Critical Role & Sagas of Sundry - Chapter Six: The Blueprints | Sagas of Sundry: Madness

Episode Date: May 4, 2026

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Have you ever been in the wrong place at the wrong time, that tightening in your chest, that beating of your heart, the fear, making your breath tangible, you can feel it. In, out, in, out, and yet for you, there is no in, there is no out. There is only that place, at that time, the wrong place. Our tenants are facing this. How long have they been here? been here in this building, hours, months, years, walking the same hallways, opening the same doors, and why them?

Why were they chosen? Do they serve some greater purpose? Or are they simply in the wrong place, at the wrong time? These are the sagas of Sundry. I am Mr. Wren and there will be... You have found yourself back to the lobby, and the lights go out. You manage to find a couple of flashlights.

Suddenly, you look and see an onyx black door. You see 12 locks. There's papers. There are codes to open them. As you finish the final lock, door flies open. And you look out into the stars, and you can see a little.

endless eyes staring at you as you see a writhing mass of flesh. I can't, I can't take it anymore. No, no, Finley, no! Fenley, this is a heroic sacrifice. And because of that, no one has to pull. And as Emmett and Jude reach out to pull you in, it's just seconds before you have to let go, and your body flies, the wind gushes you.

and gushes you out into the endless void of space. Thank you so much for joining us on this journey. I'm gonna have to ask you to leave our group. Give him hell. This is the tower that you'll be playing with for the rest of the game. Why did all of you decide to move here? I'm here because this building doesn't do criminal background checks.

I'm here because... Because of your father? Yeah. What happened? I fucking might have killed her. I don't know. It doesn't matter what you did. It really doesn't matter right now.

All we got is the four of us. That's all we got. What's your real name? Kathy. I think it's beautiful. You come back to the main lobby and see the out of service elevator. Moments pass in which the Great starts to close.

Oh shit, shit. Oh, no, no, no. As it starts to descend, and suddenly something Boom! On top of the elevator! There's my rest. And something is with you.

Look at all of you because of math. My friends, it seems you found yourself in the sub-basement of an elevator leading down even farther below the building than you originally imagined. How far down do you think you've traveled? I would say we are about a mile and a half down. That would be incredibly accurate.

A mile underneath at this stage, you have been descending into darkness. And that wasn't even before something tore through the riffs and landed onto the top of your elevator. And now... ...and see a searching arm. Flash lights down. Flash its hand in before reaching its hands back out again. The elevator lurches and stops. As you can see, pitch blackness in front of you.

Abigail, your light shines onto the top and you- as you see a ghastly face, lift its head straight into the grate and starts to shake it with a very vigor as its claws and talons hold up into it, and it's attempting to pry it open, and you're looking, it has one eye, and it's aimed into the back of its head,

as it appears to move its head everywhere to find you, as its body is listfully moving across the talon, and as soon as it gets a grasp onto it, it gets frustrated, and then just leaps right off. You watch as it bounds, as it starts to go somewhere. But it's so dark. It's so dark.

You can't see anything. Dude, your light pierces out into the middle of it. You can see a small shock. And you can see as you pierce around, there are small, very, very intricate bulbs. Decades old, moving, and lighting a train all the way to this building, yet none of them are on. They have all been turned off.

Keep it on. Keep it on. Keep it on. We have to go to the shack. We have to keep it on. We have to turn it back on. We can follow this wire to it. That thing is still out there.

To be honest. For Finley, we have to keep it on. I keep it on. I see a trail. It's okay. You can see the few places in which in which the creature may have pushed its talons off, leaping into the darkness above,

but you're surprised to see as you pan your light up that the walls were high, some kind of cavern. Your beams barely make it to the top as the vastness of this space. You could fit the entire building in this cavern. Abigail, you look like you're having a difficult time with all of this. You can hear and see and you've known that this thing was there.

You knew it was in the hallway. You could hear it. That little tinge of something into the back. I think you know what you need to do. Because you still have the amulet in your pocket. And you would feel so much safer with that around your neck. Something to protect you from whatever this creature with eyes piercing across its multitude. skinless head, come out and make a pull.

What are you doing? I mean, you know, if you can't beat him, join them. Oh no, wait, wait, wait, wait. Maybe this will help protect us. No, you can't. Abigail, no. We gotta keep it on. No, no, no, no, no, don't do it, don't do it, please.

Are you putting it on, Abigail? If you run to resist, you have to make a pull. But if you're keeping it on, then walk. I'm going with you. I'm not a threat, remember? I'm not susceptible. I'm going with her. Doesn't that feel better?

You actually, for the first time, feel this soothing, breathing, open sensation. It's so comforting. Yes. And yes, it sounds exactly like your father speaking to you in hushed, loving tones. Yes, yes, sweetie. I'm here.

Daddy, I'm so sorry. It's all right. You are having a difficult time, and I forgive you. Come on, let's go see what's inside of this thing. No, no, no, no, no, wait. Abby, Abby, Abby, he's not here. Your father's not here.

The voice isn't real. That's not real. I killed him. Sweetie, you didn't kill me. I'm home. You thought you hurt me, but you were just angry. We talked about this. I know it's been difficult since your mother left,

but everything's going to be fine. No, I killed him. I killed him, right? I killed him. No, it's fine. Whatever you did, it doesn't matter. You just have to hang on to this. This isn't, he's not real. Kathy, just go inside of the building. building. There's nothing to be afraid of. Just walk in the building and let's see what's inside. Maybe we should see what's inside the building. Take the crowbar with you. Let's go look at it all.

Okay. We're going with you. I don't know if that's a good idea. You can't go alone. You can't trust me. Selena. You are the only people that I've ever trusted other than him. You know that he is in Real. I am. My father is a terrible, terrible person. I am real. And if he's still alive, I gotta kill him. I failed once if he's still alive.

I think she needs to face this alone, Selena. Come to me, Abigail. It's just you and me, Kathy. We are going to do this together. If I come with you, will you leave everyone else alone? I promise. Just bring the crowbar with you. the crowbar with you.

We can't let her go. We can't... As you get into the building, you can see the darkness around you. You didn't bring your flashlight, so your night vision is starting to adjust to everything that is around you. And you can see this old metal and wood building.

The door rotten from months of decay. in cold, damp air. And as you walk through the door, you can see him. Your father standing right along the side, against the far wall, and he is holding his arms out to you. You know, I told her to you. I told her to leave.

I told the dumb bitch that if she ever walked into this house again, I would knock her senseless. Is this my house? Is this my childhood house? It looks a lot like what you imagine to be your very own living room. You can see the old portraits of your family against the wall. and the staircase leading up to your bedroom in which you remember hearing the sounds of them fighting

over and over again about nothing. And you can see him sitting against a dining room table with the biggest grin on his face, like nothing is wrong. I resist him and look around to see if I see anything else. Make a pull resist it. Resist the visions. Make a pull. Try to see if your father and the things around you, this wonderful, blissful place that is your home tainted by

this man's angry attitude, anger in which you took in your life and you looked around and saw. Fuck you, Dad. Nothing. He's not there. This isn't your childhood home. This is an building. You can see machinery, turbines, and something glowing out in the middle of the lake. Something pulsing, moving as large bits of machinery are diving into what you can now see as an underground lake. But everything is cold. It's dark. It's off. Abby? He almost made me ruin everything. I was about to be this. shit out of this fucking machine.

Come here, come here! Yeah, we gotta fix it, fix it. Keep it on, we gotta keep it on, remember? Keep it on. All right, let's all take a seat real quick. There's more to discuss. As you all flood into this old broken down building, you see Abigail holding the crowbar,

poised, ready to strike before she passes it back to Selina. Just keep it away from me. Take it away for me. And you all look to see it. see this broken battered down building but yet the machinery looks perfectly tended to cared for and it reminds you of photos that you've seen of people experimenting with atomic reactions various things around you show complicated equations and mathematical solutions things leading into discussing energy generation.

And you can see these machines are gigantic. And the pulsing light that you see in the middle of the lake is constant and glowing. So you find some few items of interest inside of this building. First, a box of old hardware. This one in particular. You find against the wall a writ

old piece of paper. It seems to have been used more than once and is laid in caked with dust. And the large sledgehammer seemed to be used to drive the stakes in the wood as part of the construction of this old building. That looks like the sketch of what Fenley pulled out of his wall. This is the building.

This is the plans for the building. Yeah. What are all these rooms? Those are your rooms. Every single one of those is a building in which a tenant is supposed to be. And you're surprised to see how many are there. And yet how few people you've ever really seen. In fact, you five are really the only people you've ever seen in the building now that you're thinking about it.

Selena, you were room 408. So you were here. Finley was 406. He's your next door neighbor. Emmett, you were 403. Your bathroom. It's labeled. There's something in your bathroom.

Abigail 305. Directly underneath, Emmett. And I was 202. As you were all staring at this map, you're surprised to hear a whom. As the sound of the elevator that took you down here seems to have made landfall yet again. And ever so distinctly you can hear the creak of a great

as the heel of footsteps splash and move and skip along the stonework. Door. The fuck. Door. And you hear a voice. I know they came down here. The elevator was down.

Brothers, sisters, make sure they don't turn the machine back on. And you can hear footsteps moving all around you as something is beginning to circle around the building. Multiple footsteps. Watch, yes. Is there any sort of switch? Is there any indication of something that would turn it back on?

Make a pull. Use that sweet. Sweet brains, Selena. Can you in just a few seconds time break down this old 1930s machinery meant for decades worth of power generation to manage one building, one space? There's a lot going on here.

It's very complicated, but you manage to break it down. Selena, you look across the building and you can see. see the old electronics and the breakers tripped. All you have to do is flip and take all the breakers down and then pump it back up. But you know as soon as you flip it, that fuse, that one little tiny piece of glass

was holding the brunt of that circuit, that flow. And even if you flip it on right now, You're gonna have a short window to replace it before it pops again. What are you gonna do? Are you flipping it? Are you pulling the breakers down and then lifting it back up again?

Or do we have to get all the way back up to Finley's apartment first? We have this. Yes, you do. Do you know where it goes? We have to trip the circuit and then replace this in Fenley's room. How much time?

How much time would that take? I don't know, not long. How are we gonna get up to Finley's room? We have a very precariously working elevator. Someone look inside of the door. If they're in there, we haven't heard them yet. What are you doing? The watcher is always waiting.

Do you want your mind into infinity? Or are you all going to sit here like a bunch of ninnies? Selena flips the switch. All right, you flip the switch up, and you pull them all up, and you watch his light. Boom! Illuminates everyone around you as all of the light bulbs make this lake just a wondrous bit of light.

And you hear as, as the man who had called out previously covers his eyes. And you hear something, something in the night. As it pulls and you can hear the scratching and the moving. What are you doing? What are you all doing? I grab them up and we have to make a run for it. We have to go.

You guys go, we'll cover. All right. You run out the door. All of you, Crowbar Sledgehammer in hand. You burst out through the front door and you watch as the cultists are still cowering, holding their eyes, having to adjust the light into it. Sit down guys, it's all right. You don't need to be in there.

You're not swinging at actual cultists. Abigail, there's cultists laying around everywhere. And you burst yourself out through the door wielding the sledgehammer. And you're going to take a crack at the first one that you see. Yep. Playing baseball. Make a pull.

As you burst the door open, you can see the lights flickering and popping into life around you as the widespread glow of these incandescent lights. Make every single one of these cultists just blindsides. as you take your sledge hammer and crack it right across the side. You can hear bones snapping and a sickening thud as the body falls down into the ground,

and that's when you start to hear the gunfire. Cacao, cacao, cacao! Gunfire is firing all around you as all of you are running straight towards this elevator, your last true escape out of here, but there's more, there's more cult to surround you. You've taken one down. Is anyone else doing anything?

All right! Look how I got guns! Emmett, as bullets are ricocheting around you, you can hear the of this creature as it is leaping out through the side of one of the walls, and you see as it rakes its large clandestine claws, and it leaps straight for Emmett as he takes his crowbar and whack

right across the side of its face. It screeches as it falls down to the ground, and well, are you? You're going to do anything with it, or are you going to keep running? Run. Run. Slap. Run.

And all of you pull yourself towards the elevator, slam the great shot, and hit the button to feel the ascending staircase of safety leading you up. You can hear as gunfire and rickishing, pippoo, p p p p-p-p-p-p-p-cac. As bullets are grazing ever so minutely past you, Salina, you, you just see one, you can. can feel it. It's so close to you. Make a pull. Avoid the bullet, Selena. One of them could graze you. And more importantly, this white tank top that you're wearing drenched with the sweat of such a difficult and harrowing day. It makes you such a target. But you duck down, you find cover, you get into a place, you curl inside of a ball. As you can hear these. gunshots ricocheting right by you, and you managed to find safety right behind Emmett.

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The war is over and both sides lost. Kingdoms were reduced to cinders, an army scattered like bones in the dust. Now the survivors claw to what's left of a broken world, praying the darkness chooses someone else tonight. But in the shadow dark, the darkness always. wins. This is old school adventuring at its most cruel. Your torch ticks down in real time, and when that flame dies, something else rises to finish the job. This is a brutal rules-light nightmare with a story that emerges organically based on the decisions that the characters make. This is what it felt like to play RPGs in the 80s, and man, it is so good to be back.

Join the Glass Cannon podcast as we plunge into the shadow dark every Thursday night at 8 p.m. Eastern on YouTube.com slash the glass canon with the podcast version dropping the next day. See what everybody's talking about and join us in the dark. Hey, I'm Ashley, host of Crime Salad, and every week my husband Ricky joins me as my partner in crime. We know the true crime space is crowded, so we skip the loud, bubbly small talk and get straight to the facts of the most gripping cases. If you want to see what we're all about, check out our recent two-parter deep dive.

She saved him. can you save her? Covering the baffling Rebecca Zahau case. If you want a true crime podcast that feels authentic and respects the details, come check us out. Search crime salad wherever you get your podcast. And thankfully, because this is so old, the steel is thick and thus can take the bullets

as you continue to ride upwards, out of sight, out of the cavern leading into the hallway. You hold this few feet. in your hand knowing that time is short and that this is the last conduit before you have to turn the machine on and you realize that where you were at wasn't the machine. Machines not below you. That was the power station. That wasn't the machine.

There wasn't anything there that insinuated that there was something that was closing a dimensional rift inside of that. was just where the power was. So what happens now after the fuse is in place? What do we do? Do we take this to Finley's room? Yeah, to put it back. Yeah.

Because if that wasn't the machine, that's where Finley's rooms where the machine is. It's gotta be. I think the building might be the machine. I think that he built this whole thing in order to contain the gate. Okay, let's go. Yeah, let's go go.

Start with Finley's room, branch out from there if we have to. So as you feel this tension kind of coming to place, the anxiety of knowing the time is short as you ride this elevator up, you wait and wait just hoping to see that little glimpse of light saying that you have made it to the first floor. But the first floor doesn't come. In fact, you feel the lurch of the elevator stop. And you can see a single glistening bright bulb of the basement

that you first started out in, because as you remember, this was not the elevator of the building. This was the secret elevator laid out underneath the building. And you can still see your elevator, the familiar elevator, the out-of-service elevator right in front of you with half of it still sticking up. But there's also a cultist, a man in black robes, standing there waiting, patrolling, centering,

and he sees you. You don't think he knows whether you are actually cultists or not, because this room is very dark. So now he's not doing anything, but he is definitely guarding your way out of here. Maybe I have something that he wants. Or maybe we just fucking kill him. Or maybe we just fucking kill him.

Kind of like that. Well, Jude, how are you going to do you? to fucking kill him. I've had it with these fucking cultists. I'm gonna take this crowbar, and I'm gonna hit him over the head, but I want him to still be alive, and I'm gonna shove this into his fucking heart.

Make a pull. Take this man down. Now y'all see why I wanted to tap that. Good for you. Yeah. Jude, this great opens as you slide it, and you walk out. with a confident stride, a tooth of a grand worm in one hand.

The crowbar in the other hand is you stride, step after step after step to this man, and you can see the cultist, stop, get back. And you can wail and see his tongue waggling, livid like a snake's tongue, coming back and forth as he speaks. That's goodnats.

Stop! Don't! What are you doing? And he pulls his gun out to shoot you before you whack! Crack him across the side of the face. You take it from here, Jude. Ascan aska, shut the fuck off! And you bash his brains in, and you watch as the matter is just...

It's been a really, really long day, buddy. Now you're gonna fucking pay. You will never... Cut him off. as you shove the tooth deeply into his heart between the bleeding body and his bleeding soul. There's no way that he could be alive. I rush up to the body and start searching

through his pockets and his robes. As you come up to the body and look across him, you can see he's carrying just his robes about him. You can see the gun that he has discarded is there, as well as his mask, which fell off with the impact of Jude slapping the crowbar as long him. As you pull the mask off onto him, you realize his eyes are skin. He has no lids. He has nothing. His eyes, they've not been removed.

They are simply nothing across his face. And you can see a languid, long tongue, which, now that he is dead, has lost all control and is spiraling out of his mouth like a long proboscis from a butterfly. Oh, all right, well, I guess that whole mind's eye thing has been really working out for these guys. Here, Emmett, I'm gonna toss him the mask. Okay. All right, anything else on him?

Not thinking it besides the gun. Can I take the gun? Yes, Abigail, you can take the gun. Here you are. Now, for the purposes of ours story, That weapon represents six pullless shots that you can make. If you ever want to use it, you just tell me that you fire the gun. We should probably redistribute here.

We've got a gun, a hammer, a crowbar, and a knife, so to speak. Who's a good shot? I mean, my dad taught me how to shoot. I'm kind of fond of this. That's your souvenir. I think I'm good with this. I'll take the sledgehammer. Yes.

You all are leaving me with a gun. Do you trust me with it? It's not you, I don't trust. It's me. I think we've all seen enough shit to make. As you all climb up the elevator, walls you roll onto the carpeted floor of the out-of-service elevator but you can see the police officers from earlier Erickson and the sergeant are now looking at the

lights recently turned on and you can see that they seem angry and scared. Can we hear what they're saying? God damn it Erickson the lights weren't supposed to come back on They weren't supposed to come back on. I thought they took care of those kids. Obviously something's wrong, but the Holy One told us to stay here and make sure that no one goes up into, well, wherever it is.

They continue to commiserate under their breath. I said we try to take them out with whatever we have. If we get into... If you fail. If we get in the fail, kill him. All right. Jude, Selena, Emmett, all three of you. For this, I will allow one person to make a poll

to take both of them out, since all three of you have your strength of numbers. I got it. We got this. Emmett, as you slowly push yourself up from the second floor of the sub-basements, you crawl onto the lobby carpet. lobby carpet as you begin to slowly crouch doing everything you can not to cause attention to yourselves as you continue to peek around you see they haven't noticed you yet you begin to creep closer

getting every bit inch by inch to them as suddenly he turns his eyes towards you and you watches both of them lift their guns out as both selenia And Jude run out. As you lean up, you hit him across the side of the face with the crowbar as he recoils. Jude plunges his dagger deep into the back of his neck as Selena with the last man Erickson looking at his friend with a tooth in the back of his neck

takes a giant sledgehammer into the back of the head. His brain matters splatters everywhere As after knocking him down, Selena makes another blow, and you watch as gore now spreads across the lobby floor. You all run up to Fenley's fourth floor room. And as all four of you burst into Fenley's room, you see his discarded art, his brushes, his paints scattered everywhere,

his small twin mattress that was once his, but is now no longer. and you can see the hole that started it all, that one empty void in which now lays barren and is waiting. Fucking idiot. All four of you stand in Fenley's room looking at each other. Is the hole in the wall?

Is it right? Is it, will this fit? It is just the right size. In fact, Celine, if you go down to investigate it, you can very distinctly see a connector pin as well as a housing shield right below it. Okay, I'll put it in. Selena, for friendly. It's fine, it's final.

No. You got it. You got it. I- Not be thwarted. I'm so close. We are already. I can see you, Selena.

I can see you. I know the voices. voices in your head, they are mine. I am. Yours, I am real. Watch me. Selina. Do it, Selina.

Do it, Selina. Take it, break it into the ground, and let me. You don't control me anymore! You shove it in and blackness comes across your void as you feel yourself transported to a dark, dark place. And we have

a challenge for you, Selena. The watcher will not be taking this lightly. The fuse is one piece that he cannot muster. Yes, you can destroy his minions. Yes,

you can trapes across the wasteland that has his home. But if you break the void that will bring him into this world, he will not let it down easily. So come. The watcher is waiting. Selena, we are now deep into your mind, and the watcher has come to stop you

from putting the fuse into place. He will be taking his minions of darkness and trying to close you into a place of complete complacency and obedience towards his will. You must fight back with your own consciousness and the tools that have gotten you this far in order to resist him. You have 90 seconds to prevent each one

from making contact with you. Every time the watcher touches you, it will be a pull. Are you ready? I've been waiting for this to happen my whole life. It's in my DNA. If I can save them and I can save him, it will have been worth it.

Great. Begin. Selena, Selena, Selena, why do you fight? There's nothing for you here. You are weak and mindless. You sit all day tapping at nothing, something that is not yours. You steal from others and talk to a manifestation of your own consciousness. You know your boyfriend isn't real.

Selena. You know no, Selena. You doesn't control you. You are here. Open your mind and let me- Place it in there, Selena. In the void of infinity. I can help you, Selena.

I never. I give you your life. Come on, Selena. Come on, they're real. Stronger than him. You aren't. You aren't stronger. You aren't.

There's nothing here for you. Give in. Give in. Come on, Selena. Keep going. There's nothing left for you here. You gotta keep going, keep going. Nine, eight.

No, Selena. Two. Ah! Selena, you've done it. You have to make only one pull. The watcher has caressed your mind ever so lightly, but he has not divined his fingers deeply into you. Make your single pull, Selena.

I'm real. That really good? Yeah. Yeah. Yeah. Yeah. Yeah. I think I think you're worth it

the tower is waiting Selena madness is never too far away we're real you jam that fuse a bit longer thank you it makes a satisfying click as you put it into place and you can feel a Warm, that sensation that you felt so long ago,

come back into place. And it is palpable now, and it is enough for now. Let's all come back to the lobby and complete our story. Oh please, not that music. That music gives me nightmares from my childhood. Could we get something a little bit lighter? Some lighter music here. Are you a fan of true crime TV shows?

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