TEXT: 75
  Horror in the Sinks
  
  Credits
  TB2: Horror in the Sinks
  Frog  
  God 
  Games
  CEO
  Bill Webb
  Creative Director:  
  Swords & Wizardry
  Matthew J. Finch
  Creative Director:  
  Pathfinder Roleplaying Game
  Greg A. Vaughan
  Art Director
  Charles A. Wright
  Lead Developer
  John Ling
  Marketing Manager
  Chris Haskins
  Customer Service Manager
  Krista Webb
  Zach of All Trades
  Zach Glazar
  Espieglerie
  Skeeter Green
  FROG GOD GAMES IS
  Author
  Alistair Rigg
  Based on original material  
  by Richard Pett.
  Developer
  Greg A. Vaughan
  Producer
  Bill Webb
  Editor
  Jeff Harkness
  Swords & Wizardry Conversion
  Jeff Harkness
  Layout and Graphic Design
  Charles A. Wright
  Front Cover Art
  Felipe Gaona
  Interior Art
  Colin Chan, Peter Fairfax,  
  Felipe Gaona, Chris McFann,  
  Terry Pavlet, Richard Pett,  
  James Stowe
  Photography
  Richard Pett
  Cartography
  Robert Altbauer
  Playtesters
  Janicein Baker-Turley,  
  Robert Baker-Turley, Tristian Sullivan, 
  Jason Williams
  Special Thanks
  Helen, for making  
  everything possible.
  Nadia, for expert advice on  
  monstrous midwifery.
  Craig, for the space,  
  both physical and mental.
  Adventures 
  Worth  
  Winning
  Richard Pett’s Crooked City
  Richard Pett’s Crooked City
  ©2017 Frog God Games. All rights reserved. Reproduction without the written 
  permission of the publisher is expressly forbidden. Frog God Games and the 
  Frog God Games logo is a trademark of Frog God Games. All characters, names, 
  places, items, art and text herein are copyrighted by Frog God Games, Inc. 
  The mention of or reference to any company or product in these pages is not a 
  challenge to the trademark or copyright concerned.
  Product Identity: The following items are hereby identified as Frog God Games 
  LLC’s Product Identity, as defined in the Open Game License version 1.0a, Section 1(e), and are 
  not Open Game Content: product and product line names, logos and identifying marks including 
  trade dress; artifacts; creatures; characters; stories, storylines, plots, thematic elements, 
  dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, 
  poses, concepts, themes and graphic, photographic and other visual or audio representations; 
  names and descriptions of characters, spells, enchantments, personalities, teams, personas, 
  likenesses and special abilities; places, locations, environments, creatures, equipment, magical 
  or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark 
  or registered trademark clearly identified as Product Identity. Previously released Open Game 
  Content is excluded from the above list.
  
  2
  The Blight: Richard Pett's Crooked City
  GENERAL RESOURCES 
  Swords & Wizardry Complete S&W 
  The Tome of Horrors Complete PF, S&W 
  Tome of Horrors 4 PF, S&W 
  Tome of Adventure Design
  Monstrosities S&W 
  Bill Webb’s Book of Dirty Tricks 
  Razor Coast: Fire as She Bears PF 
  Book of Lost Spells 5e 
  Fifth Edition Foes 5e 
  The Tome of Blighted Horrors 5e, PF, S&W
  Book of Alchemy* 5e, PF, S&W 
  THE LOST LANDS 
  Rappan Athuk PF, S&W 
  Rappan Athuk Expansions Vol. I PF, S&W 
  The Slumbering Tsar Saga PF, S&W 
  The Black Monastery PF, S&W 
  Cyclopean Deeps Vol. I PF, S&W 
  Cyclopean Deeps Vol. II PF, S&W 
  Razor Coast PF, S&W 
  Razor Coast: Heart of the Razor PF, S&W 
  Razor Coast: Freebooter’s Guide to the Razor Coast PF, S&W 
  LL0: The Lost Lands Campaign Setting* 5e, PF, S&W
  LL1: Stoneheart Valley PF, S&W 
  LL2: The Lost City of Barakus PF, S&W 
  LL3: Sword of Air PF, S&W 
  LL4: Cults of the Sundered Kingdoms PF, S&W 
  LL5: Borderland Provinces 5e, PF, S&W
  LL6: The Northlands Saga Complete PF, S&W
  LL7: The Blight 5e, PF, S&W
  LL8: Bard’s Gate 5e, PF, S&W 
  LL9: Adventures in the Borderland Provinces 5e, PF, S&W
  QUESTS OF DOOM 
  Quests of Doom (Vol. 1) 5e 
  Quests of Doom (Vol. 2) 5e 
  Quests of Doom (includes the 5e Vol. 1 and 2, but for PF 
  and S&W only) PF, S&W 
  Quests of Doom 2 5e 
  Quests of Doom 3 5e, S&W
  Quests of Doom 4* 5e, PF, S&W
  PERILOUS VISTAS 
  Dead Man’s Chest (pdf only) PF 
  Dunes of Desolation PF 
  Fields of Blood PF 
  Mountains of Madness* PF 
  Marshes of Malice* PF
  Other Products from Frog God Games
  You can find these product lines and more at our website, froggodgames.com, and on the shelves of many retail game stores.  
  Superscripts indicate the available game systems: “PF” means the Pathfinder Roleplaying Game, “5e” means Fifth Edition,  
  and “S&W” means Swords & Wizardry. If there is no superscript it means that it is not specific to a single rule system.
  * (forthcoming from Frog God Games)
  
  3
  Horror in the Sinks
  Table of Contents
  Introduction ...................................................................................................................... Pg. 5
   
  Adventure Timeline ............................................................................................... Pg. 6
  Chapter 1: Sinks and Sources .......................................................................................... Pg. 9
   
  Deputies of the Watch ............................................................................................ Pg. 12
  Chapter 2: Welcome to Heaven ....................................................................................... Pg. 13 
   
  Event 1: Burning in Bedlam ................................................................................. Pg. 16
  Chapter 3: Who Watches the Watchmen? ........................................................................ Pg. 18
   
  Personalities of the Asylum Watch ....................................................................... Pg. 21
   
  New Weapon: Cosh ................................................................................................ Pg. 21
   
  Event 2: Monstrous Midwifery ............................................................................. Pg. 21
  Chapter 4: Leading the Lost ............................................................................................. Pg. 28
   
  Event 3: Molly the Murderess .............................................................................. Pg. 30
  Chapter 5: The Garden of Unearthly Dismay .................................................................. Pg. 32
   
  Fruits of the Obscene ............................................................................................. Pg. 33
   
  Lamps and Candles ............................................................................................... Pg. 36
   
  Editor’s Note: Visharix’s Art ................................................................................ Pg. 39
  Appendix A: New Monsters and Subtypes ...................................................................... Pg. 52
   
  Caul Cuckoo ............................................................................................................ Pg. 52
   
   
  Caul Cuckoo Syre ........................................................................................... Pg. 52
   
   
  Caul Cuckoo Queen ........................................................................................ Pg. 53
   
   
  Syreling Slick ................................................................................................. Pg. 53
   
   
          Caulspawn Addiction and Psychosis ................................................... Pg. 53
   
  Living Disease, Bloody Flux ................................................................................... Pg. 54
   
  Ooze, Canker ........................................................................................................... Pg. 55
  Legal Appendix ................................................................................................................ Pg. 72
  
  4
  TB2: Horror in the Sinks
  Richard Pett’s Crooked City
  Richard Pett’s Crooked City
  By Alistair Rigg
  “…You’ve just entered the wrong side of town…”
  Horror in the Sinks is a Swords & Wizardry adventure  
  for a party of four to six 3rd- to 4th-level characters. It serves as a companion adventure 
  to Richard’s Pett’s The Blight and takes place in that twisted city as revealed  
  in the campaign setting published by Frog God Games.
  
  5
  Lurking in the drowning folly that is the aristocratic enclave of the Sinks, 
  the horrific Asylum — shunned by a citizenry terrified of the revelations 
  it may contain — is where the nobles of the City-State of Castorhage bury 
  their secrets. But when too many overseers are killed, and in ways more 
  gruesome than even the brutality of that location might evoke, someone 
  must enter to investigate. Those who do soon learn that life — if it can be 
  called that — within its walls is even worse than they feared and the truths 
  that nestle within its inmates are far more distressing than mere madness.
  Adventure Background
  Murn Hobley had always been obsessed with the salacious and 
  obscene. Even early on, he had secretly watched women, peering 
  through the gaps of shuttered windows in the darkening hours to witness 
  them in their most private moments. In public, he watched how they 
  moved and how they talked, how they interacted in groups and how they 
  reacted to men. He noted their manner of dress and how the way they 
  styled their hair changed over time. And, when his body crossed the 
  threshold of adulthood, he saw how they started to notice him, too. For 
  not only was Hobley handsome, he was eloquent. Other boys seemed 
  afraid of the fairer sex and stumbled over their words, ridiculous in their 
  flailing attempts to relate to them, but when Hobley spoke it was with 
  the knowing confidence of having secretly studied them for years. As he 
  observed how they connected with his words, he soon realized the power 
  it gave him. And Hobley didn’t hesitate to use that power, moving from 
  girl to girl as they enticed and then bored him in succession, their secrets 
  bared to his eventual indifference, until finally his reputation preceded 
  him and they began to reject his advances.
  But Hobley’s desires had grown darker; he no longer cared for the 
  honest attentions of girls. He sought out prostitutes instead, whose skills 
  and proclivities sent him into a spiral of compulsive habituation that 
  almost left him destitute. But as his means dwindled, a chance encounter 
  sent him on a different trajectory. One evening, he saw an officer of the 
  City Watch leaving the tenement of one of his mistresses. Worried that she 
  had been arrested or worse, he cautiously entered, expecting the worst, but 
  was instead greeted by her as usual. She initially resisted his questions, 
  but eventually she explained that she and many of her counterparts 
  across the city entertained certain Officers of the Watch as payment for 
  their protection. She noted how it was useful for her to have a contact in 
  the Watch if she ever needed help, and how bad things could happen to 
  women in her profession if they rejected such protection.
  Hobley applied to the Watch the following day. With his natural 
  charisma and obvious fervor, he was soon inducted as a trainee. Smarter 
  than average, and having a way with words and people, he navigated the 
  bureaucracy swiftly until graduation and, from there, further manipulated 
  the system into achieving some measure of autonomy. Hobley exulted in 
  the influence and authority the uniform of a Queen’s Man afforded him, 
  and he did not hesitate to abuse his position for his own ends. 
  Freed from the need to pay for the services of select working girls and 
  exposed to the mechanisms of the city’s dark underworld, he discovered 
  a predilection for exotic drugs and their enhancement of his pleasures. He 
  found new thrills through the effects of a narcotic honey-like substance 
  that, rumor had it, was otherworldly in origin and available only from 
  a single, highly secretive supplier. Watch Officer Hobley investigated, 
  working his way along the supply chain, paying ever-increasing prices for 
  the strange elixir until he finally located its source.
  At an exclusive party in a sinking art museum/mansion near the Street 
  of Echoes in the Sinks, a man dressed in rags held court. They called him 
  the Honeyman: he who sat upon a golden high seat and watched as the 
  celebrants below ate the substance that steadily dripped from a spout in 
  his elevated chair; he who smiled as his subjects degraded themselves into 
  debauchery and decadence; he who descended from his throne and parted 
  his ragged robe to reveal glistening, pale flesh beneath, flesh riddled with 
  large pores from which the honey oozed…
  As Hobley passed into and out of ecstatic consciousness, the Honeyman 
  whispered to him and spoke of the bliss of cruelty, of transcendent 
  enslavement, the art of insanity, and the power of desire. And Hobley 
  listened to his whispers. 
  The next day, Hobley requested transfer to be stationed with the 
  Asylum Watch post in the Sinks. His superiors were curious at his odd 
  request but readily agreed, for the assignment was commonly regarded as 
  a punishment, and staffing the post was difficult; a volunteer was virtually 
  unheard of. Hobley’s carefully convincing explanation, of “making a 
  difference” and “meeting the challenge,”’ wasn’t even sounded by those 
  in authority; what did they care why the fool sought the position? The post 
  was his for the taking.
  Life in the Asylum’s Watch Station, a tower built into the Asylum itself, 
  was awful at first. The isolation and endless screams from the yard below 
  relentlessly reminded Hobley that his sanity was never assured, but he 
  remained focused on his task and steadily increased his influence among his 
  colleagues, all of whom, as befitted their assignment, proved weak of will 
  or wicked or both. When, finally, the Honeyman’s ragged form emerged 
  from the gloom, Hobley was ready to receive him, and his colleagues 
  were likewise ready to receive his gift. Honey poured forth from beneath 
  the Honeyman’s robe until it formed into a huge, writhing serpent, and the 
  men ate of its substance. The addiction took hold swiftly and, with them, a 
  descent into transformative dream. When they awoke, it was as though from 
  an endless nightmare, but Hobley explained that they had passed through 
  a dream trial and that the Honeyman had chosen them to father his holy 
  children. Eager to serve, and to continue to eat the honey of the “serpent” 
  that the Honeyman had left under Hobley’s control, they readily agreed.
  Introduction
  Warning!
  Horror in the Sinks is set in one of the darkest corners of the 
  urban dystopia known as the Blight, and contains mature and 
  graphic content that may not be suitable for younger readers or 
  players. It requires players to uncover a despicable operation in 
  an awful insane asylum, and explores horror themes relating to 
  drug use and various forms of mental and physical abuse. While 
  not a historical accounting of the sorts of abuses once perpetrated 
  upon “patients” of asylums and sanitariums in centuries past, this 
  adventure does evoke such past real-world horrors in the context 
  of a fantasy setting where monsters and magic are real and the 
  boundaries of reality can be pushed by anyone with the power to 
  do so. However, it also places the players characters in the pivotal 
  role of not only being able to expose the evils being conducted but 
  gives them the opportunity to truly do something to stop them, all 
  in a manner that explores the multidimensional aspects of victims 
  and predators. Be warned; it is not for the faint of heart, but those 
  of truly stalwart courage can prevail against the darkness.
  Our purpose at Frog God Games is not to make tasteless or 
  offensive products. But we do intend to make thrilling adventures in 
  the style of old-school game play that test the players’ stalwartness 
  and bring difficult and layered nuances to their game. Simulating 
  and navigating the horrors of real life (and/or their fantasy 
  equivalent) with exceptional powers and skills as characters while 
  freeing players of the prospect of actual consequences is one of the 
  great draws of roleplaying games, and we always strive to create 
  that experience in our products. 
  
  6
  The Blight: Richard Pett's Crooked City
  Over several days, these compromised Watch overseers abducted 
  female inmates from the general population of the Asylum and imprisoned 
  them within cells in the Watch Station tower. Then, through drug-
  fueled encounters orchestrated by Hobley, their horrific work for the 
  Honeyman began. It was only a few weeks before the first pregnancies 
  became apparent and only a few months before the first births occurred. 
  Unbeknownst to the other men of the Watch, Hobley had corrupted their 
  unborn offspring with foul worm-like creatures that had slithered from the 
  Honeyman’s orifices. The results of these unions were monstrous.
  At first, the Watch Officers made demands and threats when Hobley 
  refused to allow them to see their offspring, and even more so when he 
  told them that the Honeyman had taken them. But their opposition proved 
  short-lived when Hobley called forth the honey serpent to engulf and 
  suffocate the most vocal among them. So the cycle of atrocity continued, 
  the men cowed or convinced by their complicity, and the inmates powerless 
  to prevent it. Or so it seemed until one morning they found Hobley dead in 
  the cell of one of the women. Understanding the depths of her plight, the 
  prisoner Orpha had spent several months carefully convincing Hobley that 
  she was utterly compliant and devoted to him until, when finally he made 
  a mistake and fell asleep alone in her presence, she strangled him to death 
  with one of her own manacle chains.
  It was not long after the Watch Officers discovered Hobley’s corpse 
  that the true tyrant — the Honeyman — appeared again, promising them 
  a continuing supply of honey in return for continuing their work. Fully 
  controlled by their addiction and the damage it had wrought upon their 
  minds, the men renewed their devotion to the Honeyman and agreed 
  to deliver the next offspring to him. But with Hobley gone, one of the 
  officers had secretly begun to panic.
  Watch Commander Durmast had assigned Yonas Ghall to the Asylum 
  detail, ostensibly as a punishment for cowardice but in truth as an expression 
  of defiance and retribution to the young Watch Officer’s father, the Sinks 
  District Watch Commander who had been agitating for increasing the 
  district’s powers. In a moment of clarity — a temporary release from the 
  drug-induced psychosis that had enslaved him to its supplier — terrified 
  of what might happen to them all once the misbegotten children had been 
  delivered, Yonas secretly sent a note to his father requesting an external 
  investigation into the Watch Station deaths. Reading between the lines, 
  the District Commander suspected that his son was in trouble and that 
  the matter needed to be handled delicately and in private. Unable to act 
  directly through the Watch because he did not wish to be seen to interfere 
  with Durmast’s punishment of his son, Ghall contacted a friend in another 
  district who owed him a favor and asked him to locate trustworthy, 
  independent contractors who might be able to provide some discreet 
  assistance in looking into the matter.
  Adventure Summary
  Inspector Hogan Muncy of the City Watch informs the characters that 
  they have been brought to his attention as potential private contractors. 
  Impressed by word of their talents, he would like to introduce them to 
  someone interested in offering them a job: the identity of whom and the 
  details of which are to be discussed at a meeting in the Sinks. Muncy 
  guides the characters to the Bridge House Tavern and Birdcage, a Sinks’ 
  institution on the Passage Canal, where they meet in secret with the 
  Sinks District Commander, Insian Ghall. Ghall requests their aid in the 
  investigation of deaths among the Watch officers overseeing the Asylum. 
  Concerned that the number of legitimate overseers has grown too small to 
  continue to ensure the security of the facility, Ghall wants them to work 
  out what is happening quickly, without putting more members of the 
  Watch at risk, and ultimately to fix the problem — whatever it may be.
  The characters travel to the Asylum where they experience the horrible 
  reality of “mental care” in the Blight. In the Watch Station tower, a meeting 
  with Overseer Wedgewood and the other surviving Watch officers reveals 
  that the situation in the Asylum is somewhat different than what they have 
  been told. The inmates themselves primarily run the Asylum’s security 
  under the authority of the Sanatorium, an internal, opaque institution run 
  by the Sisters of the Devout Resurrection and Rebirth. After discussing the 
  reason for their visit with the Watch officers — all of whom are opposed 
  to the “outside interference” — screams from the basement attract the 
  characters to cells housing pregnant female inmates, one of whom is in 
  labor. To everyone’s horror, the newborn is a slug-like thing that, sensing 
  a threat, swiftly shapechanges into a child-like monster and attempts to 
  escape. The event is further complicated when, attracted by the calls of 
  the creature (a young caul cuckoo), the honey serpent (the Honeyman’s 
  syreling slick) slithers into the fray to defend it. Characters who attack the 
  ooze enrage the psychotic Watch officers, who likewise enter the melee.
  Following the chaos, interrogations of surviving overseers and the 
  inmates reveal that the Watch overseers are heavily addicted to the honey-
  like substance of the ooze serpent, a drug that they were introduced to by 
  Hobley, the first overseer to die. Now that they have no source, it becomes 
  apparent that they do not know anything about how to find their supplier 
  or the children born to the captive inmates. One of the women, Orpha, 
  who killed Hobley, reveals that she is actually a noblewoman and that 
  Adventure Timeline
  35 weeks ago: Murn Hobley posted to Asylum Watch.
  32 weeks ago: Honeyman visits.
  31 weeks ago: Watch officer overseers addicted to caulspawn.
  30 weeks ago: Watch officers succumb to caulspawn psychosis.
  28 weeks ago: Female inmates abducted.
  26 weeks ago: Caul cuckoo syres corrupt first pregnancies.
  23 weeks ago: Eleanor miscarries.
  14 weeks ago: First 4 caul cuckoos born.
  13 weeks ago: Lomen Ashdown killed by syreling slick.
  12 weeks ago: Caul cuckoo syre corrupts Eleanor’s second 
  pregnancy.
  4 weeks ago: Caul cuckoo syres corrupt other inmates’ second 
  pregnancies.
  1 weeks ago: Murn Hobley killed by Orpha.
  Current week: PCs recruited by Inspector Muncy.
  
  7
  Horror in the Sinks
  Hobley told her where to find the Honeyman and the children. She offers 
  to pay the characters handsomely to arrest the surviving Watch officer 
  overseers, free the imprisoned women, kill the Honeyman, and rescue 
  their children before it is too late. The characters can escape the Asylum 
  via a subterranean supply canal to free the imprisoned women and deliver 
  the corrupted Watch officers into custody. 
  Orpha is true to her word and tells them about the Dimora Boszaroza, the 
  Honeyman’s lair. The lair, a moss-covered, partially flooded mansion just off 
  the Street of Echoes, conceals within its walls a nest of addicts, undead, and 
  carnivorous plant life, as well as the caul cuckoo offspring of the Asylum 
  women and the Honeyman: a caul cuckoo queen. Likewise, in an attic room 
  they can find a vine-clogged swamp pouring through an impossible window 
  leading to the Myre-Between, from whence the caul cuckoo spawn have 
  come. By destroying this window, the characters can stem the flow of unreal 
  invaders and end this surreptitious invasion of Castorhage.
  Beginning the 
  Adventure
  Early one morning, Inspector Hogan Muncy of the Watch (N male 
  human Ftr8, 52hp) approaches the characters in the Artists’ Quarter. 
  Impressed by word of their talents, the inspector is interested in their 
  potential as independent contractors and wants to talk to them about a job. 
  The inspector buys them breakfast at a nearby eatery and makes his offer. 
  The Watch inspector sizes you up. “You don’t look up to 
  much, but word is you have some talent and a need for some 
  gainful employment. If that’s true, this may be your lucky day.”
  The inspector’s hands are thrust deeply into the pockets of 
  his coat and his eyes — eyes that look like they’ve seen their 
  share of things — stare coolly from beneath the brim of a 
  brown bowler hat. A polished City Watch shield pinned to his 
  lapel twinkles with the dying light of a pyrebeetle lantern that 
  dimly illuminates the interior of the dingy eatery and the plate 
  of greasy breakfast in front of you.
  “I’d like to introduce you to someone in need of services 
  that I think you should be able to provide. The job will be well 
  worth your time and effort, not only in coin, but also, I believe, 
  in earning influential friends and future work — assuming you 
  live up to expectations, of course.”
  He places his bowler on a nearby table and looks thoughtful 
  as he scratches his balding head and taps out his pipe onto the 
  floor. Heavy brows, a bushy moustache, and thick sideburns 
  frame his thick face. Muncy, he said his name was. Inspector 
  Hogan Muncy.
  “I can’t tell you much else at this stage. You’ll have to come 
  with me if you want to know more. From where I’m standing, 
  though, you don’t have much to lose, so eat up, grab your gear, 
  and we can get going.”
  The characters likely have questions for the inspector, and some of 
  Muncy’s answers follow:
  • Who are you again? Inspector of the Watch, Hogan Muncy. Toiltown 
  District, Third Ward. Who I am isn’t important, though, other than to 
  assure you that this is a genuine opportunity to help the Watch.
  • Where is this meeting? In the Sinks. That’s all I can tell you right 
  now; you’ll learn more when we get there. I have a boat ready and 
  waiting to take us there.
  • Who are we meeting with? I’m not at liberty to reveal that at this 
  time. You’ll find out soon enough. Suffice it to say that the party 
  involved wishes to keep the meeting private.
  • What is the meeting about? It’s about a job. You’ll discuss the details 
  with the other party. I’m just sourcing you for them as a favor. You are 
  looking for paying work, right?
  • What do we need to bring? Yourselves and the usual gear you’d take 
  on a job. I get the impression that there’s some time sensitivity to this, 
  so don’t be assuming you can come back right away for anything you 
  leave behind.
  • What if we don’t want to come? Then I’ll find another group and 
  take them instead. Your disinterest in assisting the Watch will also be 
  noted, of course.
  Inspector Muncy and the Sinks
  The characters might already know about the Sinks district and the 
  Asylum. Inspector Muncy can fill the characters in on a more of the Sinks’ 
  history — if they ask him. Roll 1d20 once on the table below to find 
  out what he reveals. Give the characters all the information with a target 
  number equal to or lower than the number rolled. The inspector reveals 
  any information gradually over the course of their journey to the Sinks.
  1d20
  Result
  5
  The Sinks, also known as Branner’s Folly, is a district 
  of Castorhage that skirts the north bank of the 
  Lyme across from Festival, between BookTown and 
  the Hollow and Broken Hills. It is a maze of canals 
  that surround partially sunken buildings, some of 
  which are the grand mansions, towers, and ca-
  thedrals of the nobility. It is also home to the city’s 
  insane asylum.
  
  8
  The Blight: Richard Pett's Crooked City
  1d20
  Result
  7
  The district was created hundreds of years ago 
  by Branner, a child-king, who wished to create an 
  entirely new district for artists and the avant-garde. 
  Unfortunately, he chose boggy, unstable land to 
  build it on and the district began to sink almost im-
  mediately until it became as it is today, a twisted 
  wreckage of leaning walls and towers, slumped 
  buildings, and dislocated arched bridges over 
  a myriad of canals. Visitors can find the chaotic 
  geometry quite unsettling, and are often prone 
  to dizziness. The Asylum is in a guarded section of 
  the district surrounded by high walls and moat-like 
  canals.
  10
  The marsh beneath the Sinks harbors a poisonous 
  fog called Jack’s Candle. This gas can seep up, 
  seemingly at random, and kill within a matter of 
  minutes, and so most locals keep canaries in their 
  homes to help detect its intrusion. Some nobles 
  keep entire aviaries of the birds, some of which 
  have escaped to form large colourful flocks that 
  swoop around the district’s dilapidated architec-
  ture. While it can appear as an enclave of re-
  spectability, the Sinks has a reputation for excess, 
  depravity, and cruelty. Fortunes can be made by 
  artists talented — and brave — enough to appeal 
  to a decadent local aristocracy that relishes the 
  shocking and the suffering.
  12
  While the local nobility presents the Sinks as an 
  elite domain of extreme art, in truth the Capitol 
  uses it to exile their outcasts: the mad, the inbred, 
  the criminal, and the illegitimate. But the nobility is 
  still rich, and the Sinks is infested with hangers-on, 
  traders, priests, and others greedy or mad enough 
  to live in the shadows of an aristocracy shunned 
  for its shocking proclivities.
  15
  Stories persist that sea-devils brazenly walk the 
  streets of the Sinks by night, and that worship of 
  their foul gods is conducted behind the gilt doors 
  of the aristocrats. Indeed, similar stories claim that 
  many of the noble families are infected with vam-
  pirism, and that their patronage, parties, and ga-
  las are actually opportunities to abduct their prey.
  19
  It is claimed that some lidos and pools are bottom-
  less pits that harbor huge, slumbering sea monsters 
  and that some waterways carry lonely travelers to 
  streets that can never be found again.
  
  9
  Horror in the Sinks
  Once the characters finish their breakfast and grab their gear, the 
  inspector leads them through the northern streets of Little Xi’en toward 
  where the Watch riverboat he has commissioned is moored on the Lyme.
  To the Sinks
  The public wharves are bustling with business but the Watch has its own 
  private dock at which an official Watch riverboat is moored. The inspector 
  wastes no time in getting everyone aboard and underway. The riverboat is a 
  40ft fleshgine-powered sidewheel paddleboat captained by Lyme Constable 
  Eckers. The characters are free to enjoy the journey to the Sinks, which 
  takes them more than 2 miles downriver to the Passage Canal. 
  Notable sights along the way include:
  • The imposing, granite walls of the Capitol, looming over the counter 
  turn in the Lyme.
  • The stacks of towers of BookTown, and the innumerable bridges of 
  wood, rope, and stone that span the canyons they form, farther along 
  the left bank.
  • The confusion of structures and scaffolds that precariously protrude 
  overhead like cancerous growths from the sagging iron and timber 
  arches of Town Bridge all seemingly staring down in anguish at their 
  imminent collapse into the churning toxicity below. Or they cling 
  to the broken remnants of dead ships lashed to the piers underneath 
  that are somehow weirdly illuminated in a way that casts the colossal 
  structure above in shadow and creates an impossibility of angle and 
  intrusion in the midst of timber islands and broken boats connected by 
  umbilicals of rope and chain. The pervading odour is of ripe fish and 
  salt spray.
  • The Jumble’s vast decks, platforms, gangways, stairs, and ladders sit 
  within a web of rigging at the centre of the piered maze of nameless 
  streets known as the Cat’s Cradle on the right of the clock turn.
  • The abandoned folly of Skum Point extruding toward their destination. 
  • The row upon row upon row of rooftops that stagger upward from the 
  rickety arched piers and garishly painted wooden buildings of Candy 
  Spine, all strangled by bright flags and gaudy signs as they rise to the 
  Great Fayre at Festival’s summit where a huge fun wheel and twisted 
  towers sit like a dazzling crown.
  Chapter One:
  Sinks and Sources
  
  10
  The Blight: Richard Pett's Crooked City
  Business in  
  the Birdcage
  When the riverboat reaches the edge of the Sinks district, read the following:
  The riverboat finally reaches the anarchic disarray of the 
  Sinks, where every moss-covered, leaning building seems 
  to rely on another to remain standing, like a house of cards 
  perched between a riddle of stinking canals and vast flocks of 
  colourful water and songbirds that swoop over its mansions 
  and cathedrals. From a collection of old, dilapidated shipyard 
  docks, past a spire-like church blistered with raven-headed 
  gargoyles, to a huge statue of a bloated devil sheathed within 
  a many-windowed tower from which naked men and women 
  hang from manacles, the riverboat makes its way toward a 
  wide waterway that cuts through the district’s heart.
  As you enter the great Passage Canal, which bisects the 
  Sinks from Sister Lyme to the Bath’s grand confluence more 
  than a half mile away at the far side of the district, the smell of 
  sewage begins to underpin a scent of decay, and the rubbish-
  strewn waters take on a sheen of putrescence. 
  The Sinks’ main street of trade is a constant hubbub 
  of activity flanked by a mishmash of shops, stores, and 
  warehouses, many stacked upon one another, with upper 
  storeys accessible only by rickety ladders or winched baskets 
  or cages. Locals and visitors paddle, push, or guide canoes, 
  rafts, kayaks, narrowboats, flat-bottomed barges, gondolas, 
  and sandolos every which way to access stalls and façades that 
  display a cornucopia of goods for purchase. Ornate ornaments,
  carven furniture, fine clothing, abstract paintings, and risqué 
  sculptures jostle for attention among more mundane offerings 
  such as fruit, cured meats, home remedies, and boat supplies. 
  Between and beyond the trader’s pitches, whose waves and cries 
  for attention blend with the flapping of their colourful awnings and 
  banners, the caws of the ubiquitous gulls, and the curses and songs of 
  the punters. Tilting townhouses with walls of faded frescoes patched 
  with dark, chartreuse moss and suspended wrought-iron balconies 
  cant over the edges of the waterway as though continuously 
  threatening to collapse and crush the commerce beneath.
  Several hundred feet along the Passage from where it joins 
  the Lyme, a massive building bridges the canal. The riverboat 
  pulls alongside its dock, sending a drift of black swans gliding 
  away across oily, dark waters.
  “Here we are,” states the inspector as he hops off the boat, a 
  couple of halfling lads hurriedly looping its ropes around the 
  dock cleats. You collect your gear and follow the inspector into 
  the building that declares itself, via a painted sign high on the wall 
  above the dock, “The Bridge House Tavern and Birdcage.” Inside, 
  the inspector leads you up a flight of stairs and through a series of 
  interconnected bar areas that, despite the relatively early hour, are 
  all well attended. Laughter and chatter fill the air along with trails 
  of pipesmoke and the aromas of dark ales, black rum, and baked 
  bread. Halfling servers in dark clothes and yellow aprons hustle 
  barefoot across her polished dark-wood floorboards, delivering 
  food and drink to customers who sound remarkably polite and 
  thankful regardless of their walk of life or state of sobriety. 
  The sound of birdsong grows curiously louder as you pass 
  deeper into the tavern until its source is revealed as a flock 
  of canaries housed in a massive cage that passes through 
  both ceiling and floor to levels above and below. A circular 
  bar surrounds the wrought-iron structure, and a statuesque 
  middle-aged woman with curly red hair, a long black skirt, and 
  a tight-fitting yellow bodice stands nearby.
  
  11
  Horror in the Sinks
  One of the sights of the Sinks, the Bridge House Tavern and Birdcage is 
  the size of a small village that spans the Passage Canal. It is easy to get lost 
  in, particularly if you take one of its rooms, which tend to be nearer the canal 
  level. Food is plain but plentiful, and the drink of choice is rum, although 
  there are many fine wines behind the bars as well. Ellie arranged for the 
  canary cage, which rises somewhat clumsily through the centre of the entire 
  building, to be installed after the tavern’s entire clientele was poisoned by a 
  seep of odorless marsh gas many years ago (i.e. Jack’s Candle).
  The woman in the black skirt is Miss Ellie (N female Thf 6, 19hp), 
  the surprisingly foul-mouthed owner of the establishment. Ellie greets 
  Inspector Muncy by name before welcoming everyone to the Birdcage 
  and asking them if they’d like to order something from the bar. The 
  characters have a chance to chat with Ellie for a short while and also to 
  purchase some drinks. Although she won’t make the offer, if any of the 
  characters happen to make her laugh, she’ll buy the round. Both she and 
  Muncy are quick to dispel any characters’ assumption that she is whom 
  they have come to meet. After serving any ordered drinks, Ellie directs the 
  group to a private upstairs meeting room, mentioning to the inspector that 
  the other party is already waiting. For more information on the Birdcage 
  and its proprietor, including her true identity, refer to location SI11 in The 
  Blight: Richard Pett’s Crooked City.
  *See The Blight: Richard Pett’s Crooked City by Frog God Games 
  for details.
  District Commander Ghall
  When the characters enter the meeting room, read the following:
   
  In the meeting room, a solemn, middle-aged man dressed 
  in the dark blues of a high-ranking Officer of the Watch sits 
  at the head of a long table. He stands as you enter and looks 
  expectantly at the inspector who shakes his hand and nods in 
  affirmation to the unspoken question before excusing himself 
  and closing the door behind him.
  “Please take a seat,” says the man in a confident voice clearly 
  accustomed to issuing orders. He gestures to the chairs that 
  surround the table, waiting as you arrange yourselves, and 
  regarding you all with keen interest, before continuing. 
  “My name is Insian Ghall, and I am the District Commander 
  of the Watch for the Sinks. I have a current and pressing need 
  for competent and trustworthy independent contractors. 
  Inspector Muncy highly recommends you for this job or else 
  you would not be here. I require you to investigate two deaths 
  among the Watch officers serving as overseers in the Asylum. 
  You will be provided with all the necessary authorizations and 
  will each be paid the standard stipend of 1 gold shekel per day. 
  This assignment will also grant the right to requisition materiel 
  as usual for a Watch contractor but I require your utmost 
  discretion as to the nature and detail of your investigation. You 
  will report to me, and only me. Are these terms acceptable?”
  District Commander Insian Ghall (N male human Ftr5, 33hp) is 
  the head of the Watch in the Sinks. Recently, he received a letter from 
  Overseer Wedgewood of the Asylum Watch that announced deaths among 
  the Watch officers serving as underoverseers there. While this would not 
  normally be anything of particular interest to Ghall — the Asylum Watch is 
  a dangerous post — his son is currently posted there, and hastily scrawled 
  on the back of Wedgewood’s letter was a note in his son’s handwriting 
  requesting an external investigation. Ghall wants to engage the characters 
  in the investigation but does not want to reveal his true cause for concern.
  The characters likely have questions for the district commander and he 
  answers them as described below:
  • Who are you again? My name is Insian Ghall. I am the District 
  Commander of the Sinks Watch. That means that I am in charge 
  of the Watch for the entire Sinks district and that I report to Watch 
  Commander Durmast himself.
  • Why are you meeting us here? It is best that we have these 
  discussions in private and on neutral ground.
  Until he understands the truth of what has been happening, Ghall 
  wants to avoid his involvement becoming known by watchmen who 
  may report directly to Watch Commander Durmast.
  • Why do you need independent contractors for this job? The Watch 
  is quite prepared to employ independent specialists when it deems 
  necessary, and I deem it necessary in this case. In addition, and as I 
  have already mentioned, I require discretion. I’d rather not involve 
  other branches of the Watch at this stage, so you are not to disclose the 
  nature or results of your investigation to anyone but myself.
  • Who has died? “Watch Officers Murn Hobley and Lomen Ashdown. 
  Both serving as underoverseers within the facility and both within the 
  last few days.
  Though Wedgewood’s letter stated this, in truth, Ashdown has actually 
  been dead for more than 2 months.
  • What do you know about these deaths? Deaths in the Asylum rarely 
  call for an investigation, even when they occur among the overseers. 
  The post is considered one of the most dangerous in the city and with 
  good reason. It is severely underfunded and under-resourced — a 
  reprehensible situation that I have been fighting to rectify for some 
  time. The deaths you are investigating both seem to have occurred in 
  the overseers’ tower, which is in itself a cause for concern since it is a 
  veritable fortress designed to keep those officers stationed there safe 
  while within its confines. That’s all I can tell you at this time. Further 
  details will be available from Overseer Wedgewood of the Asylum 
  Watch.
  • What is the role of the City Watch at the Asylum? We are tasked 
  with the security of the facility since the institution has been deemed 
  too important and its inmates too delicate to trust to any private 
  enterprise or outside organization. 
  If the characters specifically ask Ghall for information on how the 
  Watch implements security, he tells the characters the following: 
  Due to the lack of funding, we have little option but to partner with 
  the internal sanatorium, which assesses inmates for their suitability 
  as additional resources. Your authority in this matter does not extend 
  to interfering with that institution nor of the internal prison. Do not 
  escalate this matter by interacting with either of them.
  • This sounds dangerous. Can you increase the pay? At this, the 
  district commander sets his jaw and considers your question before 
  sighing and adding that he’s prepared to double the pay rate but 
  expects the investigation to be conducted swiftly and professionally as 
  his personal agents in the matter. If the characters continue to press for 
  more pay, Ghall has a limit to what he will offer: 
  “Three gold shekels per day. That’s as high as I will go. If it’s 
  insufficient, then I shall seek another group.”
  District Commander Ghall  
  and the Sinks
  District Commander Ghall can expand what the characters know of 
  the Sinks’ history. Roll 1d20 once on the table below to find out what 
  he reveals. Give the characters all the information with a target number 
  equal to or lower than the number rolled. Ghall reveals any information 
  gradually over the course of their journey to the Sinks. Keen to ensure 
  the characters take the job, he downplays the information about the Judge 
  (should that result be included), saying he shouldn’t have gossiped about 
  the man or the nuns. 
  1d20
  Result
  5
  The Sinks is home to the city’s insane asylum, simply 
  called the Asylum.
  7
  The Asylum is in a guarded section of the district 
  surrounded by high walls and moat-like canals.
  
  12
  The Blight: Richard Pett's Crooked City
  1d20
  Result
  10
  The Asylum wall has a single huge gate and guard 
  towers with inward-facing siege engines to prevent 
  escape attempts.
  13
  The Asylum contains exiled nobles who are too 
  dangerous — either through genuine insanity or 
  simply by virtue of who they are or what they know 
  — even for exile to the Sinks. The Asylum contains 
  a sanatorium and a prison, along with the Watch 
  Station tower.
  16
  The Watch actually maintains a minimal presence 
  in the Asylum and that, in fact, the vast majority of 
  “guards” are actually inmates selected by a dedi-
  cated order of nuns called the Sisters of the Devout 
  Resurrection and Rebirth who run the sanatorium. 
  19
  The true authority figure in the Asylum is an inmate 
  known as the Judge, an ex-Justice sentenced to 
  life in the Asylum for committing a horrific series of 
  murders, and the nuns of the Sanatorium are a Lu-
  ciferan order.
  To the Asylum
  Ghall finishes the meeting by issuing the characters their writ of 
  authority and requesting that, once the characters have completed their 
  investigation and are ready to deliver their report, they ask Miss Ellie to 
  arrange a meeting, though they should avoid seeking a meeting with him 
  at a Watch Station. He then excuses himself and leaves, shaking Muncy’s 
  hand outside before departing.
  When the characters are ready to head to the Asylum, the inspector 
  accompanies them back to the dock where Lyme Constable Eckers waits 
  with the riverboat. The journey to the Asylum is relatively swift and direct 
  along a canal that stretches from a junction just farther along the Passage 
  from the Birdcage straight to the Asylum Pool.
  Along the way, the characters may be struck by the beauty and detail 
  of the architecture, notwithstanding the fact that it is all partially sunken, 
  covered in moss, and leaning at haphazard angles, usually onto nearby 
  buildings. Among these structures, walkways of corroded iron and wood 
  have been erected so that people can climb and walk from building to 
  building over the ubiquitous canals with nary a solid street in sight. The 
  number of “prahu punters” — boatmen in colourfully striped attire who 
  sing emotionally expressive songs in loud, melodic voices as they pole 
  gondolas every which way, transporting people around the district — seem 
  nearly matched in numbers by the City Watch kayaks whose occupants 
  watch the crowds with evaluating eyes.
  The characters also smell the raw stink of sewage that occasionally 
  assails them, along with catching sight of patches of excrement that float 
  on the surface of the canal. And they’ll occasionally catch a strange scent 
  in the air that makes them feel momentarily dizzy and disoriented, as 
  though momentarily gripped by a sea sickness that compels them to steady 
  themselves against a boat rail lest they topple into the black waters.
  But most of all, the characters notice a susurrus of sound, even beneath 
  the songs of the boatmen, the ubiquitous bird calls, and the grunts and 
  sighs of the fleshgine running their riverboat paddler, that slowly rises 
  in volume as they approach the forbidding 60ft-high walls of their 
  destination. And as they get closer, they are finally able to discern that the 
  susurrus is a seemingly endless, composite scream — a scream of human 
  anguish and suffering from many voices overlapping one another in their 
  cacophony that issues from within the Asylum. The characters may also 
  wish to question Inspector Muncy regarding their destination. If asked, 
  Muncy shares the following: 
  “I don’t envy you, heading into that place. I’ve heard it’s a 
  living hell, where the inmates prey upon each other and the 
  guards barely keep the upper hand. But don’t forget: It’s 
  where the nobility send their own, and to kill a noble has dire 
  consequences. Any murderous madman in there might have 
  connections that will get your necks stretched if you put him 
  down. You want my advice? Whatever you’re going in there to 
  do — and I don’t want to know what — keep your heads down, 
  get the job done, and get out as fast as you can.”
  Deputies of the Watch
  Each day that the characters spend on the investigation earns 
  them a 1gp stipend apiece, unless they negotiated a higher 
  rate. In addition, District Commander Ghall gives them a writ 
  deputizing them as investigators for the Watch that they can use 
  as credentials but warns them that this status does not confer 
  any authority over other members of the Watch, and that they 
  must work with the Watch officers they will be investigating. 
  He asks them to avoid discussing the reason for the writs with 
  other members of the Watch but notes that they can requisition 
  mundane equipment worth 100gp or less from the Watch once 
  per day. Doing so requires that they go to a Watch Station with 
  their credentials (the Asylum Watch Tower counts as such a 
  station). Any item of 20gp value or less can be had immediately 
  (at the Referee’s discretion, since some items may be harder to 
  come by and require a day to procure). Items worth more than 
  20gp require a day to procure, and the characters must return to 
  pick it up. Unless the item would be consumed by its use (holy 
  water, etc.), it is expected that the characters return it within one 
  week. If they fail to do so, the Office of the Watch charges them 
  double its list price in order to replace it.
  
  13
  Horror in the Sinks
  When the riverboat reaches the Asylum Pool, read the following:
   
   
  A 60-foot-tall wall constructed of huge blocks of smooth 
  grey stone looms over the surrounding buildings. Stretching 
  approximately 550 feet along the Asylum Canal before turning 
  at the Asylum Pool to join another length of wall that runs from 
  the Bedlam Canal. The walls on this side of the compound have 
  guard towers at three corners and run through a gatehouse. 
  Guards walk slowly along the wall or stand atop its gatehouse 
  or towers where mounted ballistae point into the interior.
  Inspector Muncy drops the characters off at the Asylum Pool dock 
  (near Area A1) and wastes little time hanging around. He wishes the 
  characters luck before ordering Eckers to head back to the Passage. The 
  Asylum was built on a large island of dry ground in the district. An area 
  of this land extends beyond the walls and is enclosed by the Asylum and 
  Bedlam Canals. To the left of the Asylum Pool, slovenly buildings that 
  seem to cower on the edges of these canals house some of the workers 
  who provide services to the institution beyond, but between the pool and 
  the gatehouse the land forms a large courtyard for arrivals.
  A. The Asylum  
  and Surrounds
  The Asylum is more than a single structure; it is an entirely enclosed 
  community within the Sinks and is considered its own parish within 
  the bureaucracy of the city. A 60ft wall encompasses its entire area to 
  keep prying eyes out as much as to keep inmates in. Several areas of the 
  Asylum get their own description, but a general description of the area’s 
  features is provided below.
  Features of the Asylum
  Hovels: Most of the buildings within the Asylum are partially collapsed 
  and dilapidated hovels with few, if any, pieces of furniture. They are typically 
  single-storied, with stone foundations and crumbling exterior walls of wood 
  and plaster, wooden interiors walls, and roofs that bear multiple holes. In 
  practically all cases, the doors and window shutters have been removed so 
  that guards can also gain access, and the interiors are frequently daubed in 
  human filth or have collections of rubbish and debris.
  Streets and Squares: The streets and squares are compacted earth that 
  frequently churns into a sucking bog in heavy rain. The dark mud clings 
  to everything, giving the place a filthy appearance.
  Wall: The Asylum wall is 60ft high, 10ft thick, and, at almost 3400ft 
  long, encloses an area of more than 11 acres. While the external side of 
  the wall is a smooth surface of superior masonry, climbing the surface 
  of the internal side also requires negotiating broken glass, barbed wire, 
  and downward-pointing iron spikes that have all been mortared into place 
  (–20% Climb Walls, any failure results in fall damage and an additional 
  1d4 points of damage from hitting the protruding obstacles).
  Wall Towers: At six of the wall’s eight corners, a timber guard tower 
  holds a defense platform for 3 light ballistae with 10 ballista bolts each. 
  The towers each also hold a rack of 12 heavy crossbows and 20 bolts for 
  each. A single Asylum trustee wall guard is typically stationed at each 
  tower, which can be reached from a spiral stair within the wall that is 
  accessible through a locked wooden door reinforced with an internal bar 
  (–1 Open Doors).
  Asylum Trustee Wall Guard: HD 1d6; HP 3; AC 9[10]; Atk pad-
  ded club (1d4), heavy crossbow x1/2 (1d3+1, blunted bolts) 
  or light ballista (3d6); Move 12; Save 18; AL N; CL/XP B/10; 
  Special: insanity (irrational obsession with a particular object 
  or situation [Referee’s discretion]. If directly confronted by 
  the obsession, must make a saving throw or become fasci-
  nated for 1d6 rounds).
  Equipment: padded club, heavy crossbow with 20 
  blunted crossbow bolts.
  Wells: All wells are covered by iron grilles at the top through which 
  chains are attached to a bucket. Their brick-lined shafts typically descend 
  20ft to 30ft to the groundwater. Frequent disease outbreaks in the Asylum 
  are linked to these wells and the poor sanitation of their surroundings.
  A1. Heaven’s Gate 
  The gatehouse is constructed of the same blocks of grey 
  stone as the surrounding walls and frames a massive, 20-foot-
  square door of heavy ironbound oak. To the side of the gate, a 
  barred window reveals a dim chamber within the gatehouse. 
  Above the gate can be seen the bas-relief of an angel, its 
  limestone features deteriorated by long years of exposure and 
  weathering to form a gruesome melted mask. The shrieking 
  from within the Asylum is more muted this close to the walls, 
  and yet distinct sobs and screams can now be heard over the 
  horrible hum. A wooden sign mounted to the wall beside the 
  gate bids all comers “Welcome to Heaven.”
  A lone guard, dressed in a chain shirt and the dark blues of the Watch, 
  sits in the chamber beyond the iron-barred window. The chamber is small, 
  contains a table and chair, and is only accessible by a spiral staircase 
  that runs up to the top of the gatehouse; there is no door. Underoverseer 
  Simeon Kaylock (see Personalities of the Asylum Watch in Chapter 
  3 for more information on this guard) is startled by the arrival of the 
  characters at his window and quite flustered as he requests to know their 
  business at the Asylum. He refers to a logbook that clearly indicates that 
  no visitors were expected today. The characters have to show Kaylock the 
  writ of authority they received from Ghall before he authorizes admission. 
  Characters who watch Kaylock examine the document get the impression 
  that Kaylock is quite worried about something but, if questioned on 
  the matter, he states that he is unaware of the protocol for unscheduled 
  visitors and must consult his superior. He asks the characters to wait and 
  disappears up the spiral stair, taking the writ with him.
  Simeon Kaylock, Addicted Underoverseer (Ftr1): HD 1; HP 
  6; AC 7[12]; Atk cosh (1d4+1)*, short sword (1d6); Move 12; 
  Chapter Two:
  Welcome to Heaven
  
  14
  The Blight: Richard Pett's Crooked City
  
  15
  Horror in the Sinks
  Save 14; AL C; CL/XP 1/15; Special: caulspawn addiction, 
  immune to caul cuckoo lullaby. (See Meeting the Watch, 
  Chapter 3)
  Equipment: leather armor, cosh*, short sword, dagger, 
  manacles, signal whistle, briar smoking pipe, key to pe-
  rimeter gates.
  Note: Kaylock is obsessed with caulspawn and serving 
  caul cuckoo queens. 
  * See Sidebar below.
  Development: In truth, Kaylock is worried about what the characters 
  will discover at the Watch Station tower and wants to warn his colleagues 
  that they have unexpected visitors. He dashes to the top of the gatehouse 
  where he hurriedly discusses the situation with Overseer Wedgewood, 
  and hands him the characters’ writ. A quick plan formed, Wedgewood 
  hurriedly heads to the tower, and only once he can see his boss entering 
  the Watch Station tower does Kaylock authorize the Asylum door to be 
  raised and descend from the gatehouse to meet them. When the characters 
  gain entrance, read the following.
  The great gate to the Asylum slowly begins to rise and, with 
  it, a cacophonous crescendo of pain and anguish, pleading and 
  rage, fear and confusion. It washes under the door like a wave 
  and spreads beyond, echoing from the walls that confined it to 
  fill the area with its awful, ceaseless din.
  Beyond, men and women wield clubs to threaten others 
  who, seeing the door rise to reveal the outside world, begin 
  to converge upon it. More yells and screams add to the noise 
  as they are beaten back or to the ground, attracting yet more 
  from farther within the compound who start to run en masse 
  from a large open area toward the sight of freedom. Most 
  are dressed in rags and covered in filth, with wild hair and 
  emaciated, gaunt bodies, barefoot, and cut and bruised. Some 
  cry and some dance naked; some point at the exit and laugh 
  hysterically, while others openly scream at the sky, rending 
  their clothes and hair.
  Kaylock stands on the other side of the door and quickly ushers the 
  characters inside, berating them for any hesitation, before signaling to the 
  top of the gatehouse. The door drops heavily once the final character is 
  inside, and the crowd of inmates begins to disperse. Some remain intent 
  on reaching the door and the characters, however, and continue to push 
  forward. Five Asylum trustee gate guards with padded clubs continue 
  to beat back around 20 inmates but, for a few rounds, it is a losing battle. 
  Several manage to reach the characters. These guards are better dressed 
  than the inmates (typically wearing some form of padded armour), but 
  they do not wear uniforms. Unless the characters defend themselves 
  (easily accomplished if the characters wish it), external items such as 
  cloaks and backpacks may be torn away by inmates who reach them, and 
  the character takes 1d4 points of damage. An item can be easily recovered 
  if the inmate is injured, but if the characters deal lethal damage to any 
  of the inmates, Kaylock immediately orders them to desist lest they risk 
  killing a noble.
  Throughout this time, the characters are assaulted by the almost 
  overpowering stench of human waste and rank body odour that emanates 
  from the inmates. This is joined by the stink of rotting refuse that rises 
  from the dirt itself. Some of the inmates question the characters, asking 
  them who they are and why they have come, if they know them or their 
  families, and if they have come to take them away. After a few rounds, 
  the frenzy abates and the remaining inmates either disperse or lay on 
  the ground groaning and sobbing. Some of the inmate guards zealously 
  continue to beat a few inmates until Kaylock yells at them to stand down. 
  Kaylock then offers to escort the characters to the watchtower (Area A5).
  Asylum Trustee Gate Guards (5): HD 1d6; HP 5, 4x2, 3x2; 
  AC 9[10]; Atk padded club (1d4), light crossbow (1d3+1, 
  blunted bolts); Move 12; Save 18; AL N; CL/XP B/10; Special: 
  insanity (irrational obsession with a particular object or sit-
  uation [Referee’s discretion]. If directly confronted by the 
  obsession, must make a saving throw or become fascinated 
  for 1d6 rounds).
  Equipment: leather armor, padded club, light cross-
  bow with 20 blunted crossbow bolts.
  Asylum Inmates (20): HD 1d4; AC 9[10]; Atk dagger (1d4), 
  rock (1d3); Move 12; Save 18; AL N; CL/XP A/5; Special: 
  insanity (irrational obsession with a particular object or sit-
  uation [Referee’s discretion]. If directly confronted by the 
  obsession, must make a saving throw or become fascinated 
  for 1d6 rounds).
  Equipment: improvised dagger, rock.
  A1a. Gatehouse
  The gatehouse is 60ft high and forms a 50ft-by-40ft platform around 
  which a 4ft-high wooden battlement has been erected. On the platform, 
  two light ballistae are mounted at the interior corners, each with a 
  rack of 20 bolts. Chains from a large winch secured in the centre of 
  the platform descend down through holes in the platform to attach to 
  the Asylum gate. A steep and narrow spiral staircase cuts through the 
  western wing of the gatehouse from within a small chamber at the base 
  of the gatehouse that has a strong wooden door, locked with an interior 
  bar (–1 Open Doors). A barred window looks out of this chamber over 
  the grounds approaching the gate. The stair climbs to a locked wooden 
  trapdoor that accesses the parapet.
  A2. Asylum Yard
  Immediately beyond the gatehouse is Angel’s Court, which adjoins 
  Bedlam Square, commonly referred to as “the Yard.” The Yard, which is 
  bounded by dilapidated hovels of stone and wood without doors or shutters 
  to close off their darkened interiors, is filled with inmates either huddled 
  around a central dried-up fountain or engaged in running, screaming, 
  rocking back and forth, fighting, or defecating. In addition to the inmates, 
  other people can be seen throughout the Yard and elsewhere, including 
  plenty of trustee guards with padded clubs and armour, and groups of nuns 
  in black and gray habits. The occupants of the yard generally ignore the 
  characters after the initial rush at the gatehouse.
  A3. Sanatorium
  The Sanatorium is a two-storey stone building with barred windows 
  and a set of main double doors made of iron. It is where the Sisters of the 
  
  16
  The Blight: Richard Pett's Crooked City
  Devout Resurrection and Rebirth confine and tend to inmates considered 
  too dangerous or too special to be allowed into the general population. 
  The characters will not be permitted inside the building under any 
  circumstances, with the Sisters (C female MU4 [witch], 4d4hp) citing 
  the need to carefully control the environment of inmates whose insanities 
  can wield spontaneous, magical violence. Any attempt to force entry will 
  be met by considerable opposition. Further details on the Sanatorium and 
  the awful truth about its inhabitants can be found in the Sinks and Asylum 
  chapter of The Blight: Richard Pett’s Crooked City but are otherwise 
  outside the scope of this adventure.
  A4. Prison
  An old prison that forms much of the southeast corner of the Asylum 
  has been extended to run half the length of the south wall through the 
  incorporation of rows of old tenements and hovels until it has become 
  one massive structure riddled with barred windows and iron spikes. 
  The screams that emerge from within its depths are some of the most 
  bloodcurdling sounds in the entire Asylum. Practically everyone avoids 
  the place. The true ruler of the Asylum, the man known as the Judge (C 
  male human Clr4 of Mathrigaunt*), presides over a private Abyss within 
  and, thankfully, will not emerge throughout the characters’ hopefully brief 
  stay in his domain. Further details on the Prison and its inhabitants can 
  be found in the Sinks and Asylum chapter of The Blight: Richard Pett’s 
  Crooked City but are otherwise beyond the scope of this adventure.
  * See The Lost Lands: Borderland Provinces (page 123) by Frog God 
  Games
  A5. Asylum Watch Station  
  Tower and Grounds
  To the right of the gatehouse more hovel-lined streets lead to another 
  open area, but this one has been formed through the demolition of 
  buildings, the shells of which surround a watchtower of stone and wood 
  that bristles with spikes. More inmates wander these debris-strewn streets. 
  Refer to Chapter 3 for more details on the Watch Station tower.
  Event 1: Burning in Bedlam
  As Kaylock leads the characters to the watchtower, an incident occurs 
  as described below.
  From the continual clamor of the Yard, a piercing scream 
  emerges. From a nearby hovel on the edge of Bedlam Square, 
  a group of nuns in black and grey habits emerges carrying a 
  struggling young woman between them and heading toward a 
  nearby handcart. One to each limb and one at her head, they 
  fight to restrain the woman who kicks and spits and yells, 
  wrenching her body this way and that in a furiously desperate 
  attempt to escape. The young woman looks injured, her ragged 
  dress and dirty face spotted and smeared with blood.
  The young woman is thoroughly insane and, apart from the usual 
  cuts and bruises, is uninjured. The Sisters discovered the woman in the 
  process of eating the remains of another inmate whose corpse lies partially 
  consumed within the hovel, and they are in the process of transporting her 
  to the Sanatorium for “treatment.” The young woman seems remarkably 
  lucid, however, as she spots the characters and screams out to them to help 
  her, saying that the nuns are devil-worshippers who are going to torture 
  her in the Sanatorium — an assertion that is, actually, not very far from 
  the truth.
  When the woman calls to the characters for help, the Sister at her head 
  scowls in obvious displeasure and, with a sinister, claw-like magical 
  gesture, puts her to sleep. The woman subdued, the nuns begin to strap her 
  into the handcart before taking her to the Sanatorium. While the incident 
  may be concerning for some of the characters, it is a distraction from a real 
  threat. The appearance of one of the characters has triggered the temporary 
  recovery of an amnesiac whose real identity is a homicidal pyromaniac.
  Ephraim Horat Cantabulaxe Greville hails from a family of minor 
  nobility in the Capitol who, for many years, was a gentleman scholar 
  with a keen interest in the history of Castorhage and its aristocracy. No 
  one knows quite why, but one day he suddenly set out on a rampage of 
  arson that destroyed several libraries and many more lives. Greville had 
  no recollection of his actions nor of his identity after the terrible events 
  and drifted into a personality of indifference and incomprehension. His 
  inability to manage his affairs combined with the fear of another episode 
  resulted in his family exiling him to the Asylum where he has since 
  languished, a confused but passive man in his middle years.
  In truth, Greville had the ability to create and control fire with his 
  mind, which he had discovered several years before the incident and had 
  been working in secret to refine. Unfortunately, political manoeuvrings 
  within the Capitol that exploited and humiliated him sent him into a deep 
  depression and then a manic rage that permanently unhinged him. The 
  violence that resulted ended with a mental retreat that locked his ability 
  away, along with his new evil pyromaniac personality, but something about 
  the appearance of one of the characters has unlocked it with potentially 
  fatal consequences.
  Ephraim Greville (Pyromaniac): HP 34; AC 9[10]; Atk strike 
  (1hp); Move 12; Save 12; AL C; CL/XP 5/240; Special: mental 
  fire blast (1/round, 2d4 fire damage, save for half), pyroma-
  niac (obsessively sets objects and creatures on fire with the 
  power of his mind; must save or be fascinated by the flames 
  for 1d6 rounds). 
  Equipment: none.
  Tactics: Characters have a 3-in-6 chance to notice Greville creeping 
  toward them from around the nearest hovel. Any characters who respond 
  to the young woman’s apparent plight, however, are distracted and have 
  a 1-in-6 chance. Characters who spot Greville notice only an emaciated, 
  middle-aged man dressed in dirty rags with wild, greying hair and an 
  unkempt beard. He is strangely fixated upon one of the characters. 
  Greville spends the surprise round gathering power before targeting a 
  random character with his mental fire blast. He then focuses his blasts on 
  any who attack him. Kaylock screams at any character who responds with 
  lethal force to subdue and not kill the man lest they all be hanged.
  Development: Kaylock and the inmates run for cover when Greville 
  attacks, and the nuns hide in the hovel from which they took the woman, 
  but a zealous guard on the gatehouse moves to quell the uprising. 
  Unfortunately, the guard is used to indiscriminately applying force against 
  the inmates and, on the 3rd round of combat, he eagerly fires a light ballista 
  into the melee, overjoyed at sensing an opportunity to use the weapon. 
  The guard targets a randomly determined participant, dealing 3d6 points 
  of damage with a successful attack. Whether the attack hits or misses, 
  however, shortly thereafter a figure in spiked armour grabs the arbalist and 
  pushes him off the wall, whereupon he plummets, screaming, to his death 
  at the base of the gatehouse (unless the characters somehow intervene). 
  Asylum Trustee Wall Guard: HD 1d6; HP 3; AC 9[10]; Atk pad-
  ded club (1d4), heavy crossbow x1/2 (1d3+1, blunted bolts) 
  or light ballista (3d6); Move 12; Save 18; AL N; CL/XP B/10; 
  Special: insanity (irrational obsession with a particular object 
  or situation [Referee’s discretion]. If directly confronted by 
  the obsession, must make a saving throw or become fasci-
  nated for 1d6 rounds).
  Equipment: padded club, heavy crossbow with 20 
  blunted crossbow bolts.
  When the characters defeat Greville, Kaylock urges them to hurry to the 
  Watch Station tower as their presence is causing too much of a disruption 
  in the Yard. The characters may wish to investigate the young woman’s 
  situation, however, and talk to the nuns. The Sisters calmly explain 
  what they had discovered and show the characters the evidence. Any 
  accusations that the woman’s assertions were correct are met with simple 
  
  17
  Horror in the Sinks
  smiles, assurances that the woman will receive the appropriate treatment 
  for her terrible affliction, and invitations for the characters to confine their 
  interests to their appointed responsibilities. If Greville is unconscious, the 
  nuns swiftly stabilize him before lifting him onto their handcart next to 
  the woman and transporting him to the Sanatorium as well. They order 
  guards to bring any dead inmates, including the remains in the hovel, to 
  their morgue. If the characters attempt to interfere, Kaylock exhorts them 
  not to oppose the Sisters and to accompany him to the Watch Tower. If the 
  characters continue to intervene, however, the nuns are quite capable of 
  defending themselves.
  Sanatorium Sister (MU4, witch): HP 12; AC 9[10] or 2[17] (mis-
  sile) and 4[15] (melee) from shield spell; Atk dagger (1d4); 
  Move 12; Save 12; AL C; CL/XP 5/240; Special: hex (1/day, 
  charm person or sleep), spells (3/2).
  Spells: 1st—magic missile, protection from good, shield; 
  2nd—darkness 15ft radius, invisibility.
  Equipment: dagger, spell pouch, wand of fear (5 
  charges).
  
  18
  The Blight: Richard Pett's Crooked City
  When the characters approach the Watch Station tower, read the 
  following description.
  A squat watchtower stands in a large area of broken ground 
  cleared by the demolition of rows of tenement and other former 
  structures. The shells of these buildings now form a makeshift 
  curtain wall, with windows, doorways, and alleyways blocked 
  by mounds of rubble riddled with broken glass and rusting iron 
  spikes. Three 15-foot-wide gates of thick iron bars are situated 
  on the western, eastern, and southern sides of this perimeter.
  Kaylock leads the characters across Angel’s Court and up the gradual 
  rise of Monk Road to the tower yard’s west gate. He unlocks a padlock 
  and ushers them into the Watch Station tower grounds before securing the 
  gates behind them. From within the grounds, the characters can see that 
  the shells of the buildings that surround the Watch Tower mostly consist 
  of only the outer façades reinforced with rubble and large timbers. The 
  mounds of broken stone that block the former alleys between the buildings 
  descend into nests of more iron spikes in the interior.
  Kaylock leads the characters straight to the Watch Station tower. Upon 
  first reaching the tower, read the following:
  The Asylum Watch Tower is a total of 40 feet high. The lower 
  20 feet is constructed of stone and topped with a crenellated 
  parapet. From the top of this tower extends a smaller wooden 
  turret structure that, along with thick wooden columns, supports 
  a second wooden upper level that is wider in dimension than 
  even the stone tower beneath it. Another crenellated parapet 
  protects this expanded floor’s roof. While the entire structure 
  looks solid and imposing, with downward-pointing spikes lining 
  its walls to prevent climbers, its stone and wood construction 
  nevertheless looks patchwork and is clearly born from materials 
  scavenged from the surrounding destruction.
  A single door leads into the base of the wooden extension 
  atop the tower’s parapet, but there is no such entrance visible to 
  the stone tower itself, which is pierced only by tiny ventilation 
  holes 9 feet up and by arrow slits 12 feet up. Yet more arrow 
  slits line the walls of the upper level and ballistae point from 
  the corners of its roof.
  Asylum Watch 
  Station Tower
  The Watch Station tower has two floors in the main stone portion of the 
  structure topped by a stone parapet 20ft high, as well as two more floors in the 
  wood turret, topped by an additional wooden parapet 40ft high that overhangs 
  the tower beneath by 5ft on all sides. This wider wooden parapet is supported 
  by thick wooden stanchions set into the lower parapet as well as the wooden 
  turret built in the centre of the tower’s roof. The only access into the tower is 
  by way of a door in the wooden central turret, so visitors must first climb the 
  clockwork ladder to reach the stone parapet 20ft above the ground.
  Most of the time that the characters are in the tower will be spent 
  questioning the constables stationed there, so no map of the tower’s 
  interior is provided or necessary. The only real room of note in the tower 
  itself is the watch room, the second floor of the wooden turret that, like the 
  parapet it supports, is actually wider than the tower itself, overhanging the 
  stone tower beneath by 5ft on all sides.
  Chapter Three:
  Who Watches the Watchmen?
  
  19
  Horror in the Sinks
  When the characters enter the tower (as described under Meeting the 
  Watch below), it is to this watch room that they will be escorted and the 
  constables assembled for their questioning. 
   
  Watch Room
  The top level of the tower is a single 50-foot-square watch 
  room that, due to the elevated ground it sits upon, almost 
  reaches the height of the Asylum wall. Wooden columns support 
  the roof to which a staircase ascends to a trapdoor. The open 
  stairwell that descends into the turret beneath has a simple 
  bannister. Each wall is lined with wide windows, most with their 
  shutters closed, and covered murder holes line the perimeter 
  for dropping rocks or other substances on any attackers that 
  threaten the tower walls below. Racks of heavy crossbows, bolts, 
  and other weaponry surround the room, in easy reach of most 
  of the windows, and cauldrons sit on unlit stoves in each corner 
  near crates full of red and black ceramic flasks. An assortment of 
  tables and chairs stand around the centre of the room, some of 
  which are strewn with maps, others with bottles, tankards, and 
  platters holding only the remains of meals. Firewood is stacked 
  near the stairs where the metal chimney of a wood-burning 
  stove forms its central column.
  The watch room overhangs the lower tower by 5ft, enabling anyone 
  climbing its walls or around its base to be attacked through the murder 
  holes around its perimeter. Among the mundane items around the room are 
  4 bullseye lanterns, 4 hooded lanterns, a teapot, a samovar, 4 cauldrons, an 
  hourglass, 4 oil lamps, 5 lbs. of rough shag tobacco, partially empty bottles 
  of spirits and wine, a signal horn, and the key to the tower’s armoury. On 
  the table are maps of the Asylum and its surroundings (see The Asylum 
  and Surrounds map), and a spyglass. Each crate in the corner contains 
  15 black flasks of oil. A total of 16 heavy crossbows, 320 bolts, and 8 
  longspears are in the weapon racks. 
  The Rest of the Tower
  Guard quarters, weapon and food storage, a kitchen, garderobes, an 
  armoury, and Overseer Wedgewood’s quarters occupy the rest of the 
  Asylum Watch Station tower. For the most part, these hold only mundane 
  furnishings and accoutrements (universally in poor shape). A stairwell in 
  the centre of the tower accesses all of its levels as well as descending into 
  the tower basement (Area B).
  If the characters take the time to thoroughly search the tower, the only 
  areas of any interest will be the armoury, Commander Wedgewood’s 
  quarters, and the upper guard quarters that are all located on the second 
  floor of the tower, and the lower battlement located atop the stone portion 
  of the tower.
  Watch Station Armoury
  The door to this room is made of iron and has a lock, though a key to it 
  can be found in the watch room (above). The armoury contains racks of 
  armour and weapons, and other defensive supplies including: 10 suits of 
  chainmail, 10 steel shields, 10 longspears, and 10 longswords. In addition, 
  padded crates contain 60 black flasks (oil).
  Commander’s Quarters
  Not only is Wedgewood the overseer of the Asylum, he is also the parish 
  commander of the City Watch for the Asylum parish. As such, he is afforded 
  considerably more luxuries than are his subordinates. He keeps the door 
  locked and carries the key to it on his person. The chamber contains a large 
  bed with a feather mattress, a long writing desk with a padded chair, a chest 
  of clothing and a cabinet. An oil lamp stands on the desk. In a desk drawer 
  is the key to the supply stair (Area B11) and a set of station logs that are 
  woefully out of date and convey a lack of care and engagement.
  Treasure: On the wall above the bed hangs Wedgewood’s treasured 
  portrait of Marlies Fan, a high-class prostitute who, in her heyday some 40 
  years ago, was a famed beauty who catered exclusively to the city’s elite. 
  It is a rare 1ft-by-2ft portrait of Fan who, once activated by a command 
  word (inscribed on the back of the frame), engages the viewer with lewd 
  conversation as she undresses. It would bring 3000gp from a collector or 
  admirer. The chest contains a suit of leather armour in City Watch blue.
  Upper Guard Quarters
  The door to this room is locked; Birdy has the key. This guard quarters 
  contains five simple beds, each with numerous blankets, a single pillow, 
  and an upright cabinet with an inset simple lock. The cabinets contain 
  Constable of the Watch uniforms, leather armour, and personal belongings, 
  including a mirror and kits for gear maintenance, grooming, and mess. An 
  oil lamp stands on a table near the door. Birdy and Kaylock sleep here.
  Treasure: Each cabinet contains a suit of dark blue leather armour. 
  Birdy’s cabinet contains a gold and silver hip flask engraved with the 
  name “Bax” worth 50gp, and a set of loaded dice.
  Lower Battlement
  A crenellated parapet that alternates between 4ft and 3ft tall protects 
  the roof of the stone tower. The central wooden turret leaves a 7ft-wide 
  walkway around its perimeter. At regular 10ft intervals, 2ft-square 
  wooden stanchions help support the floor above. The turret door is a 
  strong, ironbound wooden door with a lock and a heavy wooden bar (–1 
  Open Doors); Wedgewood carries the key.
  Attached to the parapet in front of the door to the turret is a clockwork 
  ladder. When activated, this device extends or retracts a ladder that it 
  assembles from lengths of iron attached to spools of cable within. This 
  process locks the pieces together to form a rigid ladder that can reach to the 
  ground. The clockwork ladder’s activation switch is locked; Wedgewood 
  has the key.
  Meeting the Watch
  When the characters reach the Watch Station tower, Kaylock calls up 
  to the occupants to let them in. A short time later, Overseer Wedgewood 
  (who left the gatehouse at Area A1a upon the characters’ arrival at the 
  Asylum) emerges through the upper doorway. After a cursory inspection 
  of the area below, he activates some sort of clockwork contraption attached 
  to the parapet that, over the course of a full minute, extends an iron ladder 
  down to about a foot off the ground. Wedgewood surveys the area, a heavy 
  crossbow at the ready, as Kaylock and the characters climb the ladder. 
  After a nod from Wedgewood, Kaylock leads the characters inside while 
  Wedgewood uses the contraption to retract the ladder before joining them.
  Inside, Kaylock introduces the characters to the Constables of the 
  Asylum Watch as described below.
  Overseer Wedgewood: A thickset man in his early forties whose once-
  muscular build is going to fat and starting to hang off a thinning frame. 
  He has greasy black hair, a thick moustache, and several days’ stubble that 
  highlights a scar that runs from the corner of his left eye down to his chin. 
  Wedgewood is the parish commander and serves as the overseer in charge.
  Birdy: A short, wiry man in his late twenties with crude tattoos 
  running along both arms, sunken eyes, a prominent chin, and a prominent 
  gold tooth. His head is shaved to a short stubble, revealing a port-wine 
  birthmark on the back of his head that resembles a bird in flight. 
  Cullen: A tall man of slim build in his early thirties with long brown 
  hair, heavy-lidded eyes, and a thin moustache. He speaks little but seems 
  always to be watching everything.
  Kaylock: A hook-nosed, beady-eyed man in his early thirties with a nasally 
  whine for a voice. He tends to wring his hands together when speaking.
  Yonas: A gaunt man in his mid-twenties with a mop of dirty blonde 
  hair. He tends to stare with a vacant expression much of the time as if lost 
  in thought.
  All of these Constables of the Watch appear pale, unfit, and unhealthy, 
  as though they’ve not been exercising or eating well. The cause is not 
  
  20
  The Blight: Richard Pett's Crooked City
  obvious, however, and if asked, the overseers explain it away as “what 
  you get for livin’ in this hellhole. Bad sleep and worse food.”
  Overseer Vern Wedgewood (Ftr5): HP 34; AC 5[14]; Atk flail 
  (1d8+2), short sword (1d6+2), dagger (1d4+2); Move 12; 
  Save 10; AL C; CL/XP 5/240; Special: caulspawn addiction, 
  immune to caul cuckoo lullaby, multiple attacks (5) vs. 
  creatures with 1 or fewer HD, +2 to hit and damage strength 
  bonus.
  Equipment: chainmail, flail, short sword, dagger, man-
  acles, signal whistle, briar smoking pipe, keys (ladder, 
  upper tower door, perimeter gates, and officer’s quar-
  ters).
  Note: Wedgewood is obsessed with caulspawn and 
  serving caul cuckoo queens. 
  Cullen Halbard and Simeon Kaylock, Addicted Underover-
  seers (Ftr1) (2): HD 1; HP 7, 6; AC 7[12]; Atk cosh (1d4+1)*, 
  short sword (1d6); Move 12; Save 14; AL C; CL/XP 1/15; Spe-
  cial: caulspawn addiction, immune to caul cuckoo lullaby.
  Equipment: leather armor, cosh*, short sword, dagger, 
  manacles, signal whistle, briar smoking pipe, key to pe-
  rimeter gates.
  Note: Cullen and Kaylock are obsessed with caul-
  spawn and serving caul cuckoo queens. 
  * See Sidebar below.
  Bax “Birdy” Gedge, Addicted Underoverseer (Ftr1): HD 1; HP 
  6; AC 7[12]; Atk cosh (1d4+1)*, short sword (1d6); Move 12; 
  Save 14; AL N; CL/XP 1/15; Special: caulspawn addiction, 
  immune to caul cuckoo lullaby.
  Equipment: leather armor, cosh*, short sword, dagger, 
  manacles, signal whistle, briar smoking pipe, key to pe-
  rimeter gates.
  Note: Birdy’s psychosis currently is suppressed. 
  * See Sidebar below.
  Yonas Hall, Addicted Underoverseer (Ftr1): HD 1; HP 5; AC 
  7[12]; Atk cosh (1d4+1)*, short sword (1d6); Move 12; Save 
  14; AL L; CL/XP 1/15; Special: caulspawn addiction, immune 
  to caul cuckoo lullaby.
  Equipment: leather armor, cosh, short sword, dagger, 
  manacles, signal whistle, briar smoking pipe, key to pe-
  rimeter gates.
  Note: Yonas’ psychosis currently is suppressed. 
  * See Sidebar below.
  What the Watchmen Think
  The Asylum is a dangerous place and deaths among its overseers are 
  not an overly rare occurrence. So when Overseer Wedgewood submitted a 
  report a few days ago stating that two of their number had been killed by 
  inmates, the Watch officers expected nothing more than a burial order or 
  a cadaver collection as a result. With the characters turning up with their 
  writ of authority to investigate the deaths, the constables are both surprised 
  and confused. They are unaware that one of their number — Yonas — is 
  the son of the Sinks District Commander or that Yonas contacted his father 
  to request an external investigation into those deaths. Yonas doesn’t know 
  if the characters are aware of who he is, and he is not prepared to identify 
  himself — at least not yet.
  At this stage, the overseers have no idea why the investigators have 
  been sent, as the report on the deaths that they saw did not indicate 
  anything unusual. And while they do not trust each other, they do not 
  suspect each other either as calling for an investigation, as they are all 
  complicit in the crimes that have been committed. They are concerned that 
  they have not had time to “clean up” the current situation and are anxious 
  for Wedgewood to work out what’s going on.
  The Investigation 
  Begins
  After introductions, Wedgewood informs the characters that he has 
  not been given any forewarning of their arrival and asks them to explain 
  why they have been sent since he was unaware that an investigation was 
  warranted. He demands to know who authorized the investigation and 
  why. He does not offer the characters their writ back, but returns it if they 
  ask for it. 
  The characters doubtlessly have questions for the Watch officers, and 
  Wedgewood fields them all, having instructed the others to defer to him 
  and his story. If the others are asked direct questions, they either repeat 
  what Wedgewood has already said or just shrug and refuse to add any 
  comment. Likely questions and Wedgewood’s answers follow. Information 
  in parentheses will not be given to the characters.
  • Who has died? Like I said in the report, two of my Watch officers: 
  Lomen Ashdown and Murn Hobley.
  • When did they die? Hobley about a week ago, Ashdown a bit before 
  that. A few weeks before. (Actually, Lomen Ashdown died 12 weeks 
  before Hobley, as his body’s advanced state of decay suggests if 
  examined.)
  • Why was Ashdown’s death not reported earlier? It was. Hobley 
  reported it. Didn’t he? Was it not received? Well, if not, that’d 
  explain why we’ve not heard back ’til now. (This is an outright lie; 
  Wedgewood knows that Hobley didn’t want to submit the report until 
  the true cause of death, and remnants of the caulspawn that engulfed 
  
  21
  Horror in the Sinks
  Lomen, could no longer be detected.)
  • How did they die? Inmates, ’o course. Lomen, he was, ah, beaten to 
  death by a mob of ’em ’fore we could get to ’im, and Hobley, he was 
  dragged into an ’ovel by a big ’un and strangled ’fore we knew what 
  was ’appenin’. Inmates. It’s always the inmates. Dangerous job this. 
  We do our best but, well, sometimes, it just gets outta’ hand. Shame. 
  Good lads, they were. (This is also an outright lie; Lomen Ashdown 
  was killed by the syreling slick when he tried to stand up to Hobley 
  regarding the “children”; Orpha strangled Hobley in his sleep.)
  • Where did they die? Out there. In ’Eaven itself, o’course. Where 
  d’ya think? (Another lie; both were killed in the Watch Station tower’s 
  basement.)
  • Where are their bodies? We’ve stored ’em in one of the cells down in 
  the basement. Pendin’ orders ’n all that rot.
  • Why are you refusing to answer our questions? (This question is 
  likely to be posed to the other guards who all continue to defer to 
  Wedgewood; it is his answer that follows.) All due respect but yer 
  not Watch, are ya. And I’m answerin’ yer questions. We don’t know 
  what this is all about, and so I’ve told the lads to let me deal with all 
  this. I’m in charge here as parish commander, and I’ll be the one what 
  cooperates. They’ve got nuthin’ to say to ya. You can talk to me. 
  Wedgewood is a good liar and has had some time to work up a believable 
  account of events. If challenged, Wedgewood just shrugs and says it’s all 
  the truth, gesturing to his men, who nod and state their agreement with his 
  account. The characters may also ask questions about the Asylum and the 
  Watch’s role within it. Likely questions and Wedgewood’s answers follow.
  • What are your duties in the Asylum? Security. We’re ’ere to make 
  sure no one escapes ’n to stop any violent outbreaks. We do the best 
  we can wi’ what we got.
  • Who are the guards without uniforms? Inmate trustees. Usually 
  they’re the least crazy ’uns what can ’andle the’selves. No choice. Not 
  enough o’ us ta keep the place runnin’ quiet, otherwise.
  • Who are the nuns? Sisters from the Sanatorium. They’s the ones what 
  treat ’em. Them ’n’ the physikers. Off limits. Don’t interfere. There are 
  some others what come in from outside, as well, ta help. They’re all 
  sanction’t by the Cap’tol, so don’t be stickin’ yer noses in it.
  • What is that building to the south? That’s the prison. You don’t go 
  there. Ever. That place, well, we’re not in charge, right. The “Judge” is, 
  ’n that’s where he is and ya don’t want to ever be meeting ’im or else 
  you’re in for a long and unpleasant stay.
  In the process of questioning the constables, if the characters try to 
  exert authority that they don’t have, such as by trying to divide them up to 
  question them in isolation, the officers refuse to comply. Similarly, if the 
  characters use magic on any of them, they react angrily, drawing weapons 
  and preparing to attack the characters unless they back down. If any of 
  the Watch officers is enchanted, the rest of the Watch do not permit the 
  characters to interact with him, accusing the characters of undermining 
  the integrity of the Watch and acting above their authority. If a fight 
  threatens to break out, the constables remind the characters that they are 
  breaking the law by assaulting duly appointed Officers of the Watch and 
  that recriminations are sure to follow. The Watch officers warn aggressive 
  characters that they will be arrested and subject to the full extent of the law 
  if they carry out any threats. If combat starts, the Watch officers defend 
  themselves to the best of their ability, using lethal force if necessary.
  Event 2: Monstrous Midwifery 
  Eventually, the characters either request to inspect the dead bodies 
  or else the overseers offer them up for removal. Keen to ensure that 
  nothing happens to the women or the syrelings, Cullen and Kaylock 
  join Wedgewood in leading the characters down to the basement. The 
  Personalities of  
  the Asylum Watch
  All of these Watch officers are caulspawn addicts suffering from 
  caulspawn psychosis but they are unaware of this latter fact. On 
  the day the characters arrive, three are in the grip of their insanity 
  and, as a result, are both Chaotic and obsessed with protecting 
  their store of caulspawn (the syreling slick) and the women who 
  are currently pregnant with caul cuckoos. As per their psychosis, 
  however, they keep their true natures well hidden. These 
  constables are keen to encourage the characters to conclude their 
  business, take the bodies, and leave as quickly as possible, but 
  they are ready to act if the characters begin to uncover the truth 
  of what has been occurring. While Birdy’s own violent tendencies 
  are currently suppressed, he is a violent and evil man who will not 
  hesitate to act in accordance with the others.
  Only Yonas is currently non-evil, just as he was when he 
  decided to send the letter asking his father for help. While this 
  “clarity” does not result in Yonas wishing to confess to anything 
  (he doesn’t think of himself as being any “different” to the times 
  when he’s psychotic), it does result in a desire to extricate himself 
  from the mess he’s in, and he thinks he can use his father to do so.
  • Overseer Vern Wedgewood is a vile, seedy man in his early 
  forties who abuses his authority at every opportunity and 
  habitually bullies those beneath him.
  • Underoverseer Bax “Birdy” Gedge is selfish and amoral, 
  with a very short temper and a tendency to scratch his head 
  vigorously when he feels frustrated or under pressure. 
  • Underoverseer Cullen Halbard is lazy, vain, and just wants 
  an easy life. He’s more than willing to look the other way if it 
  saves him work.
  • Underoverseer Simeon Kaylock always seeks to ingratiate 
  himself with those in authority, and is quick to assess changing 
  social dynamics and align himself with those he perceives 
  as wielding the power. When given authority, he is petty and 
  cruel to those beneath him. Having aligned himself quickly 
  with Hobley, he is now trying to win Wedgewood’s favor 
  but, in reality, he is waiting for the opportunity to become the 
  Honeyman’s new agent.
  • Underoverseer Yonas Hall, aka Yonas Ghall, is the son of the 
  district commander, but this is not known by the other Watch 
  officers. If left to his own devices, he usually does the right 
  thing but he is weak-willed, easily influenced, and tends to 
  associate with those who would lead him astray. He idolized 
  Hobley and his great charisma, and yearned for his approval. 
  Now, he is scared of Wedgewood and Birdy and is growing 
  paranoid that he’ll soon meet the same fate as Lomen.
  New Weapon: Cosh
  A cosh is a bludgeon used by Constables of the Watch in 
  the City-State of Castorhage and by many officers of the law 
  throughout the Lost Lands. Shorter and lightert than a club and 
  fashioned with a grip and a loop that can be wrapped around 
  the wrist to prevent it from being dropped, a cosh functions as 
  a club but deals an extra point of damage because of its sturdy 
  construction. If the wielder of a cosh places the handle’s loop 
  around his wrist, it cannot be disarmed.
  Weapon
  Damage
  Weight 
  (pounds)
  Cost
  Cosh
  1d4+1
  2
  1gp
  
  22
  The Blight: Richard Pett's Crooked City
  description of the basement is included below. Birdy elects to stay behind 
  with Yonas to keep watch. As the group approaches the basement door, 
  however, they hear muffled screams from beyond. The three Watch 
  officers are obviously concerned as Wedgewood quickly unlocks the 
  door to the basement and hurriedly leads the group down to the lower 
  cellar (Area B6) from which the screams emanate. Hearing the screams, 
  Birdy likewise descends to investigate, leaving Yonas behind alone in the 
  tower above. At the base of the steps, a short corridor leads to the lower 
  cellar past several open archways to chambers beyond. As well as in the 
  dungeon (Area B2), an oil lamp dimly illuminates the kitchen store (Area 
  B5), enabling characters with darkvision or those with normal vision who 
  make a saving throw to see Iris huddled against the southwest corner (see 
  Area B5 for more information). When the characters enter the lower cellar 
  (Area B6), read the following:
  An oil lamp placed on the floor in the north corner dimly 
  lights this rectangular chamber. Open archways exit the room 
  from the north and south walls. A wild-eyed and heavily 
  pregnant young woman, chained by an ankle to a heavy iron 
  ball, lies on a bedroll, her knees up and her hands clenching 
  the blankets with white knuckles. Her dark hair is stuck to her 
  face with sweat as she looses yet another scream of pain.
  The young woman is Eleanor Courtley (L female human commoner, 
  3hp), a sufferer of multiple personalities who just entered what will be 
  an unnaturally swift, yet complicated labour. Upon seeing Eleanor, the 
  constables are dumbstruck and look at each other in panic, realizing they 
  have no idea what to do to attend to the young lady. Finally, they exhort 
  the characters to help her give birth. As Constable Hobley was the only 
  one of them to attend the first births, none of these watchmen has any 
  experience with a birth or knows what to expect. The characters must help 
  Eleanor through her labour to save her life and, as far as they know, that 
  of her baby.
  Labor Pains 
  The First Complication: Shortly after the characters enter the room, 
  Eleanor loses consciousness and begins convulsing in a massive seizure. 
  Unless treated, the seizure lasts for a full minute. The seizure stems from 
  eclampsia, an occasional complication of labour that can endanger both 
  mother and baby. Any attempts at healing (whether via magic, potion or 
  otherwise) end her seizure immediately. 
  If the characters end the seizure, Eleanor regains consciousness but she 
  has temporarily forgotten about her situation and surroundings. If the 
  seizure is untreated and takes its full course, on the following round, 
  Eleanor regains consciousness but she has transitioned into a different 
  personality. Eleanor now identifies as Elspeth Harcourt (C female human 
  aristocrat, 3hp) who is furious at the awful surroundings and indignity 
  of her situation. She imperiously yells at whoever is attending her 
  that they had better be competent midwives or else she’ll have 
  them drawn and quartered; she screams at anyone else in the 
  room to get out.
  Award the characters 15 XP for successfully overcoming 
  this complication.
  The Second Complication: Shortly after Eleanor/Elspeth regains 
  consciousness, she begins pushing and soon delivers the baby’s 
  head, but it becomes immobile and further pushing has little effect. 
  Characters can identify that the baby’s shoulder is caught against 
  the mother’s pelvic bone and that the baby is at risk of death from 
  compression of its umbilical cord. The baby needs to be manoeuvred 
  into a position from which it can be delivered.
  A single character must manoeuvre her baby into a position from 
  which it can be born. This process requires the character to make a 
  saving throw (with a –3 penalty if Elspeth is the dominant personality, 
  as she is uncooperative). If successful, the character helps Eleanor/
  Elspeth to deliver her baby, but if the save fails, the baby decides to 
  help itself. Whatever the case, the baby is not quite as expected.
  Award the character who delivers the baby 15 XP for successfully 
  overcoming this complication.
  The Third Complication: This complication actually occurs 
  during “Newborn Nightmare” below. In the round following the birth, 
  Eleanor/Elspeth passes out and begins bleeding profusely. Each round, 
  any character in the room has a 1-in-6 chance to notice the bleeding; a 
  character who specifically examines Eleanor/Elspeth automatically 
  notices. Another cure spell or potion stops the bleeding immediately, and 
  leaves the woman at 1hp. She bleeds to death in 3 rounds if the characters 
  fail to treat her or do not notice the final complication.
  Award the characters 15 XP for successfully overcoming this 
  complication.
  Newborn Nightmare 
  The newborn infant is a young caul cuckoo that has been growing 
  distressed at the difficulty of its birth. At the moment of its delivery, 
  it shapechanges into its horrific natural form in order to escape the 
  constricting confines of the birth canal. Any characters involved in 
  successfully delivering the baby detects something unnatural in the 
  baby’s movement just before its birth and can act in the surprise round 
  after rolling initiative normally. Everyone else remains surprised if the 
  newborn caul cuckoo catches them unaware. 
  In the surprise round, all characters within 30ft who witness the caul 
  cuckoo in its natural form must make a saving throw versus its horrific 
  appearance or be sickened for 1d6 rounds (–1 to hit and saves). Upon 
  witnessing the horrified reactions of those around it, the caul cuckoo 
  quickly starts singing its lullaby. It then severs its umbilical cord with 
  one of its tongues and begins looking for an escape route, moving into 
  each room to try to find a way out of the tower’s basement. If it discovers 
  the privy (Area B9), it slithers down the privy chute and into the sewer 
  channels; it is interested only in escaping to safety and attacks only with 
  its tongues if prevented from doing so.
  
  23
  Horror in the Sinks
  Caul Cuckoo: HD 4; HP 23; AC 6[13]; Atk 3 tongues (1d4 plus 
  1d6 acid); Move 6 ; Save 13; AL N; CL/XP 6/400; Special: 
  change shape (polymorph self into humanoid), lullaby (300ft 
  radius, save or confusion), spell-like ability, vulnerable to salt 
  (1d6 damage for 2 rounds). (See Appendix A: New Mon-
  sters) 
  Spell-like ability: constant—ESP.
  Note: Anyone within 30ft who sees a caul cuckoo in its 
  natural state must make a saving throw or be sickened 
  for 1d6 rounds (–1 to hit and saves).
  Development: If the syreling slick in the east store (Area B10) hears 
  the caul cuckoo’s lullaby (to which it is immune), it immediately begins to 
  move to defend it. It does not attack the Watch officers but, without Hobley, 
  it does not follow their orders either. The syreling slick instinctively moves 
  to defend the young caul cuckoo, focusing its slams on those who attack it. 
  It fights to the death and, if killed, dissipates, leaving no trace. Although 
  the Honeyman senses through their link the damage the slick sustains, it is 
  still unsure of what is happening. 
  As caulspawn addicts and psychotics, the constables are all immune 
  to the caul cuckoo’s lullaby. Nevertheless, they have never seen such a 
  creature and, repulsed, they stand back to avoid it and move away if it 
  approaches them. If the syreling slick arrives, however, they warn the 
  characters not to harm it. If the characters attack the syreling slick, the 
  constables draw their weapons and retaliate, focusing their attacks on any 
  characters who continues to attack the ooze. The watchmen first scream at 
  the characters to stand down and drop their weapons.
  Unless the characters stop attacking the syreling slick, they then focus 
  lethal attacks on such characters. If the syreling slick is killed, the Watch 
  officers cry out in despair when their source of caulspawn dissipates, and 
  renew their attacks against all the characters in a murderous fury. Caught 
  in the grip of caulspawn psychosis, all but Birdy fight to the death. If 
  Birdy is reduced to fewer than 6 hit points, he attempts to escape the melee 
  and lock the characters in the basement before running back to the watch 
  room where he and Yonas arm themselves with heavy crossbows and 
  watch the stairs. Here, Birdy makes a last stand, but if further injured, he 
  immediately surrenders.
  Syreling Slick: HD 5; HP 35; AC 6[13]; Atk slam (1d6 plus caul-
  spawn plus engulf); Move 9 (climbing 9, swimming 12); Save 
  12; AL N; CL/XP 7/600; Special: caulspawn (4d6 hour addic-
  tion, euphoria, 1-hour onset, –2 to hit and saves, see caul-
  spawn addiction sidebar), engulf (1d4 damage/round, save 
  resists entanglement), immunities (acid, blunt weapons). 
  (See Appendix A: New Monsters)
  Overseer Vern Wedgewood (Ftr5): HP 34; AC 5[14]; Atk flail 
  (1d8+2), short sword (1d6+2), dagger (1d4+2); Move 12; 
  Save 10; AL C; CL/XP 5/240; Special: caulspawn addiction, 
  immune to caul cuckoo lullaby, multiple attacks (5) vs. crea-
  tures with 1 or fewer HD, +2 to hit and damage strength bo-
  nus. (See Meeting the Watch above)
  Equipment: chainmail, flail, short sword, dagger, man-
  acles, signal whistle, briar smoking pipe, keys (ladder, 
  upper tower door, perimeter gates, and officer’s quar-
  ters).
  Note: Wedgewood is obsessed with caulspawn and 
  serving caul cuckoo queens. 
  Cullen Halbard and Simeon Kaylock, Addicted Underover-
  seers (Ftr1) (2): HD 1; HP 7, 6; AC 7[12]; Atk cosh (1d4+1)*, 
  short sword (1d6); Move 12; Save 14; AL C; CL/XP 1/15; Spe-
  cial: caulspawn addiction, immune to caul cuckoo lullaby. 
  (See Meeting the Watch above)
  Equipment: leather armor, cosh*, short sword, dagger, 
  manacles, signal whistle, briar smoking pipe, key to pe-
  rimeter gates.
  Note: Cullen and Kaylock are obsessed with caul-
  spawn and serving caul cuckoo queens. 
  * See Sidebar above.
  Bax “Birdy” Gedge, Addicted Underoverseer (Ftr1): HD 1; HP 6; 
  AC 7[12]; Atk cosh (1d4+1)*, short sword (1d6); Move 12; Save 
  14; AL N; CL/XP 1/15; Special: caulspawn addiction, immune 
  to caul cuckoo lullaby. (See Meeting the Watch above)
  Equipment: leather armor, cosh*, short sword, dagger, 
  manacles, signal whistle, briar smoking pipe, key to pe-
  rimeter gates.
  Note: Birdy’s psychosis currently is suppressed. 
  * See Sidebar above.
  Asylum Watch 
  Station Basement
  The basement is reached via the central stair from the first floor above 
  or via the secret stair (Area B11) from the subterranean canal below.
  B1. Interrogation Chamber
  Long tables line the north and south walls of this chamber. 
  At the east end, a chair with metal restraints affixed to the 
  front legs, and the arm- and head-rests, is bolted to a wooden 
  base. Crude torture implements lie on the tables nearby.
  This room is used to extract information from inmates when required. 
  As the security of the Asylum is now mostly handled by the Sanatorium, 
  which has its own not-entirely-dissimilar methods of inmate control and 
  questioning, this room no longer sees much use, but its existence is a 
  reminder to the women of what may happen if they cause any trouble.
  B2. Dungeon
  An oil lamp on a small table near the north door dimly 
  illuminates four iron doors with small, barred windows that line 
  the south wall of this chamber. The shutter in the southernmost 
  door is shut, but the others are open, revealing a dark interior. A 
  leather case and a ring of four keys sit on the table.
  The iron doors are fitted with sturdy locks (–10% Open Locks). Beyond 
  each iron door is a small cell. Iron shutters can be slid across the doors’ 
  windows but only cell d’s shutter is currently closed. The keys on the 
  table open the cells. In addition to an occupant, cells a, b, and c contain 
  a bedroll, several thick blankets, a wooden water bucket, a privy pail, and 
  iron fetters on chains bolted to the back wall. Lilann Borr (N female human 
  commoner. 2hp), a schizophrenic, is shackled in cell a. Molly Seddle (C 
  female human commoner, 6hp), a psychotic murderer, is shackled in cell b. 
  Orpha Pickergill, aka Orpha Furey Alaminous Pickergill-Shrive (N female 
  human aristocrat, 4hp), a recovering homicidal maniac, is shackled in cell c. 
  The women look clean and well-cared for, but they are barefoot, clothed 
  in rags, and visibly pregnant; the length of their pregnancy is around 3 
  months. The women have, in fact, been pregnant only for around 1 month, 
  but the accelerated development process of their corrupted foetuses makes 
  it appear as though they have been pregnant for three times as long.
  Anyone who approaches within 5ft of the door to cell d detects a foul 
  odor from beyond the door. If the door or hatch is opened, the overpowering 
  stench emanating from the decomposing bodies in the cell beyond causes 
  anyone within 5ft of the cell to saving throw or be nauseated (–2 to hit and 
  damage) for as long as they remain in the area and for 1 minute thereafter. 
  If the door or shutter is left open, the awful stink spreads at 10ft per round 
  until it fills the dungeon (Area B2) and questioning chamber (Area B1). 
  Anyone in these areas must also succeed on a saving throw. The stink 
  persists in the areas it has reached for as long as the door is open and for 
  10 minutes thereafter.
  
  24
  The Blight: Richard Pett's Crooked City
  The decomposing naked bodies of two human males are laid on the 
  floor in d. The body in the middle of the floor is bloated and has skin 
  that has turned a blue-green, patched with red splotches, and blistered 
  around the abdomen. The man’s tongue protrudes several inches, and a 
  dark fluid has oozed from his mouth and nostrils. A harmless swarm of 
  maggots and beetles feasts on the corpse, and masses of fat black flies 
  crawl over it and the walls of the cell, with several swarms flying out into 
  the rooms beyond. This is the corpse of Murn Hobley. The body has been 
  dead for around a week, but the cause of death is not apparent. If the body 
  is disturbed, the flies buzz up in a snarling swarm around the room.
  The body toward the back of the cell is in an advanced state of 
  decomposition, mostly dry skin, bone, and cartilage. If the body is 
  disturbed, a swarm of light brown moths, barely visible on the corpse, 
  takes to the air. This is the corpse of Lomen Ashdown. The body has been 
  dead for at least 2 months, and quite possibly much longer, but the cause 
  of death is not apparent.
  Treasure: The leather case on the table contains Hobley’s child-birthing 
  tools, 6 potions of healing, and 2 potions of extra healing.
  B3. Dungeon Guardroom
  The room contains two chairs, a table, a stack of empty bottles, and an 
  empty weapons rack.
  B4. West Store
  This storeroom has a vaulted ceiling supported by two pillars. It 
  contains barrels and crates of preserved food and drink.
  B5. Kitchen Store
  Iris Fanning (N female human commoner, 3hp), a paranoid 
  schizophrenic, is kept in this room which is dimly illuminated by an oil 
  lamp. Like the women kept in the dungeon cells (Area B2), Iris is about 
  3 months pregnant. Iris is clean but clothed in a dirty, ragged white dress, 
  and one of her bare feet is shackled to a heavy iron ball. She sits on a 
  blanketed bedroll in the southwest corner, with a water bucket nearby and 
  a used privy pail in the southeast corner.
  B6. Lower Cellar
  Eleanor Courtley (L female human commoner, 3hp), a sufferer of 
  multiple personalities, is kept in this room, which is dimly illuminated by 
  an oil lamp. Eleanor is heavily pregnant, around 9 months. Like the other 
  women, the accelerated developmental process of Eleanor’s corrupted 
  foetus makes it appear as though she has been pregnant for longer than 
  she has. Eleanor has been pregnant only for around 3 months, but she is 
  due to give birth shortly after the characters arrive (see Event 2 above).
  B7. North Store
  This storeroom has a vaulted ceiling supported by three pillars. It 
  contains large piles of coal and wood, along with a shovel and a wood axe.
  B8. Privy Store
  This area contains barrels of stale water intended for cleaning out the 
  privy chutes. A 5ft-long wooden pole used to unblock the chute stands in 
  one corner.
  B9. Privy
  This chamber contains two privies separated by a narrow wooden wall. 
  The privies empty into a chute that empties through the ceiling of the 
  subterranean canal (Chapter 4). Lids to the wooden seats do little to 
  manage the room’s stink.
  B10. East Store
  This storeroom has a vaulted ceiling supported by a central pillar. In 
  the west corner of the north wall is a locked iron door, barred (on this 
  
  25
  Horror in the Sinks
  side) with a thick, wooden plank. The key is in the Officer’s Quarters. 
  If the characters move to open this door before learning about what is 
  beyond, the constables warn the characters that it leads down to a disused, 
  subterranean supply canal infested by swarms of aggressive rats (see 
  Chapter 4).
  Unless attracted elsewhere in the basement due to Event 2, a syreling 
  slick lurks in this chamber, covering the iron door and wall in the north 
  corner. The door cannot be opened while the ooze covers it. While the 
  ooze has a hive mind intelligence capable of understanding a few basic 
  words of Aklo, it has become used to being harvested by the constables 
  and is not smart enough to recognize the characters as a threat unless they 
  injure it. Unless harmed, it remains motionless on the wall.
  Syreling Slick: HD 5; HP 37; AC 6[13]; Atk slam (1d6 plus caul-
  spawn plus engulf); Move 9 (climbing 9, swimming 12); Save 
  12; AL N; CL/XP 7/600; Special: caulspawn (4d6 hour addic-
  tion, euphoria, 1-hour onset, –2 to hit and saves, see caul-
  spawn addiction sidebar), engulf (1d4 damage/round, save 
  resists entanglement), immunities (acid, blunt weapons). 
  (See Appendix A: New Monsters)
  B11. Supply Stair
  A 3ft-wide stairwell of stone steps descends 20ft to a small room 
  with a 10ft-high ceiling. A stone door in the east wall, barred with a 
  thick plank of wood, can be opened via a central iron ring that allows 
  it to be pulled inward and slid to one side. The stone door leads to the 
  disused, subterranean supply canals (see Chapter 4). If Orpha is with 
  the characters, she warns them that aggressive swarms of rats lair in the 
  tunnels beyond the door.
  Illuminating the 
  Darkness
  Following the attacks, the characters can obtain some or all of the 
  following information by interrogating surviving overseers and the 
  imprisoned women.
  Questioning the Overseers
  All of the overseers know all of the information under “What the 
  Overseers Know” below, however, they may not readily volunteer it. In 
  fact, it is possible that none of them other than Yonas Hall survived the 
  battle after the birth of the caul cuckoo. The overseers reveal information 
  based on their attitudes toward the characters. You can roleplay the 
  situation, with the characters attempting to intimidate the Watch to get 
  answers. 
  Initial Attitudes of the Overseers
  Yonas: When the characters return to the watch room, Yonas is 
  trembling in a far corner armed with a loaded heavy crossbow that he 
  levels at them. He does not fire unless attacked. He finally puts down 
  the crossbow and becomes helpful, voluntarily revealing what he knows. 
  Yonas reveals that he is the district commander’s son and that he secretly 
  requested an external investigation. He lies and says he was forced to take 
  the honey, and asserts that everything that has happened is Hobley’s fault 
  and a result of the addiction to the honey. He further claims that his father 
  will reward the characters if they ensure his safety and recovery.
  Birdy: Birdy is hostile initially, but as his psychosis is currently 
  suppressed, he can be intimidated. His responses are not characterised 
  by the same level of anxiety as the psychotic constables, but he is clearly 
  worried about the disappearance of his honey supply. He responds well 
  if the characters agree to say that he and the others were forced into their 
  situation through a terrible addiction. 
  Wedgewood, Cullen, and Kaylock: Each is initially hostile due to 
  their caulspawn psychosis. They become angrier the more characters try 
  to intimidate them. Characters can play to their obsession for obtaining 
  more honey. Their responses are dominated by extreme anxiety at the loss 
  of their supply of honey and terror of what will happen when their current 
  dose wears off. They make frequent desperate pleas to the characters to 
  find them more honey.
  What the Overseers Know
  The constables know that they are addicted to a substance they call 
  “honey” which they have been taking every day for months. Their source 
  of “honey” was the serpentine ooze that was made from it, and which 
  Hobley, and then Wedgewood, were given the power to control by the 
  “Honeyman,” a man dressed in a ragged robe whom Hobley brought to 
  the tower soon after they had all agreed to try it.
  They know they ate so much of it initially that they slept for a full day. 
  When they awoke, the Honeyman had gone but Hobley told them that 
  they had passed through dream into enlightenment and that the Honeyman 
  had chosen their offspring to receive holy powers. They abducted women 
  from among the inmates and imprisoned them in the basement of the tower 
  where, over several weeks, Hobley orchestrated “holy unions” when the 
  men had eaten honey that before long resulted in pregnancies that Hobley 
  proclaimed as proof of the “blessed” nature of the acts.
  When Eleanor miscarried a few weeks later, Hobley declared her as 
  unfit to bear a holy child and considered sacrificing her for her failure. 
  Hobley summoned the Honeyman again and offered her life in payment 
  for the child’s, but the Honeyman was merciful and gave her a chance to 
  redeem herself. Shortly after the first of the “blessed” children was born, 
  Eleanor became pregnant again.
  When the women started giving birth 3 months later, Hobley ordered 
  the men to stay away, stating that they were not permitted to look upon 
  their holy progeny; only he was allowed to attend to them in their labour. 
  At first, the men complied but eventually Lomen Ashdown challenged 
  Hobley and demanded to see the children on the basis that the pregnancies 
  had only lasted three months and even he knew that meant something 
  wasn’t quite right. When Hobley said that the children had been taken by 
  the Honeyman, Lomen grew angry and attacked him, but Hobley had the 
  “honey snake” engulf and kill Lomen in response.
  Later when the first mothers had recovered sufficiently, Hobley arranged 
  more honey-induced “holy unions” to produce more pregnancies. But a 
  few weeks later, Hobley was found dead in the cell of Orpha, the woman 
  who was carrying his child — strangled by her chains. Although the men 
  were angry, they decided that they could not harm her so long as she was 
  carrying a holy child but moved her into the cell next to where they placed 
  Hobley’s body.
  Since Hobley’s death around a week ago, they have been wondering 
  if the Honeyman will return and what he will do if he does. They do 
  not know how Hobley summoned him to the basement or how he left 
  afterward, but they assume holy magic was involved. They have been 
  focused on looking after the mothers but were also worried about what to 
  do when Eleanor’s child arrived. It was during this time of concern and 
  upheaval to their plans that Overseer Wedgewood wrote the letter to the 
  district commander reporting the deaths of the two Watch officers and that 
  Yonas, unbeknownst to the others, added a secret request to his father for 
  an investigator.
  Questioning the Women
  What the Women Know
  This general information can be gleaned from any of the women. 
  Specific knowledge for each of the women individually is included in the 
  following section.
  The women were abducted from the general population of the Asylum 
  many months ago and imprisoned in the Watch Station basement. They 
  were washed and well fed by the guards who treated them with care and 
  who, strangely for a dismal posting like the Asylum, always seemed to be 
  happy. Shortly after being moved to the basement, the men began to make 
  unwanted visits to them nightly and always had a sickly-sweet smell on 
  
  26
  The Blight: Richard Pett's Crooked City
  their breaths on these occasions. The following morning, Hobley would 
  visit each of them, always carrying a large white worm with a horrible 
  human face. This would continue until on one of those mornings, the 
  worm began to sing and the woman fell back asleep to its strange lullaby. 
  When the woman awoke, Hobley announced that she had passed through 
  dream into holy sanctity. The next morning, the sickness came and she 
  realized she was pregnant.
  The pregnancies developed quickly, and all but one carried to term in 
  only 3 months. Eleanor, however, miscarried after a few weeks. Hobley 
  was furious, and everyone thought he was going to kill her, but a strange 
  man clad in a ragged robe told him to give her a second chance. Eventually, 
  the worm sang to her again, but not before the other women had already 
  given birth to their progeny. Hobley ordered the other men away from the 
  basement when the births started so that only he was present. When the 
  child was born, he took it away, and the mother never saw it again. The 
  women are desperate to know where Hobley took their children. They 
  overheard an argument shortly after the births began between Hobley 
  and another overseer called Lomen. Lomen was also demanding to know 
  where the children had been taken, and threatened Hobley. There was a 
  fight, and Lomen started screaming to Hobley to “call it off,” but then 
  Lomen’s screams were muffled and finally stopped completely. The 
  women never saw Lomen again and assumed the worst. They decided 
  to stop asking after the children after his apparent horrible fate. After the 
  women had recovered from the births, the nightly visitations began again, 
  always followed the next morning by Hobley with a white worm waiting 
  for it to sing. 
  Then everything changed when they heard that Orpha had killed 
  Hobley. The men argued at length about what to do because Hobley had 
  taken care of everything for them before. They considered killing Orpha, 
  but as she was pregnant with another “holy child” — Hobley’s no less — 
  and they decided they shouldn’t. They moved her from Hobley’s favored 
  room into Eleanor’s cell in the dungeons. Eleanor, who was reaching term, 
  moved into Orpha’s room in preparation for the birth. That was a few 
  days, maybe a week, ago. Then the characters arrived.
  Initial Attitudes of the Women
  Eleanor/Elspeth: If Eleanor/Elspeth survived, the ordeal of her labor 
  combined with the horror at what she gave birth to has caused her to 
  transition into Elspeth. Elspeth is a no-nonsense aristocrat who declares 
  that she does not wish to see the “monster” she unwillingly bore for that 
  rapist, and demands that her “midwives” burn it. Characters who treat 
  Elspeth with the deference and respect due a noble can get her to talk. 
  Elspeth can add that the man in the ragged robe had the same sickly-sweet 
  smell that was on the breath of each man who raped her and that she saw 
  him produce one of the horrible white worms from within his robe and 
  give it to Hobley.
  Iris: For several hours after the sounds of Eleanor’s labor and the 
  subsequent melee, Iris’ paranoia is out of control and it is impossible to 
  get her to answer any questions while this state persists. She is virtually 
  mute with terror and constantly implores any who approach her to leave 
  her alone. The characters have to wait 1d4+4 hours for her to calm enough 
  on her own to do so. Iris does not have any desire to have the baby back, 
  as it forms too much a part of the trauma that she has endured.
  Lilann: The stress of events has caused Lilann to fall into the grip of 
  her psychosis and repetitively bash her head against the wall of her cell. 
  When the characters visit Lilann’s cell, they find her unconscious (but 
  stable) with a bloodied forehead and bloody marks on the wall nearby. 
  Any healing magic revives her. Lilann reveals that Hobley used to keep 
  all the white worms in her cell and that they would sing her to sleep every 
  night until they turned into white moths and flew away out of the bars of 
  her cell. Unfortunately, this is just one of Lilann’s many hallucinations. 
  She fully believes it, but characters begin to detect small changes in her 
  story the more times she tells it. 
  Lilann also wants to know what Hobley has done with her baby. Even if 
  she is told that Eleanor’s baby was a monster, she and the other women are 
  convinced that their own was not. Lilann saw her own child before Hobley 
  took him away, and he was a healthy baby boy.
  Molly: Molly is calm and collected, but visibly angry about recent 
  event. She is initially helpful. She tells the characters everything she 
  knows about what has happened to her and the other women. If asked, she 
  tells the characters that she was sentenced to the Asylum after she killed 
  some men who were trying to hurt her (a true story), and that she is not 
  insane, and hopes they can help her escape and find her baby. She also 
  wants the constables punished for what they have done. In truth, Molly is 
  a murderous psychotic who has spent most of her life stealing and killing, 
  and this is a ruse to win the characters’ trust. She is currently focused 
  on biding her time until she can steal a weapon and begin exacting her 
  revenge on any of the surviving Watch or anyone else who gets in her way 
  (see Event 3 in Chapter 4).
  Orpha: Like Molly, Orpha is initially helpful, but she is anything 
  but calm and collected. Instead, she is sickened by her experiences and 
  begins to border on the hysterical if she becomes convinced that the 
  characters may save her from her current circumstances. Amid floods 
  of tears and anger, she freely tells the characters everything she knows 
  about what happened to her and the other women. If asked, she tells 
  the characters that she used to suffer from an uncontrollable anger that 
  led her to kill members of her family, but that she has since learned 
  to cope with it and channel it into nonviolent outlets (which is true). 
  Nevertheless, Orpha also freely admits that she killed Hobley, but that 
  she willingly did so in self-defence rather than as some manifestation 
  of her old anger. She had remained compliant until he finally let his 
  guard down and fell asleep in her room while “high on honey,” and she 
  strangled him with her chains. She adds that “it felt good to be rid of 
  him.” If the characters pick up on her use of the past tense and asks what 
  she means, she simply adds, with a look of disgust, “I just can’t get his 
  face or his voice out of my head, and I don’t know if I ever will.” This is 
  a veiled reference to her current haunting, something she is not yet ready 
  to reveal (see Orpha’s Haunting below).
  Orpha adds that Hobley gave their babies to someone called the 
  “Honeyman” whom he would meet “beneath the watchtower.” She goes 
  on to reveal that her true identity is Orpha Furey Alaminous Pickergill-
  Shrive, a noblewoman of considerable means who rewards the characters 
  handsomely if the characters arrest the offending constables, help her and 
  the other women escape the Asylum, and then rescue their babies from 
  the Honeyman. She says that she knows where the Honeyman lives and 
  shares this location with the party when she and all the other women are 
  safely on the outside. If asked how she knows where the Honeyman is 
  located, she reveals only that Hobley told her but not when or why (see 
  Orpha’s Haunting below). 
  While it may seem strange to the characters that Orpha does not 
  immediately share the Honeyman’s location — given that she wants 
  him brought to justice and the children saved — Orpha knows that she 
  doesn’t have a lot to bargain with. She hopes that the characters’ own 
  motivations for wanting to bring an end to the Honeyman’s plot is as 
  strong as her own, and she tries to use it to bring about an end to the 
  women’s suffering as well. If questioned about this, she explains that 
  the women need to be free to look after their children. She arranges for 
  all the rescued women and children to be cared for properly once out of 
  the Asylum. Even though holding out on them for now, ultimately Orpha 
  does want the characters to know how to find the Honeyman and, if at 
  any point during the escape she feels that she may not survive, she does 
  her best to grab a character to quickly tell him (see Asylum Aftermath 
  in Chapter 4 for details of this information).
  Orpha’s Haunting
  To Orpha’s horror, on the night following that in which she killed Hobley, 
  his spirit returned to haunt her. Compelled by its former lust, it attempted 
  to subject her to the same nightly assault that Hobley had done in life, 
  whispering the same vulgarities and obscenities while seemingly unaware 
  of the fact that she had quite literally made an end of him. At first, she 
  thought she had slipped back into madness but, in the depths of her terror 
  and revulsion, she rediscovered the mental strength that had enabled her 
  to endure her torments, and ordered him away. Hobley was flung back and 
  tried to renew his attack, but they soon both realized that she could control 
  his manifestation. She dismissed him, only to discover that he inhabited 
  her mind. She tried and tried to cast him out of her head, but found she 
  could not. Hobley, however, was chastened and confused, struggling to 
  understand and accept the reversed power relationship. In between the 
  all-consuming lust that now defined him, he occasionally wondered what 
  
  27
  Horror in the Sinks
  he had become and why. They eventually began to communicate. Over the 
  last few days, Orpha discovered much about Hobley and what he knew 
  about the Honeyman. But she has kept his presence a secret, waiting to 
  use it to her advantage.
  Orpha’s haunting has given her the ability to speak with and control 
  the dead, but she is not aware that Hobley is, in fact, a phantom. She 
  simply believes she is haunted and sometimes inhabited by Hobley’s 
  ghost, with which she can mentally communicate and which sometimes 
  manifests when they are alone. She knows that she can force Hobley to do 
  things, but she is unaware that sometimes this is actually herself causing 
  it or manifesting his phantom, believing instead that Hobley produces the 
  effects in response to her requests. Orpha’s ability to control Hobley is still 
  forming and, as a result, Hobley has increased autonomy with the ability 
  to enact his own swift manifestation and control its form.
  Orpha cannot stop his whisperings in her mind, and she occasionally 
  looks distracted or angry and may vocally respond before catching 
  herself — and thus occasionally seeming quite mad — but she is 
  learning to cope. Her subconscious spellcasting also “haunts” her: 
  doors open and close, small objects float or fling themselves at people 
  who threaten or anger her, and she occasionally leaves a “ghostlight” 
  on something she touches.
  The lustful phantom of Hobley spends the majority of its time sharing 
  Orpha’s consciousness, but he swiftly manifests in response to anything 
  that threatens her. He looks much as he did in life, but as a spirit of deep 
  gold that suffuses the air around it with the sweet, honey-like scent of 
  caulspawn. When manifested, Hobley is frequently distracted by the lust 
  that tethers him to Orpha, subjecting attractive females to vulgar, sexual 
  comments, empty promises of what he will do to them when he visits them 
  in their sleep, and attempts to touch them inappropriately. Orpha chastises 
  him and sternly dismisses him back into her mind when he gets out of 
  hand, which he reluctantly obeys. Statistics for Orpha and Hobley can be 
  found in Event 3 in Chapter 4.
  
  28
  The Blight: Richard Pett's Crooked City
  When the characters are ready to leave the Asylum, they have two 
  choices: either they attempt to leave through the main gate or they find 
  some other way to sneak out. If the characters agree to take the women 
  with them, any surviving constables inform them that Thatchery Crab, an 
  overseer who works for the Sanatorium, is in charge of the gate and he will 
  not allow the inmates to leave. They say that unless the characters intend 
  to start murdering city officials, they need to find another way out for 
  the women. If the characters ask for suggestions, Orpha recommends that 
  they try to find where Hobley used to meet the Honeyman “beneath the 
  tower.” Any surviving constables warn that the areas beneath the Asylum 
  are disused supply canals — now little more than sewers and nests for 
  vermin — that have been blocked off for decades. They admit, however, 
  that they’re not sure where Hobley met with the Honeyman, and that they 
  haven’t ventured down since Wedgewood went to investigate after Hobley 
  died. But he found nothing of interest apart from a large swarm of water 
  rats rushing toward him.
  While the canals were, indeed, home to swarms of rats, unbeknownst 
  to the constables, they have now all fled thanks to a dangerous ooze that 
  recently moved in. If the characters remain intent on exploring the area, 
  the Watchmen direct them to the iron door at Area B10.
  Through the  
  Main Gate
  If the characters head back to the main gate, they are accosted by the 
  man dressed in spiked full plate whom they may have witnessed push an 
  arbalist from the wall in Event 1. Several inmate guards stand nearby, and 
  more are stationed on the wall and gatehouse. Thatchery Crab is an evil 
  and vindictive man in service to the Sisters of the Devout Resurrection 
  and Rebirth who have tasked him with ensuring that none of the inmates 
  ever leaves the Asylum without their, or the Judge’s, permission (which, 
  to date, neither party has ever granted). 
  Thatchery Crab (Ftr6) (Fallen Paladin): HP 41; AC 2[17]; Atk 
  +1 trident (1d8+2) or heavy crossbow x1/2 (1d6+1); Move 12; 
  Save 9; AL C; CL/XP 6/400; Special: multiple attacks (6) vs. 
  creatures with 1 or fewer HD, –1[+1] dexterity AC bonus, +1 
  to hit and damage strength bonus, +1 to hit missile bonus.
  Equipment: +1 plate mail, +1 trident, heavy crossbow, 
  20 bolts, barbed manacles, signal whistle, signet ring, 
  unholy symbol of Lucifer, bone snuffbox containing 10 
  pinches of tobacco snuff.
  Asylum Trustee Gate Guards (8): HD 1d6; HP 6, 5, 4x3, 3x2, 
  2; AC 9[10]; Atk padded club (1d4), light crossbow (1d3+1, 
  blunted bolts); Move 12; Save 18; AL N; CL/XP B/10; Special: 
  insanity (irrational obsession with a particular object or situ-
  ation [Referee’s discretion]. If directly confronted by obses-
  sion, must make a saving throw or become fascinated for 
  1d6 rounds).
  Equipment: leather armor, padded club, light cross-
  bow with 20 blunted crossbow bolts.
  Asylum Trustee Wall Guards (4): HD 1d6; HP 3; AC 9[10]; Atk 
  padded club (1d4), heavy crossbow x1/2 (1d3+1, blunted 
  bolts) or light ballista (3d6); Move 12; Save 18; AL N; CL/XP 
  B/10; Special: insanity (irrational obsession with a particular 
  object or situation [Referee’s discretion]. If directly confront-
  ed by obsession, must make a saving throw or become fas-
  cinated for 1d6 rounds).
  Equipment: padded club, heavy crossbow with 20 
  blunted crossbow bolts.
  Development: Crab will not, under any circumstances (barring being 
  magically compelled to do so), permit inmates to leave the Asylum. 
  Additionally, he denies any request for the gate to be opened within the 
  first 3 days of the characters’ arrival unless the characters can somehow 
  convince him otherwise. Crab will definitely not open the gate for 
  paladins, and becomes openly hostile toward them. To help convince him 
  to open the gate, he demands a large bribe. He examines the characters’ 
  gear and points out an item of high value such as a magic weapon or item 
  on each who wishes to leave, and demands that as the “gate tax.” If the 
  characters refuse to pay up, he’ll deny their request and tell them to come 
  back another day. If the characters approach the gate after 3 or more days 
  pass, Crab no longer demands a bribe. Players will have to get creative to 
  convince Crab to allow inmates to leave (or pay a hefty fee for their exit as 
  well). If attacked, Crab calls for the guards and wades into combat.
  Crab keeps unpredictable hours and doesn’t seem to sleep much, but 
  there are a few hours each night he is not manning the gatehouse. If the 
  characters try to leave when Crab is not present, they discover a group of 
  4 Sanatorium Sisters in his place who explain that the characters need 
  to return when the Overseer is on duty, as neither they nor the gate guards 
  are authorized to open the gate without his presence. See Event 1 for the 
  Sisters’ statistics if they are required.
  Down the Hatch
  The characters may discover an escape route via the supply canals, but 
  they hold their own challenges. The canals were entirely sealed when Hobley 
  was using them to deliver the newborn caul cuckoos to the Honeyman and 
  so, although his spirit is familiar with their layout and Orpha can advise 
  the characters on it, she cannot guide the characters directly to an escape 
  route. If the characters agree to take the women with them, then Orpha and 
  Molly both request weapons and ask that the surviving Watch constables 
  be brought along too, so that they can be sure they’ll be charged for their 
  crimes. They’ll request that the constables be restrained, as they are not 
  trustworthy, but will not push the point if the characters are disinclined. 
  While Orpha is motivated to ensure that the constables are hanged for their 
  crimes, Molly is planning a more direct revenge (see Event 3 below).
  The Supply Canals
  Two canals pass beneath the Asylum, both running through its 
  foundations of masonry and hewn stone. The canals have 20ft-wide, 5ft-
  deep channels with 5ft-wide walkways on either side. The stone of the 
  walkways is slippery, requiring anyone running or fighting to make a 
  Chapter Four:
  Leading the Lost
  
  29
  Horror in the Sinks
  saving throw or fall prone at a random point within their Movement. The 
  outlets of sewer chutes line the ceiling of the canal for its entire length, 
  save for where it passes beneath Bedlam Square. 
  The depth of the water in the subterranean canals is subject to the full 
  tidal action of the Lyme estuary as it rolls into and out of the Sinks as 
  the air drawn into the system at ebb tide is able to escape during flood 
  tide via a number of open sewer chutes in the ceiling along their lengths. 
  The following sections assume the subterranean canals have an intertidal 
  water depth of around 3-1/2ft. However, at a normal high tide, the water 
  can rise to 5ft in depth, a couple of inches below the edge of the channel, 
  and at a normal low tide, the water can drop to only 2ft in depth. During 
  exceptional tides, the water can overflow the channels by up to 3ft or drain 
  from the subterranean canals completely. 
  There is no illumination in the subterranean canals other than dim light 
  during daytime at each of the exits. The rest of the areas are permanently dark. 
  Most of the vermin that would normally be expected in such an area 
  have left due to the presence of a canker ooze that spends most of its time 
  at the Bedlam Canal exit but which makes occasional forays along the 
  channels (see below). The creature is not attracted by light, but loud noises 
  elsewhere in the subterranean canals may draw it to investigate.
  When the characters first enter the subterranean canals, read the following.
  A 20-foot-wide channel of murky water separates 5-foot 
  walkways of slimy stone on either side of this vaulted tunnel. 
  Trios of circular stone columns are spaced at regular 20-foot 
  intervals along its length. One in the centre of the channel and 
  one at the edge of each walkway still hold aloft the 10-foot-
  high vaulted ceiling, but just as elsewhere in the Sinks, regular 
  cracks in the walls, columns, and walkways, broken sections of 
  vaulting, and leaning pillars belie its structural integrity. The 
  water reaches to within around a foot-and-a-half from the lip 
  of the channel but filth encrusted on the walls indicates that it 
  has overflowed by several feet in the past. The stench of sewage 
  fills the greasy air, and sound echoes in the enclosed space.
  
  30
  The Blight: Richard Pett's Crooked City
  Despite their dilapidated appearance, the tunnels are in no present 
  danger of collapse. The channels flow in accordance with the tide. During 
  ebb tide, they flow east and south, and during flood tide, they flow west 
  and north. The flow is so sluggish, however, that it is treated as standing 
  water. If the area is approached from the canals instead of from the canal 
  stair, characters have a 1-in-6 chance to notice the featureless stone door 
  in the western wall. When not barred from the other side, it can be pushed 
  in and slid to one side to reveal the canal stair (see Chapter 3, Area B11).
  Treasure: Hidden in one of the cracks in the wall near the secret door 
  is a darkwood fipple flute that functions as pipes of the sewers. This was 
  given to Hobley by the Honeyman so that he could protect himself from the 
  rat swarms that once laired in these canals. If Orpha is with the characters, 
  she announces that Hobley hid something here that protected him from the 
  rats, and she retrieves it. Otherwise, a character who searches the walls in 
  this area can find it.
  The Canal Lurker 
  Orpha guides the characters in the direction of the nearest exit, but 
  even with Hobley’s presence guiding her, she is unaware of a danger that 
  currently occupies these channels.
  The filth and slime that covers the walkway and the lower 
  parts of the wall begins to clear here until soon the damp stone 
  is swept clean and clear of dirt and detritus for the remainder of 
  the path. Whoever began this recent cleaning project obviously 
  didn’t get far.
  A canker ooze in this area occasionally explores farther into its current 
  lair, and the result of its passage over the walkways is noticeable. While 
  the canker ooze’s passage absorbs any organic material and sweeps away 
  debris, the walkway is not corroded as its acid does not affect stone. 
  The walkways end 20ft from where Nun’s Gusset exits beneath the 
  Asylum’s east wall. The channel narrows to a 10ft-wide, 5ft-tall opening 
  that appears to be blocked by rusted iron bars. However, the lower 
  portions of the bars have been corroded away by a creature that has taken 
  up residence in the mouth of the exit and extend only around 1ft below the 
  3-1/2ft of water. Due to the filthy water, however, this cannot be perceived 
  from farther than 10ft away. Once past this grate and its guardian, the 
  characters have successfully escaped the Asylum.
  Canker Ooze: HD 6; HP 36; AC 8[11]; Atk slam (2d6 plus pa-
  ralysis); Move 6 (swimming 12); Save 11; AL N; CL/XP 8/800; 
  Special: acid (dissolves metal and organic, but not stone), 
  immunities (acid, cold), noxious cloud (15ft radius, 2d6 dam-
  age and blindness for 1d3 rounds, save for half), paralysis 
  (2d6 rounds, save avoids), transparent (1-in-6 chance to 
  spot). (See Appendix A)
  Tactics: The canker ooze lurks in the mouth of Nun’s Gusset, from 
  where it extends its pseudopod into the flow of the Bedlam Canal to catch 
  passing prey. A character within 10ft of the ooze has a 1-in-6 chance to 
  see it due to the filthy water it hides beneath. The canker ooze remains 
  motionless under the iron bars. It uses its noxious cloud as a defense 
  mechanism, triggering it only when it sustains damage and creatures are 
  nearby. It does not pursue other prey once it paralyzes a creature, and 
  instead starts to eat. If damaged while eating, it seeks to escape into the 
  deeper water through the exit, dragging its prey with it. However, it flees 
  if reduced to fewer than 15 hit points, leaving its prey behind,
  Event 3:  
  Molly the Murderess
  While she hides it very well, Molly Seddle is actually a murderous 
  psychopath who plots to kill as many of the constables as she can 
  throughout the time that the characters are seeking a way to escape the 
  Asylum. While being careful not to overplay her hand, she tries to obtain 
  a weapon to defend herself with and encourages the characters to explore 
  ahead while she, the rest of the women, and the — hopefully restrained — 
  constables wait behind. Whenever she feels she has the best chance, such 
  as when the characters are otherwise engaged with some of the inhabitants 
  of the canals, or when they are exploring far ahead — she attacks the 
  constables, hoping to kill them quickly and quietly. If the characters chose 
  not to arm her, she attempts to hide a small weapon, preferably a dagger, on 
  her person after stealing it from somewhere in the Watch Tower, another 
  of the women, a constable, or if there is no other option, a character.
  When Molly launches her attack, the constables and the other women 
  — all expect Orpha — begin crying out, possibly alerting the characters. 
  Orpha watches dispassionately, indifferent to the plight of the constables 
  and inured to the violence. The Watch officers respond by attacking Molly 
  and any of the other women in reach, if they are able. If Orpha or any of 
  the other women are attacked, Hobley manifests and attacks the constables 
  on the following round. If this is the first time that Hobley manifests, any 
  constable who sees him is automatically frightened and runs in fear for 
  1d3 rounds.
  Molly Seddle: HP 6; AC 9[10]; Atk dagger (1d4); Move 12; 
  Save 18; AL C; CL/XP B/10; Special: none.
  Equipment: dagger.
  Orpha Furey Alaminous Pickergill-Shrive: HP 4; AC 9[10]; Atk 
  strike (1hp); Move 12; Save 18; AL N; CL/XP 3/60; Special: 
  banish undead (at will), light (at will), mental blast (1d6 vs. 
  ghosts only), speak with the dead (at will).
  Equipment: none.
  Murn Hobley (Ghost): HD 3; HP 20; AC 3[16]; Atk slam (1d6); 
  Move 12 (flying); Save 16; AL C; CL/XP 5/240; Special: alluring 
  presence (characters attacking Orpha 50% chance likely to 
  target Murn instead), incorporeal (50% miss chance), mani-
  fest (can appear at will, or 50% likely when called by Orpha), 
  tether (must remain within 500ft of Orpha).
  Development: If a character attacks Molly and she sustains damage, 
  that character becomes a target for Molly’s attacks in the future, once 
  deals with the Watchmen.
  
  31
  Horror in the Sinks
  Asylum Aftermath
  When the characters finally escape the Asylum, they may want to do a 
  number of things. First, if they arrested any of the Constables of the Watch 
  from the Asylum Watch Station, they will want to deliver them to the 
  Watch, and likely to Ghall himself. Second, if they managed to free any of 
  the women, they may want to guide them to safety. Third, they may want 
  to locate the Honeyman and the missing children.
  Arresting the Constables
  If the characters wish to arrest the constables, then they need to take 
  them to a Watch station or arrange a meeting at the Birdcage with Ghall. 
  In the former case, the characters need to share their writ with the desk 
  sergeant on duty to ensure that the constables are held in custody and the 
  District Commander notified. Roll 1d8: On a roll of 1, the sergeant refuses 
  to place fellow Officers of the Watch under arrest without further evidence 
  and recommends that the characters seek a meeting with the District 
  Commander directly; on 2–3, he notifies Watch Commander Durmast (see 
  Concluding the Adventure for the effects of this). He gleefully informs 
  the characters of this decision, however, but a sufficient bribe of at least 
  100gp or a magic item, can persuade him to mind his own business. On a 
  roll of 4–8, he takes the men into custody as asked.  
  If the characters arrange a meeting with Ghall, the District Commander 
  requires a full account of their findings, thanks them for their efforts, 
  and takes any arrested Watch officers into custody. If Yonas is dead, he 
  controls his reaction with a grim expression but characters realize that he 
  is both angry and distraught. He asks for a full account of what happened 
  to Yonas and any other Watch officers who died. If the characters killed 
  Yonas themselves or allowed him to die through neglect or inaction, and 
  Ghall learns or suspects that this is the case, he is furious and threatens 
  the characters with the full measure of the law if they do not complete 
  their task by bringing the Honeyman to justice, dead or alive. Further, 
  he takes any freed women into custody, and states that the characters’ 
  incompetence has ensured they will not be paid. If the characters do 
  not agree to the terms, the women are sent back to the Asylum, and the 
  characters are arrested and imprisoned in the Sinks until they agree to 
  capture the Honeyman or 1 year passes.
  If Yonas survived, then Ghall respects the characters’ decision to free 
  the women and issues an order of release that authorizes their freedom. He 
  pays the characters for their work and offers a bounty of 500gp to bring 
  the Honeyman to justice, dead or alive. If the characters ask for more, 
  he considers it for a moment and increases the bounty to 750gp. If the 
  characters press for even more, he offers a maximum bounty of 1000gp. In 
  this case, Ghall is also favorably inclined to the characters for any future 
  requests or favors.
  Freeing the Women
  The fate of the women largely depends on whether Yonas survived as 
  detailed above. If Ghall authorizes their release, Orpha soon discovers that 
  her family has stripped her of her title, property, and most of her wealth. 
  She uses what she has to house herself and the women in temporary 
  accommodations and offers 500gp to the characters in reward money 1 
  week after her release.
  If Yonas died and the characters failed to convince Ghall that they could 
  not have saved him, then the outlook for the women is poor. Whether they 
  are with the characters are not, they are eventually arrested and sent back 
  to the Asylum.
  Hunting for Honey
  If Orpha survived the escape from the Asylum, she is true to her word 
  and shares the location of the lair of the Honeyman as a mansion called the 
  Dimora Boszaroza, located in the northeast Sinks on Salomè Street, just south 
  of the Street of Echoes. She describes the mansion as having stone steps 
  flanked by rose trees that lead up to its entrance from a private wharf, and that 
  it is sinking into an alley canal at its west end. The information is sufficient 
  for the characters to be able to locate the mansion without any problems and, 
  if she survived and is with the characters, its sharing also triggers Eleanor’s 
  memory, causing her to transition if she is currently Elspeth.
  Eleanor’s Memories
  Eleanor relates that Hobley once mentioned a place called the Dimora 
  Boszaroza when he was with her and that “the trees in the boats are a 
  monster from the mire.” Hobley’s ghost has little recollection of the 
  Dimora Boszaroza but Eleanor’s story stirs his memory. Orpha confirms 
  Eleanor’s story, adding that Hobley says “it guards the mirror Between.” 
  Neither the women nor Hobley can add any further detail.
  If the characters failed to treat Eleanor’s seizure during labor and she 
  transitioned into Elspeth, Elspeth now retakes control and shares nothing 
  further. If the characters successfully treated Eleanor’s seizure such that 
  she didn’t transition into Elspeth, then Eleanor shares another recollection. 
  Hobley told her that “there are two mirrors in the house: the mirror 
  Between and the mirror Below.” Again, Eleanor’s story stirs Hobley’s 
  memory and Orpha adds that he says “the mirror Below is through the fire 
  and the mirror Between is over the water.” This is all that either can recall.
  The “mirror Between” is a reference to the mirror-portal that formed to 
  the Myre-Between, located in the attic solarium (Chapter 5, Area C49). The 
  “mirror Below” is a reference to the clairvoyant spying pane located in the 
  safe room (Chapter 5, Area C58), which is accessible through the secret door 
  below the fireplace in the master bedroom (Chapter 5, Area C38).
  If the characters did not free the women or they did not survive the 
  escape and Orpha did not tell the characters of the Honeyman’s location, 
  they will need to conduct their own investigation. The Honeyman is hard 
  to find, but they can track down information in 1d4 days that leads them 
  to the Dimora Boszaroza.
  
  32
  The Blight: Richard Pett's Crooked City
  Visharix, the cuckoo queen shaman, laired on a small isle in the Myre-
  Between, not far from the ruins of a flooded slum populated by his caul 
  cuckoo kin. There, he cultivated and bred vines and swamp plants, creating 
  fruits of extraordinary colour and size with which he decorated his home. 
  Local rumor of the occupant’s madness prevented most from daring to 
  visit the bountiful isle but, over time, hunger and foolishness led several to 
  creep ashore and feast. Of those, most were discovered and slain, if not by 
  Visharix, then by the fruiting plants themselves. Rather than consign the 
  bodies of the thieves to compost, however, in the shadow of a runestone 
  obelisk that stood at the centre of his island, Visharix animated them to 
  add to its decoration, draping them in the very fruits they sought and 
  posing them in tableau mockeries of their trespasses.
  An artistic passion ignited in Visharix that soon led from the punishment 
  of thieves and trespassers to actively preying on the local population. His 
  grisly artwork began to take over the nearest parts of the ruins, driving 
  away the inhabitants until Visharix was left alone amid his increasingly 
  ambitious works. But his activities, unknowingly inspired by insidious 
  whisperings from the runestone, a continual mental susurrus that spoke of 
  the art of insanity, triggered its strange magic and punched a hole through 
  reality. The spirits of the slum and those he had slain spoke to him and 
  showed him where the swamp had begun to pour through a hole in the 
  wall of a sunken building, and Visharix climbed through.
  The hole opened into the solarium of a Sinks’ mansion, and it was 
  not long before its family was under the shaman’s sway, addicted to his 
  caulspawn, and psychotically devoted to his whims. One by one, their 
  servants became his thralls, too, and soon Visharix had begun to transform 
  their Sinks mansion into another artwork. The family carefully curated 
  gatherings in which selected aficionados of extreme art and the pleasures 
  of mind-altering substances were invited to participate in debauched 
  orgies of decadent indulgence, at prohibitive prices — wealth that was 
  used to fund the increasingly bizarre and exotic stone and woodwork that 
  the “Honeyman,” as Visharix was known, required for his sculptures.
  Eventually, following an attempt on his life by another family, jealous 
  of the Boszarozas’ growing notoriety in their exclusive circle of the 
  corrupt and debased, Visharix decided to grow his own brood; offspring 
  that would not only be capable of truly understanding and continuing his 
  grand work, but who would embody the art of insanity. And so he began 
  whispering his plans to a devoted apostle — a young Constable of the 
  Watch named Hobley — and pointed him to the high walls of the Asylum.
  Dimora Boszaroza 
  and Grounds
  The Dimora Boszaroza is the home of the exiled Boszaroza family, 
  minor nobles banished from the Capitol following a bungled assassination 
  plot against their matriarch. Now, Nicolo, his wife Caterina, and their 
  two children, Alba and Helia, along with their servants, some other 
  Sinks’ nobles, and a large number of their hangers-on, prostitutes, 
  Chapter Five: The Garden 
  of Unearthly Dismay
  
  33
  Horror in the Sinks
  and artists, are either the insane devotees of Visharix and his art or its 
  unliving participants.
  It is built on a small island along an affluent canal called Salomè Street, 
  which is just south of the Street of Echoes in the northeast of the Sinks. 
  Its nearest neighbour is more than 150ft away and the well-to-do families 
  that reside in this area keep themselves to themselves and their affairs 
  private. The grounds to the rear of the property are within a 15ft-tall, 2ft-
  thick curtain wall that extends from the northwest and northeast corners 
  of the mansion. Due to the mansion’s subsidence, however, the wall has 
  split away from where it joins the building, leaving large cracks down to 
  ground level.
  The grounds consist of extensive gardens of mostly bushes and flowers, 
  but with some vegetable and fruit patches as well. Some small trees and 
  saplings line parts of the gravel paths that wend their way through the 
  grounds, and a pond is toward the east. The gardens have not been tended 
  to in many months, however, and they are now becoming overgrown with 
  weeds, clogged with rotting detritus, and infested with insects and other 
  harmless vermin. The pond, which is covered by a thick layer of algae and 
  leaves, is now the home to 2 giant dragonfly nymphs that attack anyone 
  who approaches the edge of their pool.
  Giant Dragonfly Nymphs (2): HD 5; AC 5[14]; Atk bite (1d6); 
  Move 9 (flying 18); Save 12; AL N; CL/XP 6/400; Special: 
  none. (The Tome of Horrors Complete 210)
  Features of the Dimora Boszaroza
  The Dimora Boszaroza is a 4-storey mansion with an additional 
  expansive basement area, an adjoining boathouse, and a large walled 
  garden. Like many such dwellings, it faces the canal with its grounds 
  to the rear. Before its current usage, the basement and first floor were 
  primarily used for storage and house staff, and the family and their guests 
  primarily used the second and third floors. The attic is separated into two 
  spaces: The family used most of the front area for relaxing or entertaining, 
  while the rear area was used by the staff, for storage, and to house the 
  servants of guests.
  The first two floors of the house are made of stone with 2ft-thick exterior 
  and 1ft-thick interior masonry walls. The exterior walls of the third floor, 
  also stone, narrow to only 1ft thick. The attic’s interior walls are wooden and 
  2in thick. Floors are fitted wooden boards over smooth stone. Unless stated 
  otherwise, ceilings throughout are 9ft high, and all exterior doors are strong, 
  ironbound wooden doors inset with good locks and fitted with bars that can 
  be secured from the inside. In general, interior doors do not have locks. All 
  windows are glass with interior wooden shutters that can be barred.
  The building was one of the more fortunate Sinks’ constructions in that 
  its subsidence had been relatively mild; the western wall of the boathouse 
  was almost 3ft lower than the eastern wall of the house. Over the 240ft 
  length of the building, this tilt was relatively minor and the family had 
  adjusted to it rather than spend money correcting it. When the portal to the 
  Myre-Between opened in one of its solarium mirrors (Area C49), however, 
  interdimensional forces sent a tremor throughout the construction that 
  resulted in a more severe subsidence: The building sank an additional 4ft 
  into the canal at its west end, and tilted several inches to the north. This 
  resulted in the boathouse pool overflowing the walkways and pouring into 
  the first floor of the house, flooding several of the western rooms south of 
  the scullery, and the majority of the basement via the coal chute (Area C6) 
  and the west lift shaft (Area L1).
  In addition, swamp water flows from the mirror in the solarium (Area 
  C49) down the spiral stairs to the third-floor landing (Area C43). From 
  there, it flows over the north balcony in a waterfall down to the family 
  room (Area C31), and west, down the back stair and the west lift shaft 
  (Area L1). In the family room, the water flows along the west wall, and 
  through the morning room where it is joined by the water pouring down 
  the back stair, to empty down the boathouse steps (Area C7) and the west 
  lift shaft (Area L1).
  B. Bath
  These rooms were generally segregated between male/female and 
  aristocrat/servant. Unless otherwise noted, they contain a large wooden 
  tub, a (now-nonfunctional) spigot tap in the wall for bringing hot water 
  from the boiler, buckets for filling and emptying the tub, and shelves 
  containing soap and towels.
  L1 & L2. Lift Shafts
  Among the many amazing innovations that once graced the Dimora 
  Boszaroza were a pair of pulley-operated elevator lifts. Zombie draft 
  animals that walked treadmills in the manor’s basement powered these 
  lifts. These zombie creatures have since been repurposed into the art 
  dioramas the Honeyman has placed around the house, and the lifts 
  themselves are no longer functional, the lift floors now stuck in place at 
  the basement level. However, chains hang within the shafts that can be 
  used to help swim down to the basement or climb up to the upper floors. 
  Area L1 has become a waterfall for the muddy runoff from the mirror-
  portal in the attic. The muddy water there makes climbing on the chain 
  slippery (–15% Climb Walls). At each lift location, the lift shaft is closed 
  off by a metal-hinged lattice that accordions together as it slides open. 
  Treasure: The grippli bogborn alchemist Oggoglian (see Area C17) 
  stores her treasures in the flooded basement at the base of the Area 
  L2 lift shaft, which anyone who searches through the wreckage of 
  the lift enclosure can discover. It contains a 10 packets of powdered 
  caulspawn, 10 vials of caulspawn (see Appendix A: New Monsters), 
  and 5 gold bars worth 500gp each. Powdered caulspawn has no effect 
  on its own but, if a packet is added to a flask of acid, the caulspawn 
  is reconstituted into a single dose. Anyone searching through this 
  wreckage must deal with the occupants of the flooded cellars as 
  described under Basement below.
  Q. Servants’ Quarters
  These rooms served as accommodations for the various sorts of serving 
  staff that once occupied the manor. These servants have either all been 
  dismissed or slain by the various monstrous entities that now inhabit the 
  house. These rooms are entirely mundane, with basic furnishings and chests 
  and wardrobes holding only servant uniforms and other apparel. They 
  contain nothing of value. Various types of servants that once occupied these 
  chambers include housemaids, cooks, kitchen maids, footmen, gardeners, 
  valets, butlers, nursery maids, tutors, and guests’ servants.
  P. Privy
  These rooms were often (but not always) segregated between male/
  female and aristocrat/servant. Unless otherwise noted, they contain one or 
  more stalls with wooden seats built to go over privy pails, water pitchers, 
  porcelain washbasins, soap, and hand towels.
  Fruits of the Obscene
  As has been mentioned, the Honeyman (aka the caul cuckoo 
  queen shaman Visharix) has turned the entire Dimora Boszaroza 
  into a gallery of living (and unliving) art. Most of these take 
  the forms of various disturbing and hedonistic tableaus of nude 
  cadavers, animated cadavers, or honey-addicted models in various 
  poses arrayed around different types of sculpture and other 
  constructions. One thing almost all have in common is their plant 
  life — specifically various fruits of unusual size and abnormal 
  appearance. Most of this flora (unless otherwise indicated) has 
  been transplanted into the manor through the mirror-portal from 
  the Myre-Between, and as such might possibly resemble another 
  mundane type of fruit or flower or may be entirely alien altogether. 
  Attempts by the characters to identify these types of plant life 
  reveal that they are not of the mundane world. Most of these are 
  from the Myre-Between region.
  
  34
  The Blight: Richard Pett's Crooked City
  S. Storage Room
  Various types of storage areas are placed throughout the entirety of 
  the manor. Each of these contains assorted mundane tools, equipment, or 
  goods (linens, dinnerware, etc.) that would be appropriate to areas nearby 
  (as determined by the Referee). If near an entrance to the manor, they are 
  likely as not to be a cloakroom or mudroom for doffing soiled outdoor 
  wear. Any of them that contain anything of value or interest receives its 
  own numbered location description.
  First Floor
  C1. Kitchen Lobby and Servery 
  Unless it has already been slain, characters in or near this area can smell 
  the Myre-Between fiend’s sweet, fruity aroma, and must make a saving 
  throw or also hear babies crying in the boathouse (Area C7).
  Dominating this area are two massive tables, each 20ft long and 5ft 
  wide, that are covered in oversized specimens of strangely coloured fruit 
  that fills the area with a pungent, overripe aroma. The fruit on the western 
  table looks rotten and diseased, while the fruit on the eastern table looks 
  ripe. Cabinets around the walls and shelves under the tables contain a 
  variety of platters, boards, and kitchen utensils. The batches of rotten fruit 
  are covered in yellow mold.
  Yellow Mold: HD n/a; AC n/a; Atk spore cloud; Move 0 (im-
  mobile); Save n/a; AL N; CL/XP 3/60; Special: spore cloud 
  (1d6 damage, 10ft diameter). (Monstrosities 336)
  C2. Kitchen and Scullery
  This kitchen has a long, central workbench and a large, iron-lined 
  fireplace in the northwest corner, flanked by iron ovens. Plain wooden 
  hutches store cauldrons, pots and pans, and kitchen utensils hang from 
  hooks on the walls and ceiling. The southwest corner contains a large 
  wooden sink with a metal tap that used to provide hot water when the 
  boiler was operational. Near the fireplace, a saltcellar (holding enough 
  for 10 handfuls) sits on a table. Just off the kitchen is a scullery fitted 
  with wooden tables and sinks around its walls. Shelves and hooks store 
  cleaning and food preparation tools.
  C3. Pantries
  These side rooms are fitted with wooden tables with drawers containing 
  kitchen utensils and food products (mostly spoiled now). The western 
  pantry was used to make pastries and has several sacks of flour.
  C4. Larder 
  Food was stored in this cool room. The larder now traps a slime mold 
  lured inside after it slithered through from the Myre-Between. It appears 
  as a tangled carpet of swamp weeds dotted with pale fungus that surges 
  forward as soon as the door opens. The mold has consumed or destroyed 
  all the food.
  Slime Mold: HD 4; HP 27; AC 9[10]; Atk slam (1d8+1  
  plus disease); Move 3; Save 13; AL N; CL/XP 4/120;  
  Special: fungal rot (1d6 damage/day until cured),  
  immune to fire. (The Tome of Horrors Complete 505)
  C5. Kitchen Maids’ Quarters 
  Unless it has already been slain, characters in or near this area  
  can smell the Myre-Between fiend’s sweet, fruity aroma, and must 
  make a saving throw or also hear babies crying in the boathouse 
  (Area C7).
  Like the various other servants’ quarters located around the manor 
  house, this room was the kitchen maids’ accommodation. It contains 
  basic furnishings. It now traps a slime mold from the Myre-Between. The 
  tangled mass of swamp vines and reeds dotted with fungal growths surges 
  forward to engulf anyone opening the door.
  
  35
  Horror in the Sinks
  Slime Mold: HD 4; HP 27; AC 9[10]; Atk slam (1d8+1 plus dis-
  ease); Move 3; Save 13; AL N; CL/XP 4/120; Special: fungal 
  rot (1d6 damage/day until cured), immune to fire. (The 
  Tome of Horrors Complete 505)
  C6. Coal Chute
  Unless it has already been slain, characters in or near this area can smell 
  the Myre-Between fiend’s sweet, fruity aroma, and must make a saving 
  throw or also hear babies crying in the boathouse (Area C7).
  An inch of water covers the floor here. A low and wide wooden door, 
  angled to the back wall of this area, can be lifted to provide access to 
  a coal chute 3ft wide and 10ft long that leads directly into the flooded 
  basement of the house.
  C7. Boathouse 
  The Myre-Between fiend occupying this chamber has created the 
  mirage of the Between fruit described below. Each character must make 
  a saving throw or be fooled by this mirage. Read the italicized section 
  below only if one or more characters fail their saving throws. Characters 
  who save versus the mirage continue to smell the Myre-Between fiend’s 
  scent, but do not see the mirage. Instead, pull them aside privately and tell 
  them that they see a patch of seaweed-like vines dotted with small blue 
  flowers. They likewise cannot hear the crying of the mirage babies.
  The 10-foot-wide walkway that provides access to the north, 
  east, and west sides of this large boathouse is now completely 
  submerged, ranging in depth from a few inches at the east to a 
  couple of feet at the west. Stone steps that once rose from the 
  north of the boat pool to join the walkway now descend into 
  its murky depths. Wide, ironbound wooden doors bar access 
  to the exterior canal to the south, and wooden pillars rise a 
  few feet from the pool, isolating its easternmost section. To the 
  east, a short flight of stone steps leads 10 feet up to a pair of 
  open double doors from which a steady stream of filthy water 
  pours down into the pool. A short corridor covered in shallow 
  water running parallel next to the steps leads to another open 
  door. A hooded lantern hanging on the north wall illuminates 
  the room.
  Half of a large, blue-skinned, spherical fruit — about 5 
  feet in diameter — floats in the centre of the pool, filling the 
  boathouse with the strong, sweet aroma of its exposed, white 
  flesh. Arranged on the floating fruit, like a circle of seeds at 
  its core, are four human babies whose crying reverberates 
  around the chamber.
  The fruit is an aquatic variety native to the Myre-Between.
  All doors that lead into this area are treated as exterior doors. A rope bell-
  pull hangs from the northeast corner. Due to the subsidence, the boat pool is 
  10ft deep at its east end and 12ft deep at its west. It is not open to the canal 
  beyond, but a lattice has been built into the stonework at the bottom of the 
  pool’s walls as an outlet. The boats that were housed here — a 20ft gondola 
  and a wider fleshgine-powered riverboat — are both holed and sunk to the 
  bottom of the west pool; the east pool was used for deliveries.
  A predator from the Myre-Between called a Myre-Between fiend 
  now inhabits the boathouse pool. This free-floating clump of intelligent, 
  carnivorous swamp weed has formed an alliance with the Honeyman 
  in return for regular feeding, and the crushed, mostly humanoid, bones 
  of former meals litter the bottom of the pool and the sunken boats. The 
  Myre-Between fiend lurks on the surface of the pool and uses its mirage 
  ability to lure victims into the water. If creatures that appear affected by 
  its mirage enter the boathouse but won’t swim out to it, it slowly begins to 
  float toward them, attempting to grab a victim within reach and submerge 
  with it beneath the hulls of one of the sunken boats. It also retreats there if 
  reduced to fewer than 20 hit points. 
  Myre-Between Fiend: HD 7; HP 45; AC 5[14]; Atk slam (1d8); 
  Move 9; Save 9; AL C; CL/XP 8/800; Special: distorted image 
  (25% chance to miss), engulf (save after slam or held, auto-
  matic 1d6 damage, Open Doors to escape), phantasmal 
  force (3/day).
  Treasure: Lying amidst a scattering of humanoid and other bones on 
  the bottom of the pool are a lacquered box containing 10 doses of opium, 
  and various pieces of jewelry worth a total of 1400gp. On the north wall is 
  a bullseye lantern containing continual light. The boats require extensive 
  repairs to the fleshgine and hulls before they can be used. 
  C8. Trade Lobby
  Unless it has already been slain, characters in or near this area can smell 
  the Myre-Between fiend’s sweet, fruity aroma, and must make a saving 
  throw or also hear babies crying in the boathouse (Area C7).
  Two inches of water cover the floor here. This room contains a simple 
  wooden table and four chairs all pushed back against the walls. The south 
  door is locked and barred, but the east and west doors stand open.
  C8a. Trade Stoop
  Stone steps once rose 5ft out of the canal to a stoop, but the canal now 
  covers it. The windows are shuttered on the east wall.
  C9. Ladies’ Stitchery
  This room contains chairs, workbenches, and equipment to sew and 
  make other repairs to clothes, and other household cloth such as linen, 
  drapes, and upholstery. A small fireplace is in the northwest corner.
  C10. Laundry
  This laundry contains mangles, carts, hanging rails, sinks, soap, brushes, 
  buckets, and rollers among other washing and cleaning equipment. The back 
  wall rotates. The secret door leads to the servants’ safe room (Area C11).
  C11. Servants’ Safe Room
  This empty room was intended as a secure room for the house staff to 
  retreat to in case of intruders. The door can be locked closed using a lever 
  on the wall nearby. Tiny vents under the wharf steps (Area C22) provide 
  the room with fresh air.
  C12. Polishing Room
  This room contains chairs, workbenches and equipment for cleaning 
  and polishing household metalware, weaponry, and armour.
  C13. Men’s Workshop
  This room contains chairs, workbenches and equipment for repairing 
  and maintaining household furnishings and other items requiring the use 
  of carpentry.
  C14. Servant’s Hall
  A plain, sturdy, chair-lined table runs most of the length of 
  this vaulted hall. A semicircular, windowed recess in the north 
  wall is covered by a multitude of brass bells connected to wires 
  that disappear through tiny holes in the ceiling. Each of the 
  bells has a small plaque beneath it. A large fireplace is set into 
  the east wall, and a door is set to the east of the north recess.
  The bells at the head of this servant’s hall connect to bell pulls in many 
  of the family’s rooms. In all, there are 19 bells here with plaques naming 
  the following locations: Boathouse, Library, Laboratory, Dining Room, 
  Drawing Room, Games Room, Family Room, Morning Room, Master 
  Bedroom, Sitting Room, Inner West Canal, Outer West Canal, West 
  Garden, Inner East Garden, Outer East Garden, Outer East Canal, Inner 
  East Canal, Solarium, and Observatory.
  
  36
  The Blight: Richard Pett's Crooked City
  The door to the east of the north recess is a locked exterior door.
  C15. Chapel 
  The north and west walls of this vaulted chapel are lined 
  with stained-glass windows that depict religious scenes. 
  A statue and two columns line the aisle, each fashioned as 
  the same haloed woman. In the southern pillar, she wears 
  chainmail and an imperious countenance; one hand aflame 
  — illuminating the room — and a morningstar held overhead 
  in the other. In the middle pillar, she wears a modest dress 
  and a stern expression; a balanced scale is in one hand and 
  a rod is ready in the other. The northern statue depicts her 
  wearing robes and offering an open book with both hands. 
  Steps lead up to a raised section beneath a colourful fresco on 
  the east wall, a carven stone balustrade separating it from the 
  main nave. Wooden pews have been pushed back and stacked 
  against the walls between iron candelabra.
  The statues are representations of the Holy Mother in each of her three 
  aspects: the Fair Fist, the Rule of Order, and the Beatific Quest. The same 
  check identifies the religious scenes in the stained-glass windows and 
  the fresco as those from her holy book. The southern statue’s hand has a 
  continual light cast upon it. All the doors in the recess are locked. 
  In the centre of the chapel, 6 naked men and women hum and hold 
  hands as they sit in a circle around a mound of giant red fruit that resemble 
  strawberries. Every so often, they break the chain to paw and stroke the 
  fruit before holding hands again. The people are addicted to caulspawn, 
  or “honey” as they call it. They do not attack unless attacked first or the 
  fruit pile is interfered with, in which case they draw clubs from beneath 
  the fruit.
  Honey Addicts (6): HD 2; HP 13, 12, 11x3, 10; AC 9[10]; Atk 
  club (1d4); Move 12; Save 16; AL C; CL/XP 2/30; Special: 
  caulspawn addiction, immune to caul cuckoo lullaby.
  Equipment: club.
  C16. Library
  Shelves and cabinets containing books and scrolls on a variety of topics 
  line the wood-paneled walls of this large library. Comfortable lounges 
  and chairs with small side tables are placed around its centre, and a small 
  drinks cabinet with glasses is located against the east wall. A bell pull 
  hangs in the northwest corner. Windows along the north wall look out 
  onto the canal.
  A character who searches the east wall can locate a locked secret door. 
  Searching the north wall nearby locates a concealed keyhole. The secret 
  door can be slid aside to reveal the secret library (Area C16a). A character 
  who searches the west wall can locate a panel that slides aside to reveal 
  a switch in the stone wall beyond. Clicking the switch has no discernible 
  effect but it bypasses the wall scythe trap in the vault (Area C19).
  Treasure: The books cover a variety of topics, mostly on alchemy, 
  history, and the nobility of Castorhage; several are rare or first editions 
  worth 150gp in total. Three shuttered everburning lamps (see sidebar) 
  stand on the side tables.
  C16a. Secret Library
  Shelves of erotica, including books and a large collection of art in 
  written, pictorial, and object form, line this narrow room. Four of the 
  illuminated books are rare and much-sought-after salacious works by the 
  famed writer Emily Bleaklow and are worth 50gp each. The art collection 
  is worth 300gp to a collector. 
  C17. Laboratory 
  This chamber contains a number of workbenches upon 
  which an array of intricate glassware, ceramics, and oil 
  burners are assembled, all illuminated by candles. Beakers, 
  bottles, retorts, tubes, crucibles, funnels, filter, dishes and 
  metal stands are clamped into complex configurations with 
  many housing some form of boiling or condensing liquids and 
  vapors of different hues. The sweet smell of honey infuses the 
  air. There is a door in the west, north, and south walls, and 
  windows in the east wall look out onto the canal.
  While this chamber houses a working alchemical laboratory, it also 
  functions as an art installation. In each corner of the laboratory is an 
  unclad female human juju zombie, perfectly preserved and trapped 
  in a tall glass tube held on a wooden base. The tube is tight enough so 
  that the zombies cannot gain any leverage with which to break the glass, 
  but they move their heads to watch anyone who comes close, mouthing 
  inarticulate words and moaning in torment. The tubes have a lever 
  mechanism that allows a wooden stopper at the top to be opened (though 
  a zombie cannot escape without help), though the glass can be broken. If 
  a zombie is released from its captivity, it immediately attempts to break its 
  companions free before turning and trying to kill anyone present. 
  A bell pull hangs behind the tube in the northwest corner.
  A grippli alchemist named Oggoglian works in this laboratory. Always 
  on the lookout for interesting new narcotic substances to refine and 
  replicate, Oggoglian allied with the Honeyman after she experienced 
  caulspawn and wanted to learn its secrets. She has recently succeeded 
  in producing a powdered form of caulspawn that reduces its weight and 
  volume for shipping as well as improving its duration of effect, but her 
  secret experiments to replicate the drug from other substances have so 
  far failed.
  Oggoglian (Female Grippli MU5): HD 7; HP 38; AC 6[13]; 
  Atk staff (1d6) or blowgun (1d3 plus sleep poison); Move 12 
  (climbing 12); Save 9; AL C; CL/XP 9/1100; Special: marsh 
  move, spells (4/2/1). (The Tome of Horrors Complete 311)
  Spells: 1st—charm person, magic missile (x2), sleep; 
  2nd—mirror image, web; 3rd—lightning bolt.
  Lamps and Candles
  In several rooms throughout the Dimora Boszaroza, there are 
  instances of everburning lamps and everburning candles. These 
  are mundane lamps and candles enchanted with a continual 
  light spell. 
  Everburning Lamp
  Weight 1 lb.
  Everburning lamps are oil lamps bearing a continual 
  light spell that function in all ways as an everburn-
  ing torch. However, an everburning lamp is partially 
  made of glass and is, therefore, relatively fragile. If an 
  everburning lamp is broken, its continual light no lon-
  ger functions.
  Everburning Candle
  Weight —
  This otherwise normal candle has a continual light 
  spell cast on its wick. Due to the small size of its wick, it 
  sheds light only as an ordinary candle, but it does not 
  emit heat or deal fire damage. If the candle is broken, 
  its continual light no longer functions.
  
  37
  Horror in the Sinks
  Equipment: blowgun, staff, 10 blowgun darts, ring of 
  protection +1, potion of invisibility, sleep poison (1d3 
  hours), keys (alchemical store [Area C18], doors to 
  sitting room and vault corridor from the chapel [Area 
  C15], and the armoury [Area C20]).
  Juju Zombies (4): HD 3; HP 21, 20, 18x2; AC 2[17]; Atk fists 
  (1d6); Move 14; Save 12; AL C; CL/XP 5/240; Special: immuni-
  ties (cold, electricity, magic missiles), +1 or better weapon to 
  hit, resist fire (50%). (The Tome of Horrors Complete 616)
  Tactics: Oggoglian is immersed in her work and noise from other 
  areas of the mansion is not uncommon, so it is likely that she is initially 
  unaware of the characters’ presence. As soon as she becomes aware of 
  intruders, she drinks her potion of invisibility and climbs up to the ceiling 
  to continue her combat preparations for as long as she remains undetected 
  before launching her attack. She tries to draw the characters away from 
  her laboratory so as not to damage her equipment but if forced to fight 
  in its confines, she attempts to include the corner tubes in any damaging 
  area effect; the tubes shatter if they sustain more than 3 points of damage, 
  releasing the juju zombies into the fray. If she is reduced to fewer than 
  18 hit points, she begins her retreat; if her path is blocked, she doesn’t 
  hesitate to break a window and jump through into the canal.
  Development: If Oggoglian escapes, she returns to scout the mansion 
  the next day and recover any of her gear left behind, including her treasures 
  at the base of the east lift shaft (Area L2). If the characters have taken any 
  of her belongings, she tracks them down to exact her revenge but such 
  events are beyond the scope of this adventure.
  Treasure: On various benches around the room are a number of 
  finished alchemical items, including 4 flasks of acid, 4 potions of healing, 
  4 frozen concoctions, and 2 potions of fire resistance. In addition, a total of 
  6 everburning candles (see sidebar above) illuminate the room. 
  C18. Alchemical Stores
  The door to this room has a lock, but it is currently unlocked; Oggoglian 
  has the key. This room contains alchemical reagents, alchemical tools, and 
  drugs stored in bottles, packets, and bags on shelves and tables.
  Treasure: The room contains 400gp of assorted alchemical reagents and 
  various spell components. In addition, 30 packets of powdered caulspawn 
  are lined up on a table. Powdered caulspawn has no effect on its own but, 
  if a packet is added to a flask of acid, the caulspawn is reconstituted into 
  a single dose.
  C19. Vault 
  This iron door is fitted with a lock (–10% Open Locks) and also bears 
  a trap that secures this lead-lined room. The room contains shelves and a 
  portable, lead-lined iron safe (also with a lock) in which the family kept 
  their most important documents and most valuable jewelry. The vault has 
  now been mostly plundered.
  Trap: A scythe blade attacks anyone who steps through the door into 
  the room unless the bypass switch in the library (Area C16) has been set. 
  The blade strikes as a 5HD creature and does 2d4 points of damage.
  Treasure: The vault contains 10 gold bars worth 500gp each. The safe 
  contains the deed to the Dimora Boszaroza and three pieces of jewelry 
  worth 100gp each.
  C20. Armoury
  A locked iron door  secures these adjoining rooms. The northern 
  chamber contains weapons racks, and the southern chamber contains 
  armour stands. The weapons racks contain 5 light crossbows, 50 cases of 
  bolts (10 bolts each), 5 short swords, and 15 spears.
  C21. Valets’ Quarters 
  This was the valets’ accommodation, and it contains basic furnishings. 
  It now serves as the lair of 2 caul cuckoos (the offspring of Orpha 
  Pickergill-Shrive and Iris Fanning). These caul cuckoos are Chaotic and 
  currently devoted to their queen but if they are captured and returned to 
  their mothers, they can be redeemed (see Concluding the Adventure).
  Caul Cuckoos (2): HD 4; HP 28, 26; AC 6[13]; Atk 3 tongues 
  (1d4 plus 1d6 acid); Move 6 ; Save 13; AL N; CL/XP 6/400; 
  Special: change shape (polymorph self into humanoid), 
  lullaby (300ft radius, save or confusion), spell-like ability, vul-
  nerable to salt (1d6 damage for 2 rounds). (See Appendix A: 
  New Monsters)
  Spell-like ability: constant—ESP.
  Note: Anyone within 30ft who sees a caul cuckoo in its 
  natural state must make a saving throw or be sickened 
  for 1d6 rounds (–1 to hit and saves).
  Development: If the characters retreat from this area without killing 
  the caul cuckoos, they attempt to retreat to the aviary (Area C55) to warn 
  their queen.
  C22. Wharf
  A long wharf constructed of dark timber extends into the 
  canal from the base of a grand stone stair leading up to the 
  main doors of a mansion covered in large patches of dark-
  green moss and creepers. The mansion has sunk several feet 
  at its west end, so much so that the steps, which rise between 
  two 10-foot-tall pillars of rose stone carved to resemble leafless 
  trees, ascend at an angle to the wharf’s landing.
  The wharf is separated from the foundation of the mansion and has not 
  subsided. The steps lead up to the front doors of the mansion that lead into 
  the foyer (Area C23).
  
  38
  The Blight: Richard Pett's Crooked City
  Second Floor
  C23. Foyer 
  A glowing orange glass globe that hangs from the 20-foot-
  high ceiling softly illuminates this wide, wood-paneled 
  entrance hall. Archways are set in the east and west walls 
  near two staircases that curve up to the floor above, each 
  with a magnificent balustrade of carven, dark-stained wood. 
  Hallstands on each side of the door hold a variety of umbrellas, 
  canes, and hats. Vines and creepers hang down from a 10-foot-
  wide balcony that overlooks the foyer from the top of the 
  stairs, forming a curtain of vegetation that partially obscures 
  a waterfall a short distance to the north. In the centre of the 
  foyer, a 5-foot-tall fluted plinth of striated, blue stone bears a 
  configuration of orange glass globes surrounding a slimmer, 
  5-foot-tall column of smooth, grey stone. A large purple fruit 
  sits in a blue dish on the top of the second column.
  The glass globe has a continual light held in its interior, providing 
  the mysterious illumination. Portraits of historical and extended family 
  members hang on the curved foyer and staircase walls. Despite the 
  family’s feelings about whom they portray, they keep them hung here 
  and elsewhere in case they need to use the spying pane in the safe room 
  (Area C58).
  The waterfall that can be seen and heard on the other side of the curtain 
  of plant life descends from the third-floor landings (Area C43). The 
  strange sculpture is one of Visharix’s artworks and the fruit is a Between 
  variety of plum. The hanging vegetation is also from the Myre-Between 
  and two more purple fruits can be seen dangling 5ft above the floor, 
  but these are 2 serpent creepers that attempt to surprise anyone who 
  approaches to examine them. A character has a 1-in-6 chance to detect 
  their true nature. Like the rest of the plant life, they are bound to the 
  balcony and cannot reach farther than 10ft from it nor follow creatures 
  into other locations. The women on the third-floor landing (Area C43) are 
  aware of the creatures and avoid them.
  Serpent Creepers (2): HD 6; HP 42, 39; AC 1 [18]; Atk bite 
  (1d8 plus acidic poison plus constrict); Move 12 (climb 12); 
  Save 11; AL N; CL/XP 9/1100; Special: acidic poison (1d2 
  damage/round, save ends ongoing damage), constrict (au-
  tomatic 1d8 damage), lure (camouflage as fruit), surprise (4 
  in 6). (Tome of Horrors 4 186)
  
  39
  Horror in the Sinks
  Development: If the sirine flowers (Area C30) see characters in this 
  area, the characters hear beautiful birdsong from that area but are out of 
  range of its effects.
  Treasure: A short sword and an umbrella can be found in one of the 
  hallstands. 
  C24. Gallery
  This vaulted gallery has 20-foot-wide archways near the 
  centre of its north and south walls, and a smaller 10-foot-wide 
  archway at the west end of its north wall. The heraldic device 
  of a leafless tree is carved into the keystone of the largest 
  northern arch. Doors line the south wall, with a single door at 
  the east end of the north wall, near to where a mirror hangs, 
  reflecting the gallery’s length.
  Portraits of the current family at various ages line the gallery, each with 
  nameplates. A character who studies these portraits is able to identify 
  individual family members.
  C25. Dining Room
  This large dining room has a 10-foot-wide archway in its 
  east wall. A long buffet table stands in an alcove, and a large 
  dining table and stacks of chairs are pushed back against the 
  north wall, obstructing the west arch. Windows in the west and 
  south walls look onto the wharf and canal. A large, spherical 
  contraption hangs from the ceiling like some sort of twisted 
  chandelier.
  The room hosts one of Visharix’s artworks. A spiked sphere, similar to 
  the shell of a horse-chestnut, but 5ft in diameter and made of pink wood, 
  is held near the ceiling by a tripod of two pink wooden disks and a spiked 
  stake. The thinning tip of the stake pierces through the sphere and curves 
  away on the other side for a few feet. A bell pull hangs near to the fireplace.
  Treasure: A number of paintings of the city line the walls, one of which 
  is worth 75gp. An everburning lamp illuminates the art piece.
  C26. Servery
  A table is fitted to the south wall of this dining room antechamber, 
  which was used by the footmen for the collection and storing of food and 
  tableware during dinner service.
  C27. Butler’s Pantry
  A table is fitted to the west wall of this dining room antechamber, which 
  was used by the butler for the collection and storing of wine, spirits, and 
  glassware during dinner service.
  C28. Plate Safe
  The door to this room is locked; the key is in the family armoury 
  (Area C40). Shelves inside store both ceramic and silver dinnerware. The 
  remaining silverware is worth 150gp in total.
  C29. Drawing Room 
  A fireplace set in a vaulted recess in the east wall dominates 
  this large, wood-paneled drawing room. Large windows in the 
  south wall overlook the wharf and canal beyond. Paintings 
  line the walls and adjoining corridor, and large, comfortable 
  couches, chairs, and glass-fronted cabinets are pushed back 
  against the walls. A bell pull hangs in the northwest corner. 
  A strange sculpture of some kind stands in the centre of the 
  room. A 5-foot-diameter, 2-foot-thick disk of pink balances on 
  its edge, propped up by a stake that pierces its centre. Cradled 
  within a wide crack at the top of the disk is a white stone egg 
  with blue striations. It is broken at the top from which deep-
  green vines with wide leaves sprout. Heavy clusters of ripe 
  blackberries hang from the vines.
  The centre of the room hosts one of Visharix’s artworks. The berry-
  laden vines are 2 assassin vines that grow from the compost in the stone 
  egg. They remain motionless until a creature within their reach damages 
  them or begins to move away.
  Assassin Vines (2): HD 7; HP 47, 42; AC 5[14]; Atk vine 
  (1d6+1); Move 1; Save 9; AL N; CL/XP 8/800; Special: ani-
  mate plants (30ft radius, save or be held immobile).
  Development: If the sirine flowers (Area C30) see characters in this 
  area, the characters hear beautiful birdsong from that area but are out of 
  range of its effects until they enter the northeast quarter of the room.
  Treasure: One of the paintings depicts the Sinks’ Cathedral Square as 
  it was before its subsidence and is worth 200gp to a collector. A number of 
  silver and bejeweled ornaments are worth 150gp in total, and a selection 
  of books of poems, stories, architecture, and finance are worth 50gp in 
  total. A cabinet contains bottles of spirits and wine, and an everburning 
  lamp illuminates the art piece.
  C30. Game Room 
  This huge, wood-paneled room has a wide fireplace set 
  into an arched recess in the northwest corner, and a large bar 
  across the southwest corner. Upholstered chairs and a variety 
  of game tables for cards, billiards, and more, are pushed back 
  against the north wall, which is hung with paintings. The south 
  and east walls are lined with windows that look out onto the 
  surrounding canals, and a recess in the east wall contains a 
  mound of dark earth. A bell pull hangs near the fireplace.
  A circle of sharp, blue stones surrounds a mound of dark 
  earth. From this mound, two curving shafts of black iron 
  come together to form a 1-foot-diameter ring near the ceiling. 
  Hanging from the ring on a short chain is a pink glass globe.
  Editor’s Note: Visharix’s Art
  As mentioned, the Honeyman considers himself something 
  of an artist of the outré, and as you read through the various art 
  tableaus he has installed throughout the Dimora Boszaroza you 
  may get the impression that the author might be as well. But never 
  fear! After reading Al’s manuscript and then subjecting him to 
  a battery of psychoanalytical testing (one can never tell exactly 
  how much exposure to Richard Pett is too much), we have cleared 
  him to continue to be a member of society without the need of 
  chaperone, electronic ankle monitor, or shock collar. Well, maybe 
  the shock collar just for fun. 
  We were able to determine the source of his crazed inspiration 
  for the Honeyman’s art, though! Al’s “Garden of Unearthly 
  Dismay” is no less than a Blight-inspired interpretation of 
  the eerily disturbing late-15th/early-16th century triptych The 
  Garden of Earthly Delights. Created by Flemish Primitive 
  painter Hieronymus Bosch, the triptych remains on display in the 
  Museo del Prado in Madrid and even today defies interpretation. 
  Writer Peter S. Beagle described its central panel as an “erotic 
  derangement that turns us all into voyeurs, a place filled with the 
  intoxicating air of perfect liberty.” Yeah, that sounds about right 
  for the Honeyman …
  — Greg
  
  40
  The Blight: Richard Pett's Crooked City
  
  41
  Horror in the Sinks
  Planted within the mound of earth are two beautiful plants, 
  each with 5-foot-tall stalks and large flowers in shades of 
  copper, silver, and gold. A pleasant aroma fills the room. 
  The flowers are 2 sirine flowers cultivated by the Honeyman and 
  incorporated into one of his works of art in return for regular feeding. They 
  begin humming a beautiful birdsong as soon as they notice any intruders 
  entering the mansion and attack when anyone comes within reach.
  Sirine Flowers (2): HD 6; HP 42, 39; AC 7 [12]; Atk 4 tendrils 
  (1d4 plus grab); Move 3; Save 11; AL N; CL/XP 9/1100; Spe-
  cial: charming song, essence drain, immune to sleep and 
  charm, resist fire. (Tome of Horrors 4 194)
  Treasure: Four paintings form a series by a subversive artist that 
  depict the Sinks’ buildings held up or straddled by naked women 
  and are worth 25gp each. A billiards set worth 125gp and a deck 
  of playing cards (each illustrating a different demon) worth 50gp 
  are amid the collection of gaming gear. An everburning lamp 
  illuminates the art.
  C30a. Bar
  The contents of the bar have been mostly plundered. A secret 
  compartment contains 2 bottles of a rare tawny port called Rag Day 
  Refined (worth 20gp each), and a case of imported Libynosi cigars worth 
  40gp can be found within.
  C31. Family Room 
  This huge room is partially flooded by a cascade of muddy 
  water that rains down from a balcony overlooking the room 
  above a wide archway in the south wall. The water runs along 
  the west side of the room and through another archway. A 
  harpsichord stands in a window-lined alcove in the north wall, 
  and a large fireplace is set in the centre of east wall. From the 
  20-foot ceiling, a 10-foot-diameter, triple-tiered chandelier 
  is suspended by a chain over the centre of the room. An 
  assortment of comfortable chairs, tables, and cabinets have 
  been pushed back against the east wall, and a bell pull hangs to 
  the east of the alcove. Artwork lines the walls, including a large, 
  stylized leafless tree carved in bas-relief above the fireplace.
  Most disturbingly, however, slowly circling the northern 
  part of the room are the naked corpses of four women with 
  the tops of their skulls removed. Emerging from within each of 
  these hollowed craniums are large bulbs with green and black 
  striped leaves and pink petals.
  The water pours over the west side of the balcony from the third-floor 
  landing (Area C43). The room is host to one of Visharix’s pieces of art. 
  The women are preserved 4 human zombies, and the plants emerging 
  from the tops of their heads are 4 cobra flower seedlings. Due to the 
  unusual colouration and partial concealment of the cobra flowers. The 
  cobra flowers are bound within nutrient-rich soil in the zombies’ body 
  cavities and, while they remain so, they cannot move or use their constrict 
  attack. If a zombie is destroyed, however, the cobra flower fully emerges. 
  The zombies do not move to attack unless they or a cobra flower is attacked 
  or obstructed. The cobra flowers, on the other hand, attack anyone who 
  comes within 5ft.
  Cobra Flower Seedlings (4): HD 4; HP 28, 26, 24, 21; AC 5 [14]; 
  Atk bite (1d6 plus 1d3 acid); Move 3; Save 13; AL N; CL/XP 
  4/120; Special: squeeze (tendrils, to-hit to snare, automatic 
  1d6 damage/round, +2 to-hit bite attack on held victims). 
  (The Tome of Horrors Complete 103)
  Zombies (4): HD 2; HP 14, 11, 10x2; AC 8[11]; Atk strike (1d8); 
  Move 6; Save 16; AL N; CL/XP 2/30; Special: always strike 
  last, immune to charm, hold, and sleep spells.
  Treasure: The piano is in need of tuning. The chandelier has holders 
  for 24 candles but only 4 everburning candles are currently in place. Six 
  large paintings of landscape scenes around Crow’s Fallow* are worth 
  40gp each.
  * See The Blight: Richard Pett’s Crooked City by Frog God Games 
  for further details.
  
  42
  The Blight: Richard Pett's Crooked City
  C32. Morning Room 
  Filthy water streams into this large morning room from 
  an archway in the east wall and through to a wide corridor 
  running west. There, it joins a similar stream pouring down 
  a flight of stairs. The water forms a large, shallow pool 
  in the northwest section of the room in which a long table 
  surrounded by twelve chairs stand in an alcove, their lower 
  legs swollen and cracked from submersion in the water. 
  Windows in the alcove look out onto a massive porch and 
  a garden beyond. Other furniture is pushed back against 
  the east and southwest walls, both of which are hung with 
  artwork, and a 10-foot-wide archway is in the centre of the 
  south wall. A bell pull hangs in the northeast corner.
  Slowly circling in the southern part of the room are the naked 
  corpses of four women with the tops of their skulls removed. 
  Emerging from within each of these hollowed craniums is a 
  large yellow flower. Dark green vines with long black thorns 
  emerge from the torsos of the pacing women and wrap around 
  their bodies. The entire room is foul with the smell of rotting 
  fish, and a small cloud of flies buzzes around the flowers.
  The stench in the room is so bad that anyone entering must make a 
  saving throw or be sickened for 1 minute (–1 to hit). The water enters the 
  room from the family room (Area C31) and down the stairs from the third 
  floor. The room is host to one of Visharix’s art installations. The women 
  are 4 human zombies, and the plants emerging from them are 4 strangle 
  vines. The zombies and strangle vines do not move to attack unless they 
  are attacked or their path is obstructed. If a zombie is destroyed, however, 
  the strangle vine breaks free and immediately attacks.
  Tangle Weed/Strangle Vine: HD 4; HP 30, 27, 25, 21; AC 6[13]; 
  Atk 4 vines (1d6); Move 0 (immobile); Save 13; AL N; CL/XP 
  6/400; Special: strangulation (2-in-6 chance of entangling 
  after successful attack, automatic 1d6 damage, save to 
  break free). (Monstrosities 466)
  Zombies (4): HD 2; HP 15, 13, 11, 9; AC 8[11]; Atk strike (1d8); 
  Move 6; Save 16; AL N; CL/XP 2/30; Special: always strike last, 
  immune to charm, hold, and sleep spells.
  Treasure: The artwork in the room is of sentimental value, but an 
  everburning candle sits in a holder on the table.
  C33. Back Porch
  This huge, covered porch looks over an extensive rear garden 
  bounded by a 15-foot-high wall. A wide flight of cracked, 
  stone steps descends 15 feet to a gravel path that wends its 
  way through the grounds. To the south, the house has several 
  windows and a single door from which a stream of water pours 
  out and over the porch’s west edge. A long, wooden bench 
  sits under the windows to the east of the door. The garden, 
  obviously once well tended, is now overgrown with weeds and 
  tangled with detritus and rotting vegetation. A gravel path 
  leads to an algae-covered pond in the east side of the garden.
  Refer to the Dimora Boszaroza Grounds and Surrounds section if 
  the characters explore the garden.
  C34. Day Nursery
  As the Boszarozas’ children had all outgrown their nursery, this room 
  was primarily used for the young children of guests. It contains chairs, 
  tables, playpens, and toys, including a hobbyhorse, a tea set, and dolls. 
  Shelves of children’s books and portraits of family children going back 
  several generations line the walls.
  C35. Night Nursery
  This night nursery contains a comfortable chair, children’s beds, and cots.
  C36. Schoolroom 
  This space appears to have been used as a schoolroom. A 
  chalkboard is mounted on the east wall, north of a door and 
  a fireplace. A 20-foot-wide alcove in the south wall has a door 
  on its west wall and a window that looks out onto the canal. 
  Three doors line the north wall and two windows in the west 
  wall are partially obscured by a stack of small desks, tables, 
  chairs, bookstands, and other furniture that reaches to the 
  ceiling. Books and children’s toys lie discarded about the 
  room, including marbles, quoits, and knucklebones. Crude 
  paintings by childhood artists hang on the south wall, west of 
  the alcove. In the centre of the room, a 10-foot-long, 7-foot-
  wide white wooden egg lies on its side, its east-pointing top 
  “smashed” open to reveal a nest of woven reeds and vines in 
  the space inside.
  The room hosts an art piece. Characters who search the ceiling notice a 
  number of small holes, each just a few inches wide. Small bits of hanging 
  plaster suggest they were formed by something breaking through from above. 
  A larger, 2ft-wide hole is obscured above the stack of furniture. The room’s 
  occupants use this hole to climb into the roof dead space above (Area C37).
  Two caul cuckoos (the offspring of Molly Seddle and Lilann Borr) 
  are currently in this room and, if it escaped the watchtower, the newborn 
  nightmare (the offspring of Eleanor Courtley) is here as well, lurking 
  in the roof dead space (Area C37). These caul cuckoos are Chaotic and 
  currently devoted to their queen but if they are captured and returned to 
  their mothers, they can be redeemed (see Concluding the Adventure). If 
  they were alerted to the characters’ presence, the two caul cuckoos are also 
  in the dead space; otherwise, they are in the nest. As soon as they notice 
  intruders, all the caul cuckoos begin singing and attempt to flee to the roof 
  dead space if they are not already there, from where they continue their 
  lullabies and attack anyone who attempts to follow them.
  Caul Cuckoos (2): HD 4; HP 31, 30; AC 6[13]; Atk 3 tongues 
  (1d4 plus 1d6 acid); Move 6 ; Save 13; AL C; CL/XP 6/400; 
  Special: change shape (polymorph self into humanoid), 
  lullaby (300ft radius, save or confusion), spell-like ability, vul-
  nerable to salt (1d6 damage for 2 rounds). (See Appendix A: 
  New Monsters) 
  Spell-like ability: constant—ESP.
  Note: Anyone within 30ft who sees a caul cuckoo in its 
  natural state must make a saving throw or be sickened 
  for 1d6 rounds (–1 to hit and saves).
  Newborn Nightmare (Caul Cuckoo): HD 4; HP 23; AC 6[13]; 
  Atk 3 tongues (1d4 plus 1d6 acid); Move 6 ; Save 13; AL N; 
  CL/XP 6/400; Special: change shape (polymorph self into 
  humanoid), lullaby (300ft radius, save or confusion), spell-like 
  ability, vulnerable to salt (1d6 damage for 2 rounds). (See 
  Appendix A: New Monsters and Event 2) 
  Spell-like ability: constant—ESP.
  Note: Anyone within 30ft who sees a caul cuckoo in its 
  natural state must make a saving throw or be sickened 
  for 1d6 rounds (–1 to hit and saves).
  Development: If the characters retreat from this area without killing the 
  caul cuckoos, they retreat to the attic to warn their queen.
  Treasure: A finely crafted kaleidoscope worth 60gp lies inside the egg.
  C36a. Library
  This room contains a small table, chairs, and two bookcases. The books 
  cover a variety of early-stage academic topics and are worth 60gp in total 
  to a school or tutor.
  
  43
  Horror in the Sinks
  C37. Roof Dead Space 
  The space between the ceiling and the roof is 5ft high over the east-
  west line of the room and slopes down to the north and south. The space is 
  filled with roofing beams, and the floor between the beams is filled with an 
  insulation of wood-shavings atop thin wooden slats. The caul cuckoos are 
  small and light enough to move through this space without impediment, 
  but other creatures weighing more than 50 lbs. must roll below their 
  dexterity on 3d6 or stumble and break through the ceiling between the 
  beams. A creature that breaks through must make a saving throw to catch 
  a beam or fall 10ft into the room below. 
  C38. Master Bedroom 
  This massive bedroom has a wide fireplace in the middle of 
  the west wall opposite a large, four-poster bed in the room’s 
  centre. Archways are set in the north and south walls to the 
  east of a door, a dressing screen drawn across the southern. 
  A desk and leather-backed chair have been pushed against 
  the west wall to the north of the fireplace, and an armoire 
  and dresser stand against the east. A bell pull hangs in the 
  northwest corner, and a corridor leads from the northeast. 
  Large paintings are hung on the east and west walls.
  The horrifying sight of four unclothed women with the tops 
  of their skulls removed, slowly circling the bed, greets your 
  eyes. From their damaged skulls emerge light-green vines that 
  dangle like hair, ornamented by beautiful crimson and violet 
  flowers with white patterning. The strong, heady aroma of the 
  flowers fills the room. 
  The door to this room is unlocked; the key is held in the family armoury 
  (Area C40). The room is host to one of Visharix’s artworks. The women 
  are 4 zombies with 4 witherweeds growing from their missing calvariae. 
  Neither the zombies nor the plants attack unless attacked first or their 
  route is obstructed. Lying asleep in the bed are a man and a woman, 2 
  honey addicts.
  Witherweeds (4): HD 3; HP 22, 20, 18x2; AC 6[13]; Atk 3 fronds 
  (1d4); Move 0 (immobile); Save 14; AL N; CL/XP 5/240; Spe-
  cial: sleep smoke (20ft radius, 3/day, save each round or fall 
  asleep for 1d4 hours). (The Tome of Horrors Complete 603)
  Note: The Honeyman bred these plants to produce a 
  special sleep smoke when agitated, up to three times 
  per day. The smoke replaces the witherweeds’ normal 
  death smoke. Any victim caught in the cloud must 
  make a saving throw each round or fall asleep for 1d4 
  hours.
  Zombies (4): HD 2; HP 13x2, 10x2; AC 8[11]; Atk strike (1d8); 
  Move 6; Save 16; AL N; CL/XP 2/30; Special: always strike last, 
  immune to charm, hold, and sleep spells.
  Honey Addicts (2): HD 2; HP 14, 10; AC 9[10]; Atk club (1d4); 
  Move 12; Save 16; AL C; CL/XP 2/30; Special: caulspawn ad-
  diction, immune to caul cuckoo lullaby.
  Equipment: club.
  Searching the fireplace reveals a tiny keyhole on the underside of the 
  mantelpiece; Visharix has the key. Unlocking the lock causes the entire 
  fireplace to slide to the south, revealing a narrow flight of stone steps that 
  spirals 20ft down to the basement safe room (Area C58). A failed attempt 
  to open the lock triggers a poison needle trap that causes the victim to fall 
  asleep for 1d6 hours on a failed saving throw. 
  Development: If the characters succumb to the witherweeds and fall 
  asleep, the honey addicts in the adjoining areas carry the sleepers down 
  to the sepulcher (Area C59) and lock them in before alerting Visharix.
  Treasure: The two paintings are disturbing nudes whose amputations 
  reveal what they would otherwise have been modestly concealing (75gp 
  each). Four everburning candles are spaced on the floor around the bed. A 
  secret drawer in the desk contains four documents detailing identical loans 
  that Nicolo Boszaroza obtained from an organization called The Sailors of 
  Skin. The first repayment of 2000gp is due in two months.
  C38a. Dressing Room
  An ornamental dressing screen (worth 140gp) displaying enameled 
  images of birds of paradise is positioned over this alcove. This room has 
  a full-length mirror against the east wall, and a dresser and vanity against 
  the south. 
  C39. Bathing Suite 
  This large chamber has a curtained archway in the east wall, 
  and corridors to the north and west. Doors stand in the south 
  and northeast walls. A wide mirror is mounted on the west 
  wall over a long dressing table.
  This area is where the resident honey addicts come to rest and play 
  whenever the Honeyman doesn’t require them elsewhere. In his mind, 
  however, it is another of his art projects as the addled junkies cavort in their 
  caulspawn-driven debauchery. In total, 10 honey addicts are currently in this 
  extended area; 3 in the main bathing suite chamber (Area C39), 2 in the bath 
  (C39a), 1 in the boudoir (Area C39b), and 4 asleep in the wardrobe (Area 
  C39c). They are all unarmed unless they have been alerted to the characters’ 
  presence, in which case they have retrieved clubs from the wardrobe. They 
  defend themselves if attacked or forced to leave the mansion, and attack 
  anyone who harms the syreling slick in the bath (see below).
  Honey Addicts (10): HD 2; HP 15, 13, 12x2, 11, 10x3, 9x2; AC 
  9[10]; Atk club (1d4); Move 12; Save 16; AL C; CL/XP 2/30;  
  Special: caulspawn addiction, immune to caul cuckoo lullaby.
  Equipment: club.
  Treasure: A collection of expensive cosmetics in drawers in the dresser 
  is worth 35gp, and an everburning candle stands on the floor.
  C39a. Bath
  This chamber is covered in ceramic tiles with mosaics of bathing 
  nymphs on the north and south walls. A large bath is sunk into the centre 
  of the room, and a frosted window illuminates the room. The Honeyman’s 
  syreling slick covers the southern mosaic and remains motionless, 
  allowing the resident addicts to harvest its substance, but it moves to 
  attack people it doesn’t recognize. An everburning candle lies at the edge 
  of the bath.
  Syreling Slick: HD 5; HP 33; AC 6[13]; Atk slam (1d6 plus caul-
  spawn plus engulf); Move 9 (climbing 9, swimming 12); Save 
  12; AL N; CL/XP 7/600; Special: caulspawn (4d6 hour addic-
  tion, euphoria, 1-hour onset, –2 to hit and saves, see caul-
  spawn addiction sidebar), engulf (1d4 damage/round, save 
  resists entanglement), immunities (acid, blunt weapons). 
  (See Appendix A)
  C39b. Boudoir
  This was the private sitting room of the lady of the house. It contains 
  a comfortable chair, a chaise-lounge, a desk, and small bookshelf. The 
  bookshelf contains a series of barbarian-enslavement fantasy stories for 
  women that are very badly written but, bizarrely, highly sought-after and 
  worth 60gp in total. An everburning candle sits in a holder on the desk and 
  the key to the family armoury (Area C40) is in a desk drawer.
  C39c. Wardrobe
  The walls of this room between the windows are lined with shelves 
  that were used for storing clothes. Two hanging rails have been pushed 
  back against the southern wall to make room for a collection of bedrolls, 
  blankets, and the worthless belongings of the addicts that cover the floor. 
  Two everburning candles sit in the east corners of the room.
  
  44
  The Blight: Richard Pett's Crooked City
  C40. Family Armoury
  An iron door fitted with a lock secures this lead-lined room, but the door 
  is currently unlocked. The walls of the narrow room are lined with hooks 
  from which weapons and a number of keys are hung. The keys are for 
  the following doors: boathouse doors (Area C7), trade lobby (Area C8), 
  garden (via Area C14), plate safe (Area C28), various storage rooms, 
  back porch (Area C33), master bedroom (Area C38), deck (Area C42), 
  sepulcher (Area C59), and the spice room, gaol cells, and storage cellars 
  (all in the now-flooded basement).
  Treasure: A number of weapons hang from the walls, including a 
  matching pair of rapiers, a whip, and 4 heavy crossbows, a case of 40 
  crossbow bolts, and 5 suits of plate mail (2 of which are fitted for children). 
  In addition, a pile of 13 crude clubs lies on the floor just inside the door.
  C41. Sitting Room
  This simply furnished sitting room has comfortable chairs and side 
  tables. A bell pull hangs in the southwest corner. A locked exterior door in 
  the west wall leads to the deck (Area C42); the key is held in the family 
  armoury (Area C40).
  C42. Deck
  This open-air, wooden deck is bounded by a 4ft-tall rail and looks out 
  over the garden. A long wooden table and chairs are positioned in the centre.
  Third Floor
  C43. Landing 
  A wide, railed balcony looks down onto the family room to 
  the north, and the foyer to the south. From a floor above, a 
  cascade of muddy, brown water splashes down an iron spiral 
  staircase and runs, following the western tilt of the building, in 
  a stream along a corridor toward a staircase and over the west 
  side of the northern balcony. Two flights of stairs curve down 
  to the entrance hall below. On each side of the stairs, a door is 
  set in the south wall. A door-lined corridor runs east.
  The water pours down the spiral stair from the solarium (Area C49), 
  pools at the base, and then flows, west northwest, to drain down the 
  staircase and the west lift shaft (Area L1). The north balcony looks over 
  the family room and its chandelier (Area C31). The south balcony looks 
  over the foyer (Area C23). Paintings line the curved halls to the south.
  A group of naked women, 5 with pale skin and 1 woman as dark as ebony, 
  is gathered around the muddy cascade, posed in another of Visharix’s art 
  projects, though this one as an example of living art. The pale-skinned 
  women have long, blond hair and wear headdresses that cradle a large 
  red fruit. The dark-skinned woman has long black hair and wears a 
  headdress fashioned from a stuffed peacock, its long tail feathers fanned 
  and lowered to create a cloak of sorts for her, its “eyes” seemingly aflame 
  with continual light spells. The women are 6 honey addicts. They bid the 
  characters welcome to the Dimora Boszaroza and invite them to explore 
  and enjoy the space. If questioned, they remain “in character,” wondering 
  which of the brave, strong adventurers will win their hearts. When the 
  characters first arrive, the women are unarmed and flee if attacked. Once 
  the characters ascend to the attic, however, they recover weapons from 
  the east luggage store (Area C48) and await a call to ascend and attack.
  
  45
  Horror in the Sinks
  Honey Addicts (6): HD 2; HP 13, 12x2, 10, 9x2; AC 9[10]; Atk 
  club (1d4); Move 12; Save 16; AL C; CL/XP 2/30; Special: 
  caulspawn addiction, immune to caul cuckoo lullaby.
  Equipment: club.
  Treasure: The peacock feather headdress with its continual light is 
  worth 80gp as an art object.
  C44. Canal Bedrooms
  The furnishings of this large bedchamber have been pushed 
  back against the walls, upon which are hung painted scenes 
  of the city. Numerous large windows provide views of the 
  surrounding Sinks’ district and a door leads out onto a balcony. 
  A bell pull hangs near the interior door.
  Each of these bedrooms overlooks the canal running in front of the 
  manor, with a balcony to provide an even more dramatic view. The balcony 
  door is a locked exterior door; the key hangs on a hook nearby. Each of 
  these suites also has a wardrobe, a dressing room with an everburning 
  lamp, and a private privy chamber.
  C44a. Inner West Canal Bedroom
  In the centre of this large guest bedroom is another of Visharix’s 
  artworks. Two nude men each ride beasts that slowly pace the room in 
  a circling pattern. The mounts are quadrupedal patchworks of embalmed 
  animal parts, one fashioned to resemble a pink-skinned bull with white 
  horns and the other a red horse with a white mane. The men are 2 honey 
  addicts and they ride 2 zombie mounts commanded to obey the men who 
  ride them. If questioned, the addicts remain “in character,” asking if the 
  characters have seen the beautiful women at the waterfall and saying that 
  they are on a brave journey that will win their hearts. They 
  do not attack unless they are provoked or called to 
  defend someone in the mansion.
  Honey Addicts (2): HD 2; HP 13, 12; AC 
  9[10]; Atk club (1d4); Move 12; Save 16; 
  AL C; CL/XP 2/30; Special: caulspawn ad-
  diction, immune to caul cuckoo lullaby.
  Equipment: club.
  Zombie Mounts (2): HD 3; HP 21, 17; AC 
  7[12]; Atk slam (1d6); Move 12; Save 
  14; AL N; CL/XP 3/60; Special: im-
  mune to charm or sleep.
  C44b. Outer East  
  Canal Bedroom
  This room has art installation 
  and occupants identical to the inner 
  west canal bedroom (Area C44a), 
  complete with 2 honey addicts and 
  2 zombie mounts. The mounts are 
  fashioned as a white unicorn with 
  spurs along the length of its horn, and 
  a grey mule.
  Honey Addicts (2): HD 2; HP 13, 
  12; AC 9[10]; Atk club (1d4); 
  Move 12; Save 16; AL C; CL/XP 
  2/30; Special: caulspawn ad-
  diction, immune to caul cuckoo 
  lullaby.
  Equipment: club.
  Zombie Mounts (2): HD 3; HP 21, 
  17; AC 7[12]; Atk slam (1d6); 
  Move 12; Save 14; AL N; CL/XP 
  3/60; Special: immune to charm or sleep.
  C45. Balcony Antechamber 
  The house staff used this antechamber to store drinks, food, and other 
  supplies whenever parties were held on the covered balcony, but it is now 
  empty other than another of Visharix’s artworks that blocks the entrance. 
  The preserved cadaver of a man and a rowboat have been bisected 
  horizontally so that it appears they are half-submerged in the water that 
  has pooled on the floor here; the man is posed to appear desperately 
  holding onto the “sinking” boat. The door to the covered balcony is a 
  locked exterior door; the key is held in the family armoury (Area C40).
  The ceiling of this chamber swarms with a mass of dark-brown 
  cockroaches that feeds on, and is covered in, the muddy effluvia that pools 
  on the floor. If any creature in the room uses a light source, moves at 
  greater than half-speed, or makes a loud noise, the 2 cockroach swarms 
  surge down the walls to defend their nest.
  Cockroach Swarms (2): HD 3; HP 20, 18; AC 7[12]; Atk swarm 
  (1d6); Move 6; Save 14; AL N; CL/XP 4/120; Special: immune 
  to all but blunt weapons.
  Treasure: A secret compartment built into the west wall has lain 
  undiscovered for years since the original builder of the manse installed it. 
  Within are the tools he used for his surreptitious nightly hobby until one 
  of the city’s other night denizens finally got him. In a lead-lined wooden 
  case are a set of thieves’ tools, a half dozen potions (2 frozen concoction, 
  healing, 2 slipperiness, and treasure finding,), a sap, a bottle of elven 
  absinthe, 3 pieces of jewelry worth 1250gp in total, and an armoured 
  insectum box inlaid with gems worth 250gp.
  C46. Covered Balcony
  This covered entertaining balcony provides views of the rear garden 
  and of the canal to the side of the property. It contains six small tables and 
  twenty-four chairs, all of wrought iron.
  C47. Garden Bedrooms
  These rooms and adjoining chambers are identical to the canal bedrooms 
  (Area C44).
  C47a. Outer East Garden Bedroom
  This room has art installation and occupants identical to the inner 
  west canal bedroom (Area C44a), complete with 2 honey addicts and 2 
  zombie mounts. The mounts in here are fashioned as a large white sow 
  and a tan lion with a dark-brown mane.
  Honey Addicts (2): HD 2; HP 13, 12; AC 9[10]; Atk club (1d4); 
  Move 12; Save 16; AL C; CL/XP 2/30; Special: caulspawn ad-
  diction, immune to caul cuckoo lullaby.
  Equipment: club.
  Zombie Mounts (2): HD 3; HP 21, 17; AC 7[12]; Atk slam (1d6); 
  Move 12; Save 14; AL N; CL/XP 3/60; Special: immune to 
  charm or sleep.
  C48. East Luggage Store
  This room was used to store guests’ luggage but it is now stuffed with 
  bits of furniture that were dragged out of the bedrooms to make room for 
  the art installations. One of the chests contains 10 crude clubs made by the 
  honey addicts out of pieces of broken furniture.
  
  46
  The Blight: Richard Pett's Crooked City
  Fourth Floor (Attic)
  C49. Solarium 
  The west side of this huge attic solarium contains a swamp 
  of black peaty mud, all run through with a tangle of reeds, 
  vines, weeds, and creepers which partially obscures a double-
  door in the northwest corner. To the west of an art-lined alcove 
  in the north wall stands a massive ornate golden mirror frame, 
  20 feet wide and 10 feet tall. Somehow issuing from this great 
  mirror is a steady flow of muddy water. This strange swamp 
  grows to a depth of at least a foot at the west wall before 
  draining down an iron spiral stair set in the alcove. 
  Rising from the swamp in the west side of the room, an 
  arrangement of three rotting, white tree trunks, barkless 
  yet striped with thorny vines and dotted with pale fungus, 
  surrounds a small table bearing a single tankard and a lit oil 
  lamp. Two of the trunks stand in small grey rowboats, and in 
  various positions around the table pose the naked corpses of 
  three men. Three large, white puffball mushrooms sit in the 
  southeast corner of the room. 
  The ceiling of this chamber slopes down to meet the floor 
  and is dominated by four large windows that provide an 
  expansive view to the south of the district and the Lyme 
  beyond. The eastern half of the room is dry with a pair of doors 
  set in the east wall. A bell pull hangs at the back of the alcove. 
  The room is humid under the glare of the large windows and 
  filled with the steady sound of running water and the low 
  whine of mosquitoes.
  The great mirror on the north wall serves as a mirror-portal to the 
  Myre-Between in Between (see below). The thick, swamp mud is bound 
  10ft back from the stairs by a partial dike composed of a tangle of vines 
  and reeds, yet a continuous stream of muddy, brown water runs through it 
  to cascade down them. The westernmost 10ft of the room is a shallow bog. 
  The corpses are the remains of honey addicts who fell unconscious from 
  their habit and did not wake. The tree trunks are actually the torso and 
  limbs of a Myre-Between tendriculos that crawled through the mirror-
  portal from the Myre-Between. The Between-touched creature looks 
  different than a native tendriculos and has concealed the fleshier parts of 
  its body beneath the mud. Anyone examining the puffball mushrooms in 
  the corner identifies them as being tendriculos “spore-eggs.”
  In addition, a mosquito swarm is distributed throughout the vegetation, 
  though only a few are in the air at any one time. If the characters begin 
  to walk through the swamp or fight the tendriculos, they start to rise in 
  their masses to feed, coalescing into a swarm in 2 rounds that continues 
  to attack until dispersed, pursuing victims into other areas if necessary.
  Myre-Between Tendriculos: HD 8; HP 58; AC 4[15]; Atk 2 ten-
  drils (1d6), bite (2d6); Move 9; Save 8; AL N; CL/XP 9/1100; 
  Special: distorted (50% miss), swallow whole (save if 2 tenta-
  cles hit or swallowed, automatic 1d6 damage and save or 
  paralyzed 1d4+1 rounds). (Monstrosities 468)
  Mosquito Swarm: HD 3; HP 19; AC 7[12]; Atk swarm (1d6 plus 
  disease); Move 6; Save 14; AL N; CL/XP 4/120; Special: dis-
  ease (malaria, –1 to hit and saves, movement halved, save 
  avoids), immune to all but blunt weapons.
  Tactics: The tendriculos remains motionless when the characters enter the 
  room, waiting for them to approach and investigate the tableau before launching 
  its attack. It cooperates with the Honeyman in return for regular food, which 
  includes participating in Visharix’s art. It will not venture elsewhere in the 
  mansion and remains adjacent to the north wall as it has been ordered to avoid 
  breaking the windows in the ceiling. If it is reduced to fewer than 25 hit points 
  and the mirror-portal is still open, it attempts to escape back to the Myre-
  Between with unfortunate consequences (see “The Mirror-Portal” below). The 
  walls are thin in the attic, and any combat in this room likely alerts any creatures 
  in the west-central space of the west overcroft (Area C51).
  
  47
  Horror in the Sinks
  The Mirror-Portal
  If the characters are in a position to see through the mirror, read the 
  following.
  Rather than a mirror, the golden frame encloses an 
  impossible window onto a vast, trackless bog of knotted reeds 
  and tangled vines beneath a bruised sky. In the distance, and 
  partially concealed by patches of sinuous grey mist that float, 
  ghost-like, above the stagnant quagmire, a rune-covered, 
  stone obelisk protrudes through an undergrowth of bushes 
  and creepers laden with vividly coloured, oversized fruits, that 
  cover a small island of raised earth. The isle, its monolith, and 
  its bounty, all sway with the shifting of its dubious foundation.
  This chamber’s great mirror has become a mirror-portal to Between 
  and is the aperture by which the Honeyman and all the other creatures 
  that infest the Dimora Boszaroza have crawled into the city. Through the 
  portal, the characters can see the Myre-Between. If detect magic is used, 
  the mirror-portal radiates strong magic, but the dweomer is flickering, as 
  though it is failing.
  The mirror-portal to the Myre-Between has become quite fragile, and 
  it will not sustain another significant lifeform passing through. During 
  combat, if the Myre-Between tendriculos is within reach of the portal and 
  at least one its tentacles is not grappling an opponent, it has a 50% chance 
  each round of accidentally lashing one of its tentacles through to the other 
  side. If this occurs, the portal instantaneously collapses, and the great 
  mirror explodes violently, dealing 3d6 points of damage to all creatures 
  within 15ft. 
  If the characters manage to kill the Myre-Between tendriculos without it 
  destroying the mirror-portal, the portal nevertheless closes and the mirror 
  explodes should any of them attempt to interact with it. If the characters 
  leave the room without attempting to interact with the portal, then it closes 
  several minutes later but without the explosion. In any case, whenever 
  the characters return to the Solarium, the portal has closed permanently 
  and, while quite valuable, the mirror is once again a mundane item of 
  furniture. Even when the portal closes, due to the western subsidence of 
  the mansion, the water will not drain from the room.
  Treasure: The golden mirror frame can be disassembled and is worth 
  500gp. The oil lamp on the table is an everburning lamp.
  C50. Observatory 
  The ceiling of this large observatory slopes down toward the 
  south. Three large windows in this ceiling and three similarly 
  large windows in the east wall provide a wide panoramic 
  view of the city. A double-door stands in the west wall and a 
  large, intricately filigreed telescope is pushed back against the 
  northwest corner along with a stack of furniture that partially 
  conceals a series of star charts hung upon the north wall.
  In the centre of the room is another of the house’s strange 
  works of art. A massive disk of white stone, 1 foot thick and 
  25 feet in diameter, sits upon a 3-feet-tall stone column 
  carved to resemble a wide-bodied man-like figure with dried 
  brown swamp grass for hair. Upon this delicately balanced 
  disk, four couples slowly promenade around a 5-foot-wide, 
  10-foot-tall, narrow-mouthed, pink ceramic vase. A dark-
  green, frilled cup of a plant emerges from the top of this vase. 
  Each couple is made up of the animated, embalmed corpse 
  of a naked man carrying a lit candle and a woman clothed in 
  noble finery.
  This is another of Visharix’s gauche art installations. The corpses are 
  honey addicts now animated as 8 zombies. The plant is a basidirond 
  that Visharix sealed into the vase after it crawled through from the 
  Myre-Between. It cannot move, but it can see its surroundings and 
  regularly infuses the area with its spores because of the constant 
  movement of the zombies. 
  
  48
  The Blight: Richard Pett's Crooked City
  Characters who search the north wall can locate a secret door that leads 
  to the attic’s east-central space in the east overcroft (Area C52). A bell pull 
  hangs in the northwest corner, partially obscured by the stack of furniture.
  Basidirond: HD 5; HP 36; AC 3[16]; Atk slam (1d8 plus spores); 
  Move 9 (currently 0, immobile in vase); Save 12; AL N; CL/
  XP 8/800; Special: hallucination cloud (20ft radius, new save 
  each round or confusion while in cloud plus 1d4 rounds after 
  leaving), immune to cold (slowed), spores (save or smother 
  in 1d4+1 rounds). (The Tome of Horrors Complete 45)
  Zombies (8): HD 2; HP 14, 13, 12x3, 11, 10x2; AC 8[11]; Atk 
  strike (1d8); Move 6; Save 16; AL N; CL/XP 2/30; Special: al-
  ways strike last, immune to charm, hold, and sleep spells.
  Tactics: When anyone approaches within 20ft of the vase, there is a 50% 
  chance that the area is already filled with the basidirond’s hallucination 
  cloud and the basidirond can release more spores in 2d3+4 rounds; if not, 
  then the basidirond can release its spores in 2d3−1 rounds. The zombies 
  do not attack unless they are damaged. If damaged, the zombies move 
  toward their attackers, unbalancing the stone disk, which tips over in the 
  direction of their movement. In this case, any zombies on the disk fall 
  prone and slide to the edge of the disk, but the ceramic vase also topples 
  and smashes, releasing the basidirond. The disk also tips if any character 
  attempts to climb onto it. The walls are thin in the attic, and any combat 
  in this room likely alerts any creatures in the solarium (Area C49) and the 
  east-central space of the east overcroft (Area C52).
  Treasure: The telescope is worth 3000gp, and the furniture includes 
  some books on astrology, astronomy, engineering and the planes worth 
  300gp in total. The corpses carry everburning candles.
  C51. West Overcroft
  This vast central attic space runs the entire length of the 
  building, though only the western half is visible from here. The 
  roof, which peaks at 20 feet overhead and slopes to the north 
  and south, is supported by a series of thick, wooden crossbeams, 
  vertical stanchions, and a huge central beam. To the west, a 
  metal lattice closes off what appears to be an alcove of some 
  sort. To the south and southwest, door-lined corridors run to 
  south-facing windows, and two doors stand in the north wall.
  Stone statues of nine naked men stand in the centre of the 
  place. Their forms are pierced in multiple places by metal 
  knives and swords and are caught, as though frozen in time, 
  fleeing from a table tipped onto its edge from which cards, 
  dice, game boards, and broken tankards lie scattered. The 
  statue of a young naked woman, a tankard in one hand and a 
  lit candle in the other, stands near the table, a look of horror 
  upon her face as she surveys the chaos. A fist-sized bone die sits 
  balanced on the crown of her head. Near the table, a dagger is 
  thrust into a mound of plump, overripe blackberries clustered 
  within a large blue dish.
  The statues are another art installation and are the petrified remains 
  of honey addicts who fell unconscious from their habit and were turned 
  to stone by the Honeyman’s spirit animal. Visharix inserted the weapons 
  that pierce their forms as their bodies petrified. The dagger is stuck into 
  a severed hand laid at the bottom of the dish beneath a mound of the 
  inhabitant’s feces, which the fruit conceals. The blackberries are the 
  harvested fruit of the assassin vine. All the dice are loaded, and all the 
  cards are marked. The lit candle is an everburning candle.
  Unless the characters enter the area stealthily, hiding behind the tipped 
  table is the Honeyman’s al-mi’raj, which he calls Jezîrat. The creature 
  appears as a large gaunt rabbit with matted and bloodstained yellow fur, 
  sharp black fangs, bloodshot eyes, and a single, 2ft-long, black, spiraling 
  horn protruding from its forehead. Jezîrat attempts to gore a surprised 
  opponent before thumping the floor with its powerful back legs to warn 
  Visharix that intruders are near. Visharix, however, is more intent on 
  displaying his own artworks and does not come to his animal’s aid. Jezîrat 
  attempts to flee down the stairs if severely injured, but, as the al-mi’raj 
  cannot open the door itself, it can do this only if the door is already open. 
  The walls are thin in the attic, and any combat in this area likely alerts the 
  occupants of the aviary (Area C55).
  Jezîrat (Al-mi’raj): HD 2; HP 14; AC 5[14]; Atk horn (1d6); 
  Move 24; Save 16; AL N; CL/XP 4/120; Special: dimension 
  door (at will, 50% miss chance), immune to poison, magic 
  resistance (30%). (The Tome of Horrors Complete 19)
  C52. East Overcroft
  This vast central attic space runs the entire length of the 
  building, though only the eastern half is visible from here. 
  The roof, which peaks at 20 feet overhead and slopes to the 
  north and south, is supported by a series of thick, wooden 
  crossbeams, vertical stanchions, and a huge central beam. 
  Large windows look east, past the edge of the Sinks to the 
  Hollow and Broken Hills and the clock-turn of the Lyme. 
  There are doors in the north wall and a metal lattice closes an 
  open shaft to the south.
  Near the centre of the area is a wooden half-barrel. The 
  naked cadaver of a headless man squats over the edge of the 
  barrel as if it was using it as a privy bucket. Opposite him are 
  the naked corpse of man and a woman dressed as a barmaid 
  positioned as though she is holding him as he vomits into it, 
  his eyes wide and his mouth agape. The glow of a single candle 
  can be seen emanating from the half-barrel. 
  This is another of Visharix’s depraved tableaus. Anyone approaching 
  can see that the half-barrel is filled with urine and feces. Protruding 
  from this noxious stew is a pile of Castorhage gold shekels, positioned 
  directly below the squatting man as if his bowels had summoned up the 
  golden treasure. Submerged in the pool are the severed heads of two men, 
  looking up at the surface with anguished expressions, and a single candle, 
  somehow still lit beneath the sewage.
  
  49
  Horror in the Sinks
  Searching the east end of the south wall locates a secret door that leads 
  to the observatory (Area C50).
  Treasure: There are 66gp in total in the barrel, and the candle is an 
  everburning candle.
  C53. Lift Maintenance
  Steps leading up provide maintenance access to the pulley and chain at 
  the top of the adjacent lift shaft.
  C54. Washroom and Privy
  This room was a washroom and privy for guests’ servants, but it now 
  houses another example of Visharix’s “art.” The naked cadaver of a 
  man sits on the privy next to a pig on its haunches positioned as though 
  whispering into the man’s ear. The sow wears a black-and-white nun’s veil 
  and dips a quill it holds in a front cloven hoof into a vial of ink held by the 
  man. An indulgence is scribed on a piece of parchment draped across his 
  lap. Several more pieces of parchment are draped across a wooden roller 
  on the wall near the man.
  C55. Aviary
  The walls of this large aviary are lined with long birdcages 
  in which large numbers of bright yellow or red canaries, black 
  ravens, and gray pigeons have been pinned to their perches by 
  long nails driven through them. The ceiling slopes down from 
  a height of more than 15 feet at the south wall to less than 5 
  feet at the north and has a long, shuttered window and wide, 
  wooden sills. Long tables are set against the walls under the 
  cages. A golden throne-like high chair stands in the centre of 
  the room.
  Sitting upon the chair is the Honeyman. Visharix appears to be a dirty, 
  pale-skinned, gaunt human vagrant clad only in a ragged brown robe. A 
  medallion of black wood inscribed as an open eye hangs on a leather cord 
  around his neck, and a diadem carved of the same black wood sits on 
  his brow. While the chair looks as though it could be pushed over, it is 
  bolted to the floor and quite stable. Surrounding the chair, 6 honey addicts 
  dressed in courtier’s clothes kneel on hands and knees and fervently lap 
  at the ooze that drips through a hole in the seat of the Honeyman’s chair. 
  Hiding in the bases of cages surrounding the room are 3 caul cuckoo 
  syres. The 6 addicts dressed in finery are Nicolo and Caterina Boszaroza, 
  their daughters, Alba and Helia, and a local noble couple, Harmattan and 
  Cecilia Solestin.
  Visharix, “The HoneyMan” (Caul Cuckoo Queen): HD 9; HP 
  67; AC 3[16]; Atk 2 stingers (1d6 plus caulspawn), 3 tongues 
  (1d4 plus caulspawn); Move 12; Save 6; AL C; CL/XP 11/1700; 
  Special: caulspawn (4d6 hour addiction, euphoria, 1-hour 
  onset, –2 to hit and saves, see caulspawn addiction side-
  bar), distorted (50% chance to miss), gaseous form (3/day), 
  immune to acid, summon syreling slick, spell-like abilities, 
  spells (4/2/2).
  Spell-like abilities: at will—ESP; 3/day—suggestion.
  Spells: 1st—charm person, detect magic, magic mis-
  sile, sleep; 2nd—invisibility, phantasmal force; 3rd—
  haste, hold person.  
  Equipment: ring of spell storing (dimension door x2), 
  pouch containing 5 pieces of onyx worth 50gp each, 
  keys to the safe room (Area C58 via Area C38) and the 
  vault (Area C19).
  Caul Cuckoo Syres (3): HD 1; HP 8, 7x2; AC 5[14]; Atk none; 
  Move 6 (burrow 6, climb 6, swim 6); Save 17; AL N; CL/XP 
  1/15; Special: implant (sleeping victims), lullaby (30ft radius, 
  save or fall asleep for 1 round), spell-like ability, vulnerable to 
  salt (1d6 damage for 2 rounds). (See Appendix A)
  Spell-like ability: constant—ESP.
  Honey Addicts (6): HD 2; HP 15, 14, 13x2, 12x2; AC 9[10]; Atk 
  club (1d4); Move 12; Save 16; AL C; CL/XP 2/30; Special: 
  caulspawn addiction, immune to caul cuckoo lullaby.
  Equipment: club. (Nicolo has the keys to the secret 
  library [Area C16A], and to the safe held in the vault 
  [Area C19].)
  Tactics: Visharix is obsessed with his art and he does not initiate 
  combat when the characters enter, preferring to relish their reactions 
  to the art installation he currently participates in. He engages them in 
  conversation for as long as they respond appropriately but grows quickly 
  bored if the characters push the discussion of subjects other than the 
  interpretation and appreciation of his art. If bored, he expounds on 
  his inspiration for the composition of several installations around the 
  mansion. In combat, he enters melee before resorting to his few spells. 
  If injured, he uses dimension door to escape and retreats to hole up in the 
  safe room (Area C58). There, he recovers before re-launching his attack 
  at an opportune moment.
  The caul cuckoo syres try to remain hidden until combat begins, at 
  which point they begin their lullabies, targeting a separate character each 
  round. The wire cages containing the syres are unlocked. 
  C56. Birdkeeper’s Quarters
  This room was once the quarters of the birdkeeper, but it now serves 
  as the Honeyman’s private sanctum. The bedding has been torn apart and 
  woven with reeds and vines to form a nest in the southeast corner.
  Treasure: Six pieces of onyx worth 50gp are in the privy sink basin.
  C57. Guest Luggage
  In the centre of the room is another of Visharix’s art installations. A lute 
  and a harp of giant-size stand in the centre of the chamber, the foot of the 
  harp breaking through the rose of the lute. The naked corpse of a man is 
  crucified on the lute; his arms broken and wrapped around the neck of the 
  instrument behind him and his feet nailed to its soundboard. His face is 
  turned down to the ground. Another corpses is suspended within the harp, 
  pierced through from front to back by its string, its arms spread and face 
  upturned as though in rapture. Eight more cadavers are positioned around 
  the huge instruments as though they were a choir, singing from a hymn 
  whose notes have been cut into the buttocks of a ninth who lies beneath 
  the instruments.
  Basement 
  Water has flooded the basement, pouring in from the coal chute (Area 
  C6) and the west lift shaft (Area L1). The only dry spaces in the basement 
  are the safe room (Area C58) and the sepulcher (Area C59), both of 
  which are completely sealed off from the central space. The heavily 
  polluted water of the Sinks’ canal has been considerably diluted by the 
  flow of water from the Myre-Between and it is not harmful to the touch, 
  but it remains murky and opaque.
  This area is not mapped, other than the specific rooms at Areas C58 
  and C59. However, if the characters wish to enter the flooded basement, 
  they occupy a dozen or more chambers that extend beneath the entire 
  first floor of the manse. The water level matches the canal but, due to 
  the tilt of the house, it is completely flooded to the 9ft-high ceiling for 
  the westernmost 60ft, and then gradually declines to an average of only 
  5ft deep for the easternmost 30ft. Smaller characters must swim to move 
  in these flooded areas. Most of this area is empty save for a few wooden 
  boxes of household junk and rubbish.
  Roaming separately throughout the area are 4 giant leeches that 
  recently wriggled through from the Myre-Between. Any vigorous 
  movement in the water, such as combat, attracts the others, each of 
  which take 2d4 rounds to arrive. In addition, for every minute spent 
  in the basement, there is a cumulative 10% chance of attracting the 
  attention of a living disease that has seeped in from the nearby canal 
  and now lurks above the water at the back of the basement like a strange 
  mist. It has been dormant for many years, but it now moves to envelop 
  any living creatures it senses.
  
  50
  The Blight: Richard Pett's Crooked City
  Giant Freshwater Leeches (3HD) (4): 
  HD 3; HP 22, 19x2, 18; AC 9[10]; Atk 
  bite (1d4); Move 3; Save 14; AL N; 
  CL/XP 4/120; Special: sucks blood 
  (3hp/round). (Monstrosities 289)
  Living Disease, Bloody Flux: HD 5; 
  HP 36; AC 4[15]; Atk swarm (save 
  vs. disease); Move 0 (flying 6); 
  Save 12; AL N; CL/XP 9/1100; 
  Special: disease (bloody flux, 
  save or take 2d6 damage 
  per round), immune 
  to weapon damage, 
  regenerate (1d8hp 
  per round while alive), 
  vulnerable to cure 
  disease (save or 5d6 
  damage).
  C58. Safe Room 
  This room was designed as a secret area that the family of the house 
  could use to evade intruders. At the base of the spiral stair, which 
  is accessed from the master bedroom (Area C38), is a small room 
  containing comfortable chairs and shelves built into the southern wall. 
  A lever protrudes from the upper east wall of the corridor that, if pulled 
  down, causes a 6in-thick iron wall to drop down from a groove in the 
  ceiling, sealing the room, opening a tiny vent to provide the room with air, 
  and arming a trap outside the room. At the top of the spiral stair, a lever 
  opens and closes the secret fireplace entrance. 
  Trap: When the iron wall is in place, a pressure plate in the square 
  outside is activated, and a stone block thrusts out of the wall to crush 
  anyone in that square. Anyone in the square must make a saving throw or 
  take 6d6 points of damage.
  Treasure: The shelves contain 2 heavy crossbows, a case of 10 bolts, 
  4 clubs, 4 daggers, 2 longspears, 2 potions of extra healing, 12 potions of 
  healing, 2 potions of heroism, 2 everburning lamps, a Heldring boardgame 
  called halatafl, a deck of cards, a set of dominos, 6 winter blankets, 6 set 
  of cold-weather clothing, 6 bedrolls, 30 days of preserved rations, 50 days 
  of water in several casks, a privy pail and several sealable small barrels 
  for waste. Hanging on the east wall is a mirror of polished mithral with an 
  ornate copper frame. This mirror is a spying pane (see sidebar).
  Spying Pane
  This polished mithral mirror with an ornate copper frame is 4ft 
  long and 2ft wide. It can be hung or placed on a surface and then 
  activated or deactivated by speaking a command word. The spying 
  pane forms a link with any mirror or framed art object such as a 
  painting that it touches while activated, up to a maximum of 20 
  such objects. Each such link permits the user to look through the 
  linked object’s frame as though it was a window. Touching the 
  object to the spying pane a second time cancels the link, and if 
  the maximum number of links has been reached, linking a new 
  object to the speculum breaks the oldest existing link. A link 
  is also broken if the distance between the spying pane and the 
  object exceeds 600ft. When activated, the surface of the spying 
  pane displays a grid of the currently linked views; touching one 
  of the views enlarges the window to its actual size or the size of 
  the mirror, whichever is the smallest. Touching it again restores 
  the grid. A spying pane can be used for as long as 10 minutes a 
  day, in increments of 1 minute. These increments do not need to 
  be consecutive.
  The spying pane in the Dimora Boszaroza is currently linked to 
  a mirror or artwork in each of the following areas: library (Area 
  C16), laboratory (Area C17), gallery (Area C24), dining room 
  (Area C25), drawing room (Area C29), game room (Area C30), 
  family room (Area C31), morning room (Area C32), master 
  bedroom (Area C38), bathroom (Area C39), landing (Area C43), 
  the canal bedrooms (Area C44), the garden bedrooms (Area 
  C47), solarium (Area C49), and observatory (Area C50).
  
  51
  Horror in the Sinks
  C59. Sepulcher
  Stone sarcophagi are laid in shelved alcoves along the west and north 
  perimeters of this family mausoleum. Several of the alcoves are empty.
  Treasure: In a sarcophagus marked as containing the remains of “Marea 
  Delaxannis Boszaroza,” a gold wedding band set with a rose diamond is 
  engraved with the words “May you only ever see my love for you” around 
  the inside. It is worth 3000gp. The diamond is a gem of seeing that allows 
  the ring’s wearer to see through illusions. However, each day the wearer 
  has a 5% chance of being cursed with blindness.
  In a sarcophagis marked as containing the remains of Gorgomela 
  Darranaimor Boszaroza is a medallion of ESP engraved with a leafless 
  tree symbol.
  Concluding  
  the Adventure
  If the Honeyman is identified as the source of the addictions and killed, 
  then the characters have succeeded in bringing their investigation to a 
  conclusion. If he escapes, however, he goes to ground and it may be some 
  time before his machinations reassert themselves elsewhere in the city.
  If the characters captured any of the caul cuckoo children and returned 
  them to their freed mothers, the maternal bonds prove strong enough to 
  re-establish a link and the children are redeemed within a few months of 
  careful nurturing. What the future holds for this extended family and if the 
  children can ever truly be cured of their foul Between taint, however, is 
  left for another tale.
  If the characters saved any of the Boszarozas and they manage to recover 
  from their addictions, they open their home to any freed women so long 
  as at least one of their children were also saved. While this noble family’s 
  motivation may be linked to memories of caulspawn, perhaps things will 
  turn out well for all of them. Perhaps not. Surviving Boszarozas claim any 
  property taken by the characters. If the characters saved any of the honey 
  addicts in the Dimora Boszaroza, a fifth of them reward the characters 
  with 50gp each and a wealthy or influential new contact in the Sinks or 
  beyond.
  Eventually, the characters need to report to District Commander Ghall, 
  who locates them within a few days if they fail to do so. This encounter 
  goes much as is already detailed in “Asylum Aftermath” (see Chapter 
  4). By this time, however, any internal watch reports to Durmast have 
  taken effect. If the characters showed their writ to a watch patrol when 
  escaping the Asylum or when trying to arrange a meeting with Ghall and 
  this resulted in a report to Durmast, then the characters are not paid and 
  Ghall is angry with them. If Yonas was also killed, then the effects of these 
  compound to make things very difficult for the characters.
  If the characters did not save the Boszarozas and claim the mansion for 
  themselves using the recovered deed, everything looks fine until several 
  weeks later when a small army of Capitol barristers arrives to strip them of 
  it and any of the wealth they took from it. The characters are destined to fail 
  in any opposition to this action, and the more vigorously they try, the more 
  likely they are to see the inside of a Capitol jail cell. If the characters hand 
  the property over to the freed women, however, and Orpha survived, an 
  old barrister friend of Orpha’s secures her the Dimora Boszaroza against 
  any competing claim, and when the lawyers arrive, they are repelled. In 
  this case, Orpha and the women become valuable allies of the characters, 
  barring any contrary decisions that Molly may already have made, and the 
  characters each earn a 2000 XP story award.
  
  52
  The Blight: Richard Pett's Crooked City
  Caul Cuckoo
  Hit Dice: 4
  Armor Class: 6 [13]
  Attacks: 3 tongues (1d4 plus 1d6 acid)
  Saving Throw: 13
  Special: change shape, lullaby, spell-like ability, vulnerable 
  to salt
  Move: 9/6/9/9 (burrow, climb, swim)
  Alignment: Neutrality
  Number Encountered: 1, 2, 1d6+2 (gang) 
  Challenge Level: 6/400
  This is no ordinary human child, but an infection, something that 
  leeched upon a living babe whilst in the womb and smothered it, becoming 
  something partly human and partly from Between. Its form is fluid, oily 
  almost, and the disturbing mixture of human and slug is revolting to 
  behold. Creatures within 30ft who see a caul cuckoo in its natural form 
  are sickened for 1d6 rounds (–1 to hit and saves, save avoids).
  Caul cuckoos are the tragic result of an unborn child corrupted by a caul 
  cuckoo syre while still in its mother’s womb. A caul cuckoo has a 50% 
  chance of being in either of its two forms at birth. If in its human form, it 
  usually waits until after nightfall to either escape into the night, or murder 
  its sleeping parents and then escape into the night. If born in its slug-like 
  form, it immediately attacks its mother and any others present in an 
  attempt to escape. Though the birth of these creatures is a rare 
  occurrence, there is a reason that many old midwives carry a 
  bag of salt with them whenever they attend a new delivery. 
  A handful of salt burns a caul cuckoo, dealing 1d6 points of 
  damage on the first and following rounds.
  A caul cuckoo can take the form of a humanoid. A caul 
  cuckoo’s humanoid form is fixed by its humanoid 
  mother — it cannot assume different humanoid forms. A 
  caul cuckoo retains its tongue attacks while in its 
  humanoid form. Equipment worn or carried 
  in its humanoid form melds with its body 
  when assuming its natural form.
  A caul cuckoo’s lullaby has the power to 
  disorient the minds of those that hear it. 
  When a caul cuckoo sings, all creatures 
  within 300ft must make a saving 
  throw or become confused (as per 
  the spell). This effect continues for 
  as long as the caul cuckoo sings 
  and for 1 round thereafter. 
  Caul Cuckoo: HD 4; AC 6[13]; 
  Atk 3 tongues (1d4 plus 1d6 
  acid); Move 6 ; Save 13; AL N; 
  CL/XP 6/400; Special: change 
  shape (polymorph self into hu-
  manoid), lullaby (300ft radius, 
  save or confusion), spell-like abil-
  ity, vulnerable to salt (1d6 dam-
  age for 2 rounds).
  Spell-like ability: constant—ESP.
  Caul Cuckoo Syre
  Hit Dice: 1
  Armor Class: 5 [14]
  Attacks: none
  Saving Throw: 17
  Special: implant, lullaby, spell-like ability, vulnerable to salt
  Move: 6/6/6/6 (burrow, climb, swim)
  Alignment: Neutrality
  Number Encountered: 1
  Challenge Level: 1/15
  A caul cuckoo syre is a pallid pupa no larger than a finger, with a tiny, 
  twisted humanoid face. Caul cuckoo syres are the progenitors of caul 
  cuckoos. They spend the majority of their lives stealthily searching out 
  pregnant humanoid females to infest, corrupting their unborn children 
  into caul cuckoos.
  A caul cuckoo syre can crawl into the birth canal of a helpless 
  (including sleeping) humanoid female and implant itself into her womb. 
  Once implanted, each time the host sleeps for a full night, the syre bathes 
  the host’s developing embryos or fetuses in unnatural hormones and 
  other chemicals leeched from its own body. As a result of this process, 
  every following morning, the host is automatically sickened for 1 hour. 
  After 5 nights of this process, the host’s developing embryos or fetuses 
  are transformed into caul cuckoo fetuses (which take the subtype of 
  the host as their alternate form), and the syre fully dissolves and 
  is destroyed.
  A cure disease spell cast on the host creature 
  automatically renders the syre unconscious for 1 
  minute. If the syre dies or becomes unconscious, it 
  is immediately ejected into the birth canal, where 
  it is automatically detected by the host and from 
  where it can be removed safely. While implanted, a 
  syre is considered helpless. 
  When a caul cuckoo syre sings, it may 
  target one creature within 30ft that must 
  make a saving throw or fall asleep for 1 
  minute, as per the sleep spell. Creatures with 
  more than 4 HD are immune. 
  A handful of salt burns a caul cuckoo syre, 
  dealing 1d6 points of damage on the first and 
  following rounds.
  Caul Cuckoo Syre: HD 1; AC 5[14]; Atk none; Move 
  6 (burrow 6, climb 6, swim 6); Save 17; AL N; CL/
  XP 1/15; Special: implant (sleeping victims), lul-
  laby (30ft radius, save or fall asleep for 1 
  round), spell-like ability, vulnerable 
  to salt (1d6 damage for 2 rounds).
  Spell-like ability: constant—ESP.
  Appendix A:  
  New Monsters
  
  53
  Horror in the Sinks
  Caul Cuckoo Queen
  Hit Dice: 7
  Armor Class: 3 [16]
  Attacks: 2 stingers (1d4 plus caulspawn), 3 tongues (1d4 plus 
  caulspawn)
  Saving Throw: 9
  Special: caulspawn, gaseous form, immune to acid, sum-
  mon syreling slick, spell-like abilities
  Move: 12
  Alignment: Chaotic
  Number Encountered: 1
  Challenge Level: 9/1100
  A caul cuckoo queen appears as a humanoid vagrant covered in a dirty, 
  ragged robe. This “robe” is actually a layered hide that the queen can open to 
  reveal translucent, pale-yellow flesh riddled with pores that weep a honey-
  like substance called caulspawn, a powerful aphrodisiac and euphoriant.
  The queen attacks with stingers that extrude from sheaths in the palm 
  of its hands, and a trio of long, sharp tongues. A victim stung by the queen 
  must make a save or be injected with a dose of caulspawn (see below).
  Once per day, a queen can expel a syreling slick from its body. The 
  syreling slick remains until it is slain or the queen dismisses it. Only one 
  slick can be active at a time. If the queen is killed, the slick is banished 
  back to the Between.
  A caul cuckoo queen can use ESP at will. Three times per day, it can 
  assume gaseous form and cast suggestion.
  Caul Cuckoo Queen: HD 7; AC 3[16]; Atk 2 stingers (1d6 plus 
  caulspawn), 3 tongues (1d4 plus caulspawn); Move 12; Save 
  9; AL C; CL/XP 9/1100; Special: caulspawn (4d6 hour addic-
  tion, euphoria, 1-hour onset, –2 to hit and saves, see caul-
  spawn addiction sidebar), gaseous form (3/day), immune to 
  acid, summon syreling slick, spell-like abilities.
  Spell-like abilities: at will—ESP; 3/day—suggestion.
  Syreling Slick
  Hit Dice: 5
  Armor Class: 6 [13]
  Attacks: slam (1d6 plus caulspawn plus engulf)
  Saving Throw: 12
  Special: caulspawn, engulf, immunities (acid, blunt weap-
  ons)
  Move: 9/9/12 (climb/swim)
  Alignment: Neutrality
  Number Encountered: 1 
  Challenge Level: 7/600
  A syreling slick is a pale-yellow, serpentine ooze with small gray 
  flecks suspended within its syrupy mass. It is the first stage of the caul 
  cuckoo lifecycle. The proto-syre’s primitive hive mind grants it a limited 
  intelligence that is able to animate the caulspawn ooze into a vehicle and 
  weapon.
  Syreling slicks slam foes with a pseudopod. Any creature struck by 
  this slam must make a saving throw or be drawn into the viscid ooze for 
  1d4 points of damage per round. The touch of the syreling slick infuses 
  the target’s body with caulspawn, forcing them to make a saving throw 
  or become addicted to the honey-like substance (see the Caulspawn 
  Addiction and Psychosis sidebar below). 
  Syreling slicks can be harvested for the caulspawn they consist of. Each 
  dose of caulspawn harvested deals 1 point of damage to the slick. 
  Syreling Slick: HD 5; AC 6[13]; Atk slam (1d6 plus caulspawn 
  plus engulf); Move 9 (climbing 9, swimming 12); Save 12; AL 
  N; CL/XP 7/600; Special: caulspawn (4d6 hour addiction, 
  euphoria, 1-hour onset, –2 to hit and saves, see caulspawn 
  addiction sidebar), engulf (1d4 damage/round, save resists 
  entanglement), immunities (acid, blunt weapons).
  Caulspawn Addiction and Psychosis
  Caulspawn is a pale-yellow, viscous liquid caul cuckoo queens 
  produce to protect and feed their swarms of syrelings. If the 
  substance is examined closely, the syrelings can be seen as tiny 
  gray worms distributed within the liquid. As well as supporting 
  the development of their young, caulspawn has strong aphrodisiac 
  and euphoria effects for most fey, humanoids, and outsiders that 
  consume or inject it, and for whom it proves remarkably addictive. 
  Caul cuckoo queens collect the sweet, honey-like substance in 
  vials or wax-covered paper to sell to victims once they become 
  addicted. 
  Caulspawn affects anyone who ingests it, injects it, or suffers 
  an injury where the liquid is introduced into the wound. A typical 
  caulspawn dose kicks in after 1 hour and lasts for 4d6 hours. 
  The user gains a feeling of well-being interspersed with periods 
  of euphoria (–2 to hit and saves). A creature must make a saving 
  throw each hour while under the effects. If the save fails, the 
  creature must roll 1d6: 1–2, caulspawn psychosis develops; 3–4, 
  lose 1d4hp; 5–6, no effect. 
  Caulspawn psychosis causes the creature to become Chaotic and 
  immune to the lullabies of caul cuckoos. They become obsessed 
  with caulspawn and with obtaining it by serving caul cuckoo 
  queens. A creature under the psychosis suffers a –5 penalty against 
  the caul cuckoo queen’s suggestion ability.
  Cure disease gets rid of the parasitic syrelings. It also ends the 
  caulspawn effects and psychosis.  
  
  54
  The Blight: Richard Pett's Crooked City
  Living Disease, Bloody Flux
  Hit Dice: 5
  Armor Class: 4 [15]
  Attacks: swarm (save vs. disease)
  Saving Throw: 12
  Special: disease, immune to weapon 
  damage, regenerate, vulnerable to cure 
  disease
  Move: 0/6 (flying)
  Alignment: Neutrality
  Number Encountered: 1 
  Challenge Level: 9/1100
  Living diseases are swarms of microscopic 
  organisms, harmful bacteria or viruses that have 
  supernaturally gained limited sentience as a 
  cohesive swarm under certain exceedingly foul or 
  magical conditions. They seek out hosts through 
  which to propagate their contagion. Though 
  they are considered swarms, their individual 
  components are so small as to be invisible to 
  unaided sight. They are only visible at all due to 
  the sheer number of individual organisms that 
  make up the swarm; literally billions of them 
  make up a single living disease. 
  Living diseases offer no resistance to items 
  or creatures entering their midst and cannot be 
  physically felt. They make no sound whatsoever. 
  A living disease in the dark is terrible indeed, as 
  there is no indication it is present until its effects 
  are first felt. 
  Though extremely rare, there are many different 
  kinds of living diseases — potentially as many 
  kinds as there are diseases. Only one is described 
  here: bloody flux. 
  Any creature caught in the bloody flux swarm 
  must make a saving throw each round or take 2d6 
  points of damage per round as he suffers from 
  inflammation in his intestinal tract, high fever, 
  painful cramping and bloody diarrhea. Bloody 
  flux is endemic to the Sinks district of Castorhage, 
  with a major outbreak occurring every few years 
  though largely remaining contained to that portion 
  of the city. On occasion, it spreads to other poor, 
  overcrowded areas of the city where clean water 
  is in short supply. Bloody flux is generally 
  contracted through exposure to contaminated 
  water either through the presence of fecal matter 
  from someone who is already suffering from the 
  disease or, as is the case in the Sinks, the presence 
  of one or more bloody flux living diseases that travel through various 
  water sources there. 
  A bloody flux swarm is vulnerable to cure disease. If the spell is cast 
  upon the disease swarm, it must make a saving throw or suffer 5d6 points 
  of damage. 
  Living Disease, Bloody Flux: HD 5; AC 4[15]; Atk swarm (save 
  vs. disease); Move 0 (flying 6); Save 12; AL N; CL/XP 9/1100; 
  Special: disease (bloody flux, save or take 2d6 damage per 
  round), immune to weapon damage, regenerate (1d8hp 
  per round while alive), vulnerable to cure disease (save or 
  5d6 damage).
  
  55
  Horror in the Sinks
  Ooze, Canker
  Hit Dice: 6
  Armor Class: 8 [11]
  Attacks: slam (2d6 plus paralysis)
  Saving Throw: 11
  Special: acid, immunities (acid, cold), 
  noxious cloud, paralysis, transparent
  Move: 6/12 (swim)
  Alignment: Neutrality
  Number Encountered: 1 
  Challenge Level: 8/800
  Canker oozes are transparent masses of pitted 
  and colorless protoplasm that extend pseudopods 
  as it undulates through the murky water. They are 
  aquatic variants of grey oozes that dwell in the 
  swamps of the Sinks. 
  Canker oozes attack with pseudopods that 
  secrete a paralytic slime (save or paralyzed 
  for 2d6 rounds). The oozes are also covered in 
  digestive acids that dissolve metals and organic 
  material, but not stone. Once every 1d4+1 rounds, 
  a canker oozes can bubble off an acid cloud of 
  noxious vapor that does 2d6 points of damage to 
  all creatures within 15ft unless they make a saving 
  throw for half damage. Creatures that fail their 
  save are also blinded for 1d3 rounds.
  Canker oozes are transparent, which makes 
  them incredibly difficult to see (1-in-6 chance). 
  The ooze is immune to acid and cold.
  Ooze, Canker: HD 6; AC 8[11]; Atk slam 
  (2d6 plus paralysis); Move 6 (swimming 
  12); Save 11; AL N; CL/XP 8/800; Special: 
  acid (dissolves metal and organic, but 
  not stone), immunities (acid, cold), nox-
  ious cloud (15ft radius, 2d6 damage and 
  blindness for 1d3 rounds, save for half), 
  paralysis (2d6 rounds, save avoids), trans-
  parent (1-in-6 chance to spot).
   
  
  56
  The Blight: Richard Pett's Crooked City
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  Horror in the Sinks
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  The Blight: Richard Pett's Crooked City
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  Horror in the Sinks
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  The Blight: Richard Pett's Crooked City
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  The Blight: Richard Pett's Crooked City
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  Horror in the Sinks
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  The Blight: Richard Pett's Crooked City
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  Horror in the Sinks
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  Horror in the Sinks
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  72
  The Blight: Richard Pett's Crooked City
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  Open Game License v 1.0a © 2000, Wizards of the Coast, Inc.
  System Reference Document © 2000. Wizards of the Coast, Inc; Authors Jona-
  than Tweet, Monte Cook, Skip Williams, based on material by E. Gary Gygax and 
  Dave Arneson.
  Swords & Wizardry Core Rules, Copyright 2008, Matthew J. Finch
  Swords & Wizardry Complete Rules, Copyright 2010, Matthew J. Finch
  Swords & Wizardry Monstrosities, Copyright 2013, Matthew J. Finch
  Pathfinder RPG Core Rulebook © 2009, Paizo Publishing, LLC; Author: Jason 
  Bulmahn, based on material by Jonathan Tweet, Monte Cook, and Skip Williams.
  The Book of Experimental Might © 2008, Monte J. Cook. All rights reserved.
  Pathfinder RPG Bestiary, © 2009, Paizo Publishing, LLC; Author: Jason Bulmahn, 
  based on material by Jonathan Tweet, Monte Cook, and Skip Williams.
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  Joshua J. Frost, Tim Hitchcock, Brandon Hodge, James Jacobs, Steve Kenson, Hal 
  MacLean, Martin Mason, Rob McCreary, Erik Mona, Jason Nelson, Patrick Renie, 
  Sean K Reynolds, F. Wesley Schneider, Owen K.C. Stephens, James L. Sutter, Russ 
  Taylor, and Greg A. Vaughan, based on material by Jonathan Tweet, Monte Cook, 
  and Skip Williams.
  Pathfinder Roleplaying Game Bestiary 3, © 2011, Paizo Publishing, LLC; Au-
  thors Jesse Benner, Jason Bulmahn, Adam Daigle, James Jacobs, Michael Ken-
  way, Rob McCreary, Patrick Renie, Chris Sims, F. Wesley Schneider, James L. 
  Sutter, and Russ Taylor, based on material by Jonathan Tweet, Monte Cook, and 
  Skip Williams.
  Pathfinder Roleplaying Game Bestiary 4, © 2013, Paizo Publishing, LLC; 
  
  73
  Horror in the Sinks
  Authors Dennis Baker, Jesse Benner, Savannah Broadway, Ross Byers, Adam 
  Daigle, Tim Hitchcock, Tracy Hurley, James Jacobs, Matt James, Rob McCreary, 
  Jason Nelson, Tom Phillips, Stephen Radney-MacFarland, Sean K Reynolds, F. 
  Wesley Schneider, Tork Shaw, and Russ Taylor.
  Pathfinder Roleplaying Game Ultimate Magic. © 2011, Paizo Publishing, LLC; 
  Authors: Jason Bulmahn, Tim Hitchcock, Colin McComb, Rob McCreary, Jason 
  Nelson, Stephen Radney-MacFarland, Sean K Reynolds, Owen K.C. Stephens, 
  and Russ Taylor.
  Pathfinder Roleplaying Game Ultimate Combat. © 2011, Paizo Publishing, LLC; 
  Authors: Jason Bulmahn, Tim Hitchcock, Colin McComb, Rob McCreary, Jason 
  Nelson, Stephen Radney-MacFarland, Sean K Reynolds, Owen K.C. Stephens, 
  and Russ Taylor.
  Pathfinder Roleplaying Game Ultimate Equipment © 2012, Paizo Publishing, 
  LLC; Authors: Dennis Baker, Jesse Benner, Benjamin Bruck, Ross Byers, Brian 
  J. Cortijo, Ryan Costello, Mike Ferguson, Matt Goetz, Jim Groves, Tracy Hurley, 
  Matt James, Jonathan H. Keith, Michael Kenway, Hal MacLean, Jason Nelson, 
  Tork Shaw, Owen KC Stephens, and Russ Taylor.
  Pathfinder Roleplaying Game Ultimate Intrigue © 2016, Paizo, Inc.; Authors: 
  Jesse Benner, John Bennett, Logan Bonner, Robert Brookes, Jason Bulmahn, Ross 
  Byers, Robert N. Emerson, Amanda Harmon Kunz, Steven Helt, Thurston Hill-
  man, Tim Hitchcock, Mikko Kallio, Rob McCreary, Jason Nelson, Tom Phillips, 
  Stephen Radney-MacFarland, Thomas N. Reid, Alexander Riggs, David N. Ross, 
  David Schwartz, Mark Seifter, Linda Zayas-Palmer.
  Pathfinder Roleplaying Game Advanced Player’s Guide. Copyright 2010, Paizo 
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  Bulmahn, Adam Daigle, Jim Groves, Tim Hitchcock, Hal MacLean, Jason Nel-
  son, Stephen Radney-MacFarland, Owen K.C. Stephens, Todd Stewart, and Russ 
  Taylor.
  Pathfinder Roleplaying Game Advanced Class Guide. Copyright 2014, Paizo 
  Inc.; Authors: Dennis Baker, Ross Byers, Jesse Benner, Savannah Broadway, 
  Jason Bulmahn, Jim Groves, Tim Hitchcock, Tracy Hurley, Jonathan H. Keith, 
  Will McCardell, Dale C. McCoy, Jr., Tom Phillips, Stephen Radney-MacFarland, 
  Thomas M. Reid, Sean K Reynolds, Tork Shaw, Owen K.C. Stephens, and Russ 
  Taylor.
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  Graeme Davis, Adam Daigle, Jashua J. Frost, James Jacobs, Kenneth Hite, Steven 
  Kenson, Robin Laws, Tito Leati, Rob McCreart, Hal Maclean, Colin McComb, 
  Jason Nelson, David Noonan, Richard Pett, Rich Redman, Sean K Reynolds, F. 
  Wesley Schneider, Amber Scott, Doug Seacat, Mike Selinker, Lisa Stevens, James 
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  Dennis Baker, Jesse Benner, Ben Bruck, Jim Groves, Tim Hitchcock, Tracy Hurley, 
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  ney-MacFarland, Thomas M. Reid, Alex Riggs, Robert Schwalb, Mark Seifter, 
  Russ Taylor, and Steve Townshend.
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  Compton, Robert N. Emerson, Jonathan H. Keith, Dale C McCoy, Jr., Mark Mo-
  reland, Tom Phillips, Stephen Radney-MacFarland, Sean K Reynolds, Thomas M. 
  Reid, Patrick Renie, Mark Seifter, Tork Shaw, Neil Spicer, Owen K.C. Stephens, 
  and Russ Taylor.
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  Publishing, LLC; Authors: Keith Baker, Wolfgang Baur, Clinton J. Boomer, 
  Jason Bulmahn, Joshua J. Frost, Ed Greenwood, Stephen S. Greer, Jeff Grubb, 
  James Jacobs, Michael Kortes, Tito Leati, Mike McArtor, Rob McCreary, Erik 
  Mona, Jason Eric Nelson, Jeff Quick, Sean K Reynolds, F. Wesley Schneider, 
  Leandra Christine Schneider, David Schwartz, Amber E. Scott, Stan!, Owen K.C. 
  Stephens, Todd Stewart, James L. Sutter, Greg A. Vaughan, Jeremy Walker, and 
  JD Wiker.
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  Authors: Sean K Reynolds, with Amanda Harmon, James Jacobs, John Ling, 
  Mark Moreland, David N. Ross, F. Wesley Schneider, Amber E. Scott, Tork Shaw, 
  James L. Sutter, Jerome Virnich.
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  McComb, Jason Nelson, Amber Scott, Neil Spicer, and Todd Stewart.
  Pathfinder Companion: Adventurer’s Armory. Copyright 2010, Paizo Publish-
  ing, LLC; Authors: Jonathan Keith, Hal Maclean, Jeff Quick, Christopher Self, JD 
  Wiker, and Keri Wiker.
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  Borderland Provinces © 2015, Frog God Games, LLC: Matthew J. Finch, Greg 
  A. Vaughan, and Bill Webb.
  The Blight: Richard Pett’s Crooked City, © 2016, Frog God Games, LLC; Authors 
  Richard Pett, Pete Pollard, Alistair Rigg, and Greg A. Vaughan.
  The Tome of Horrors Complete, © 2011, Necromancer Games, Inc., published and 
  distributed by Frog God Games; Author Scott Green.
  Tome of Horrors 4, Copyright 2013, Frog God Games, LLC; Authors: Erica 
  Balsley, Casey Christofferson, Jim Collura, Lance Hawvermale, Patrick Lawinger, 
  Phillip Larwood, Greg A. Vaughan, and Bill Webb, based on material by Jonathan 
  Tweet, Monte Cook, and Skip Williams.
  The Tome of Blighted Horrors, © 2016, Frog God Games, LLC; Authors John 
  Ling, Authors Richard Pett, Pete Pollard, Alistair Rigg, Jeffrey Swank, and Greg 
  A. Vaughan.
  TB2: Horror in the Sinks, © 2017, Frog God Games, LLC; Author: Alistair Rigg.
  
  74
  The Blight: Richard Pett's Crooked City
  
SOURCE: textdata/thevault/Swords & Wizardry/SW Adventures & Settings/Lost Lands (SW)/Lost Lands The Blight (SW)/The Blight Adventures (SW)/TB2 The Blight The Horror in the Sinks (SW).pdf