Chapter Three: Open the Door | Sagas of Sundry: Madness

Summary

Episode Overview

Title: Chapter Three: Open the Door | Sagas of Sundry: Madness
Podcast: Critical Role & Sagas of Sundry
Date: April 13, 2026
Main Theme:
In this evocative and tense episode of Sagas of Sundry: Madness, the characters confront the aftermath of a landlord’s shocking death at a rooftop party. As suspicion, hallucinations, and cryptic clues swirl, the group wrestles with growing paranoia, supernatural visions, and the revelation of a sinister conspiracy involving their own secrets. The horror intensifies as they uncover the truth about their building, the enigmatic landlord, and themselves—culminating in a desperate choice: open the door leading into a mysterious otherworldly landscape or remain trapped with the threat closing in.

---

Key Discussion Points & Story Beats

1. Opening: The Box & Consequences ([00:00])

• Mr. Ren (Narrator) sets the tone, reminding the players and listeners that their choices have opened a box—risking descent into chaos and madness:

  "You must accept what springs forth from the box... And, oh, there will be such consequences." — Mr. Ren [00:00]

• The game’s core mechanic is revealed: every action has dire consequences, and descent into insanity has started.

---

2. The Rooftop Party & Shocking Death ([00:54]–[02:36])

• Players gather at Fenley’s party, with witty banter and introductions.
• Abigail remarks:

  "I've never seen a flyer work so well." [01:34]

• The party is interrupted by the landlord’s violent arrival, revolver drawn, accusing someone of tampering with the walls.
• The landlord dies in dramatic, inexplicable fashion—falling from the balcony, leaving blood and confusion behind:

  "You watch as he spirals down... Holy shit." [02:31]

---

3. Police Investigation & Rising Paranoia ([02:36]–[16:47])

• Police arrive and begin separating and questioning the party-goers, but their behavior quickly seems off, sowing distrust.
• Characters are pressured, searched (sometimes uncomfortably), and one (Selena) is cuffed suspiciously:

  "You watch as he whips out the cuffs and places them into your hands, clicks them and holds them tightly before snickering to himself. Have a nice day." — Narrator [17:14]

• The group voices skepticism:

  "I don't think these are cops." — (G) [23:19] "If they're not, then who are they?" — (C) [23:30]

• Players realize the police's actions don't add up, and begin to question the reality of their situation, the body, and each other's stories.

---

4. Secrets, Trust, and Identity ([18:47]–[37:06])

• The group exchanges suspicions, secrets, and hidden notes that appear to catalogue each resident’s psychological vulnerabilities—each labeled "RP Project" with numbers (e.g., [36:28]).
• Aggressive confrontations ensue as Abigail physically searches Selina for her secrets, and others demand transparency.
• Trust is tentatively established after forced vulnerability, with a sense that everyone has something to hide:

  "We're all just fucked up just enough to be able to be susceptible to this." — Abigail [56:49]

• The “threat levels” noted on their files suggest they are unwitting subjects of an ominous experiment or project by the landlord.

---

5. The Landlord’s Room & The Generator Puzzle ([37:06]–[49:01])

• Using stolen keys, the group infiltrates the landlord’s apartment.
• They find personal mementos, confidential files, and a cryptic schematic involving electrical circuits—a physical puzzle which they solve by “bypassing” circuits together, physically and metaphorically:

  "On the desk... So to keep it on. It's an electricity thing and it's not with the regular electricity." — Fenley [49:31]

• The importance of “keeping it on” (the power, the machine) is emphasized by both the landlord’s notes and trippy, reality-distorting moments.

---

6. The Rift & Surreal Revelation ([49:14]–[54:51])

• Papers and notes reveal the landlord was maintaining a machine to keep a mysterious rift at bay; the building is designed as a supernatural seal.
• Earthquakes and building tremors grow more frequent and intense, sand pours through cracks, and the group experiences shared hallucinations or visions of another realm.
• At the climax, they open a door to a blinding, arid desert sky—a surreal otherworld filled with infinite sand dunes:

  "As the door opens, a white light blasts through... and you look out to a landscape of sand dunes and an open, blue, purple sky." [53:54]

• Fenley stuns the group:

  "I've been here before. When I took the cylinder out of the wall, I was here." — Fenley [54:23]

---

7. Personal Revelations and Existential Despair ([54:53]–[59:18])

• Characters process traumatic backstories, reveal guilt, and admit to feeling like "nobodies," chosen for this experiment because they wouldn't be missed.
• There’s desperation as they try to understand what draws them together:

  "We’re all nobodies enough to where if anything happens to us, nobody would care." — Abigail [56:49]

• In a poignant coda, Selena admits:

  "You know what the dumbest thing about all of this is? This is the first time I haven't felt alone." — Selena [59:18]

---

Notable Quotes & Memorable Moments

• Mr. Ren’s chilling opener:

  "The box didn't ask to be opened. You chose to open it... And, oh, there will be such consequences." [00:00]

• Landlord’s surreal death:

  "You watch as he spirals down... Loud crunch." [02:31–02:34]

• Police Sgt.'s abuse of power:

  "I can do what I want. I'm the law." [17:47]

• Collective Hallucination (Fenley’s face melting):

  "You start to see his face... it’s starting to sag... his face is melting... And you look back and his face is fine." [20:00]

• Selena on black hat hacking:

  "Yeah, I run black hat operations." [21:40]
  "You sell hats?" — Fenley [21:50]

• Scrambling to understand their predicament:

  "Does anyone know this man's name?" [11:59]
  "We're all bad actors." [23:00]

• The “swept under the rug” puzzle:

  "Look. It spells something. Swept... Under the rug." [47:54–48:05]

• Shared experience realization:

  "It's not you. It's the building." — Selena [56:26]

• Selena’s confession:

  "This is the first time I haven't felt alone." [59:18]

---

Timestamps of Key Segments

• Introduction, Mr. Ren’s monologue: [00:00–00:54]
• Rooftop party & Landlord’s death: [00:54–02:36]
• Police arrive, body examined, tension rises: [02:36–06:11]
• Line-up, police suspicion and searching: [06:11–17:47]
• Paranoia, secrets, and argument among group: [18:47–37:06]
• Breaking into landlord’s room, finding clues: [37:06–49:01]
• Solving the puzzle, bypassing the circuit: [49:01–50:17]
• Rift and revelations, opening the door: [53:54–54:51]
• Processing trauma, existential despair: [54:53–59:18]
• Selena’s poignant moment of connection: [59:18]

---

Summary Insight

This episode masterfully weaves psychological dread, conspiracy, and found-family vulnerability into a pressure-cooker environment. Players are kept on edge through ambiguous threats (the unreliable police, supernatural elements), with the horror drawn from both external (the rift, the building) and deeply internal (memories, secrets, trauma). The result is an improvised, improvisational narrative that leaves listeners grasping for meaning—mirroring the spiraling confusion of its characters, and lingering on the idea that sometimes, the only way out is to open the next door, wherever it may lead.

Transcript

[A]

Once you insert the key, unlock the lock, lift the lid. You must accept what springs forth from the box. The box didn't ask to be opened. You chose to open it. You chose. And for every choice, there is a consequence. The cost may be high, but let us be clear, my darlings. You chose our tenants. Descent into insanity has begun. The key has been turned. The box has been opened. The choice has been made. And, oh, there will be such consequences. These are the sagas of Sundry. I am Mr. Ren. And there will be madness.

[B]

Our journey should begin with Fenley's rooftop soiree.

[C]

Huzzah.

[B]

Jude, you look like a great candidate for coming in.

[C]

Hey, my name is Fenley.

[D]

Jude.

[C]

Ah, like the Beatles song.

[D]

Something like that.

[B]

Abigail, why don't you arrive next?

[E]

You decided to come, I guess, then.

[C]

Oh, you guys know each other?

[D]

You could say that.

[E]

Yeah, you could say that.

[C]

I did say that.

[B]

Selena, why don't you come in next?

[C]

Hello.

[F]

You seem really nice and everything. I'm not here for the party. Really?

[C]

Oh, I'm Fenley. Just for future reference, if you need to, like, yell at me or something.

[B]

Selena Bammet Markham, you step up.

[G]

Oh, hi.

[C]

Hi.

[G]

Is this cool? I mean, I found this on the. In my hall.

[C]

Absolutely. You're in the right place.

[E]

Man, I have never seen a flyer work so well.

[C]

Right?

[E]

I'm so impressed. Let me know if you want to bounce. I Give this like 15 more minutes before my tolerance starts to.

[B]

They start walking towards the door, when suddenly you hear the. As the door kicks open and you see the landlords come straight up. Who did it? Whoa, whoa. Who did that? Somebody screwed with the walls. He pulls a gun out. It's a six shooter revolver.

[D]

Did anybody do anything? Hey, hey, hey.

[C]

I did.

[B]

What did you do?

[C]

There was a ticking. There was a ticking noise in it.

[E]

The ticking.

[B]

What was the ticking?

[C]

I sketched it. I have a.

[B]

You show him the bulb. He starts to calm down. He puts the gun down ever so, like there might still be time. And he runs and he storms down the hallway. So as you all make your way down to the second floor of. You see the landlord leaning against one of the rails. He starts to roll back. As the final thing he says to the skies above. Keep it on. As he tumbles backwards off of the banister.

[A]

No.

[B]

And you watch as he spirals down. Holy shit.

[A]

Loud crunch.

[E]

Oh, my God.

[B]

And then you hear a knock at the door. Benley, as you open the door, you see several police officers standing in front of you. Sir, we've heard that There's a disturbance.

[C]

Yes, there's been a disturbance.

[A]

It's.

[B]

Hello, everyone, and welcome to madness. So when we left you, Fenley came down to go and answer the front door. Did anybody go with him?

[E]

I went down to the bottom to try and.

[B]

You went down to the body.

[E]

Look at the body before being stopped.

[B]

As you came down to look at the body splayed out before you, you notice something? As he fell, Something braced his fall. One of the many side stands that exist in the mailroom in which people have been putting junk mail on for years and years and years. Something fell out of it. A box. Do you want it?

[E]

Yes.

[B]

Then make a pull, damn it. As you look over this man's broken body, you have to come to some kind of conclusion. This man was killed. He was murdered right in front of you. And at this point, you're not even too sure how he was holding his head. Blood was trickling down his face. But you also heard gunshots. Very distinct gunshots from what you thought was a pistol, which is no longer there, by the way. Here. You've earned it, Ms. Abigail.

[E]

I quickly put it under my shirt before the cops open the door.

[B]

Sir, may we please come inside? We had a report that there was gunshots coming from this building.

[C]

Yes. There's been a horrible accident.

[B]

An accident?

[C]

Yes. Come inside, please.

[B]

All right. You watch as you open the door. As the police officers start to come in, you can see there seem to be two, and from what appears to be a sergeant. Now, the three of you that are sitting up top on the second floor, what's going on with you?

[F]

I'm gonna hang back.

[D]

Yeah, I need to be out of

[F]

sight, get myself a little scared.

[G]

I was trying to spot the gun, but it's.

[B]

The gun's gone.

[G]

Gone instead.

[B]

Emmet, you see something else? A steel crowbar lies next to where the landlord was before he toppled and fell down into the area. It's covered in blood. Maybe this was the thing that hit him. Do you want to take it?

[A]

Um.

[B]

I won't make you make a pull for it. No, it lies there, sir. Oh, God. All right, everyone close those doors. Make sure no one comes inside. All right, son, tell me what happened.

[C]

Yeah, this is the landlord of the building, and we were. We were on the roof and we were having a party, and we. We heard gunshots from the second floor. And we came down to see what had happened, and he was there. He was bleeding.

[B]

All right, all right.

[C]

On the second floor.

[B]

I understand. I hear it. We need to look for the Gun. Thompson, Erickson, go upstairs. See if you can find out where the gun is. Where did you hear gunshots at?

[C]

We were upstairs on the roof when we heard it from below.

[B]

How long has this man been the landlord of this building?

[C]

I just moved in. I don't know. Abigail, how long has he been the landlord?

[B]

Miss, can I have you come over here? Step away from the body, please.

[E]

Um, I'm sorry. I'm just. I get really uncomfortable. Sight of bloods. I would like to be by my. My best friend, if you don't mind.

[B]

All right, you two stay. No, I don't. I need you to stay separate. We can't rule anybody out at this stage, so I need you both to stay calm and tell me what happened.

[E]

I mean, he's been the landlord for ever. Since I've been here. I've been here for about a year and a half, and he's always been here. And he's just the sweetest old man.

[B]

How many floors are in this building?

[C]

I don't know.

[B]

Did you see the assailant?

[C]

No. Like I said, we were on the roof and we heard gunshots and we came down.

[B]

Hmm. All right.

[C]

It's okay.

[B]

Erickson, did you find a gun? You watch as the two patrol officers come up to the second floor, using the stairs, and see you three as they look at you suspiciously. No, sir, we didn't find a gun. But there seems to be a crowbar up here. And Nabe crumbs up as he picks up the piece and looks at it and then unceremoniously drops it back to the floor again. And you watch as the two patrolmen, or the one patrolman that's upstairs, rallies all three of you together, and he begins putting you all into a lineup. Against the wall. Selina. You see something as you're walking down the steps, something gleaming from the body of the landlord. Make a pull. What are you feeling right now? There's. You meant to go upstairs just to get away and feel safe, and now this is happening. What's going on in your brain?

[F]

I am nervous. I don't even, as a rule, like normal people, cops especially, are not copacetic.

[C]

Shut up.

[B]

The policeman looks at you. Who are you talking to?

[F]

I'm sorry. I'm really, really nervous.

[B]

Well, there has been a murder.

[F]

I've never seen a dead body before, so you understand.

[B]

I'm sorry you have to go through that, but you do get used to it.

[F]

Oh, I.

[B]

The policeman's words seem to ring dead and hollow on your ears as he doesn't seem to put a lot of emphasis into the words. And yet there is some comfort in knowing that this won't be the first or last dead body that you've seen. But you do see a pair of keys sitting out along the side of his coat, just hanging there along his crumpled fallen form.

[F]

I dropped some of the bracelets that I have been fidgeting with, and as I go to pick them up, I swipe the keys.

[B]

All right, I'm gonna need each one of you to give a statement on what happened. You know, it might be easier if I take each one of you aside. So none of you have a chance to collaborate stories.

[D]

There's nothing to collaborate.

[B]

I don't think I'll be the one to determine if there's anything to corroborate or not. Thank you. You all right?

[D]

Look, it's not a big deal. You guys were, you know, we're all chilling.

[E]

Uh huh.

[D]

It's not a big deal.

[B]

Do you know the landlord's name?

[G]

I don't.

[F]

I don't.

[B]

That's weird. That's odd. How would you not know the landlord's name of someone's building you've been into this entire time?

[C]

Why? I just moved in here. I don't even know my neighbor's names. Like that's why we are getting together

[B]

on the roof, just to find out.

[F]

You're very chill.

[D]

I am very chill. There's nothing to be concerned about.

[E]

Yeah, yeah, yeah. Just tell them the truth.

[F]

No wonder you're not very successful. You're not very good at acting.

[E]

What the fuck did you just say?

[F]

You're not very good at acting. If you have something to hide, you should probably just tell the truth.

[D]

Nobody has anything to hide.

[B]

Does anyone know this man's name?

[D]

Yeah, it's. What was it like? Habibi something.

[B]

Habibi? That's the best you've got? Habibi?

[D]

I think that's his last name. Habibi.

[B]

Do you know where the man lives? Do you know which room he's in? And he pulls out a pen and takes out a pad of paper, ready to write down the location. Do any of you know where this landlord lives? Which room he's in? All landlords have some kind of building in here.

[E]

His master office is right around the corner.

[B]

All right, you watch as he makes a note, ever so lightly. Miss, I'd like to talk with you next. Come with me.

[C]

You'll be fine.

[B]

You'll be fine.

[F]

Good luck.

[E]

Thanks. Bitch.

[B]

Miss, what was your name?

[E]

I'm Abigail Abigail. Abigail Persimmon.

[B]

Abigail Persimmon, yes. And you said you knew this landlord?

[E]

Yes. I mean, I knew him as well as anyone knows their landlord.

[B]

Okay, how did you know him? Did you interview to be here?

[E]

I did. I mean, he was my landlord.

[D]

Right.

[B]

Which floor of.

[A]

You.

[F]

Are you okay? You seem really upset.

[E]

This one.

[B]

So right close to the hard day. All right, miss, I'm gonna have to check you for weapons.

[E]

Oh, it's just.

[B]

Can I have you lift your hands up, please?

[E]

I mean, that's really.

[B]

Miss, I'm gonna need you to lift your hands up, please. You watch as he takes his hands and he starts getting into areas around you and starts poking and prodding into places.

[E]

Okay? I'm really uncomfortable.

[B]

What is this?

[E]

It's just a flask.

[B]

Have you been drinking?

[E]

I mean, it was a party. We were just hanging out on the roof.

[B]

You said this is an accident.

[E]

I'm sorry. Look, that's.

[B]

Are you sure that he wasn't shoved over?

[E]

We didn't see anything. I swear. We were on the roof with everybody else.

[B]

How do I know that you aren't hiding something that I'm not?

[E]

I would tell you if I was hiding anything, I swear. We heard the gunshots and we went down to the roof and we were with everybody else. I was with them. They were with me.

[B]

Sit back down.

[A]

Okay.

[B]

Take your drink and sit back down. Now, you can tell as each one of you have been kind of watching this scene pan out between Abigail and the police sergeant being very rough, being very unethical with her. There's this anxiety building up as each one of the police officers begin to look around ever so slightly. They look towards Salida next, and the sergeant comes back, loops around and goes, miss, I'd like your statement next.

[E]

Okay.

[B]

Up.

[C]

Just tell the truth. Everything's.

[B]

Yeah.

[D]

You don't need to say anything unless

[B]

we say the quicker we can get done with this. All right?

[C]

But what if. What if something happened to him? What if he. What if it'll happen to us?

[E]

Something definitely happened to him.

[D]

Something happened to him. He's dead. Obviously something happened to him.

[C]

Is that funny?

[E]

I'm sorry. I'm a nervous laugher.

[B]

Did you have anything against the landlord?

[F]

No. I've been here.

[B]

Do you know any person who might have been an enemy of his?

[F]

There was one person he evicted very unceremoniously, He.

[B]

And who was that?

[F]

Rachel Evans.

[B]

Rachel Evans, he looks through and makes.

[F]

Three years ago. Three years ago, she nailed something into the walls and he tossed her out on the street. Right then and there when he found out and tossed all her stuff out with her.

[A]

Hmm.

[B]

Miss, are you sure you're not carrying the gun or you know where it is?

[F]

No.

[B]

What about that crowbar?

[F]

I didn't even see it when we came down.

[B]

I'm hearing a lot of people who have a lot of no idea what's going on right now. And I feel like somebody knows what happened here. But since you're all being so quiet about it all, I think the best that we can hope for right now is to have all of you stay in this house while we get homicide over here to do something about the body, as well as take photos. But I don't want any of you leaving. Erickson, come out here and stay in front of the door. Don't let anybody out. Selena Tsukiyama. That's a very unique name.

[F]

Thank you.

[B]

I feel like I've heard that before.

[F]

Do you hang out in Little Tokyo?

[B]

Jokester, huh?

[F]

No, not particularly.

[B]

Well, I've got a joke for you. And he watches. He webs out a pair of handcuffs. Put out your hands.

[C]

She was with us.

[F]

I'm sorry.

[D]

Wait a second.

[B]

You're not under arrest, but I don't want you going anywhere. And I saw what you did. I don't know what you picked up and I can't see around it, but you got sneaky fingers. Put your hands out.

[D]

Holy shit.

[B]

You watch as he whips out the cuffs and places them into your hands, clicks them and holds them tightly before snickering to himself. Have a nice day. Everybody wait.

[C]

What do we do with the body

[B]

as he walks out the door? Homicide will be here in a while to come check on it. Erickson here will be watching it. In the meantime, none of you touch it. You don't do anything unnoticed.

[D]

You can't just handcuff somebody, man.

[B]

I can do what I want. I'm the law. And he walks out the door.

[D]

This is fucking bullshit.

[B]

You watch as the police officer, the patrolman, sits there. He seems to be leaning his foot on another and is simply leaning on the front grate of the door, just watching all five of you and the body right there.

[G]

Are we being charged with anything?

[B]

You watch as the patrolman flicks out a cigarette, pops it, lights it, starts smoking.

[C]

Should you be doing that around a live crime scene?

[B]

Do whatever I want. I don't know what you're all hiding,

[D]

but none of us had anything to do with this.

[B]

Sure, buddy, sure.

[G]

Does he have eyes on every single one of us?

[B]

He glances over to you he's more

[E]

so, like, making sure that no one leaves? More or less.

[F]

Yeah.

[B]

He's more sure making that no one's going out through this door.

[A]

Yeah.

[G]

Then I'm gonna go get the crowbar.

[B]

All right. You gotta go upstairs and you find the crowbar.

[E]

Why don't we all, like, go upstairs for a second?

[C]

Yeah, I need to get away from this.

[E]

Hey, Finley.

[C]

Yeah?

[E]

Can you spare a page in that notebook?

[C]

Oh, sure.

[E]

Just write something down for me.

[C]

Okay. Yeah.

[E]

Keep it on.

[C]

Keep it on.

[B]

Now, Abigail, as you hear the words. Keep it on exiting your mouth, you look at Fenli's face and you start to see something as he's writing down the words. Keep it on. You can feel.

[G]

Keep

[B]

it on. As these words echo outside of your mouth. And you start to feel. Feel something pursing into your brain. Something penetrating. Something seems to be encroaching itself into your head. You are looking at him as he's writing these words down, and you start to see his face. It's starting to sag. It's starting to drip. And you look and see that parts of the skin are starting to fall off as blood and gore and bone start to expose himself. His face is melting. His face is falling apart. Make a pull. Make a pull. Look at him as he is writing these words. Keep it on. And you see his face just starting to fall slack off of his bones.

[E]

Okay, all right, all right. Make it stop. Make it stop.

[D]

Make it stop.

[B]

Eyeballs begin to pierce out through his cheekbones, and you can see his jaw become exposed as his rigid white teeth begin to purse it. But his jaw is moving through the same words. And you hear it. Keep it on, Keep it on, keep

[A]

it on, keep it on, keep it on.

[B]

Keep it on. And you can see the skin is dripping off of his jawline. And you shake your head and you look back at him and Fenli's face. His face is fine. There's nothing wrong. He's perfectly okay. And something blew into you for a second, and he writes the words down.

[C]

You okay?

[F]

Mm.

[E]

Yeah. Yeah, 100%. I'm great. I'm great.

[F]

No, you're a bad actor. You saw something.

[D]

The fuck is wrong with you?

[C]

I just asked, what is he doing?

[E]

You wanna know something? You wanna know something about being a good actor or a bad actor? I just made sure the cop didn't fucking find this.

[C]

What is that?

[E]

Kept him nice and distracted.

[F]

So that was very good.

[E]

Yeah. Here you go. Hacker Internet shit.

[C]

Where did this come from?

[E]

You do things right well, that's what it is?

[F]

I mean.

[E]

No, tell me. You apparently know a whole lot, don't you, Selena?

[F]

Yeah, I run black hat operations.

[C]

You sell hats?

[D]

What?

[F]

You artist? Yes. I hack. I take bits of money where they're not gonna be noticed. I expose crimes.

[E]

I expose your fellow Landmates. Flatmates. Is there a word for people who all live in the same tenants? Tenants fucking know it all is right again. So what's in the box? This is, like, right up your alley, right?

[F]

How did you know?

[E]

Been around a little bit. Seen a few quick peeks. And door slams when you think you're not being watched. Let's just say that I'm not the only one who's got eyes around here, Selena. But, I mean, after calling me out, being nervous around the cops and stuff, and you being very similar kind of nervous around the cops. I mean, that's something that people tend to recognize in each other, so kind of started doing the math. But it's cool. Cause we all have secrets. And I guess we're all bad actors.

[G]

Hey, can I change the subject for a minute, please?

[B]

Yeah, sure.

[G]

I don't. I don't think these are cops.

[C]

What? What?

[G]

They question some of us, not all of us. Yeah, they cuffed her for no reason. They're not acting like cops.

[C]

If they're not cops, then who are they?

[F]

It's all very suspicious. It doesn't add up logically.

[E]

I mean, you think Mr. What's his name, Erickson over here, or whatever the. His fake copass's name is. I think he's gonna notice if we look around a little bit. There was also this. Okay. You know how Mr. The landlord. God, I never knew his real name. I'm kind of feeling a little guilty about that now, now that he's dead.

[D]

I thought it was Habibi.

[C]

Habibi?

[D]

Maybe I'm wrong.

[E]

Okay. You guys know how he was, like, super particular about the walls?

[C]

Yeah.

[E]

Did he ever give you guys the black door speech as well? There's this door that you don't open here to a stairwell.

[C]

No, but I've seen it, because I look at the architecture and so I. Oh, right.

[E]

You do that. You're one of those people. I mean, he's dead now. So what's stopping us from opening this door? Jude.

[B]

Jude. Something's in there, man. You need to make a pull for it. Something's there. It's in your brain.

[H]

Greetings, adventurers. We need to talk because this is kind of a big deal. Fabletics just dropped denim. That's right. Real denim. Not at leisure inspired, actual, structured, durable, premium feel denim. Now, if you know Fabletics, you probably think of them like this performance gear company. So seeing them step into denim, well, that is a serious level up. And they have millions of loyal members who trust their fit. So seeing them bring that same innovation to denim, it's pretty darn exciting. And this is a brand new drop. That means new styles, new washes and sizes that will not sit around forever. The only downside is great denim comes with a price. But because this is their launch, new VIPs unlock major savings on their first purchase. So trying this new denim right now makes a ton of sense. And here's the part that actually shocked me when I signed up as a new VIP with Fabletics. I got denim for just 29 smackerels. That's honestly unheard of for this level of quality. They don't feel like $29 jeans because from what I understand, this is launch pricing. So look, it's not going to be 29 bucks forever. Grab it while it's still at that rate. And I like that they keep things simple. There are two stretch levels. Not everybody wants the same thing. So whether you want something more structured or something a bit more. More flexible, you've got options and they've got all the styles. Straight, slim, baggy, baggy utility, a trucker jacket, you name it. So whether your style is classic and clean or a bit more trend forward, you're set, bucko. This denim is built for comfort without compromising structure. They look sharp, they feel good, and they move with you. And it's that balance of flattering and comfortable that gives you that extra confidence when you throw them on. Now, for myself, I had to get that trucker jacket in the Pacifica light wash. And I gotta say, I look cool as hell. It feels durable, which I love, but it also has that lived in quality that you usually only get from wearing a denim jacket for years and years. And the relaxed fit just feels perfect on my body. It looks good with basically everything I own. So Fabletics already has incredible deals and I've got an exclusive offer just for a our listeners get $29 denim. When you sign up as a new VIP, just head to Fabletics.com criticalrole Take a quick style quiz and be sure to select critical role when prompted to unlock your offer. That's fabletics.com criticalrole Greetings, adventurers. It's time for a spring reset. That's right, this time of year always makes me rethink what's in my closet. Was there a pathway to Narnia there? Who cares? I'm trying to keep fewer things but better ones. Pieces that are well made and easy to wear all the time. Always. That's why I keep coming back to quints. The fabrics feel elevated, the fits are thoughtful and the pricing actually makes sense. It's like a Turkish delight for your body, except there's no white witch at the end. Now Quint makes high quality everyday essentials using premium material like 100% European linen and their insanely soft flow knit activewear fabric. Their men's linen pants and shirts are lightweight, breathable and comfortable, and they're basically the perfect layer for spring. The pants strike the perfect balance between laid back and refined, so you always look put together without trying too hard, because nobody likes to try hard when it comes to pants. And as for their flow knit activewear, moisture wicking, anti odor soft enough you'll want to wear them all day. Need I say more? Well, I'm going to the best part is all their prices are 50 to 60% less than similar brands. How is that possible? Quint's works directly with ethical factories and cuts out the middlemen. So you're paying for quality, not for a brand markup. And everything is designed to last and make getting dressed easy. Now the linen pants, I have to say, have become a staple in my wardrobe. Everyone takes one look at me wearing them and asks did you just come from a vacation in Mykonos? You look so good in those and they are comfortable. And yes they do look that good, especially on me. They're super breathable. And the best part is they don't cost what I thought quality linen pants were going to. So refresh your wardrobe with quints. Go to quince.com criticalrole for free shipping and 365 day returns. Now available in Canada too. Go to q u I-n c e.com quiz criticalrole for free shipping and 365 Day Returns quids.com criticalrole

[I]

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[A]

fuck.

[G]

The guy who lived in my place before me talked about a bunker.

[C]

Bunker.

[E]

Fuck. Maybe everyone who lives here is just nut jobs. Including us.

[D]

That's true.

[F]

Oh, I got the box open.

[E]

Oh, shit. What is it? We should probably get you uncuffed. Not right now.

[G]

Just.

[B]

I like how much is going on here all at the same time.

[C]

Jude, Are you okay?

[B]

Jude. Whatever you were feeling for that moment when that door was mentioned seems to have passed. And at least. At least you're clear headed enough to have a smoke for it.

[G]

Back to these guys. If I'm wrong, if they're cops, we're fine, right? If they're cops, we all just go home. If I'm right, they're not cops. What are we waiting for them to come back to do?

[C]

What if we call the police and confirm that they sent officers over, right? The station would know.

[F]

No, we can't call the police, can we?

[C]

What? Why not?

[F]

Everyone's got secrets.

[E]

Yeah. Where's yours? Where's your slip? Why is there one for all of us? Except for you.

[F]

I didn't look in the box.

[E]

What was it? Where is it? Are you palming it in your hand? Yeah.

[F]

Fine.

[E]

Secrets. Time for secrets. They're all out about everyone now. I guess all of us have them.

[B]

Abigail, this is great. Selena has no note and yet everybody else does. And it's out.

[D]

Who are you?

[B]

Do you want to take it from her? If you want to make a pull for it,

[E]

I'm gonna try and take it from her.

[B]

Yeah, take it.

[E]

I violently go up and start aggressively searching Selina.

[C]

Hey, come on.

[E]

I don't fucking trust her. Why does. Why were you helping him? Have you been fucking monitoring this whole thing? Are you a cop? Are you a fucking cop?

[D]

You're with these people, aren't you?

[F]

No.

[D]

Why is she cuffed?

[C]

I. I don't know. The. The fake police officers, maybe.

[G]

What is going on, Abigail? Just.

[F]

I don't know.

[G]

I mean, we're stuck here together. I mean, if. If you're gonna tell us now, now's the time. Now, there's guys coming back, possibly to kill us right now. What do we need to do here?

[F]

Okay, it's fine. I'll give it to you. I'll give it to you.

[B]

All right? You don't have to pull it if she's going to give it to you willingly. You don't have to make the pull.

[C]

Liz. We don't have to read these. There's a lot of personal information on them.

[B]

There's a lot settling in here at the moment as each one of you are up institutionalized.

[C]

Oh, come on. It's fine. We all need therapy.

[E]

Yeah.

[D]

What?

[F]

I don't. I don't remember it. I. I don't know when it was.

[C]

It

[F]

just runs.

[B]

Just tell them. Don't tell them.

[A]

Don't tell them.

[B]

Keep going to it. Make a pull. Make a pull. Selina, there's a lot happening right now, and you're fighting this urge to either get them out. They know what's going on. You handed them the slip, Selina. You've done so good at covering your tracks. Up to this point, you've done nothing. But you just handed them the paper, Selina. You gave up. As Abigail was aggressively trying to pull you in, searching your pocket, and you gave. What is this?

[I]

She doesn't understand.

[F]

Maybe she'd understand. She doesn't understand somebody else.

[B]

You've been doing this for so long,

[F]

the balls are real. He's real, all right.

[C]

Real is it for you.

[A]

What would he think? What would he think?

[F]

Maybe I can trust these people.

[C]

You can trust us.

[E]

You can trust them.

[B]

All it takes to make it go away, Selina, is one brick. You just need to pull a block from. From the tower and they will shut up. There's so much that you haven't learned yet. And yet here it is, standing on the precipice.

[E]

No more.

[B]

Oh, God. The voices have quieted, Selina. You're able to talk to them without disturbance, and yet you do feel like these are people you can trust. This is maybe the one circumstances which letting this slip of paper go is okay. It's okay.

[E]

Look, I'll show you yours if you show me mine. Wait. I'll show you mine if I'm under a lot of stress. Right now. It's fine here.

[F]

Yeah, I know. I already know. Violent tendencies.

[E]

Sorry about that. Oh, it's okay. Also, why do they all say RP project with numbers on the fucking back? That's fucked up. That's some fucked up shit, right, nigger?

[C]

I'm number one.

[D]

Number three.

[E]

I'm number two. Number four.

[B]

All right, well, there is one place that you'll find answers at, and I think it'll be in the landlord's room. Emmett, you seem to have maybe an unorthodox method of entry. Shall we apply it to good use?

[G]

Yeah.

[B]

All right, then. Off to the landlord's room. Come with me. All right, let's head on in. Now, as you climb up the four stories leading to what you know as the landlord's apartment, because each one of you have been there, at least at one stage. You come across his door. What would you like to do?

[G]

I brought a key.

[F]

I have a bunch of keys, too. What, like actual keys?

[E]

We don't have time for that. Just hold it down.

[D]

Whoa, whoa, whoa, whoa. What?

[C]

Instead of making noise, we should use the keys.

[F]

Try this. Doesn't seem to be a key. Keyhole.

[G]

So, Clock's ticking. And men with guns are coming back. Stand back.

[B]

Emt. As you walk into the landlord's apartment, you can smell the musty air as cigarette smoke seems to permeate the walls, the carpet, every single area. And you can see the old furniture laid about as a bunch of exotic looking materials. Stand around you, at least for the moment. All seems quiet. No one seems to be coming up the stairs. And you don't seem to be hearing anything in particular.

[D]

What's that smell?

[B]

Smells like ozone. Old cigarettes.

[F]

Wait a minute. This is all of us? This is all of us. There's Tom's Diner. There's the institution. All of the highlighted items are us. That's your boyfriend?

[C]

This is my ex. Ex. Boyfriend.

[E]

That's the house I grew up in.

[F]

That one's Malibu. That one's yours.

[D]

Jordan. Holy fucking shit.

[E]

Who's Jordan?

[D]

Jordan's.

[F]

Fuck Jordan.

[E]

Hey, are you all right?

[B]

I'm sorry, man.

[E]

I'm so sorry. Hey, do we remember that there were dates on those pieces of paper? August 21st. September 4th, August 28th, August 14th, proposed build site. I'm gonna go get those papers.

[D]

I killed him.

[F]

I have.

[D]

I killed Jordan. He died because of me.

[C]

That's a little different than I killed him.

[D]

Look at the picture.

[C]

Did you jump?

[F]

It seems like it was an accident. That's not you killing somebody. Oh, fuck.

[D]

Because I Didn't tell anybody. It's just like I killed him.

[F]

Everyone has secrets.

[D]

Don't you get it? He should have had, like. You know, people that knew. People should have celebrated his life. People should have been there. You know? I didn't say a fucking word.

[F]

You made a mistake. You didn't kill somebody.

[C]

And it's not too late. We can get through this. And you can fix that.

[G]

Guys, we don't have all day. Selena. Come look at us. Look at these.

[F]

There's discs.

[G]

What are these? There's four of them. Is there another one in this room?

[F]

Keep the machine on.

[C]

That's what Abigail told me to write down. What was this? This was the piece of the wall that I took off. This had that lamp in it. Why did he keep it?

[E]

924.

[C]

No, I tried all the keys on here.

[G]

Every single key on here?

[C]

Yeah.

[E]

Eight, 16.

[G]

All 7,000 of them.

[B]

Yeah.

[C]

There's clippings about earthquakes in Los Angeles. Do the earthquakes line up with the epicenter? With each of the locations?

[E]

Can you bring it over here? 19 pine wood.

[G]

Grab a look at that. And this. August 14th. What the fuck does that mean?

[D]

August 21st.

[C]

Oh, there. The 21st. On the left. Put the ring up into the. Does it line up with the three post builds?

[G]

Say there's.

[B]

Holy shit.

[C]

Oh.

[F]

It's magnetic.

[E]

Who the fuck is this?

[C]

The 28th.

[E]

August, September. Okay, hang on. The 28th.

[C]

Did something fall?

[F]

It's a key.

[C]

Is it to the lock on the chest?

[F]

Try it.

[E]

This is. It fits.

[A]

Fifteen.

[E]

Turn it.

[G]

Maybe somebody without handcuffs.

[D]

Come on. I got it.

[G]

Thank you. Okay.

[E]

What is that? What the fuck is that? It's.

[G]

Do you have any idea why he would have that?

[F]

I didn't even know about this.

[E]

I'm sorry.

[F]

I wasn't trying to hide it from you. I just. I'm sorry.

[E]

Runs in my family.

[C]

It's not your fault.

[F]

And I thought I was safe.

[G]

Hey, man. Fucking box of secrets. Have at it.

[C]

Oh, this is a mixtape that my ex made me.

[H]

Fuck.

[C]

Why is that in here?

[E]

Are you fucking serious?

[D]

It's Jordan's bracelet.

[E]

Real fucking cool, asshole.

[D]

Who the fuck is this guy?

[E]

Fucking picture of me and my fucking father.

[C]

Why is this happening? Who are we to him?

[E]

This isn't when I moved in. Because look, he has. He has a date for you.

[F]

Finley.

[E]

And that's. Isn't that later down the road? These dates are too far apart. He was gonna start some sort of fucking experiment or some shit.

[D]

Why does he have all this shit? Why does he have this Leverage.

[C]

It's leverage to get us to do something.

[F]

We also have threat levels on our cards.

[C]

Is that what the RPM is?

[E]

Threat levels 2. No sign of threat.

[D]

Status clear. No sign of influence.

[E]

Status clear. No sign of influence.

[C]

Easily manipulated.

[F]

It's because you're gay and you don't want people to know you're gay and you don't want to admit you're gay.

[C]

I admit it. I'm fine with it. It's other people that have a problem with it. Fuck, I. I left this behind. I left all of that behind. That's what I'm getting away from. There's no connection. There's no reason that his fucking picture in this moment should be on that wall. There was nobody there. It was just the two of us. There was nobody there.

[F]

What did he do to you?

[C]

He beat me. Constantly beat me. He gave me cigarette burns and made it look like I was a junkie so I couldn't tell anybody. Fuck. I'm always in his shadow, okay? I can't escape it.

[F]

What did you find in the box?

[A]

Yes.

[G]

Let's see if I can hear from a friend. Diner receipt.

[F]

Who is your friend?

[G]

Someone from the neighborhood. She OD'd a couple of months ago. I miss her.

[C]

That's it.

[G]

What's the plan?

[C]

There's no plan.

[G]

Someone in this building killed that fucking guy. And something is fucking going on in here. And the not cops are coming back. Okay, so what are we doing?

[C]

We have to put it back. We have to put it all back and pretend that we never came back.

[D]

No, I'm not putting this back. This is mine. Okay.

[G]

I don't think we can pretend that didn't happen.

[B]

So you all have a particular item that is tied directly with who you are. And there is a set.

[A]

Ah.

[F]

I was getting there.

[G]

Holy shit.

[D]

Selena.

[F]

Abby.

[C]

Selena. What is that?

[D]

Oh, fuck. Look. It spells something. Look. S, w, w,

[C]

e, p, t. Swept.

[D]

Swept.

[F]

What happened?

[C]

Under the rug.

[F]

All right.

[E]

Holy shit. We're all just crazy people, right? Where was Selena? In one of our Institutes, right? Just losing her mind.

[C]

No, no. It's fine.

[F]

No, don't do that.

[E]

Please. Please, don't do that. You're okay. You're okay.

[F]

I promise.

[C]

You're okay. It's a puzzle.

[D]

It's a manual.

[F]

It's not in your family.

[D]

Conducted auxiliary.

[C]

The lines, they connect.

[E]

It's just.

[C]

They look like these pipes.

[E]

Okay. It's just in us. It's not in your family. It's just in.

[C]

This one doesn't move. This is the corner.

[D]

All Right.

[A]

Come on.

[B]

Come on.

[D]

You're the hacker. You're smarter than all of us. Figure this shit out.

[C]

Units.

[E]

Manual.

[C]

Hand units. Bypass.

[E]

Bypass up top. Manual bypass.

[C]

Do the. Okay. Are we making a circuit? Like a.

[E]

It looks like a circuit.

[C]

Like it connects.

[E]

It's trying to tell us how to bypass the electricity manually. I think bypass goes on.

[C]

Top were units, meaning apartments.

[E]

Our units.

[G]

Manually conducted by hand.

[C]

For free.

[B]

As you look, you turn around and notice that the light behind you is just turned on. As you conducted the circuit effectively.

[C]

On the desk. On the desk.

[G]

Holy shit.

[C]

So to keep it on. It's an electricity thing and it's not with the regular electricity. It could.

[G]

What are these? These aren't light bulbs. What are these? I don't. Conducted by hand.

[C]

Manual bypass.

[G]

Give me your hand. Grab his.

[C]

Grab the ball.

[G]

Grab that ball.

[D]

Holy shit.

[B]

The painting opens and inside seems to be several objects.

[C]

Careful.

[B]

Paper. Some notes. And a decorated amulet.

[E]

What is it?

[D]

As long as power consistently flows through the machine, the rift should remain too small for physical encroachment. We do not need to depend on the city's power grid fail for the generators below will provide a constant stream. However, all the mechanisms in the walls of the building are very sensitive. If a fuse were to break, you'd have time to fix it, but not much. They are old, and what little remains of our fortune cannot buy replacements. You must constantly consider this problem, and when the time is right, move forward with the repurposing project we discussed. Even if it means bringing people inside.

[F]

RP Project.

[E]

That's us, people. Inside. Inside this Rift building,

[B]

the ground starts to rumble as you feel something waving, shaking, moving. The building is moving ever so lightly. And then it stops. The lights flicker.

[F]

That all happened for you, right?

[C]

Yes. Yeah.

[F]

Okay, Good.

[D]

Okay, everybody take one.

[C]

Power and electrical bill.

[E]

And inventory. Stock supply bill to protect remaining inventory. Move all to sub basement.

[C]

Okay, so there's some sort of bunker?

[G]

Yeah.

[D]

Yeah.

[G]

The guy who lived in my place before me talked about a fucking sub basement and a bunker.

[C]

So there's some sort of. There's fortune and a generator down there. And these are crazy puzzle pieces that we're looking at. But it doesn't explain how they got personal information about each of us. And why us? Why the five of us? We're nobody, Selina.

[E]

Maybe that's why.

[D]

You gotta know something about this.

[F]

I don't know. We're connected somehow. And I just know that I'm a medium threat because of my family history.

[E]

Yeah, And I'm not a threat. What the fuck?

[C]

I'm not a threat.

[D]

I'm not a threat.

[E]

So why are you a medium threat and who you're a threat to? Or something? What does that mean?

[B]

Rumble, rumble, rumble, rumble. As the ground shakes again, you feel something bending, twisting, moving. You can feel as the lights flicker yet again.

[C]

It's happening for everybody. Yeah.

[F]

Okay.

[E]

Yeah.

[B]

And you watch as sand. Oh, holy shit.

[F]

You're all saying that, right?

[C]

Yes. It's real.

[D]

Or I suggest we get the fuck out of here.

[E]

We should leave, right?

[C]

That's the only way out.

[E]

Oh. Get everything we need. Get everything we might need from here.

[B]

The sand begins to pour out more. And just as suddenly as it began, it stops.

[C]

Papers.

[F]

Papers. I saw the sand earlier.

[G]

What do you mean?

[F]

It was already creeping into the edges of my mind out in the lobby.

[B]

Who's going to open the door?

[E]

Jude?

[D]

It's the only way out.

[E]

Be careful, okay?

[B]

As the door opens, a white light blasts through as an arid bright sun pierces into all of your visions. And you look out to a landscape of sand dunes and an open, blue, purple sky. And every rolling dune seems to get larger and larger as it cascades across a barren wasteland of nothing.

[C]

I've been here before.

[E]

What?

[C]

I've been here before. When I took the cylinder out of the wall, I was here. What?

[B]

And now it is here again.

[E]

What was that about? Riffs. Uh. Close the door.

[A]

Shut it.

[C]

Shut it.

[E]

Close it.

[F]

The walls are real.

[E]

Okay?

[F]

He's real.

[C]

Who?

[F]

I'm real.

[D]

Finley, what'd you see?

[C]

I called a hotline, and it just. There was a weird voice on the other side of the line, okay? And it said, my child, I want to be meet you. Et cetera, et cetera. I thought it was weird, and so I hung up and I didn't think about it again, but as soon as I took that cylinder out, I went to that place and it said the same thing.

[F]

What was the hotline? What did you call?

[E]

Does that really.

[F]

Do you really?

[B]

No.

[F]

What hotline did you call?

[C]

I called it Gay Sex Hotline. What does that matter?

[E]

Doesn't she just likes knowing people's business?

[B]

All right?

[F]

Information is always good. Data is always good.

[E]

It's not always good.

[C]

Not like. All right, we can't go out.

[D]

Finley, what are we gonna do? We gonna stay here?

[E]

What did you say about an eye? Does it look like that eye?

[A]

Yeah.

[C]

Yeah, yeah, yeah, yeah, that was it. But it was in that landscape. This. This what? Is it a portal? Or, like a door? We. Are we crazy? Are we all crazy?

[D]

This is fucking crazy. That's what this is. This whole situation is crazy. All this shit is fucking crazy.

[G]

We can't be going crazy at the same time. I hugged my dead friend. I don't understand what's going on. I'm normal. I just. I fucking write stories about people. Nothing. I'm normal.

[E]

It's okay.

[F]

It's not you. It's the building.

[E]

What? I think she's right.

[F]

Weird things happen here.

[C]

Buildings are inanimate objects. It can't be the building.

[E]

I just always thought that maybe I was a little unhinged and crazy. And maybe we are all.

[F]

It's because we've all been drawn here. Here for one reason or another.

[E]

Yeah, we're all fucked up. And like Finley said, we're all nobodies. So we're all just fucked up just enough to be able to be susceptible to this. And we're all nobodies enough to where if anything happens to us, nobody would care. No one would give a fuck.

[F]

I have somebody that cares about me.

[C]

Is there somebody that we could call? We should call the real police. Why can't we use the phone?

[B]

It's right there, Fenley. Do you want to pick it up?

[G]

Yeah. Use the sand phone.

[C]

I had bad experience with the phone the first time. Can anybody use it?

[D]

You know what? You called the hotline. You saw the sand. You make the call.

[C]

Fine. This is stupid, okay? It's a phone. I didn't do anything wrong.

[D]

None of us did.

[C]

There's someone that's dead. We're in his office.

[D]

That dead guy took these fucked up

[B]

pictures of all of us.

[D]

So I don't give a shit about the dead guy. Fuck the dead guy. I wanna live.

[C]

Pick up the phone. This is stupid. This is stupid.

[B]

It's a deadline. There's no dial tone. There's nothing in there. There's only.

[F]

What is it?

[C]

It's nothing. It's nothing. There's no. There's no dial tone. Listen, I. I don't know what to do.

[B]

There is one thing to do, and you all know it. You're having a hard time coming to terms with it, but it's the only way out. And it's through that door.

[F]

We have to go out.

[E]

So we're going out into nothing.

[D]

Unless you want to die here.

[E]

I guess it doesn't matter where I die. Dying's dying.

[B]

As you open the door, a hot blast of wind gushes into the room, drying out your skin. Whatever sound you heard earlier, you can still hear, but it seems far off and in the distance and just over the horizon. Maybe it's a mirage, but it feels like something is punctuating this vast wasteland.

[F]

You know what the dumbest thing about all of this is? This is the first time I haven't felt alone.

[B]

When you host with Cutwater Canned cocktails, expect company. Entertain effortlessly. Cut water. Real cocktails perfectly mixed. Copyright 2023 Cutwater Spirits, San Diego, CA Enjoy responsibly.

[J]

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 shadowdark, the darkness always wins. This is old school adventuring at its most cruel. You're tor 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 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.

[K]

Look, we all know there are a lot of celebrity interview podcasts out there, but there's only one Happy Sad Confused. I'm Josh Horowitz, and yeah, I'm the host of the show, so I'm a little biased. But truly, Happy Sad Confused is the place for nerdy and intimate conversations with all your favorite actors and filmmakers, from Andrew Garfield and Scarlett Johansson to Christopher Nolan and Quentin Tarantino. For over 10 years and over 700 episodes, Happy Sad Confused has broken movie and TV news every single week. That's because I ask all the questions I want to know. And more importantly, you want to know casting, what ifs, backstage stories, acting, pet peeves, and much more. So whether you're into superheroes, prestige tv, or just the coolest actors and directors alive, you're going to learn something in every episode. Listen to Happy Sad Confused on Apple Podcasts, Spotify, or wherever you get your podcasts.