Gaming How-To

The Blood of Dawnwalker: How to Search Kostel’s Shed Using Focus Mode

The trapdoor location, the fistfight with Kostel, and the one Disturbed choice that changes your reward.

The trapdoor location, the fistfight with Kostel, and the one Disturbed choice that changes your reward.

The final objective of the Disturbed side quest in The Blood of Dawnwalker sends Coen into a locked-off little shed at the end of a village alley, and it is the point where a missing-crucifix mystery turns into a brawl. The search itself takes seconds. The consequences — a time segment burned and a fight you cannot avoid — are worth understanding before you open that door.

Quick answer: Step inside Kostel’s shed, hold Focus Mode (L2 / LT, or the right mouse button), and inspect the gold-highlighted trapdoor in the floor to your left, under the straw. Inspecting it costs 1 time segment and immediately triggers a cutscene and a fistfight with Kostel.


Before you get the shed objective: Disturbed requirements

Disturbed is given by Crina, who you will find weeping over a freshly dug grave at the church cemetery in Laslea Glen. Her grandson Kvet’s body was disturbed and the small silver crucifix she left with him is gone. The quest only opens up after you have finished All Good Things, and it carries a hard cutoff — if you have not wrapped it before Sacred Covenant begins, it fails along with every other time-sensitive task.

The shed search is the fourth and last objective. The three that come before it are the investigation chain: inspect the defiled grave, follow the robber’s tracks with Focus Mode, then track down the robber. Skipping ahead does not work, because the shed objective only appears once Coen has tied the trail to that building.


Following the trail to Kostel’s shed

Interact with the grave to enter scene investigation, then examine the footprints on the right-hand side. Coen notes the red soil that would have clung to the robber’s shoes, which is what makes the rest of the trail readable.
Hold Focus Mode and follow the yellow footprints to the broken wall, inspecting the patch of mud there. Keep the trail going into the village, checking each mud patch as it appears, past Rainer’s stall and the blacksmith until the prints stop near a narrow alley.
Walk straight down the alley with Focus Mode still active. A broken shovel sits beside the shed, glowing gold. Examine it, rotate it so you can see both sides, and confirm with the prompt. That is the moment Coen concludes this is the grave robber’s home, and the journal updates to “Search Kostel’s shed using Focus Mode.”

Finding the trapdoor inside the shed

Open the shed door and step in. Hold Focus Mode as soon as you are through — the interior is dim, and the compartment is easy to walk past without the highlight on.
Look down and to your left, at the corner where the straw is piled. A hidden floor compartment is marked in gold. Inspect it. Coen mutters “Can it be…?” as the hatch comes up, the game spends 1 time segment, and a cutscene starts.
Kostel walks in mid-search and demands to know what you are doing. You get two replies. “Sorry. Lost my way.” stalls, while “Looking for a grave robber.” is the confrontation — Coen adds that he has found him, Kostel warns him off, and the fight starts.
Dialogue wheel in the shed with the reply Looking for a grave robber selected while Kostel confronts Coen
Picking “Looking for a grave robber” accuses Kostel outright and starts the fistfight. Image: Rebel Wolves

Note: if the trapdoor is not glowing, you are almost certainly not holding Focus Mode, or you have not inspected the broken shovel outside yet. Gold highlights are reserved for objects and people tied to an active quest, so the hatch stays invisible until the objective is live.


The Kostel fistfight and how it ends

This is a bare-knuckle brawl in a cramped cabin, not a sword duel, and it has two exits. Knock Kostel out and it ends there. Lose roughly half your health bar and it also ends — Vladimir barges in, breaks the two of you apart, and sends Kostel on his way. Either result moves the quest forward, so a rough fight is not a failure state.

Coen locked on to Kostel during the hand-to-hand fight inside the wooden shed
The fight is hand-to-hand and confined to the shed interior. Image: Rebel Wolves

Vladimir then explains the theft. The crucifix was taken because it is silver, which the vrakhiri have outlawed since the metal is their weakness. He talks about melting confiscated silver down into arrowheads, and about far larger ambitions involving the silver mine.


The one choice that changes the outcome

The conversation with Vladimir offers several branches, including whether to push back on him and whether to drink with him. Those are flavor. The decision that actually changes anything is the last pair.

ChoiceResult
Give Kvet’s cross backYou leave with the crucifix and can hand it to Crina. You may either credit Vladimir or claim you simply found it.
I’ll keep this between usYou leave empty-handed and must tell Crina the crucifix could not be recovered.

Neither path carries long-term consequences, and the quest pays out identically. If you want Crina to get the pendant back, the second option is off the table.


Closing out Disturbed with Crina

Head back to the church graveyard and talk to Crina. Whether you return the crucifix or tell her it is gone, she asks for help filling in her grandson’s grave. Agreeing costs another time segment and pays nothing extra, so refusing is the efficient call if you are protecting your remaining time before the Blood Mass.

ItemDetail
Base time cost1 time segment, spent when you inspect the trapdoor
Optional time cost1 additional segment if you help refill the grave
Reward250 XP and 25 Denarius
Fail conditionNot finished before Sacred Covenant

You will know the objective is done the moment the trapdoor inspection cuts to the confrontation cutscene; the journal entry clears once Kostel is on the floor and Vladimir starts talking. From there, the only thing left is the walk back to the cemetery and deciding how honest you feel like being.