Chapter Six: The Blueprints | Sagas of Sundry: Madness

Summary

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Sagas of Sundry: Madness – Chapter Six: The Blueprints

Podcast: Critical Role & Sagas of Sundry
Host: geekandsundry
Date: May 4, 2026
Current Season: Ten Candles: Eclipse

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Episode Overview

Chapter Six: The Blueprints propels the survivors deeper into the psychological and supernatural horror that defines Sagas of Sundry: Madness. Following last episode’s harrowing escape, the group faces both the literal machinery holding back cosmic terror and the internal, sometimes tragic, revelations threatening to unravel their bonds. As the party navigates an underground power station and a succession of confrontations, their challenge is both physical survival against cultists and monsters—and emotional endurance against their own personal demons. Trust, sacrifice, and fragile hope define their choices, with the ultimate goal: keeping the darkness at bay by fixing a failing machine that is much bigger—and more personal—than any of them realized.

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Key Discussion Points & Story Beats

1. Entering the Darkness: The Ascent and Sacrifice

[01:36–03:55]

• Mr. Ren introduces the existential horror of being “in the wrong place at the wrong time,” setting a dread-heavy mood.
• The group faces a terrifying doorway and the cost of progress: a heroic sacrifice (Finley/Fenley), which spares them the “pull” but signals the immense danger.
• The survivors are left with new knowledge: a multi-locked onyx door, starry voids, and a monstrous eye – the breadth of the threat they face.

“There is only that place at that time. The wrong place. Our tenants are facing this.”
— Mr. Ren, [01:36]

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2. Personal Histories & Tenuous Trust

[03:55–04:55]

• In a pause, characters reveal backstories and motivations:
  • Abigail (real name Kathy) admits to a mysterious crime involving her father, before receiving acceptance from others.
  • Emotional vulnerability and new, tentative trust among survivors.

“I fucking might have killed him. I don’t know.”
— Abigail/Kathy, [04:04]

“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.”
— Jude, [04:07]

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3. Descent Into the Depths: Elevator and Terror

[04:55–08:48]

• The party finds themselves in a descending, malfunctioning elevator, only to be attacked by a monstrous, almost Lovecraftian creature with a single, back-facing eye and writhing flesh.
• They’re trapped in a vast, subterranean cavern, and find an old trail of bulbs leading outward—none lit.

“A ghastly face, lift its head straight into the grate and starts to shake it… it has one eye and it’s aimed into the back of its head…”
— Game Master, [06:34]

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4. Keeping the Light On: Hope Amid Horror

[08:48–10:10]

• The motif of "keep it on"—the party’s refrain for maintaining the flashlight, the trail, and hope.
• The group sets course for a distant shack, desperate to keep the darkness, and invasive monsters, at bay.

“Keep it on. For Finley. We have to keep it on. Keep it on.”
— Abigail/Kathy, [09:02]

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5. Relics and Confrontation: Abigail Faces Her Past

[10:19–16:32]

• Abigail/Kathy confronts a supernatural vision of her abusive father, seduced by an amulet’s power to "protect" her.
• Through a tense pull (game mechanic), she resists and sees through the illusion—the building is no home, but a decrepit power station atop an underground lake.
• This personal triumph underscores the episode’s theme: facing trauma to see reality.

“You actually, for the first time, feel this soothing, breathing, open sensation. It’s so comforting. Yes. You are beautiful. You have everything.”
— Game Master, [10:57]

“Fuck you, dad.”
— Abigail/Kathy, [16:02]

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6. The Blueprints Revealed: The Heart of the Building

[17:12–19:37]

• Discovery of old schematics and evidence: the machine’s blueprints are directly tied to the tenants’ rooms. The power station itself is only part of a larger, building-sized machine.
• Realization: they might be cogs (or sacrifices) in a larger system.

“Those are your rooms. Every single one of those is a building in which a tenant is supposed to be in. And you’re surprised to see how many are there and yet how few people you’ve ever seen.”
— Game Master, [18:44]

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7. Cultist Assault and Frantic Escape

[19:37–26:03]

• The elevator’s return is interrupted by cultists intent on preventing the group from turning the power back on.
• Tense action: lights switched, cultists blinded, melee combat (crowbars and sledgehammers), gunfire, and a monster leaping into the fray.
• The group barely makes it to safety in the elevator, battered but alive.

“You take your sledgehammer and crack it right across the side… bones snapping and a sickening thud as the body falls… That’s when you start to hear gunfire.”
— Game Master, [23:36]

"Run, slap, run!"
— Emmett, [24:26]

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8. The Machine’s Secret Location & Showdown

[30:57–34:45]

• The party realizes the true “machine” that’s holding the dark forces at bay is up in the building, not the basement; the fuse they retrieved must be installed in Fenley’s room.
• Gritty “final boss” vibe: Facing heavily mutated cultists and guards, the survivors dispatch them in brutal, violent close combat.

“I think the building might be the machine. I think that he built this whole thing in order to contain the gate.”
— Emmett, [32:04]

“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.”
— Selina, [34:03]

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9. Final Trial: The Mind’s Watcher

[41:23–46:36]

• The group bursts into Fenley’s forsaken apartment. Selina readies the fuse, but faces a supernatural mind assault from the entity known as the Watcher—who tries to seduce, cajole, and terrify her out of restoring the machine.
• The group rallies around her with affirmations, as Selina must resist in a tense, time-pressured mechanic.
• The line between reality and psychic manipulation blurs. Ultimately, Selina succeeds, jam the fuse in, and the lights (and hope) return.

“You jam that fuse. …It makes a satisfying click as you put it into place… and it is enough for now.”
— Game Master, [47:42]

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Notable Quotes & Memorable Moments

Horror as Poetry

“There is only that place at that time. The wrong place. Our tenants are facing this.”
— Mr. Ren, [01:36]

Vulnerability and Forgiveness

“It doesn't matter what you did. It really doesn't matter right now."
— Jude to Abigail/Kathy, [04:07]

Visceral Action

“You take your sledgehammer and crack it right across the side…bones snapping and a sickening thud…”
— Game Master, [23:36]

Existential Realization

“I think the building might be the machine. I think that he built this whole thing in order to contain the gate.”
— Emmett, [32:04]

Selina’s Defiance

“You don't control me anymore.”
— Selina, [43:06]

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Important Timestamps

• [01:36] – The horror of “the wrong place at the wrong time” sets the tone (Mr. Ren monologue)
• [04:04] – Abigail/Kathy reveals her crime and trauma
• [06:34] – Elevator attack by the monstrous “Watcher”
• [10:57] – Abigail succumbs, then resists, the influence of her "father"
• [18:44] – Game Master explains the schematic/blueprint link to tenant rooms
• [23:36] – Sledgehammer melee, cultist confrontation, gunfire ensues
• [32:04] – Emmett posits the building is the actual machine/gate
• [34:03–36:41] – Selina’s brutal fight with the cultist; examination of the corpse
• [46:00–46:36] – Selina faces the Watcher’s final psychic test
• [47:42] – The fuse is installed; a surge of hope, for now

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Tone & Style

The episode is atmospheric, tense, and raw—mixing psychological horror with visceral, cinematic action. Players’ language is often explicit, emotionally charged, and authentic, keeping stakes and immersion high.

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Summary & Takeaways

• The survivors progress deeper into horror, both external and internal: fighting cultists, monsters, and the weight of past traumas.
• The “machine” is not merely a device but is bound up in the architecture and the survivors themselves.
• Major themes: endurance in the face of unspeakable darkness, confronting and overcoming personal demons, and the value of companionship and trust forged by adversity.
• Their victory—restoring the fuse—feels hard-won but temporary. Madness and supernatural evil lurk close, and trust is more vital than ever.

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This episode is a masterclass in RPG storytelling, blending horror, action, and intensely personal stakes. The party's journey is a gauntlet of fear, self-discovery, and fleeting triumph against cosmic odds.

Transcript

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[Mr. Ren]

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? In this building? Hours?

[Game Master]

Months?

[Mr. Ren]

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. Ren. And there will be madness.

[Game Master]

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.

[Emmett]

There's papers.

[Game Master]

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 lidless eye staring at you as. As you see a writhing mass of flesh. I can't take it anymore. No. No. Fenally. 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. Your body flies. The wind gushes you out into the endless void of space. Thank you so much for joining us on this journey. But I'm going to have to ask you to leave our group. Give him hell. This is the tower that you will be playing with for the rest of the game.

[Emmett]

Why did all of you decide to move here?

[Abigail/Kathy]

I'm here because this building doesn't do criminal background checks. I'm here because.

[Emmett]

Because of your father.

[Abigail/Kathy]

Yeah.

[Emmett]

What happened?

[Abigail/Kathy]

I fucking might have killed him. I don't know.

[Jude]

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.

[Selina]

What's your real name?

[Abigail/Kathy]

Kathy.

[Selina]

I think it's beautiful.

[Game Master]

You come back to the main lobby and see the out of service elevator. Moments pass in which the grate starts to close.

[Abigail/Kathy]

Oh shit. Oh no, no, no.

[Game Master]

Starts to descend. And suddenly something on top of the elevator. Something is with you. Well, look at all of you in here. Because of madness. Well, 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?

[Emmett]

I would say we are about a mile and a half down.

[Game Master]

That would be incredibly accurate.

[Emmett]

Yeah.

[Game Master]

A mile underneath. At this stage, you have been descending into darkness. And that wasn't even before something tore through the rifts and landed onto the top of your elevator. And now. You can see a searching arm. The flashlight's down. Flash it's its hands 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 vivid 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. Jude. As 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 trail all the way to this building. Yet none of them are on. They have all been turned off.

[Abigail/Kathy]

Keep it on.

[Selina]

Keep it on.

[Abigail/Kathy]

Keep it on.

[Emmett]

We have to go to the shack.

[Abigail/Kathy]

We have to keep it on.

[Emmett]

Back on.

[Selina]

We can follow this wire to it.

[Jude]

That thing is still out there, to be honest.

[Abigail/Kathy]

Keep it on. For Finley. We have to keep it on. Keep it on.

[Selina]

I see a trail.

[Abigail/Kathy]

Keep it on.

[Emmett]

It's okay.

[Game Master]

You can see the few places 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 are 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, 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.

[Emmett]

What are you doing?

[Abigail/Kathy]

I mean, you know, if you can't beat him, join him. Oh, no. Maybe this will help protect us.

[Emmett]

No, you can't.

[Selina]

Abigail. No.

[Abigail/Kathy]

You might protect us. We gotta keep it on. No, no, no, no.

[Emmett]

Don't do it. Don't do it.

[Selina]

Please.

[Narrator/Advertiser]

No, no, no.

[Game Master]

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.

[Selina]

I'm going with you.

[Abigail/Kathy]

I'm not a threat, remember? I'm not susceptible.

[Selina]

I'm going with her.

[Game Master]

Doesn't that feel better? You actually, for the first time, feel this soothing, breathing, open sensation. It's so comforting. Yes. You are beautiful. You have everything.

[Abigail/Kathy]

Look at the book, dad.

[Game Master]

Tell me. And, yes, it sounds exactly like your father speaking to you in hushed, loving tones. Yes. Yes, sweetie, I'm here.

[Abigail/Kathy]

Daddy, I'm so sorry.

[Game Master]

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.

[Abigail/Kathy]

No, no, no, no, no, no, no, no, no. Wait.

[Emmett]

Abby. Abby. He. Your father's not Here. The voice isn't real. That's not real.

[Abigail/Kathy]

I killed him.

[Game Master]

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.

[Abigail/Kathy]

No. I killed him. I killed him, right? I killed him.

[Emmett]

No, it's fine. Whatever you did, it doesn't matter. You just have to hang on to it. This. This isn't. He's not doing it.

[Game Master]

Kathy. Just go inside of the building. There's nothing to be afraid of. Just walk in the building and let's see what's inside. Maybe we should. The crowbar with you. Take the crowbar with you. Let's go look at it all.

[Mr. Ren]

Okay.

[Emmett]

We're going with you.

[Abigail/Kathy]

I don't know if that's a good idea.

[Emmett]

You can't go alone.

[Abigail/Kathy]

You can't trust me.

[Emmett]

Selina, you are the only people that I've ever trusted, other than him.

[Game Master]

You know that he isn't real. If I am.

[Abigail/Kathy]

My father was a terrible, terrible person.

[Game Master]

I am real, Abigail.

[Abigail/Kathy]

And if he's still alive, I gotta kill him. I failed once. If he's still alive.

[Selina]

I think she needs to face this alone. Selina.

[Game Master]

Come to me, Abigail. It's just you and me, Kathy. We are going to do this together.

[Abigail/Kathy]

If I come with you, will you leave everyone else alone?

[Game Master]

I promise. Just bring the crowbar with you.

[Emmett]

We can't let her go. We can't.

[Game Master]

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 leave. I told the dumb bitch that if she ever walked into this house again, I would knock her senseless.

[Abigail/Kathy]

Is this my house? Is this my childhood house?

[Game Master]

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.

[Abigail/Kathy]

I resist him and look around to see if I see anything else.

[Game Master]

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 ingredients. Every attitude, anger in which you took in your life. And you looked around and saw.

[Abigail/Kathy]

Fuck you, dad.

[Game Master]

Nothing. He's not there. This isn't your childhood home. This is an old building. You can see machinery, turbines. And something blowing 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.

[Emmett]

Abby.

[Abigail/Kathy]

He almost. He almost made me ruin everything. I was about to beat the shit out of this fucking machine. Come here.

[Emmett]

Come here.

[Game Master]

Are you okay?

[Abigail/Kathy]

Yeah. We gotta fix it. Fix it. Keep it on. We got to keep it on, remember? Keep it on.

[Game Master]

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 Serena.

[Abigail/Kathy]

Just keep it away from me. Take it away from me.

[Game Master]

You all look to see this broken, battered down. 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 ripped old piece of paper that seems to have been used more than once. And is laid and 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.

[Abigail/Kathy]

That's. That looks like the sketch of what Fenley pulled out of his wall.

[Jude]

This is the building.

[Selina]

This is the plans for the building? Yeah. What are all these rooms?

[Game Master]

Those are your rooms. Every single one of those is a building in which a tenant is supposed to be in. 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.

[Selina]

Selena, you were room 408. So you were here. Finley was 406. He was next door.

[Abigail/Kathy]

Who's your next door neighbor?

[Selina]

Emmett?

[Game Master]

You were 403 your bathroom.

[Emmett]

It's labeled. There's something in your bathroom.

[Selina]

Abigail 305.

[Abigail/Kathy]

Directly underneath Emmett.

[Selina]

And I was 202.

[Game Master]

As you're all staring at this map, you're surprised to hear a. 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 grate 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. Watchers.

[Emmett]

Is there any sort of switch? Is there any indication of something that would turn it back on?

[Game Master]

Make a pull. Use that sweet brain, Selina, 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, Selina. You look across the building and you can see the old electronics and the breakers tripped. Okay? 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 going to have a short window to replace it before it pops again. What are you going to do? Are you flipping it? Are you pulling the breakers down and then lifting it back up again?

[Abigail/Kathy]

Or do we have to get all the way back up to Finland apartment first?

[Emmett]

We have this.

[Game Master]

Yes, you do. Do you know where it goes?

[Emmett]

We have to trip the circuit and then replace this in Fenley's room.

[Abigail/Kathy]

How much time? How much time would that take? I don't know. Not long.

[Selina]

How are we gonna get up to Finley's room?

[Abigail/Kathy]

We have a very precariously working elevator.

[Game Master]

Someone look inside of the door. If they're in there, we haven't heard them yet. What are you doing? The watchers. Oh. Do you want your mind into infinity or are you all going to sit here like a bunch of ninnies?

[Emmett]

Selina flips the switch.

[Game Master]

All right? You flip the switch up and you pull them all up. And you watch as light illuminates everyone around you as all of the light bulbs make this lake just a wondrous Bit of light. And you hear as each. As the man who recalled that previously covers his eyes. And you hear something. Something in the night as it pulls. And you can hear the scratching in the movie. What are you doing? What are you all doing?

[Emmett]

I grabbed the map and we have to make a run for it. We have to go.

[Abigail/Kathy]

You guys go. We'll cover.

[Mr. Ren]

All right.

[Game Master]

You run out the door, all of you. Crowbar sledgehammer in hand, you burst out through the front door. And you watch as the culture 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.

[Abigail/Kathy]

Yep. Playing baseball.

[Game Master]

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. Of these incandescent lights make every single one of these cultists just blindsided. As you take your sledgehammer 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. Gunfire is firing all around you as all of you are running straight towards the this elevator. Your last true escape out of here. But there's more. There's more cultists around you. You've taken one down. Is anyone else doing anything? All right, look out.

[Abigail/Kathy]

I've got guns.

[Game Master]

Emmet. 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. And you see as it rakes its large clandestine claws. And it leaps straight for Emmet 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 going to do anything with it or are you going to keep running? Run, run, slap run. And all. All of you pull yourself towards the elevator, slam the great shut and hit the button to feel the ascending staircase of safety leading you up. You can hear his gun firing ricocheting as bullets are grazing ever so minutely past you. Selina. You. You just see one. You can feel it. It's so close to you. Make a pull. Avoid. Avoid the bullets, Selina. 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, 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 manage to find safety right behind Emmett.

[Narrator/Advertiser]

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[Game Master]

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 fuse 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. The machine's 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. That was just where the power was. So what happens now? After the fuse is in place, what do we do?

[Jude]

Do we take this to Finley's room?

[Emmett]

Oh yeah. To put it back. Yeah.

[Selina]

Cause if that wasn't the machine, that's where Finley's room's where the machine is. It's gotta be.

[Emmett]

I think the building might be the machine. I think that he built this whole thing in order to contain the gate.

[Abigail/Kathy]

Okay, let's go, let's go, let's go.

[Jude]

Let's start with Finley's room. Branch out from there if we have to.

[Game Master]

So as you feel this tension coming into 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 groan 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 how 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, definitely guarding your way out of here.

[Abigail/Kathy]

Maybe I have something that he wants

[Selina]

or Maybe we just fucking kill him.

[Abigail/Kathy]

Or maybe we just fucking kill him.

[Jude]

Kind of like that.

[Game Master]

Well, Jude, how are you going to fucking kill him?

[Selina]

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.

[Game Master]

Make a pull, take this man down.

[Abigail/Kathy]

Now y' all see why I wanted to tap that?

[Emmett]

Good for you.

[Game Master]

Yeah, dude. This grate 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 as you stride step after step after step to this man. And you can see the cultist

[Mr. Ren]

stop. Get back.

[Game Master]

And you can wail and see his tongue waggling livid like a snake's head. Tongue coming back and forth as he speaks.

[Mr. Ren]

Raskodnazkirsk. Stop.

[Game Master]

Don't. What are you doing? And he pulls his gun out to shoot you before you crack him across the side of the face. You take it from here, Jude.

[Mr. Ren]

Ask.

[Narrator/Advertiser]

And Aska shut the fuck up.

[Game Master]

And you bash his brains in. And you watch as the matter is just his.

[Selina]

It's been a really, really long day, buddy. Now you're gonna fucking pay.

[Game Master]

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.

[Abigail/Kathy]

I rush up to the body and start searching through his pockets and his robes.

[Game Master]

As you come up to the body and look across him, you can see he is 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 along him. As you pull the mask off onto him, you realize his eyes are skinned. 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.

[Abigail/Kathy]

All right. Well, I guess that whole mind's eye thing has been really working out for these guys here. Emmett. I toss him the mask.

[Game Master]

Okay.

[Abigail/Kathy]

All right. Anything else on him?

[Game Master]

Nothing besides the gun.

[Abigail/Kathy]

Can I take the gun?

[Game Master]

Yes, Abigail, you can take the gun. Here you are. Now, for the purposes of our story, that weapon represents six pull less shots that you can make if you ever want to use it. You just tell me that you fire the gun.

[Jude]

We should probably redistribute here. We've got a gun, a hammer, a crowbar and a knife, so to speak.

[Abigail/Kathy]

Who's a good shot? I mean, my dad taught me how to shoot.

[Jude]

I'm kind of fond of this.

[Emmett]

That's your souvenir.

[Selina]

I think I'm good with this.

[Emmett]

I'll take this sledgehammer. Yes.

[Abigail/Kathy]

Y' all are leaving me with a gun.

[Selina]

Close contact.

[Emmett]

Do you trust me with it?

[Abigail/Kathy]

It's not you I don't trust, it's me. I think we've all seen enough shit tonight.

[Game Master]

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 Earth earlier. Erickson and the sergeant are now looking at the lights recently turned on. And you can see that they seem angry and scared.

[Abigail/Kathy]

Can we hear what they're saying?

[Game Master]

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. And they continue to commiserate under their breath.

[Selina]

I said we try to take them out with whatever we have. If we get into.

[Game Master]

If you fail.

[Selina]

If we get into.

[Game Master]

Fail.

[Selina]

Kill him.

[Game Master]

All right, Jude, Selina, 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.

[Jude]

I got it.

[Selina]

We got this,

[Game Master]

Emmett. As you slowly push yourself up from the second floor of the sub basement, you crawl onto the 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 watch as both of them lift their guns out. As both Selina 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 Selina, with the last man, Eric Dixon, looking at his friend with a tooth in the back of his neck, takes a giant sledgehammer into the back of the head. Don't do it. Don't you know he is going to kill you? Otherwise he will divinely kill you. Selena. His brain matter splatters Everywhere. As after knocking him down, Selina 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.

[Abigail/Kathy]

Fucking idiot.

[Game Master]

All four of you stand in Fenley's room looking at each other.

[Emmett]

Is the hole in the wall. Is it right? Will this fit?

[Game Master]

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.

[Emmett]

Okay, I'll put it in.

[Abigail/Kathy]

Selena for Fin.

[Game Master]

No, no, no, no, don't. No. Don't do it. No. I will not be stopped.

[Mr. Ren]

Stopping.

[Game Master]

You got it. You got it. You got it, Will. You got it? Not be thwarted. I'm so close.

[Jude]

We are right here.

[Game Master]

I can see you, Selena. Yeah. I see you. I see you. I know the voices in your head. They are mine. I.

[Emmett]

You're all real.

[Game Master]

I am yours. I am real. Watch me. Watch. Let me open your mind into endless infinity.

[Mr. Ren]

Don't put it in.

[Game Master]

Break and smash it. Take your hammer.

[Mr. Ren]

Do it.

[Selina]

Do. Selina. It's all in your head, Selina.

[Narrator/Advertiser]

Just do it.

[Game Master]

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, Selina. 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 traipse across the wasteland that is his home. But. 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. Selina. 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 walk touches you, it will be a pull. Are you ready?

[Emmett]

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.

[Game Master]

Great. Beginning, Selena. Selina. Selina. 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. You know not.

[Selina]

Selena.

[Jude]

You doesn't control you.

[Selina]

Here.

[Game Master]

Open your mind and let me place it in there.

[Selina]

Selina.

[Game Master]

The Void of Infinity. I can help you. Selina. Fuck.

[Jude]

That asshole doesn't control you.

[Selina]

Come on, Selina.

[Game Master]

Come on.

[Abigail/Kathy]

They're real.

[Jude]

Stronger than him.

[Game Master]

You are. You aren't. Stronger. You aren't. There's nothing here for you.

[Glass Cannon Podcast Narrator]

Give in.

[Jude]

Give in.

[Abigail/Kathy]

Mercy.

[Game Master]

Lima.

[Jude]

Selina.

[Abigail/Kathy]

Keep going.

[Game Master]

There's nothing left for you here. Put it away. Nine.

[Jude]

Eight.

[Selina]

Morselina.

[Jude]

Seven. You own him.

[Game Master]

You own him. You own him.

[Abigail/Kathy]

Four.

[Game Master]

Three.

[Jude]

Two.

[Game Master]

One. Selina, you've done it. You have to make only one pull. The Watcher has caressed your mind ever so lightly, but he has not given his fingers deeply into you. Make your single pull, Selena.

[Emmett]

You're real.

[Abigail/Kathy]

You're really good, Ariel. Yeah.

[Emmett]

I'm real.

[Abigail/Kathy]

Hey. Hey. I think. I think you're worth it.

[Game Master]

The tower is waiting. Selina. Madness is never too far away.

[Abigail/Kathy]

We're real.

[Game Master]

You jam that fuse. Okay.

[Jude]

A little bit longer. A little bit longer.

[Game Master]

Thank you.

[Jude]

Thank you.

[Game Master]

It makes a satisfying click as you put it into place. And you can feel a warm, warm as 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.

[Glass Cannon Podcast Narrator]

The war is over and both sides lost. Kingdoms were reduced to cinders, and armies 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 brief 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 8pm Eastern on YouTube.com theglasscannon with the podcast version dropping the next day. See what everybody's talking about and join us in the dark harp.

[Ellen Marsh]

Oh please, not that music. That music gives me nightmares from my childhood.

[Joey Taranto]

Could we get something a little bit lighter? Some lighter music here?

[Ellen Marsh]

Are you a fan of true crime TV shows?

[Joey Taranto]

And what about Unsolved Mysteries, the show that jump started all of our love of true crime?

[Ellen Marsh]

I'm Ellen Marsh.

[Joey Taranto]

And I'm Joey Taranto.

[Ellen Marsh]

And we host I Think Not, a true crime comedy podcast covering some of the wildest stories from your favorite true crime campy TV shows all the way to Unsolved Mysteries.

[Joey Taranto]

Baby, you will laugh, you will cry. You'll think about true crime in a whole new way. And you'll also ask yourself, who gave these people mics?

[Ellen Marsh]

New episodes of I Think not are released every Wednesday, with bonus episodes out every Thursday on Patreon.

[Joey Taranto]

And every Monday you can listen to our True Crime rundown where we go over the top true crime headlines of the week.

[Ellen Marsh]

So come and join us wherever you listen to your podcast.

[Something You Should Know Host]

Ever open up your podcast app? Scroll forever and still not know what to listen to. And there are millions of podcasts and most of them, they just don't grab you. That's why I created Something you should know. Every episode is built around surprising, useful and fascinating ideas. We're consistently ranked in Apple's top 200 with thousands of five star reviews. But more importantly, people come back because they learn something interesting every time. If you're tired of searching and you just want something good to listen to, try one episode of Something you should Know right here on the platform you're listening on right now.