  Wounds, 
  Detect 
  Evil and 
  Good, De-
  tect Mag-
  ic, Detect 
  Poison 
  and Dis-
  ease, 
  Divine 
  Favor, 
  Heroism, 
  Protection 
  from Evil 
  and Good, 
  Purify 
  Food and 
  Drink, 
  Searing 
  Smite, 
  Shield 
  of Faith, 
  Thunder-
  ous Smite, 
  Wrathful 
  Smite
  Absorb 
  Elements
  Alarm
  Animal 
  Friendship
  Beast 
  Bond
  Cure 
  Wounds
  Detect 
  Magic
  Detect 
  Poison 
  and Dis-
  ease
  Ensnaring 
  Strike
  Hunter’s 
  Mark
  Jump
  Longstrid-
  er
  Snare
  Speak 
  with Ani-
  mals
  Zephyr 
  Strike
  Absorb 
  Elements
  Catapult
  Cause 
  Fear
  Charm 
  Person
  Com-
  prehend 
  Languages
  Detect 
  Magic
  Disguise 
  Self
  Expe-
  ditious 
  Retreat
  False Life
  Feather 
  Fall
  Jump
  Longstrid-
  er
  Mage 
  Armour
  Protection 
  from Evil 
  & Good
  Silent 
  Image
  Sleep
  Cause 
  Fear
  Charm 
  Person
  Com-
  prehend 
  Languages
  Expe-
  ditious 
  Retreat
  Hex
  Illusory 
  Script
  Protection 
  from Evil 
  and Good
  Unseen 
  Servant
  Absorb 
  Elements
  Alarm
  Catapult
  Cause 
  Fear
  Charm 
  Person
  Com-
  prehend 
  Languages
  Detect 
  Magic
  Disguise 
  Self
  Expe-
  ditious 
  Retreat
  False Life
  Feather 
  Fall
  Find Fa-
  miliar
  Identify
  Illusory 
  Script
  Jump
  Longstrid-
  er
  Mage 
  Armour
  Protection 
  from Evil 
  & Good
  Silent 
  Image
  Sleep
  Snare
  Tasha’s 
  Hideous 
  Laughter
  
  18
  Bard
  Cleric
  Druid
  Paladin Ranger
  Sorcerer Warlock Wizard
  2nd level
  Animal 
  Mes-
  senger, 
  Blindness/
  Deafness, 
  Calm 
  Emotions, 
  Crown of 
  Madness, 
  Detect 
  Thoughts, 
  Enhance 
  Ability, 
  Enthrall, 
  Hold 
  Person, 
  Invisibili-
  ty, Knock, 
  Lesser 
  Resto-
  ration, 
  Locate 
  Animals 
  or Plants, 
  Locate 
  Object, 
  Magic 
  Mouth, 
  Phantas-
  mal Force, 
  Pyrotech-
  nics, See 
  Invisibili-
  ty, Silence, 
  Skywrite, 
  Sugges-
  tion, 
  Warding 
  Wind, 
  Zone of 
  Truth
  Aid, 
  Augury, 
  Blindness, 
  Deafness, 
  Calm 
  Emotions, 
  Enhance 
  Ability, 
  Find traps, 
  Gentle Re-
  pose, Hold 
  Person, 
  Lesser 
  Resto-
  ration, 
  Locate 
  Object, 
  Prayer of 
  Healing, 
  Protec-
  tion from 
  Poison, 
  Silence, 
  Warding 
  Bond
  Animal 
  Messenger
  Beast 
  Sense
  Darkvi-
  sion
  Dust Devil
  Earthbind
  Enhance 
  Ability
  Find Traps
  Gust of 
  Wind
  Hold Per-
  son
  Lesser 
  Restora-
  tion
  Locate 
  Animals 
  or Plants
  Locate 
  Object
  Pass With-
  out Trace
  Protec-
  tion from 
  Poison
  Skywrite
  Spike 
  Growth
  Warding 
  Wind
  Aid, 
  Branding 
  Smite, 
  Lesser 
  Resto-
  ration, 
  Locate 
  Object, 
  Magic 
  Weapon, 
  Protection 
  from Poi-
  son, Zone 
  of Truth
  Animal 
  Messenger
  Barkskin
  Beast 
  Sense
  Darkvi-
  sion
  Find Traps
  Lesser 
  Restora-
  tion
  Locate 
  Animals 
  or Plants
  Locate 
  Object
  Pass With-
  out Trace
  Protec-
  tion from 
  Poison
  Silence
  Spike 
  Growth
  Arcane 
  Lock
  Blindness/
  Deafness
  Blur
  Crown of 
  Madness
  Darkvi-
  sion
  Detect 
  Thoughts
  Enhance 
  Ability
  Hold Per-
  son
  Invisibility
  Knock
  Locate 
  Object
  Magic 
  Weapon
  Phantas-
  mal Force
  See Invisi-
  bility
  Spider 
  Climb
  Suggestion
  Warding 
  Wind
  Crown of 
  Madness
  Darkness
  Earthbind
  Enthrall
  Hold Per-
  son
  Invisibility
  Mind 
  Spike
  Ray of 
  Enfeeble-
  ment
  Shadow 
  Blade
  Spider 
  Climb
  Suggestion
  Arcane 
  Lock
  Blindness/
  Deafness
  Blur
  Crown of 
  Madness
  Darkvi-
  sion
  Detect 
  Thoughts
  Dust Devil
  Earthbind
  Hold Per-
  son
  Invisibility
  Knock
  Locate 
  Object
  Magic 
  Mouth
  Magic 
  Weapon
  Nystul’s 
  Magic 
  Aura
  Phantas-
  mal Force
  See Invisi-
  bility
  Spider 
  Climb
  Suggestion
  Warding 
  Wind
  
  19
  Bard
  Cleric
  Druid
  Paladin Ranger
  Sorcerer Warlock Wizard
  3rd level
  Bestow 
  Curse, 
  Catnap, 
  Clairvoy-
  ance, Dis-
  pel Magic, 
  Enemies 
  Abound, 
  Fear, 
  Feign 
  Death, 
  Hypnotic 
  Pattern, 
  Major 
  Image, 
  Nondetec-
  tion, Plant 
  Growth, 
  Sending, 
  Speak 
  with 
  Dead, 
  Speak 
  with 
  Plants, 
  Tongues
  Animate 
  Dead, 
  Beacon 
  of Hope. 
  Bestow 
  Curse, 
  Clairvoy-
  ance, Cre-
  ate Food 
  and Water, 
  Daylight, 
  Dispel 
  Magic, 
  Feign 
  Death, 
  Life Trans-
  ference, 
  Magic Cir-
  cle, Mass 
  Healing 
  Word, 
  Protec-
  tion from 
  Energy, 
  Revivify, 
  Speak 
  with 
  Dead, 
  Tongues, 
  Water 
  Walk
  Call Light-
  ning
  Dispel 
  Magic
  Feign 
  Death
  Plant 
  Growth
  Protec-
  tion from 
  Energy
  Speak 
  with 
  Plants
  Water 
  Breathing
  Water 
  Walk
  Wind Wall
  Aura of 
  Vitality
  Blinding 
  Smite
  Crusader’s 
  Mantle
  Daylight
  Dispel 
  Magic
  Magic 
  Circle
  Flame 
  Arrows
  Plant 
  Growth
  Protec-
  tion from 
  Energy
  Speak 
  with 
  Plants
  Water 
  Breathing
  Water 
  Walk
  Animate 
  Dead*
  Bestow 
  Curse*
  Clairvoy-
  ance
  Counter-
  spell
  Dispel 
  Magic
  Enemies 
  Abound
  Erupting 
  Earth
  Fear 
  Feign 
  Death
  Haste
  Major 
  Image
  Protec-
  tion from 
  Energy
  Sending
  Slow
  Tongues
  Water 
  Breathing
  Counter-
  spell
  Dispel 
  Magic
  Enemies 
  Abound
  Fear
  Hunger of 
  Hadar
  Hypnotic 
  Pattern
  Magic 
  Circle
  Major 
  Image
  Tongues
  Vampiric 
  Touch
  Animate 
  Dead*
  Bestow 
  Curse*
  Catnap
  Clairvoy-
  ance
  Counter-
  spell
  Dispel 
  Magic
  Enemies 
  Abound
  Erupting 
  Earth
  Fear 
  Feign 
  Death
  Haste
  Magic 
  Circle
  Major 
  Image
  Nondetec-
  tion
  Protec-
  tion from 
  Energy
  Sending
  Slow
  Tiny Serv-
  ant
  Tongues
  Water 
  Breathing
  
  20
  Grandmother Crookbesom’s Book of 
  Hags
  13 hag NPCs full of plots and personality, 
  including two entirely new types of hags 
  from the minute Thimble Hag to the gar-
  gantuan, monstrous Empress Ehesh. 
  Rebirth
  A one-shot adventure for 7th-9th level 
  characters. 
  Parasitic fungus, undead Celestials... 
  spring is in the air. 
  Blood Sea Rising
  A 1st level adventure for Scarred Lands, 
  full of corruption, pollution, and pirates. 
  A perfect one-shot to introduce your play-
  ers to a different, tougher, fantasy world. 
  
  21
  
SOURCE: textdata/thevault/Dungeons & Dragons [multi]/5th Edition (5e)/3rd Party/The Ghostly Library.pdf