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/qst/ - Quests


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There's nothing better than living in Raccoon City, USA. It has all the charm of a small town with the ameneties of living in the big city. You've lived here all your life and it would just about take the end of the world to make you want to leave this little slice of heaven. Friendly neighbors, great pizza, and a police force with its own paramilitary arm to make you feel extra safe. So what if there have been a lot of weird things going on in the news lately? These things happen. It's probably just some bad meat or a band coming to town or something. You have more important things to worry about.

Like how the date is the 24th of September, 1998, and it's your birthday! To be specific, you're turning 21 today, and can now legally drink! After you get off work, you and your friends plan to meet up for a big party.

You're a chef, working at a small diner in the heart of town. Your name is Daisy Dixon, Chef Daisy you like to call yourself, and while you aren't the head chef, nobody can match your meals. Your secret ingredient? Herbs, of course! Arklay County is full of these fascinating medicinal herbs and you like to mix and match to see which ones bring out the best flavor in each dish. FDA approved? Who needs 'em! That Umbrella Corporation you see ads for literally everywhere can push out more drugs than anyone can count, so why not sprinkle some ground up herbs on a plate of spaghetti?

It's early evening, and the dinner rush will begin soon. Thankfully your boss is letting you off early so you can go have your birthday party. You're cleaning up your prep station and washing your knife when you head a loud crash from the dining area; sounds like one of the waitresses dropped a plate or two. Well, that's nothing new, just more for them to sweep up.

Then you hear her scream.

>Probably nothing, finish up cleaning.
>Stick your head out of the kitchen window.
>Ask your boss what is going on.
>Eh, this'll keep for now. I'll leave through the back.
>Write-In
>>
>>4022961
>Ask your boss what is going on.
knife run !
>>
>>4022961
>Stick your head out of the kitchen window
>>
>>4022992

You look over at your boss, Big Tony. He's a large man with a large laugh and an even larger heart who got you this job while you take classes at Raccoon University.

"Big Tony, what was that?"

"Dunno," he says with a shrug. "Maybe Jennifer saw a mouse. I'll go and see. Can't have customers or, god forbid, the health inspector seein' mice up in here!"

He walks past and leaves the kitchen through its swinging door.

>>4023001

After you finish cleaning your knife, you wash your hands and are about to change when curiosity gets the better of you. Heading over to the order window, you stick your head out and see Big Tony leaning over one of the customers who seems to have fallen face-first into his meal and is unresponsive.

'Oh, no,' you think. 'He was the one with the steak with my green herb garnish. I hope that isn't my fault...'

Big Tony shakes the man a few times, and he stirs somewhat. That's when you notice that Jennifer, the waitress who screamed, isn't actually looking at the man with his face in the plate, but rather at some filthy homeless person rubbing up against the window. He looks like he's covered in mud and he's all pale and Jennifer is positively freaking out.

>This sounds like a dinner shift problem. Slip out the back.
>Go out front and comfort Jennifer.
>See if you can help Big Tony with the unresponsive man.
>Grab your knife.
>Other
>>
>>4023025
>Grab your knife.
>>
>>4023025
>>See if you can help Big Tony with the unresponsive man.
>>
>>4023025
>Other
Tell Jennifer to call an ambulance just incase for our unresponsive customer
>Grab your knife
>>
>>4023025
>See if you can help Big Tony with the unresponsive man.
>Grab your knife.
>>
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>>4023033
>>4023055
>>4023057
>>4023034

You return to your prep station and now have your knife, sliding it into your pocket just for safety's sake.

Rushing to the dining area to help Big Tony and try and get Jennifer under control, when a customer slides out of a booth and falls right in front of you. You skid to a stop, seeing that he looks horrible; his face is all sunken in and his skin is wax-like; his eyes are rolling into the back of his head and he is convulsing.

Your mouth hangs open. You really don't know what to do in this situation. Jennifer is still terrified by the homeless man and now Big Tony is trying to help the customer who fell forward sit back up. He looks over at Jennifer and tells her to calm down.

When he turns his head away from the man he just helped sit up, the man's eyes open. They are milk-white. With great speed and ferocity, his head snaps up to Big Tony's neck and his teeth sink into the generous amount of flesh present. You gasp as you watch Big Tony shout in pain and push him away, taking a chunk of his neck with him. Big Tony falls down near the diner's table, reaching for a rag in his pocket to hold against his neck. Jennifer turns, sees this and her screaming is renewed.

One of the other customers slaps two dollars onto his table, finishes his coffee in one big gulp, throws the cup over his shoulder and runs out the front door.

>Get out of here.
>Help Big Tony.
>Grab Jennifer and run.
>Call the police.
>Other
>>
>>4023075
>Help Big Tony.
>>
>>4023075
>Help Big Tony.
swipe swipe swipe
>>
>>4023075
>Grab Jennifer and run.
>>
>>4023075
>Help Big Tony.
Dis is gud
>>
>>4023085
>>4023092
>>4023106

Stepping over the man convulsing on the ground, you go to Big Tony, and help him up to his feet. His neck is bleeding badly. As you get him up to his feet, the man who bit him suddenly stands up, shuffling up to his own feet. His mouth hangs open and his face, shirt and hands are caked in blood. His awkward standing pose, looking almost dizzy, is incredibly unnerving. From his throat issues forth a wet moan. He raises his hands in your direction.

"Come on!" you say, taking Fan Tony towards the back. Jennifer, coming to some of her senses, runs after you both after the attacker falls over a chair, clawing at the ground with bloody fingers.

The three of you step over the unconscious customer near the kitchen entrance and make it inside.

"Oh my god, what's happening?!" Jennifer cries.

"Get the medkit!" you tell her, helping Fat Tony sit down. Jennifer starts frantically searching for it, manic in her actions.

"Oh, kid, I'm hurt real bad," he says, the rag at his neck now very, very red and dark. He is sweating profusely.

From the dining area, you hear a window break. Another loud moan fills the area.

You look around. "What do I do? What do I do?"

>Barricade the kitchen door.
>Get Fat Tony and Jennifer out the back entrance
>Search for the medkit.
>Call the police.
>Other
>>
>>4023111
>Barricade the kitchen door.
>Search for the medkit.
>>
>>4023111
>>Search for the medkit.
>>
>>4023111
>Barricade the kitchen door.
>>
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>>4023129
>>4023146
>>4023159

You half-heartedly push a rack of kitchenware in front of the swinging door. Jennifer, having found the medkit, rushes up. Her face is a mess with tears and running makeup.

You kneel down in front of Fat Tony and open the medkit, setting it aside. You try to get him to remove the rag, but he's holding it tight against his neck. He's gasping for breath, and the front of his shirt and apron are now stained with blood.

"Oh god, oh god, oh god there's so much blood," Jennifer cries as she cowers nearby.

You finally get him to drop his arm, but when it falls, it falls limply. You watch Fat Tony breathe his last; the bite in his neck was too deep. That man must have bitten through an artery.

"Oh, no," you whisper, as your precious, innocent, carefree world of working at a diner and studying at university to become a biologist comes crashing down around you.

Suddenly, there is violent pounding on the kitchen door. You can hear moans and shouting on the other side. The kitchenware shakes on the rack with each violent pound, and it is nonstop.

"Oh god!" Jennifer cries. "They're coming for us! OH GOD THEY'RE COMING FOR US! WE'RE GOING TO DIE!"

You try to think hard. You grab the medkit and feel around in your pockets for your keys. Your car is parked out back. You remember, you were just about to leave to go and meet your friends...

>Leave Jennifer and run out the back door
>Grab Jennifer and make for your car
>Barricade the kitchen door more strongly
>Turn all the stoves on, max gas, and grab Tony's lighter
>Other
>>
>>4023169
>Turn all the stoves on, max gas, and grab Tony's lighter
>>
>>4023169
>Grab Jennifer and run for the car
>>
>>4023169
>Grab Jennifer and make for your car
>>
>>4023169
>Grab Jennifer and make for your car
>>
>>4023182
>>4023192
>>4023203

Snapping out of it, you grab Jennifer by the wrist and pull her out the back, into the employee parking lot. You know she doesn't have a car and commutes to work, so you quickly unlock your car and urge her to get inside.

You get inside, sit down and buckle up. You grip the wheel tightly as you think about what to do. In the passenger seat, Jennifer babbles semi-coherently, still in shock and mania.

Up ahead, out of the alley the parking lot is in, you see someone running on the street. They are hit by a speeding car which runs into a building. You gasp as their corpse then picks itself up and starts crawling away, dragging its shattered legs behind.

"This is bad," you whisper. "Really, really, really bad... is it happening everywhere?!"

>Go to where you were going to meet up with your friends
>Go to the police station
>Go to the hospital
>Drive out of the city
>Other
>>
>>4023213
>Go to the police station
>>
>>4023213
>Go to police station
This is a hard one
>>
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>>4023223
>>4023224

"Police station," you mutter to yourself. "The police station!"

You drive out of the alley and down the street, quickly discovering that everything is in absolute chaos. You pass by a burning building, and these... things... are wandering about, some of them on fire! You swerve to avoid them and continue driving, trying to remember the fastest way there. People are everywhere, running, screaming and fighting off these horrific monsters in human form.

"It's a nightmare," Jennifer whispers. "Any moment now and I'll wake up... I'll wake up... Please, please, please wake up..." She sobs into her car seat as you are suddenly forced to stop.

There is a police barricade here, and many people are running behind it, nearly pushing each other over and climbing over one another to get to safety. Red and blue lights flash as a policeman with a megaphone tries to keep the crowd calm.

You look around, realizing that there are several abandonned cars blocking the street. Squinting, you realize that one of them has a man inside, who is feasting on a driver as he struggles, trapped by his seatbelt.

With a gulp, you unbuckle yours and get out of the car, helping Jennifer. The crowd in front of you is large and people are getting hurt; you're not exactly the biggest person and you could easily see yourself getting trampled in there. But there are police officers in that direction...

>Try to make your way through the crowd
>Get back in the car and drive somewhere else
>Look for another way around
>A subway! Run underground
>Other
>>
>>4023249
>A subway! Run underground
>>
>>4023249
>A subway! Run underground
>>
>>4023269
>>4023280

Spying a subway entrance, you grab Jennifer's hand and lead her down the stairs. The subway appears mostly deserted, though there are a few people, panicking and trying to figure out what is going on and what to do. There is a subway train here, and it looks like it is about to depart. There are people attempting to pile into it, and others pushing out of it who rush past you and up the stairs.

A man in a business suit runs by. You try and get his attention to see if he knows what is going on, but he ignores you as he runs up the stairs.

"What do we do?" Jennifer asks, looking to you for guidance.

>Get on the subway car
>Find a room and barricade yourselves in
>Start walking in the tunnels
>Go back up to the surface level
>Other
>>
>>4023324
>Find a room and barricade yourselves in
>>
>>4023324
>Start walking in the tunnels
If someone pops in that train, everyone is a goner
>>
>>4023324
>Start walking in the tunnels
>>
>>4023324
>Get on the subway car
>>
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>>4023358
>>4023345

"Come on," you say to Jennifer as you step down onto the tracks.

"W-what are you d-doing?" she asks.

"We can't get on that train! If someone turns into one of those... things... we're all as good as dead! We need to get to safety... we'll walk to the next station. I think the police station is in this direction..."

"But it's dark!" she says.

"At least we won't be surrounded by people and monsters!" you point out.

After a moment, Jennifer sniffles and climbs down onto the tracks with you. You both get to the opposite side of the tunnel as the train rolls past, and start walking.

When everything is quiet, Jennifer speaks again. "Daisy, what's happening? Is it the end of the world?"

"I don't know," you say. "It must be... all those attacks in the news recently. People getting bit and eaten in the woods? But it's everywhere now..."

"I'm so scared," Jennifer says, holding tightly onto your arm in the darkness. "Tony is dead, and those people in the diner and the street, and..." She trails off as she sobs.

You turn around and give her a hug. "Jennifer, please, stay strong. I'm scared too. I don't know what's going on, but let's try and stay quiet, okay?"

Jennifer sniffles and nods again.

You walk for a ways, eventually seeing a light up ahead. But it is not another station, rather it is some kind of maintenance junction. Another tunnel connects to this one, and it looks older and more delapidated and not in use; it looks like it was under construction once, but not for a long time.

>Go down this new tunnel.
>Keep walking to the next station.
>Wait here for a while.
>Other
>>
>>4023384
>>Keep walking to the next station.
>>
>>4023384
Prolly a bad idea but..
>Go down this new tunnel.
>>
>>4023384
>Go down this new mystery box.
>>
>>4023384
>Keep walking to the next station.
>>
>>4023411
>>4023399
the sewers are a bad place to go.
>>
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>>4023385
>>4023399
>>4023411
>>4023413
I'll need a tie breaker please
>>
>>4023384
>Keep walking to the next station
>>
>>4023385
>>4023413
>>4023429

"Come on, we need to keep moving, stick with the plan," you say to Jennifer as much as to yourself.

The two of you keep walking until you come upon an older platform that does not appear to be in service anymore. It is old-fashioned, with fancy archways and that distinct "Raccoon City"-style, which is to say, elaborate architectural abundance with warm lighting. The lights appear to be working here, and there does appear to be a way up to the surface, though as you discover it leads to a locked gate. However, the lock does seem old, and perhaps can be broken.

You travel with Jennifer back down to the abandonned platform and begin to search for anything that might help you. Suddenly, you hear a loud roar echoing down the tunnels, and while you cannot quite tell what direction it came from, you get the feeling that it is in the direction you came from.

"What was that?!" Jennifer asks, shaking on the spot.

>Find a quiet spot and hide
>Look for a tool to break open the lock
>Attempt to pick the lock with your knife
>Get off the platform and keep moving on to the next one
>Other
>>
>>4023444
>Look for a tool to break open the lock
Also just look for anything weapon worthy.
>>
>>4023444
>>Look for a tool to break open the lock
>>
>>4023444
>Look for a tool to break open the lock
>>
>>4023444
>Find a quiet spot and hide
>>
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>>4023447
>>4023450
>>4023456

Searching desperately, you find a loose lead pipe and run up the stairs with Jennifer following closely behind. You smash away at the lock three times before it breaks, allowinf you to push open the gate and escape to the surface!

You leave the tunnels behind as you realize you are in some kind of old park. Raccoon City has a few of these, but you've never been to this one. It's getting dark out. In the distance, you can see fires, hear screams and gunfire, and the blaring of sirens everywhere. Jennifer huddles closely as you look around, looking for an exit to the park.

"This way," you say, taking her hand and leading her towards a large entryway. It seems the park was under construction, since the entryway is fenced and boarded off with no way to break through with the tools you currently possess. "Damn!" You take a step back and think about climbing, but no good---the iron fence that surrounds the park is both tall and covered in spikes like something out of Vlad the Impaler's home garden.

"Must be another way out of here," you think aloud to yourself. "We need to get to the police station."

A helicopter flies overhead, but isn't searching for survivors. It flies off in the direction of a fire. You can hear fire engines and ambulances and other alarms you don't recognize.

"It really is the whole city," Jennifer mutters, holding her arms against her chest. "There's no end to this..."

>Follow the fenceline and see if you can find another opening
>Search the park for something you can push to climb over the fence
>Try shouting for any other people to come and help you
>Head back underground
>Other
>>
>>4023471
>Search the park for something you can push to climb over the fence
>>
>>4023471
>Search the park for something you can push to climb over the fence
Hell no to shouting or going back.
>>
>>4023471
>>Search the park for something you can push to climb over the fence
>>
>>4023471
>>Follow the fenceline and see if you can find another opening
>>
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>>4023472
>>4023473
>>4023476

While the iron fence may have spikes, the stone archway does not, and it has a spot that you could climb up onto if you had some kind of boost. Knowing that Jennifer probably couldn't boost you up, and that you wouldn't be able to pull her up even if she did, you look around for an alternative.

A crate!

"Jennifer, help me push this!" you say, and together you both brace your shoulder against the box and push it in a series of timed thrusts, during which the crate moves forward in small amounts.

Together, the two of you push the crate over to the stone archway with great effort. You climb up onto it, then onto the stone arch, then you encourage Jennifer to do the same.

Now, about getting down...

You turn around and slowly lower yourself down, holding onto the edge with your hands before falling onto the ground with no pain. Jennifer follows your lead, and now the two of you are back on the street, but nearer to your destination. You can hear police sirens urging civilians to the police station; it's only a few buildings away!

>Stay on the streets and go around the buildings the long way
>Go through the buildings the short way
>Climb up and over the buildings with the fire escape
>Cut through a nearby tight alleyway
>Other
>>
>>4023500
>Climb up and over the buildings with the fire escape
>>
>>4023500
>Climb up and over the buildings with the fire escape
A bird's eye view will help us.
>>
>>4023500
>>Climb up and over the buildings with the fire escape
>>
>>4023500
>>Climb up and over the buildings with the fire escape
>>
>>4023501
>>4023504
>>4023505
>>4023522

Looking up, you see a fire escape on your side of the building with the ladder lowered. "Come on!" You and Jennifer run over to it and begin to climb it. The metal clanks softly as you make your way up to the top, where you help Jennifer onto the roof. "Let's get a good look at things," you say, though you dread what you will see.

You both run to the opposite edge, and your hearts sink. The city streets are positively swarming with the infected. Buildings and cars burn as the shrieks of their victims mingle with the alarms and sirens. It is chaos, pure and horrific chaos, and the entire city is at its mercy.

"Not pretty, huh?"

You both nearly scream (well, Jennifer does) as you hear a voice from behind. There is a man, late twenties by the looks of him, somewhat scrawny and with glasses. He has a gun in one hand, and his business casual white shirt has blood on it. He holds up a hand. "Sorry. Didn't mean to make you jump."

"Who are you? What's going on?" you ask as Jennifer hides behind you.

"Well, me, I'm Dylan. As for what's going on, I mean... look around? You've seen what I've seen." He sits down on a cement block and sighs. "Well, probably not. You probably didn't have to shoot a little girl that wanted to eat you." He looks at the gun in his hand and then sighs again. "I thought I could signal a helicopter or something from up here. No flares or anything. Stupid..."

You look at Jennifer, then back at him. "We're trying to get to the police station."

"Can you fly?" he asks sarcastically. "The streets are swarming with those... zombies. It's like a horror movie..."

>We should stay here and wait for rescue.
>Let's go back down into the building and barricade ourselves.
>We can't just stay here. Let's find a route to the police station and fight our way there!
>Talk to him some more.
>Other
>>
>>4023526
>>We can't just stay here. Let's find a route to the police station and fight our way there!
>>
>>4023526
>Talk to him some more.
>>
>>4023526
>Talk to him some more.
We need a plan for either option.
>>
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I must now go to bed, so we'll die, I mean play more, tomorrow after work
Hope you're liking it so far, might be a oneshot unless we survive
>>
>>4023546
Goodnight and thanks for running.
>>
>>4023546
Thanks for this QM, id love for it to be a regular thing
>>
Quick before work update
>>4023533
>>4023537

"My name is Daisy," you say to him.

"Nice to meet you," he says. He has a far-away look in his eyes.

"Do you know what the building we're on is?"

"An apartment building. I didn't live here, but a friend of mine did. I was visiting them because they were sick. Turns out a little too sick." His lip trembles. "He was my best friend... And then, that little girl in the hallway, missing half her face, with those eyes..."

"Oh, god," you mutter. "Are you alright? Were you hurt?"

"No," he shakes his head. "Not yet."

He puts the gun to his forehead and Jennifer gasps. His face twists into a grimace.

"Wait, no!" you say, trying to talk him down. "Please don't!"

"Why not?" he asks in a hopeless voice. "There's no escape. Have you seen those things? They're everywhere, eating people. I'd rather... I'd rather spend the bullet now than make someone else do it later."

>Continue talking to him and reassure him that we can escape.
>Convince him to give you the gun.
>Let him shoot himself and then take the gun.
>Attempt to wrestle the gun out of his hands.
>Other
>>
>>4024021
>Continue talking to him and reassure him that we can escape.
>>
>>4024021
>Continue talking to him and reassure him that we can escape.
>>
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>>4024024
>>4024029

"Please, please, just look at me," you say to him in a calm voice. "Dylan, don't do this. We can make it out of this."

His hand is shaking. He's fighting himself.

Kneeling, you hold up your hands and say, "Please believe me. If we work together, we can survive. We just need to get somewhere safe."

After a moment, he puts the gun down, letting out a gasping breath. "I couldn't even do that right either," he says, slapping himself on the side of the head a few times. "Stupid..."

"Hey, stop that," you say, putting your hand over his. "You made the right choice. If we work together, I know we can make it to the police station." You look over at Jennifer and say, "This is Jennifer. We worked together."

"Hello," Dylan says somewhat absent-mindedly.

"You can shoot, right?" Jennifer asks. He nods.

You stand up and go to the edge of the roof again, looking down and over. "It won't be easy... they seem to be drawn by all the noise."

Jennifer looks up and down the street, seeing the multitude of zombies. "What are we going to do?"

>We stick to the streets, more room to run.
>Let's run through the alleys.
>Maybe we can try to go through the buildings.
>If we gather supplies from the apartment building, we can hold out on the rooftop up here until the police come to rescue us.
>Other
>>
>>4024252
>>Let's run through the alleys.

there will be fewer zombies in the alleys than on the street
>>
>>4024252
>Let's run through the alleys.
Be on your guard for hidden zoms!
>>
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>>4024334
>>4024313

"The alleyways," you say to them both as Dylan walks over and joins you. "There." You point across the street at a narrow point between two buildings. "That leads to the next street over. Then, there's only one more row of buildings before we get to the police staion!"

"If we get caught in that place it's a deathtrap," Dylan points out.

"But look. The zombies are in the streets. If we climb down and wait for a good moment, we can sprint across and get into the alleyway!"

"I'm afraid," Jennifer says, shaking. You rub her arm and assure her that she will be fine.

"I've only got five shots left in this thing," Dylan says, checking the ammo of the revolver. "Let's hope I don't need to shoot six times..."

Climbing down the fire escape, you and your companions hide in the alley adjacent to the apartment building and wait for your chance. Crouching behind a dumpster, you pay close attention to the shuffling, moaning undead, and when you see your opportunity, you take it!

"Come on!" you whisper urgently as the three of you make it across the street. Some of the zombies see you and raise their arms, moaning loudly. This draws the attention of others, but you manage to make it into the alleyway before any of them can reach you.

"We need to go!" you say, jogging down the alleyway. Your heart is pounding in your chest.

Just before you're about to make it to the opposite end, a single, lone zombie appears, turning his milky-white eyes in your direction. His bloody slacked jaw widens even more as he moans and approaches you.

"Now what?!" Jennifer says.

You consider attacking it, then look around; there is a door to your left, slightly adjar.

>Attack with your pipe
>Attack with your knife
>Have Dylan shoot it
>Go through the door
>Other
>>
>>4024363
>>Go through the door
Stopping to fight now risks the others catching up.
>>
>>4024363
>Go through the door
>>
>>4024363
>knock it down with your pipe then cave its skull in.

>>4024480
>>4024600
we have no idea what could be hiding behind that door, nor if we will have an escape route once we are in there.
>>
>>4024363
>>Other
Give Dylan the knife and double team it with the pipe. We can handle one zombo.
>>
>>4024715
Support
>>
>>4024363
>>4024715
Support.
>>
Rolled 11, 2, 6, 11, 11 + 10 = 51 (5d20 + 10)

>>4024715
>>4024749
>>4024824
>>
>>4025036

"Dylan, take this!" You hand Dylan the knife from your pocket and take out the pipe as Jennifer cowers behind you both. "Get ready to stab him!"

The zombie moans and shuffles forward. Fear runs through you, as does adrenaline. It is now or never. Life or death. The cold, lifeless, white eyes of the zombie stare into your very soul, promising a painful death of being eaten.

When he gets within range, you lunge forward and swing!

The pipe connects solidly with the zombie's head, creating a low ringing sound and a satisfying vibration. It reminds you of playing softball. Everything happens so fast that it hardly registers for you. The zombie stumbles back, its head turned aside by the blow, and then Dylan is there, stabbing him in the chest with the knife. The zombie goes down with the knife embedded in its chest.

"Come on!" Dylan urges. He is also hyped up on adrenaline. You and he run out into the street, looking for the next path. There are more zombies here, slightly further away, and they immediately take notice; one group of three, and another group of four, both on the street itself. You have precious few seconds to act.

That's when you notice that Jennifer isn't behind you. Looking back the way you came, you see that for whatever reason, be it fear or slowness to act, she is still in the alley you just left. She looks up at you, shaking.

"There!" Dylan shouts, pointing at an alleyway on the opposite side of the street. "Come on!"

The moans of the zombies fill your ears...

>Leave Jennifer behind and go with Dylan
>Go back for Jennifer, tell Dylan to keep going; you'll take the door in the alley
>You and Dylan both go back for Jennifer
>Grab Jennifer and try to get across the street
>Other
>>
>>4025056
>Leave Jennifer behind and go with Dylan
>>
>>4025056
>Go back for Jennifer, tell Dylan to keep going; you'll take the door in the alley
>>
>>4025056
>Go back for Jennifer, tell Dylan to keep going; you'll take the door in the alley
>>
>>4025056
> Command her to follow if she doesn't then leave her, this is a bout survivel either she finds the will to live or she dies.
>>
>>4025056
>Leave Jennifer behind and go with Dylan
Scream at her to snap out of it at least
>>
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>>4025211
>>4025062

>>4025068
>>4025074
Can I get a tie breaker, please?
>>
>>4025191
>>4025225
I mean my vote is leave her with added steps.
>>
>>4025225
Tell her to follow quickly if she doesn't snap out of it leave her behind.
>>
>>4025253
Fair enough, I'll write it
>>
>>4025062
>>4025211
>>4025191

Knowing that going back for her would mean that the way forward wouldn't be available, you simply shout in the hopes that she will snap out of it. "Jennifer, RUN!"

She hesitates for but a moment before breaking out into a run as fast as she can, hopping over the zombie with the knife in it that is already starting to move. He lunges for her with a hand, but she steps out of his reach.

You and Dylan make it into the alleyway with Jennifer a few steps behind. To your dismay, you discover a fence with a door that is shut. You try to open it, but it is locked, and there is no old rusty lock to break this time.

The three of you look back only briefly to see the several zombies enter the alleyway, shuffling the moaning, dragging their feet as they approach.

"CLIMB!" Dylan shouts, threading his fingers in the chain-link fence and scaling it. You've never been particularly athletic, but this is a matter of life or death. You throw the pipe over and climb the fence in moments, and the top hurts because of the points of the links, but Jennifer isn't having as easy a time as you are.

The zombies reach her just as she gets to the top, grabbing her leg. She screams as one of them pulls at her; you and Dylan reach up and grab her. She flails and loses balance, threatening to fall into the group of undead, but you both manage to yank on her and cause her to fall on you both.

You pick yourself up as the zombies push on the fence, banging on it and shaking it. Thankfully it is firm, but its foundations are starting to come loose from the force of several zombies pushing against it.

"Are you alright?" you ask Jennifer. She is missing a shoe, but she is otherwise unharmed.

"I'm so sorry," she says. "I should've been right behind you, but I..."

"Can we have this conversation somewhere else?" Dylan asks, handing you your pipe. "The police station, maybe?!"

You grab Jennifer's hand and follow Dylan further up the alleyway, where you discover what seems to be a dead end. There is another chain-link fence with a door, this time with the street in sight, but this one has barbed wire over it. You can hear sirens and people on the other side, just out of sight. They must be going to the police station!

There is a door connected to the adjacent building, but when Dylan tries it, it is locked.

"Look!" Jennifer says, pointing up at an open window. It is somewhat high up, enough for someone to climb to if they were boosted. If someone could get inside, perhaps they could open the door from within.

"Who knows how long we have before they get through that fence," Dylan mutters. "We need to keep moving!"

>Attempt to get over the barbed wire
>Try to knock down the locked door leading to the building
>Someone will climb up into the open window
>Call for help from the door
>Other
>>
>>4025321
>Try to knock down the locked door leading to the building
>>
>>4025321
>Someone will climb up into the open window
No need to attract more zombies.
>>
>>4025321
>>Someone will climb up into the open window

It should be us we are probably lighter than dylan, and have more will power than jennifer
>>
>>4025321
>Someone will climb up into the open window
>>
>>4025353
>>4025363
>>4025365

Quick decision:

>Take Dylan's gun, give him the pipe
>Take the pipe and the gun
>Keep your pipe as you go into the building
>Other
>>
>>4025371
>>Keep your pipe as you go into the building

unless we have firearms training that gun isn't going to be that usefull to use.
>>
>>4025371
>Keep your pipe as you go into the building
>>
>>4025371
>Keep your pipe as you go into the building
He's gotta protect Jenny, so he should keep the gun.

Also, question. Would zombies require multiple headshots like in-game?
>>
>>4025371
>Keep your pipe as you go into the building
>>
>>4025371
>>Keep your pipe as you go into the building
>>
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>>4025386
>Also, question. Would zombies require multiple headshots like in-game?
I think so. I subscribe to the "zombies are really hard to kill permanently" school of thought. The brain must be destroyed, so a single bullet might knock out some motor function or send him twitching, but won't put them down for good.
>>4025379
>>4025381
>>4025386
>>4025400
>>4025431

Knowing that you are lighter than Dylan and more capable than Jennifer, you decide to be the one to climb up to the window. "Give me a boost," you say to them both. "I'll unlock the door from the inside and we'll get out of here!"

"Just be careful," Dylan says, preparing to lift you.

"Please don't leave us," Jennifer adds. You promise that you will not, and with their help, you make it up to the window, grunting somewhat as you climb inside.

It is someone's bedroom. The room is dark, and there are scattered clothes and a blanket everywhere. It is a good thing it is an unnusually warm September; that's probably why this person's window was open. You pause to listen, but hear no noise.

'Must be some kind of apartment building,' you think to yourself, holding your pipe in front of you like a bat. 'I need to hurry...'

>Search the room for anything useful
>Head out into the hall and look for the stairs; head straight for the alleyway entrance
>Head out into the hall and search other people's rooms
>Look for the stairs, but find the front doors first, so your exit is confirmed
>Other
>>
>>4025441
>>Head out into the hall and look for the stairs; head straight for the alleyway entrance

We need to regroup asap the longer we wait the greater the chance of the zombies breaking down the fence and forcing Dylan to shoot them which will draw more zombies
>>
>>4025441
>>Look for the stairs, but find the front doors first, so your exit is confirmed
>>
>>4025441
>Head out into the hall and look for the stairs; head straight for the alleyway entrance
>>
>>4025441
>Head out into the hall and look for the stairs; head straight for the alleyway entrance
>>
>>4025452
>>4025473
>>4025532

Wasting no time, you head out the door and look for the stairs, finding them towards the front of the building. You keep count of how many rooms you pass so you can measure the same distance on the ground level. When you walk down the stairs, you turn and head towards the back entrance, but suddenly stop.

There is a single little girl blocking your path, dressed for bed, her upper half coated in blood. A lone teddy bear is clutched in one hand. The light from the hall seems to reflect in her eyes, and you can see they are bright and white.

"Oh, no," you mutter, taking a step back.

The little girl lifts her head, and the mewl that issues forth is a sound that no little girl should make, chilling and hollow. She begins walking towards you.

"I'm so sorry," you reply, raising the pipe and moving up to her.
>>
Rolled 9, 18, 10, 7, 3 + 20 = 67 (5d20 + 20)

>>4025554
Attack:
Size Bonus +20
>>
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>>4025559

With a single crack, you knock the little girl to the floor, her head twisted to the right as she twitches. You don't stop to look at her as you find the back entrance in the maintenance hall with the manager's office, laundry room and supply closet. You open it, seeing Dylan and Jennifer there. "Come on!" you urge them, and together you three make it inside and close the door behind you.

You warn them of the little girl and run to the front entrance. Peering from the window, you can see the wide street in front of it, and just a few buildings down is the Raccoon City Police Station. You smile as you realize that you're almost to safety.

"Let's go," Dylan says, looking up and down the street. "It looks like there aren't many of those things around, and I see people near the entrance."

The three of you push open the doors to the apartment building and run. You hold Jennifer's hand as you follow Dylan, weaving between abandonned and crashed cars. Finally, you make it to the police barricade, where an officer sees you and points a gun at you. When he gets a good look, however, he raises his weapon and tells you to get inside.

You join a throng of people making their way through the large gate in front of the police station and into its incredibly spacious interior. The entry hall is positively impressive; you've heard of it, but have never seen it before. There is a large white statue near the center and the ceiling is very high up, perhaps three stories or so.

The entry hall is crowded with people. Shouting, screaming, crying, panicking, all manner of emotions can be found among the people; it is a true crisis in every sense of the word. As the police officers inside try to keep everyone calm, you three are eventually taken to a corner and told to wait with a group of others.

Dylan keeps his gun hidden, just in case. You and he make brief eye contact as he pats his left pocket, telling you where it is. Sitting alongside you, Jennifer shivers in fright, but at least you finally made it to the station.

>Look for an officer to ask questions
>Speak with Dylan and Jennifer
>Ask other refugees about what is happening
>Try and get to a phone
>Other
>>
>>4025575
>Look for an officer to ask questions
>>
>>4025575
>Look for an officer to ask questions
>>
>>4025575
>Look for an officer to ask questions
Where are the reinforcements?
>>
>>4025575
>>Look for an officer to ask questions
Have the started screeening people for signs of infection?
>>
>>4025581
>>4025587
>>4025588
>>4025593

You tell Jennifer and Dylan that you will be right back and go to find a police officer. There is a lieutenant at the main desk near the entrance, which is also staffed by three other officers who are attempting to answer questions and calm people down.

"Excuse me, sir?"

The tall, dark-skinned man turns to look at her. "I'm very sorry miss, but I cannot help you right now."

"I just want to know what's going to happen to us," you say.

The man is conflicted; there is a lot going on, and he doesn't have many answers. He sighs and explains, "We're trying to evacuate civilians. We have armored vehicles that will be departing soon. The city is dangerous, and we're trying to secure routes, but phones are down and it's chaos out there. What we need is for people right now to remain calm and trust that we are doing everything we can to get you to a safer location outside of the city."

You nod. "Thank you, sir." You are about to turn away when you see a man with a large wound on his shoulder getting violent with one of the officers, grabbing at him and demanding medical attention. You back up as the lieutenant orders two officers to take the man away as he struggles.

"You aren't screening for infection?" she asks the officer.

"We don't have the manpower or the capability," he says. "We don't even know what causes this."

"Those things eat their victims. It must be spread by bites... like a virus, or something."

"We've had reports of people turning without being bitten," he confides in her. He leans in close and says, "Don't start a panic, but it could be airborn or maybe in the water. There's just no way an entire city goes to hell without something like that being responsible." Another officer gets his attention.

"Marvin! The team on Main Street is good to go," the other officer says.

Marvin nods as the officer walks off to attend to other matters. "What's that about?" you ask.

"Police business," Marvin assures her. "Please go back with the others. We're working on getting a way clear out of the city, like I said."

You walk by a woman holding a crying baby; you can't help but notice a red bandage around her hand. Your stomach turns as you think about what the lieutenant said; if it is a virus in the air or water, could you already be infected yourself? That man in the restaurant seemed alright when he entered and ordered his meal, and then he turned and attacked Large Tony... will that happen to you, too?

>Attempt to help out the medics
>Return to Dylan and Jennifer
>Attempt to explore the police station
>There are already infected in here; we should get out
>Other
>>
>>4025687
>Return to Dylan and Jennifer
>>
>>4025687
>Return to Dylan and Jennifer
>>
>>4025687
>Return to Dylan and Jennifer
But keep an eye on the bitten lady.
>>
>>4025687
>Return to Dylan and Jennifer
We should also decide on a exit strategy if things got to shit in here
>>
>>4025687
>>Attempt to help out the medics, by looking for the bitten
>>
>>4025687
>Return to Dylan and Jennifer
>>
>>4025719
It'll be When. The RPD is the first third to half of RE2.

>>4025687
>Return to Dylan and Jennifer
>Keep an eye out for bitten people
>>
>>4025778
>It'll be When.

Yeah, you're right. But I'm also wondering how much the QM will be sticking to canon.
>>
>>4025808
I mean, there are already zombies here. Even *without* sticking to RE2/3 Canon, things can still go to hell in a handbasket.
>>
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>>4025692
>>4025697
>>4025702
>>4025719
>>4025752
>>4025778

As you return to Dylan and Jennifer, you note that there are several injured people in the throng of civilians in the police station's main hall. Some could have been injured in a number of ways, but others are clearly nursing bite wounds, or trying to hide them and act like nothing is wrong. Your brow furrows in concern as you sit next to Jennifer, who reaches for your hand and holds it.

Some people nearby are talking. "I'm telling you, it's the government. I heard someone else say that they're surrounding the town."

Another responds, "That's just relief operations! They're trying to keep this from spreading!"

A third cries out, "It's the end of the world! Hell is here, and God is punishing us for our sins!"

You try to shut them out and focus on what you know. Your knowledge of biology tells you that everything you've seen should be impossible, but here you are dealing with it. Deciding that the science of how it is happening doesn't matter nearly as much as surviving it in the first place, you study the room for exits. There are a number of doors in this hall, which are being used by the police officers frequently. Someone exiting one of them catches your eye because of his bright yellow vest.

He makes for the entrance of the main hall, and pauses to speak with Marvin, the lieutenant you spoke with earlier. You notice on his white sleeve a logo you've seen before: the S.T.A.R.S. arm of the police department. You've read about them; they were in the news recently for something, but you can't remember what, but you do know that they are supposed to be some kind of super-cops.

"Hey, see him?" you say to Dylan, pointing at the yellow-vest-wearing man. "He's with S.T.A.R.S.! They must be here to rescue us!"

"Looks like he's about to leave," Dylan says.

>We should follow him.
>Stay here for now.
>Run up to him and ask him questions.
>Other
>>
>>4025827
>Stay here for now.
>Look around for some more knives or something, the one you lost was really useful in keeping that zombie off of you.
>>
>>4025827
>We should follow him.
>>
>>4025842
support, once we have that claim space and force others to stay away.
>>
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I must now go to bed, but we'll be resuming tomorrow
>>
>>4025876
Night QM
>>
>>4025827
>Other
Ask if we can get some supplies, we have some training and we can start treating people or at least screening them a little if we have the help of a few officers and some supplies.
>>
>>4025842
>knife being useful

You sure this is a Resident Evil quest?
>>
>>4025842
>>4025857

While your eyes follow the man in the yellow vest, a fight breaks out between two of the men who were arguing earlier. The religious one and the anti-government man are at each other's throats, and soon enough a punch is thrown. They fall down in front of you and Jennifer holds onto your arm, cowering as one of them gets on top of the other and beats him.

A police officer rushes over and grabs the man's arm from behind, twisting it. You see a knife fall from his shirt and land on the ground as he struggles. Two other cops, a man and a woman, arrive to help the first as the man shouts about his rights.

Quickly, you reach over and grab the knife. It is a combat knife, one that feels almost too big for your hand, so you tuck it safely under your apron.

An officer standing on the front desk with a megaphone begins to address the crowd. "Attention everyone: we are going to start ferrying people out of the police station in armored vehicles. A safe route has been established to the city limits. Please, follow the officers to the east wing of the police station in an orderly fashion, and they will direct you to the parking garage beneath the building. Please remain calm while you exit the building."

People start to stand up and begin crowding near the eastern doors of the main hall. You and your companions were in the western corner, which puts you on the fringe of the group.

You catch a brief glimpse of a little girl in the crowd, who stands out due to her school uniform, which is bright white and blue. She is blonde, with a red hairband, and a golden locket hangs around her neck. She looks terribly frightened and is searching the crowd for someone.

But, before you can do anything, a group of people move in front of you to join the mass heading to the parking garage. When you look back, the little girl is gone.

>Go with the group to the parking garage
>Look for the little girl
>Try to find the man in yellow vest
>Wait in the main hall for a while longer
>Other
>>
>>4026500
>Look for the little girl
We should move thru sewage if we have opportunity should be safest option
>>
>>4026500
>Look for the little girl
Get everyone to stay together!
>>
>>4026500
>>Go with the group to the parking garage

the kids parents probably found them.
>>
>>4026500
>Go with the group to the parking garage
>>
>>4026500
>Try to find the man in yellow vest
Going for the wild card
>>
>>4026500
>>Look for the little girl

bring our group too
>>
>>4026500
>Go with the group to the parking garage
>>
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>>4026511
>>4026520
>>4026525
>>4026535
>>4026563
>>4026585

You stop moving and look around, trying to spy the little girl. As people move past you, Dylan turns back and notices. "What's wrong?" he asks.

"I saw a little girl all alone... it looked like she was trying to find someone."

"I don't see anyone," Dylan says. "We need to keep going."

"Just wait," you insist, breaking away from Jennifer and Dylan and heading towards the front desk. There is a blonde policewoman there, trying to keep things organized, who notes your approach. "Excuse me, but I just saw a little girl in here who was all alone. I can't find her now."

"I saw her earlier as well," the policewoman, whose nameplate reads Phillips, replies. "Do you know her?"

"No, I don't, but I--"

Suddenly, the station rocks with a strange earthquake-like vibration. Lights flicker briefly and a loud sound is head, but even this is enough to make people scream and threaten to panic. You crouch near the front desk, waiting for the lights to stop flickering, which they do in a moment.

"What was that?" one of the officers asks Marvin.

"Must be the team on Main Street," he replies in a low tone, meant only for the other officer's ears but you hear it as well.

The policewoman looks over at you as you straighten. "I'm sorry, but we need people to evacuate. Please proceed to the parking garage and... just try to stay calm. Everything will be alright."

You nod and rejoin the others. Because of your delay, you three are now at the back of the group that makes its way through the east hall, down the stairs into the basement and to the parking garage. People are packing into here as the police keep them behind a line and sort them into several armored vans. A policeman with orange lights guides them to the parking garage exit ramp.

It quickly becomes apparent, that even though several dozen people are able to leave, there aren't enough vans for everyone. The police try to keep everyone calm by explaining that more are on the way, but then somebody screams and says, "THEY'RE COMING!"

You look and see that the exit ramp to the garage that leads to the street now has zombies shuffling down it, perhaps drawn by the noise of the people. Two police officers posted at the exit open fire with their pistols, but their bullets seem to do nothing. "DROP THE FENCE!" one of them shouts, and the other slides a card across the console, causing the metal fence to drop.

If the vans caused people to worry, the gunshots, zombies and the cutting off of their perceived escape route incites them to riot. A man shoves you to the side as he tries to climb over the police line to make it to a car; he is shot by a nervous officer. All hell breaks loose from there as people scramble and the cops try to maintain order. Dylan and Jennifer manage to pick you up and get you near a wall.

>Stay in the parking garage
>Go elsewhere in the basement
>Return to the Main Hall
>Try to leave the police station
>Other
>>
>>4026678
>Return to the Main Hall
>>
>>4026678
>Return to the Main Hall
Yeah out here it's just raining zombies. No point in sticking around to be bitten or trampled.
>>
https://discord.gg/JUvqddG
>>
>>4026720
This ain't affiliated with me.
>>
Resuming after I get back from work.
>>
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Just a test post to see if I am banned for some reason.
>>
>>4026678
>Return to the Main Hall
>>
>>4026678
>Return to the Main Hall
>>
>>4026678
>Other
Ask the police to arm us so we can help!
>>
>>4026678
>>Return to the Main Hall
>>
>>4026707
>>4026717
>>4026777
>>4026790
>>4027008

You, Dylan and Jennifer make your way to the main hall, as most of the other civilians do. The few that are rioting are being dealt with by the police. Once you are in the main hall again, you return to your spot in the southwest corner, worrying about what will happen next.

Jennifer, her hopes of escape dashed by the zombies cutting off the vans as a means to do so, sobs quietly on your shoulder. "I'm going to die. I can't, there's so much I didn't get to do!"

Dylan sits with a blank expression, staring off into space. "I wasted my entire adult life," he mutters. "I didn't accomplish a single thing worth a damn..."

You try to soothe over Jennifer as you wrap an arm around her. "It'll be alright," you say to yourself as much as you do to her. "We can't give up hope... there must be another way out of here."

"Helicopter, maybe," Dylan suggests. "I saw a bunch flying over the city. Some of them looked military, like a chinook or something, you know? I wonder how high up this goes. Like, if the government knows what's really going on in here. Where's the army to fight these things?"

Jennifer continues to cry. "I'm so sorry, Daisy," she says over and over again. "I'm so sorry..."

You look down at her. "Why? You were never mean to me or did anything wrong."

It seems she's trying to come clean, perhaps lighten the load of her perceived sins before accepting death. "I've been a bad person. I never call my parents and I fought with my brother over stupid things and never helped him when he was in debt or needed a place to stay, and I never donated to charity like my grandmother wanted me to, and, and..."

You run a hand down her hair. "Sounds like you could've been a lot worse of a person if those are the worst things you did."

"...and I stole money from the cash register, and I blamed it on you!"

"What?"

"Tony didn't believe me though," she says softly. "He thought it was the janitor."

"That's why Micky got fired and I had to mop up?" You actually manage to laugh at that. "That's not so bad."

"Do you, do you forgive me?" she whimpers.

"Of course. We kind of have bigger problems to deal with now."

She sniffles and looks up at you. "How are you so strong?"

Dylan cocks a brow. "Yeah, you know, you are pretty remarkably calm given what we've been through, for a girl I mean."

You're about to snap at that last bit, but you swallow it and think. "I don't... really know. I've never been through anything like this. I had a few moments where I froze, but..." Your voice trails off and you shake your head. "It's so weird. I felt like I was living in the clouds before all of this. And then suddenly Tony gets his neck bitten into and I just, I don't know, a switch flipped and I knew I had to get out."

Jennifer sniffles and buries her face in your shoulder again. "Thank you so much for not leaving me behind, Daisy. I... I don't want to die."
>>
>>4027066

Dylan is silent. He's clearly thinking a few things over. You wonder if he's contemplating suicide again.

>Speak to them some more
>Sit and wait for something to happen
>Talk to Officer Marvin, the lieutenant
>Talk to Officer Phillips, the blonde woman
>Other
>>
>>4027071
>Talk to Officer Phillips, the blonde woman
Ask about the girl
>>
>>4027083
Support
>>4027066
>>
>>4027071
>Talk to Officer Phillips, the blonde woman
Ask what the deal is with orders and the chain of command?

Who s incharge and who's under the person in charge and etc.
>>
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>>4027083
>>4027115
>>4027131

You tell them that you are going to go talk to the officers again, and leave them in the corner with a few other refugees. You approach Officer Phillips, the blonde woman you spoke with earlier. "Excuse me, ma'am?" you get her attention. "Did you happen to see that little girl? I couldn't see if she got on one of the armored vans."

"No, I didn't," she replies. "It's possible she may have gotten on one of them... I'll go ask some of the other officers."

You wait by the front desk while she leaves to do that. While you wait, you can't help but notice several people who look rather pale, sweaty and weary. You chew on your nails, not wanting to start a panic, but you know that these people could very well either be dying of blood loss or, at the worst, they're infected... There are medics here, and areas of the main hall where the wounded are being actively treated, but you don't think they'll do too well.

A few moments later, Officer Phillips returns. "I asked around, but nobody has seen her. It's possible she may have wandered off somewhere else in the police station, but..."

"Could I go look for her?"

"I don't think my superiors will allow a civilian to roam the halls at this time," she replies with an apologetic frown.

"Why not?"

"Well, the police chief is very strict on those sorts of things," she explains. "Trust me, he's very intense and you don't want to get on his bad side." She looks over at the nearest other officer and then leans in close to whisper. "Don't spread rumors, but he's giving strange orders."

"Strange? How?"

"Well... he ordered the backup generators be drained of their fuel, in case we needed it for something else. Then, he had all the spare wood in the station consolidated in one area, but it's upstairs in one of the old art storage areas. He's sending officers out into the city to set up roadblocks and checkpoints in areas that don't seem to make sense, like it's all random."

Your brow furrows. "Why is he doing all of that?"

"I don't know, but we're stretched completely thin." She realizes that she probably shouldn't be giving this kind of information to a civilian and stiffles her next few words. "I'm sorry. We're doing the best we can to figure out a new solution to evacuating. Please, stand by until we get further information."

>Ask her to please let you look for the little girl; you won't disturb anyone
>Make it look like you are about to return, but then sneak off to look for the little girl
>Return to your companions and explain to them that you are going to look for the little girl
>Return to your companions and sit and wait
>Other
>>
>>4027215

>This is a matter of survival, we have to conspire to kill the chief, so that we can consolidate police resources. have Dylon keep an eye on the people who are going to turn, tell him that when one does he needs to put that gun of his to good use. Find the back cop and confront him about the chief, we have to make him see that what the chief is doing is suspicious as hell and if nothing else shows that he isn't in a sound state of mind. someone needs to take control before its too late.
>>
>>4027215
>Return to your companions and explain to them that you are going to look for the little girl

Maybe they know something, and the chief is porbably dealing with the riot in the parking garage.
>>
>>4027276
Nah, just from what what the blondie said I think he has lost it.
>>
>>4027215
>Return to your companions and explain to them that you are going to look for the little girl
>>
>>4027215
>Return to your companions and explain to them that you are going to look for the little girl

It would be OOC to just go try and murder Irons right now. Instead, we should go try and find Sherry and also useful supplies.
>>
>>4027299
This.
>>
>>4027276
>>4027295
>>4027299
>>4027307

You thank Officer Phillips for her assistance and then return to your companions. You bring them in closely and whisper, "I'm going to go look for the little girl I saw earlier."

"No, please don't go!" Jennifer says.

Dylan, however, is more supportive. "Go ahead. I'll watch Jennifer."

"Keep an eye on the others as well..." you warn him. "I saw someone turn in the diner we worked in."

He nods, keeping a hand over the gun in his pocket.

You kneel down alongside Jennifer and give her a supportive hug. "I'll be fine," you promise her, and stand up and look around. There are two entrances leading to the west, and an eastern hallway which you have been through on your way to the basement. There is also a second floor, but you don't know how to get there.

What to do?

>Go east, to the eastern hallway
>Go west, through the reception doors
>Go west, through the office doors
>Leave through the front door and make your way around the building
>Other
>
>>
>>4027350
>Go west, through the reception doors
Sneaking in the zombie apocalypse
>>
>>4027350
>Go west, through the reception doors
>>
>>4027350
>Go west, through the office doors
>>
>>4027350
>>Go west, through the reception doors
>>
>>4027350
>>>Go west, through the reception doors
>>
Rolled 12, 8, 15, 16, 10 + 20 = 81 (5d20 + 20)

>>4027391
>>4027406
>>4027422
>>4027440

Sneaking Attempt:
Small Size: +10
Light Inventory: +10
>>
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>>4027444

You slip in through the reception doors. There are several people here, arguing with an officer on the other side of the desk, trying to file reports. Thanks to your height and unassuming appearnace, you are able to elude any attention as you make it into the west hallway.

The lighting is dim, and many windows line it. You gaze out to see a large fire in the street further west. Stepping gingerly, you hear voices from up ahead and quickly hide in an alcove in the wall.

"Andy's really messed up, man," comes the voice of one of the officers. "He's covered in those bite wounds..."

"Let's put these here," another says. You stick your head out briefly to see that they are putting handgun bullets behind a pile of boxes.

"Why's the chief making us do all this? Taking all the weapons and ammo out of the lockers and putting them all over the station?"

"Apparently he said that it'll make defending each area easier if there is equipment in it," the other replies. "Come on, we gotta keep moving. Those things are starting to make it into the station. I heard someone got eaten down near the morgue before they put the thing down."

"Christ. We've still got people in here..." The two officers leave through the nortern door.

>Return to the Main Hall
>Follow them
>Take the handgun bullets
>Search the area
>Other
>>
>>4027450
>Take a mental note of the bullets location for later, then follow them.
While Dylan has his handgun, we have a pipe and a knife.
>>
>>4027450
Seconding >>4027459
>>
>>4027450
>Follow them
Find out where they are putting the weapons

Is that why there was ammo and weird stuff hidden all over raccoon city?
>>
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>>4027489
>Is that why there was ammo and weird stuff hidden all over raccoon city?
At least in the police station, yes.
>>4027459
>>4027474
>>4027489

Stepping over a pool of blood, you follow them into the corridor beyond. Looking through, you can see a few officers hastily working to board up the windows, nailing them down with whatever materials can be found.

"Hey, we need to get more from upstairs, we need all hands!" someone from further up calls down from the opposite end of the corridor. The officers abandon their half-finished work and move quickly.

This gives you the opportunity to slip into the corridor. You pass by a set of doors with a lot of noise on the other side. Peeking through, you see that it is some kind of operations room, a conference area where several officers are going over information and evacuation plans.

"Communications are all but dead," one of them says. "Fires all over the city, zombies everywhere. We still get occasional faxes, and the radio still works, but the phone lines are down."

"We've got a report of a mob at least a thousand strong at the football stadium," another officer relays, looking at a piece of paper. "Refugee masses at the hospital, university, here of course..."

Someone sticks their head out of another room in the back. "I just got word from upstairs that someone called in reporting giant bugs in the subway."

"Apparently the zoo is overrun and the animals are loose and eating people... zombie animals, too?"

"You should see the dogs downstairs in the kennel," one of them says in horror.

Closing the doors, you continue on to a stairwell, and you hear people bringing wood down the stairs. Unsure of where to go, you duck into a room at the end of the hall, discovering it to be empty. It is a photography room, with a darkroom connected to it. There are a few lockers, a table with a typewriter, a large box, some shelves and miscellaneous things scattered around.

>Wait, and then go upstairs
>Search this room for anything useful
>Use the Typewriter
>Wait here for a while
>Other
>>
>>4027508
>Search this room for anything useful
>Use the Typewriter
Save slot 1
Daisy Dixon
2h 7mins 43s
>>
>>4027508
>Use the Typewriter
A note to whoever finds it.
>>
>>4027517
support
>>
>>4027517
>>4027508
Support and LOL
>>
>>4027508
Well fuck, okay. Supporting >>4027517

Then
>Wait, and then go upstairs
>>
File: jpg.jpg (28 KB, 690x389)
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>>4027517
>>4027518
>>4027520
>>4027521
>>4027526

Sitting down at the desk, you decide to see if the typewriter still works. It has an ink ribbon nearby.

You remember learning how to use one of these from your father. He never bought into expanding technology, and preferred older things. 'If you can't learn how to do things the hard way, you don't deserve to have things done the easy way,' was his motto.

>To whoever finds this,

>My name is Daisy Dixon. Today is September 24th, 1998, my birthday. The city is under attack by zombies. Happy birthday to me.

>I have been studying to be a biologist at Raccoon University. I worked at a diner as a cook. Today I was going to have a party with my friends, but they might all be dead now.

>We are held up in the police station. Things don't look good. It is me, Jennifer and Dylan, and lots of other refugees. Many people are hurt. I saw someone turn into a zombie at the diner I work in. I believe it is transmitted through biting. The virus may be airborne or waterborne as well. I haven't had a chance to study it, but I've seen its effects: complete loss of humanity with an insatiable hunger. They swarm, are attracted to noise, and can break through barricades.

>If I don't survive, I hope someone finds this. My parents live in the suburbs. I hope they're okay. If this finds them, I love you both and thank you for raising me.

You finish up your note and fold it neatly into your pocket.

Suddenly, you hear someone entering the room! They fumble with the door for a moment, giving you a chance to hide. You quickly move under the desk and hold your breath.

A heavyset man enters the room, breathing heavily. He mutters under his breath and moves into the darkroom. You hear him shredding things and starting a lighter.

"Damn them," you hear him mutter. "Think they can do this to me? Umbrella, that bastard Birkin. Never should've..." He returns to mumbling and you cannot discern the rest.

>Wait for him to leave
>Attempt to sneak out
>Confront him
>Other
>>
>>4027548
>Wait for him to leave
>>
>>4027548
>>4027550
Support
Fuck it's Irons
At least we have a knife
>>
>>4027548
>Wait for him to leave
>>
>>4027548
>Wait for him to leave
>>
>>4027548
>>Wait for him to leave
This is the evidence we need to get the cops to turn on him and rally the city PD
>>
>>4027548
>Wait for him to leave
Fuuuuck the Note
>>
File: brian-irons.png (103 KB, 400x320)
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>>4027550
>>4027558
>>4027562
>>4027562
>>4027573
>>4027580

You continue to hold your breath. After a minute or two, the man leaves the room, his heavy footsteps and looming figure filling you with dread. He slams the door behind him. "You two!" he shouts on the other side. "Get to the east hall and stand guard at the basement stairs. Shoot any civie that tries to use them, they're infected. And get me Branagh."

Your eyes widen. 'The man's crazy. We're not all infected...'

After he is gone, you look in the darkroom and find that he was tearing up memos, bank statements, photos and more. There's nothing usable here; if there was something incriminating in all of this, he got rid of it.

You poke your head into the corridor, and look up the stairs. You consider where to go next.

>Upstairs.
>Sneak your way back to the main hall.
>Go through the evidence room.
>Search this room for anything.
>Other
>>
>>4027585
>Upstairs.
>>
>>4027585
>> find that lieutenant that we meet when we arrived at the station, he needs to know that the chief is a traitor working for the umbrella corp
>>
>>4027585
>Sneak your way back to the main hall.
We need to talk with the Officer Phillips
>>
>>4027599
support
>>
>>4027599
>>4027597
>>4027585
Either of these, we need to get our asses back to the main hall and warn people about We-Don't-Know-It's-Irons-Yet
>>
>>4027597
>>4027599
Get both of them together and tell both.
>>
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>>4027597
>>4027599
>>4027600
>>4027604

Deciding that you need to talk to someone about this, you head back towards the west corridor. You suddenly freeze when you hear gunshots from somewhere in the station. When you do, an officer leaves the evidence room and sees you. "Hey! You can't be back here!" he approaches you, grabs you by the arm and leads you into the evidence room.

"Please, listen to me, I just heard--"

"Quiet," he orders. You are taken though the evidence room, which has many locked shelves and storage lockers, into an office room. Officers are scrambling around, and most are too busy to notice you being dragged through past the desks.

You spy signs of a party that was in progress at some point, or perhaps hadn't been thrown yet; you see a banner hanging from the ceiling that reads, "WELCOME LEON"

The west office has a door leading to the main hall. The officer takes you here, but when you arrive, you see that there is some kind of incident. Some of the patients are attacking the officers, having turned. You wince and cover your ears as gunshots ring out, echoing in the spacious hall. Other refugees are screaming and panicking.

"GET THESE THINGS CONTAINED!" one officer shouts as they try and hold one down, even as it snaps at him. More gunshots are heard as they attempt to put down the monsters. One of the officers is bitten, a chunk of his cheek torn off.

The officer who brought you here has lost interest in you, and goes to help his comrades with the undead in the northern corner. 'This place is going to get worse and worse,' you realize. 'If the undead out there don't kill us, the ones inside will...'

>Return to Jennifer and Dylan
>Find Officer Phillips
>Search for Marvin, the Lieutenant
>Help note who is infected
>Other
>>
>>4027653
>Find Officer Phillips
We need to *find people* and tell them what the hell is happening
>>
>>4027653
>Return to Jennifer and Dylan
>Find Officer Phillips
Focus on finding Jennifer and Dylan, they´re priotiy
>>
>>4027653
>Return to Jennifer and Dylan
>>Search for Marvin, the Lieutenant
>>
>>4027653
>Return to Jennifer and Dylan
>Search for Marvin, the Lieutenant

Damn, didn't think we'd learn about Iron's bullshit so early.
>>
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>>4027663
>>4027664
>>4027672
>>4027705

Rushing over to Dylan and Jennifer, who are staying well away from the fighting in the opposite end of the hall, you tell them to stand up and come with you. They are confused, but follow as you seek out Officer Phillips, since Marvin is nowhere to be seen. She's still near the front desk, but is alone, as the other two officers that were with her previously are now helping the others near the back of the room.

"I think there's something more to all of this," you say to her, surprising her.

"What?"

"The chief, is he a big guy? Like, fat?"

"Yeah, he's round," she says, still puzzled by your words.

"I saw him burning evidence in the photo room," you explain. "He mentioned Umbrella."

"I... don't understand," she says, at a loss.

"Why is he giving all these strange orders? He's not mentally well."

"He's the chief, we--" Another gunshot makes her stammer and a few people scream. "This hall isn't safe at the moment. The reception room might be safer..."

"He was burning bank statements! He's covering something up!"

Officer Phillips continues to try to maintain control, but soon enough another fight breaks out. "I'm not infected, damnit!" someone shouts.

"Stay the hell away from me!" the man punching the other says. Phillips goes to try and break it up.

Dylan gently takes you by the arm and you return to your corner. "What's all that about?"

"There's too much going on for the cops to deal with," you say. "They're being given crazy orders and are being sent off to do crazy things." You look around and lean in close to them. "I have a professor at Raccoon University, Dr. Jenkins. He's leagues ahead of me in the field, but he told me once that Umbrella is researching all kinds of viruses and things. He wouldn't tell me what, but he said they have something dangerous on hand. I just figured it was some new strain of anthrax or something... this is something much, much worse."

"I don't understand, what does any of this have to do with what's going on?" Dylan asks.

"I heard the chief mention Umbrella, and them doing something. Think about it: they're the biggest company in town, right? Who else could have made a zombie virus? They did something, and the police chief just got rid of evidence linking him to them, I know it!"

"B-but what does that mean for us?" Jennifer asks.

"I... don't know," you reply. "The cops are still obeying his orders. We need to find evidence and prove that he's a traitor or something..."

"This all sounds insanely conspiratorial," Dylan says. "But... then again, there are actual zombies everywhere, so conspiracy sounds about as possible as telling me that there's no more room left in hell and the dead are rising from their graves."

>Wait in the main hall until things calm down
>Start sneaking around again
>Tell Dylan about the cops being ordered to leave weapons and ammo all over
>Try to talk to Officer Phillips again and convince her to help you
>Other
>>
>>4027734
>>Tell Dylan about the cops being ordered to leave weapons and ammo all over

>>Start sneaking around again

we need that proof
>>
>>4027734
>Tell Dylan
>Talk to Officer Phillips again- or Marvin, he seemed reasonable
>>
>>4027734
>>Tell Dylan
>>
>>4027734
>Tell Dylan about the cops being ordered to leave weapons and ammo all over
>>
>>4027734
Seconding >>4027756
>>
>>4027756
>>4027759
>>4027781
>>4027792
>>4027810

"One of the orders the police chief gave was to spread weapons and ammo all over the police station," you explain to Dylan.

"That's nuts. If they lost a room to zombies, they'd lose any supplies in it."

"Right? But it means that we might be able to find some. I'm going to try to find evidence about what's really going on."

"No, wait, Daisy!" Jennifer pleads. "It's dangerous! What if someone finds you? Maybe they'll think you're one of those... people... who are turning, and you'll get shot!"

"I'll be alright," you assure her. "Just stay here with Dylan, and stay away from anyone who looks infected or is wounded. I'll be back soon."

And with that, you're off sneaking again.

>Make your way back to the photo room
>Head east, towards the basement entrance
>Leave and explore the exterior of the building
>Try to sneak throug the west office
>Other
>>
>>4027880
>>Make your way back to the photo room

maybe something will have survived the burning
>>
>>4027880
>Make your way back to the photo room
>>
>>4027880

>Make your way back to the photo room

definitely
>>
>>4027880
>>>Make your way back to the photo room
>>
File: inventory 5.png (868 KB, 1500x1126)
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I must now go to bed. We'll resume tomorrow.
How are you liking it so far?
>>
>>4027932
I love it. Thanks for running.
>>
>>4027932
It's neat, I'm waiting for us to get to more of a problem solving survival stage. Killing zombies ain't exactly the most fun part of RE it's surviving and figuring out how to proceed. So I assume it'll be the same in an RE quest.
>>
>>4027880
>Make your way back to the photo room
>>
>>4027932
very Well, I think this is a uniqe enough quest that it can have longevitiy.
>>
>>4027959
I'd definitely like there to be, certainly.
>>
>>4027932
It's fun so far
>>
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>>
>>4028259
This is now how I see out character, a bit less pin up-y though. Strong work.
>>
>>4027880
>Other
Steal police uniform?
>>
>>4028259
>>4028304
But we're the chef, not the waitress
Jennifer is the waitress
>>
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>>4028259
Oh neat, it's Cindy. We might run into her or some of the other Outbreak survivors, who knows
>>4027887
>>4027891
>>4027915
>>4027930
>>4027963

Knowing that most of the officers are too distracted dealing with the wounded, infected or boarding things up, you are easily able to make it back to the photo room. As you pass by the You check the burnt evidence again, only to discover that there is nothing usuable in it. You look around at various photos that were left here to develop, but there is nothing interesting. The shelves are mostly full of photo chemicals, none of which you have any experience with. Upon opening up a cabinet, however, you find some handgun bullets. "They really are stuffing these everywhere," you think aloud.

One of the lockers is locked, and there isn't much you can do about it without the key. Having exhaustingly searched this room, it seems there is no evidence here. "I'll have to look elsewhere," you think. On the way here, you noticed a room labeled "Records" but it was locked. You remember the evidence room nearby, and the staircase. The evidence room could be tricky, as it is connected to the office that is being used by the cops, and if they wanted to go upstairs, they'd come through the evidence room to do so. There might be something upstairs as well, perhaps the chief's office or something. It could be dangerous anywhere you go...

>Go upstairs
>Go to the evidence room
>Return to the main hall
>Sneak into the office and try to avoid notice
>Other
>>
>>4028552
>Other
Loot everything.

How big is our inventory?

Lets get a duffle bag and a backpack.

Or a disguise and a weapon. Then go to another room
>>
>>4028552
>>Go to the evidence room
It just makes sense. In his fury, he might have left something behind.
>>
>>4028552
>>4028579

>Go to the evidence room

I agree, there's gotta be somthing there, even if we risk discovery.
>>
>>4028624
Shit. I commited the sin of namefaggotry
>>
>>4028558
>How big is our inventory?
Eight slots
>>
>>4028552
>Go upstairs
>>
>>4028696
But..... we can stack like 99 units of lets say herbs or bullets in a single slot right?

Imagine..... having 99 pistols to arm everyone with, and 99 can of beers.
>>
>>4028729
most RE games let you stack hundreds of bullets in the same slot. other items not so much tho
>>
>>4028734
But this is OLD skool inventory style.....
>>
>>4028696
And even then, I'm being perhaps too generous; classic RE had only six slots until we get a side pack or backpack or something
I'll probably go with that
>>
>>4028741
eh Jill got 8 slots in 3. Just say Daisy is wearing cargo pants today. like really good cargo pants
>>
>>4028754
Damn, those are some mean cargo pants.
>>
>>4028552
>Go to the evidence room
>>
>>4028741
Daisy is a cook so she must be wearing an apron!
>>
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>>4028579
>>4028624
>>4028764

'The evidence room must have something,' you think to yourself. 'It's called the evidence room!'

Knowing that the officers might be able to just walk into the room, you decide to risk it and quickly sneak over to it. Once more you see all of the cabinets, lockers and drawers, some of which have lights on them which are active. Some, however, are open, likely due to the officers having unlocked many of them to get pieces of evidence to be used as means of defense, like weapons, ammunition and such.

You work fast, opening any drawers and cabinets that you can, searching for anything that looks potentially useful. Your mind is ablaze with possibilities; what will you do if you discover proof that the police chief is working with Umbrella? That Umbrella is behind this chaos and the zombies? They're one of the biggest pharmaceutical corporations in the world. You're no journalist or hero, and yet you are compelled to seek out the answers to the mystery you've stumbled upon.

What if you are able to find evidence, and get it out into the world?
>>
Rolled 8 (1d100)

>>4028856
>>
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>>4028857

You discovered handgun bullets (×15).

Do you search again, risking discovery?
>>
>>4028862
Yes
>>
Rolled 44 (1d100)

>>4028863
>>
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>>4028883

Opening one cabinet, you discover a roll of film. 'Ah-hah!' Hoping it contains what you need, you quickly close the cabinet and rush back to the darkroom. You've developed film only once before, when you were doing a collage project with old family photos and had to take a new one, so you have some experience with it. Even better, someone wrote a reminder of the steps on a sticky note here for others to use.

Carefully, you develop the photo in the red light of the darkroom and eagerly await the results. As you do, you hear noises from outside; a crashing sound, followed by gunshots. You grow increasingly nervous as you realize that the zombies outside might soon threaten to get in, and if you get eaten, what good will have all this evidence gathering been?

The photo soon turns from white to an actual image. You take it out, hang it up to dry and inspect it.

You have to admit, you have no idea what you are looking at. It seems to be some kind of fleshy thing in a tank in a lab. The tank looks big enough to hold a person, which means that this thing in the tank is roughly the size of a person, but it looks more like an arm. No normal arm, however; it ends in large claws, and at the top is what looks like some kind of massive, bloodshot eyeball.

There is writing at the bottom, likely generated by a computer or some kind of special camera. It reads: "Code G Human Body Experiment 9/15 15:24"

"What is this?" you mutter aloud. "Some kind of mutation?" Whatever it is, there's nothing in nature like it. You might not be an award-winning biologist, but it doesn't take a genius to figure out that this is some kind of grown appendage, and if the text is anything to go by, it's from human material. "Code G...?"

After letting the photo dry, you secure it in a safe pocket.

>Return to the Main Hall
>Search the Evidence Room for more evidence
>Go upstairs
>Speak to an officer
>Other
>>
>>4028965
>>Speak to an officer
>>
>>4028965
>>Go upstairs
the photo is good but it's not a clean link. we need more
>>
>>4028965
>Go upstairs
>>
>>4028965

>Return to the Main Hall

I am kinda anxious for the guys. Are they ok in the hall? Also we can give the bullets to Dylan. He has a snubnose pistol right? It has to be a snubnose pistol.
>>
>>4028965
>Return to the Main Hall
>>
Be back in a little while. Heading out to play cards.
>>
>>4029007
>>4028965
>>Go upstairs
I agree. It's circumstantial at best.
>>
>>4028965
>Go upstairs
>>
Back. Writing now.
>>
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>>4029007
>>4029046
>>4029209
>>4029415

'This is no good. I need more proof than this. It links nothing together... it's just a... a thing. A weird thing, sure, but just a thing.'

You stick your head out of the door to look and listen for anyone nearby, you venture up the stairs. You find yourself now in a stylish hallway with strange artwork lining the walls. You remember reading somewhere that the police station used to be a museum; it was one of the city's legacy structures and was the reason it stands out so much from what one would expect a police station to be like.

There is a door on your left, but it is sealed and will not budge. Continuing on, you discover a stone statue, a bust of a man holding a brilliant ruby. There are two smaller statues alongside it.

You pause. Things are quiet for now; the gunfire has stopped. You hope that is a good thing. Near the statues, at the far end of the hall, is another door, and peering through that reveals another corridor.

>Proceed through the corridor
>Attempt to open the sealed door
>Inspect the statues more closely
>Go back the way you came
>Other
>>
>>4029719
>>Inspect the statues more closely

I wonder if this has a mechanism of sorts.
>>
>>4029719
>>Inspect the statues more closely
>>
>>4029719
>Inspect the statues more closely
>>
>>4029719
>Inspect the statues more closely
>>
>>4029719
>Inspect the statues more closely
>>
>>4029747
>>4029754
>>4029766
>>4029778
>>4029784

Something is written on the mounting of the statue.

"The god of sun and the god of moon. Their gaze upon me is the only thing that can release red soul."

You cock a brow. The statues are in the motif of a sun and moon, only positioned opposite of him. If they were on the other side, they would be facing him. Looking on the floor, you see there are panels that look like pressure plates. You experimentally step on one, confirming that it is what it looks like when it shifts beneath your weight.

'Maybe it'll do something,' you think, and prepare to move the statues.

That's when the corridor door opens and two police officers walk out--and one of them is Marvin, the lieutenant. He recognizes you immediately. "What are you doing?"

"I, uh," you stammer. "...Thought we could use these as barricades?"

"The chief doesn't want any of the art touched," Marvin says, moving into the room with the other officer. "You really shouldn't be wandering around on your own. It's dangerous."

You drop pretenses and flat-out say to him, "The chief is crazy. He's giving orders that make no sense. Why listen to him?"

Marvin is surprised by your words, but sighs. "I know. It's like he's deliberately trying to undermine everything around here. Weapons and ammo all over the place, supplies relocated, officers sent out on suicide missions..."

"Then why don't we stop him?"

"He has all the keys and can move about freely. More than half of the doors in here are locked or borded up because of the incident. Plus, rumor is he knows about secret passages. He can get anywhere he needs to and can stop us from following. But more than that, there is all of this going on, and we've got too much to deal with to try and corner him. We're under-manned and losing officers."

The other officer clears his throat nervously. "The chief said we shouldn't talk to the civilians about this, Marvin."

"I know, and I don't give a damn. This situation is getting out of hand." He looks over at her. "Fact is, Irons still has control over the other officers. Just from getting chewed out by him for a half-hour, I know for a fact that this situation has made him lose it, but the others won't be so easily convinced."

"What if there were proof that the chief were corrupt?" you ask. "Proof that he, say, conspired with Umbrella."

Marvin's brow raises. "That might do it... but how do you know about this?"

"I overheard him talking about it. Just let me go to investigate what's going on," you plead with him. "

He thinks for a moment. "Alright, I'll forget I saw you, but I don't know how long we have before we all end up dead, or worse, dead and walking."

"Do you have any leads that can help me?"
>>
>>4029858

He scratches his chin. "Right before things went bad, and I mean really bad, the chief had a man arrested. It was fishy from the start, since he had no real case to do so, but then the attacks happened and police officers were called out all over the city. He should still be down in the cells in the basement. Maybe he knows something."

"That's a good start. Thank you."

Marvin nods and says, "Take care of yourself. Don't get eaten." He looks at the other officer and urges him to follow and keep his mouth shut over that conversation.

>Head back down to the main hall
>Head east, through the corridor
>Attempt to move the statues again
>Attempt to pry the ruby loose
>Other
>>
>>4029859
>Head back down to the main hall
>>
>>4029859
>Head back down to the main hall
Might need help
>>
>>4029859
>>Head back down to the main hall
>>
we need to get to the basement
>>
>>4029869
>>4029877
>>4029878

Knowing the way well by now, you return to the main hall. As you pass by one of the windows, you nearly scream as a zombie pushes up against it, banging on the glass. Thankfully, it holds... for now. As you hasten to leave the area, the banging does not cease.

When you make it back to the reception area, you are glad to see that things have calmed down somewhat, and people are mostly falling asleep or keeping to themselves. You enter the main hall and quickly look to Dylan and Jennifer, thankfully unharmed and where you left them. They have been provided blankets, as well as most of the other refugees. Police officers are walking around, providing water, food and other small things.

Jennifer looks up as you approach, her eyes widening in relief. "Daisy! We were so worried about you!"

You sit down next to her, and she wastes no time in helping you under a blanket and cuddling up next to you. Dylan looks over. "Zombies broke into the east hall," he explains. "The windows are toast. They lost two men, and the whole area is locked down. They're trying to take it back, but... things have been quiet for a while now."

With a nod, you curse under your breath. 'The east hall was how we got to the downstairs area originally,' you think. 'There must be another way...'

"They're starting to board up a lot of the areas around here," Dylan notes. "They think we might be here for a few days before rescue might arrive. I overheard some of them talking."

"If the chief keeps doing what he's been doing, we won't last that long," you say under your breath. Remembering the bullets you found in the evidence locker, you subtly hand them to him. He checks to see if they'll work, and they will. "Anything else happen?"

"They started moving bite victims to another place, somewhere in the eastern part of the building. Now that the zombies are inside over there, they're probably all dead or turned by now." He looks around for a moment, then leans in close. "A number of the refugees were talking about leaving the station and trying somewhere else. Word is that they might try and leave tonight."

"This place at least has guns and ammo," you counter. "Going back out into the streets is the last thing I'd want to do."

"I'd tend to agree, were it not for the fact that this place is falling apart. But I also have no alternatives. Not like I was a doomsday prepper with an underground bunker or something."
>>
>>4029967

You feel a light stirring alongside you, and look down to see Jennifer with her eyes closed. She's actually managed to fall asleep, probably from sheer exhaustion and exertion. Her shoulder-length bob cut hair is somewhat disheveled, but it still frames her face neatly. You never paid much attention to her or the other waitresses beyond interacting with them over orders, which makes you feel somewhat guilty over how much she's come to rely on you in this crisis. You never got to know her or the others well; the only person you really spoke with at the diner was Tony, also known as Tony the Fat or Two-Ton Tony or Tons of Fun. You'll miss him, you know. He was a good employer and a friend.

You consider what your next move should be.

>Get back up to the second floor and try to make your way to the eastern wing
>Sleep; try to get some rest
>Explain to Ben about the evidence you found and the man in the jail cells
>Wait until it is later and everyone is asleep; then, sneak around
>Other
>>
>>4029970
>Sleep; try to get some rest
>>
>>4029970
>>Explain to Ben about the evidence you found and the man in the jail cells


>>4029978
we don't have the time
>>
>>4029970
>Sleep; try to get some rest
>>
>>4029970
>>4029989
Agreed
>>
>>4029970
>Explain to Ben about the evidence you found and the man in the jail cells
But a quick nap to boost our energy and morale would help.
>>
>>4030020
we have already lost a wing of the station, how long do you think the other will hold?
>>
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>>4029970
>Explain to Ben about the evidence you found and the man in the jail cells
Ahaha, I meant Dyland, Ben's the guy in the cell, that's funny.
>>4029989
>>4030020
>>4030008
>>4029978

You look over at Dylan and whisper about the things you discovered, and your conversation with Marvin. You go on to explain about your plan to find more evidence from the man in the jail cell.

"You sure this is a good idea?" he asks in an equally low tone. "If the chief is in on it, what's he going to do when he learns you're snooping around? He already locked up one guy. What's to say he won't do the same to you, or worse?"

"I'll just not get caught," you reply, though you know that in practice that'll be easier said than done.

You sit back and manage to close your eyes. You've been moving ever since the attack in the diner; it's nice to just relax for a moment. Your head leans to the side, resting on top of Jennifer's. Nearby, Dylan counts bullets and reloads beneath his blanket so nobody else can see, but you catch a glimpse when he spins the chamber.

Startled awake by the sound of a loud noise, you look over and see a man arguing with one of the police officers. It seems that the main hall is mostly vacant of cops; are they having a meeting somewhere?

"You can't stop us from leaving if we choose to. This is still a free country!"

"Sir, for your safety and the safety of those around, do not open the front doors."

"Screw you! I'm leaving, and so are some of the others!" To make a point of it, he approaches the front doors. The cop reaches to stop him, but it is too late. He opens them.

He screams as a creature leaps onto him, biting into his neck. Everyone wakes up and shouts in horror as a zombified dog tears out the man's throat. The officer raises his gun and fires, but misses. The zombie dog looks up at him with milky white eyes, and the officer loses his nerve, his resolve fading fast as he stares into the widening jaws of death. He turns and runs, and the dog chases after him, running past a cowering civilian.

When he is out of sight behind the statue, you hear him scream; the dog must have pounced on him from behind. You look over and see that the front door is still open; any other refugees near it are too afraid to make a move.

>You go for the door; Dylan goes for the dog
>You and Dylan go for the dog while Jennifer closes the door
>Leave the main hall, fall back to reception
>Run to retrieve an officer
>Other
>>
>>4030039
>>You go for the door; Dylan goes for the dog, Shout as we move "PUSH THOSE DOORS CLOSED NOW!"
>>
>>4030039
>You go for the door; Dylan goes for the dog
>>
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>>4030046
>>4030049

"Get that thing!" you say to Dylan as you rush up towards the doors.

"What!?" he replies, taking out his revolver. "Aw, shit!"

You shout for them to close them, which seems to snap them out of it; you and two others push the doors closed, but a zombie sticks her arm through the gap before you can shut them fully. You and the two other refugees hold it even as the zombie pushes against it, and then is joined by two others. Her arm flails and claws at the wood, reaching dangerously close to your head.

Dylan runs around the statue and skids to a stop. The zombie dog, having mutilated the officer's neck while standing on his back, looks up at him with blood dripping from its mouth. He raises his revolver and aims it at the hound, but freezes.

The dog growls, runs and leaps.

With a shout, Dylan fires, blasting the dog out of the air. It gives a loud yelp and falls down, twitching.

By now, officers elsewhere in the building, specifically in the western conference room, rush to the main hall to take control of the situation. Two of them run up to finish off the dog while more rush up to secure the front doors. With their help, and a gun stuck through the door and fired several times, the doors are shut once more. You fall down and breathe heavily before making your way back to your corner, where Jennifer is.

Dylan makes his way back over and sits down, a faraway look in his eyes. You look up at him and say, "I guess you really can shoot, huh?"

"If I had missed..." his voice trails off.

"You didn't when it counted, and that's what's important," you say to him.

Jennifer puts her hands over her temples. "Dogs, too? Is there no end to this?"

You hug her and comfort her as you look at the officers. They start bringing in some supplies to barricade the front door, but they're out of wood. Apparently most of it was stockpiled somewhere in the east wing. Setting up a desk and some shelves, they block off the door.

With the front door closed and zombies right outside, there really does seem to be no way out of the police station now.

>Rest some more
>Try to get into the east wing
>Sneak around the west wing some more
>Talk to Dylan and Jennifer and come up with a plan
>Other
>>
>>4030083
Rally the most able bodied people to retake the east wing cops included
>>
>>4030100
>Rally the most able bodied people to retake the east wing cops included
>>4030083
Support. Fuck doing everything ourselves, we have trained professionals with firearms!
>>
>>4030083
>Try to get into the east wing
this chaos is the time to sneak around
>>
>>4030143
the east wing is overrun by zombies, we need a reclamtion force.
>>
>>4030100
>>4030132
SUpport.
>>
I dunno guys, we could find an alternative to reach the basement cells and talk to this person we don't know the name of. Rallying people to kill zomies sounds like speeding up the end.

The end of our lives that is
>>
>>4030150
Chill out bro.
>>
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>>4030100
>>4030132
>>4030294

"We can fight and kill these things," you say to the police officers, loud enough for other people to hear. "They're not smart, they have predictable behavior. If we work together and come up with a plan, we can take back the police station and make it safe!"

Some of them look at each other and seem to consider the idea, but they back down from it. "We have orders to not retake the east wing until reinforcements arrive," one of them says.

"Reinforcements? When will that be?"

"Soon," the man assures her. "Until then, we've locked the eastern doors and are blockading them now. Those zombies won't be getting through."

"We can't just sit around and wait!" she insists, until Officer Phillips appears and gently takes hold of her arm.

"Ma'am, please. It's two in the morning, more than half of these officers are running on day-old coffee. We don't have the manpower to retake the eastern wing at this time."

"But--"

"We need to let everyone rest. Hopefully, with the front doors barred, things will be quiet for now."

You sigh, knowing that you won't win this fight. You have to admit, once the adrenaline of the zombie dog attack wore off, you became very weary and tired. Nodding, she takes you over to your friends.

"My name is Rita," she introduces herself. Looking at Dylan, she says, "I heard you have a gun?"

"Guess that cat's out of the bag," he replies. "I'm guessing you guys want it?"

She shakes her head. "Better for you to have some kind of means of self-defense. Just don't use it to threaten anyone." He shakes his head, saying he wouldn't. Rita looks over at you. "I spoke with Marvin," she whispers, now that you are out of earshot of the other officers. "He told me about you. Listen, I can't do much, but I'll support you. But the chief locked the path down into the basement. Until we can find another way in, there's no way to get to the cells."

"Damn," you mutter. You thank Rita as she breaks away to rejoin the other officers.

Feeling immensely tired, you manage to fall asleep.

When you awaken, it is now the morning of Friday, September 25. Thankfully nothing happened in the night. The Main Hall is quiet, with civilians keeping to themselves and officers mulling about the area. Some water and food is passed out, but supplies are clearly running low; they're rationing it quite severely.

>Go to the east wing through the second floor balcony
>Have Rita cover you so you can search for more evidence in the evidence room
>Explore the west wing some more and see what you can find
>Stay with Dylan and Jennifer and come up with a plan
>Other
>>
>>4030582
>Go to the east wing through the second floor balcony
>>
>>4030582
Alas, that didn't go so well. At least it only failed instead of backfiring.

Our current priorities seem to be along this line:
-Survive- preferably keep other people alive too
--Get the wood from the East Winng
--Get more food and water
--Get the RPD to start acting competently
---Get evidence about Irons
----Get into the basement
--Where's Sherry?
--Acquire more weaponry

Maybe we should try the East Wing? Probably more zombies, but more zombies=less Irons=less getting rid of evidence
Also the wood
>East Wing
>>
>>4030582
>Stay with Dylan and Jennifer and come up with a plan
>>
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>>4030593
>>4030596

You inform Dylan and Jennifer of your plan to search around the East Wing. Jennifer pleads with you to be careful, and you promise that you will. Taking the usual route you've taken before, you make your way up to the art statues where you spoke with Marvin and proceed into the next corridor. The lighting is dimmer in this hallway than some of the others, but as you enter it you hear a noise, like something scrambling in surprise. Fearing that it may be a zombie, you lift up your pipe and round the corner, only to see the sight of a little girl.

The same one from before!

The moment you catch a glimpse of her, she scurries away. "Wait!" you say, rushing after her. You hear something metal scrape and as you get past a shelf, you see her tiny shoes vanishing into a vent just large enough for her to fit through, but smaller than you are able. You try to grab at her shoes, but to no avail. "Please, I'm not going to hurt you!" you call out after her.

There is no answer. When you look for a door that might lead to where she has gone, it is locked; it is labeled as the S.T.A.R.S. office. You try knocking on the door, but there is no response. You return to the vent and bend down to look into it again, but you don't see or hear anything.

'That little girl is still running around the station, all by herself,' you think, feeling terribly for her. 'She must be so afraid... she ran from me like I was a zombie.'

>Attempt to break down the door to the S.T.A.R.S. office
>Proceed east, to the library
>Return to the statues
>Find an officer and tell them you saw the little girl
>Other
>>
>>4030612
support, then move on the east wing, with a weapon and back up.
>>
>>4030624
>>Proceed east, to the library
>>
>>4030639
>>4030638
>>4030624
WAIT CHANGING-
>STARS
The STARS office doesn't need a key!
>>
>>4030624
>Return to the statues

I want to fiddle with those statues! There's gotta be jummies behind the puzzle like more ink ribbons. We need ink ribbons.
>>
>>4030646
HoW wOuLd yOU kNoW ThaT InForMaTIon
>>
>>4030657
IC, we don't, but also IC we probably know about STARS due to being residents of Raccoon, and therefore we know there are probably guns or evidence in there.

OOC, I want to get the Unicorn Medal and by extension the Spade Key.
>>
>>4030646
>>4030661
Technically, it's locked until Jill unlocks it during the events of RE3, which takes place on the 28th. RE2 happens the day after on the 29th.
>>
>>4030663
Oh. Well, we can still try for it.
>>
>>4030661
You convinced me. Chanching my >>4030651 to
>Attempt to break down the door to the S.T.A.R.S. office
>>
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>>4030661
>>4030669

You approach the S.T.A.R.S. office door and start trying to open it. You push against it, then slam against it with your shoulder a few times. Finally, you start hitting the door with your pipe, to less than ideal results. As you prepare to try and wedge the door open, you hear the door at the far end of the hallway open and a man appears from around the corner, pointing a gun at you. He is large, wearing a vest, and has greying-brown hair. He is sweaty and looks like he's out of breath.

He aims for a moment, but then does not fire. "All that noise to break down a door, I thought you were one of them," he says, but does not lower his weapon. "What are you doing up here? You should be downstairs, with the others!"

Your eyes widen as you realize that this is the chief of police, Brion Irons. "I, uh..."

"Bad enough I've got a kid running around. I don't need this." He approaches, pointing the gun at you still. "On your knees."

"Sir, I--"

He suddenly gets very close, his eyes wide and terrifying in their intensity. His voice is sharp like a razor's edge. "Get down on your knees, now, or I add you to the list of monster casualties. DO IT!"

The sheer force of personality and overbearing nature of the chief has you get down out of fear. He takes out a pair of handcuffs and wastes no time in slapping them around your wrists. "Goddamn people, not doing what you're told. I should just leave you cuffed to a radiator and wait for those things to get to you."

"What? No!"

"Shut up! I've got better things to do than deal with this. Gotta find that little brat..." He kicks your pipe away and forces you to stand, grabbing you violently by the shoulder. He drags you downstairs, even as you struggle; his grip is strong and impossible for you to break out of. When he reaches the conference room, he grabs an officer and orders him to take you to the main hall, handcuff you to a rail and leave you there with the other civilians and to not let you go under any circumstances.

The officer does as he is told, even as you struggle and try to explain yourself. Once you are in the main hall, he secures the cuffs around a rail like he was ordered. Rita Phillips jogs up. "What the hell is going on?"

"Chief's orders. She was caught trying to break into the S.T.A.R.S. office."

"It isn't what you think! There was a little girl!"

"Chief's orders," the cop says, taking the key to your cuffs with him. He heads into the west office.

Dylan and Jennifer, having seen what happened, rush over to you. You struggle against the handcuffs, but you cannot slip through them.

"Damn," you mutter. "He's after that little girl, too."

"Now what?" Dylan asks.

Rita inspects the cuffs. "I can't open them without that key," she says.

Defeated, you let out a sigh and lean against the railing, thinking about what to do now.

>Have Dylan shoot the cuffs
>Ask Rita to help you get the key from the other officer
>Wait, for now
>Talk to them and come up with a plan
>Other
>>
>>4030706
>Have Dylan shoot the cuffs

That's what we get for being nosey
>>
>>4030706
>>Talk to them and come up with a plan, No more off the cuff plans.

good job tards.
>>
>>4030706
>Talk to them and come up with a plan
>>
>>4030706
>Ask Rita to help you get the key from the other officer

come ooon Rita. Squeeze the officers balls or something
>>
>>4030706
>Ask Rita to help you get the key from the other officer
>>
well at least the nerve gas from the outbreak scenario isn't a thing here
>>
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>>4030742
>well at least the nerve gas from the outbreak scenario isn't a thing here
Not yet, anyway.
>>4030715
>>4030728
>>4030732
>>4030736

You look at Rita and ask, "Please, help me. I need that key. I can't be of any help to anyone with these cuffs on."

"I'll go talk to him," she says. "If I can't get him to give them up, I'll... Well, I'll try."

She leaves for the office. You look at Dylan and Jennifer. "We need to come up with a plan," you say to them. "Once I'm free, we can figure out how to get out of here. I don't want to leave that little girl, and I want to get the info from the man in the cells."

"Can't we just wait for rescue?" Jennifer asks.

"It might never come," Dylan tells her. "I agree that we need some kind of backup plan. Maybe there's some kind of underground sewer line or something that we can find."

You nod. "That's not a bad idea. When I get free, I'll continue looking around."

"I have a bad feeling about all of this," Jennifer says, holding her arms. "What if things get worse?"

"We just have to hope for the best," you reply.

You wait for Rita, but she does not return immediately. It is a few hours before she does. In the meantime, you hear gunshots from elsewhere in the station, and wonder what could be going on. You are hungry and tired from standing when you see her leaving the office. She quickly approaches you, showing that she has the key.

"What took you?" you ask.

"Zombies broke into the west hall. We managed to take them out, but we lost a few more men. We can't even reach the morgue to put them down there, and while we were moving one of the bodies, he woke up and attacked." She fiddles with your cuffs for a moment before unlocking them. You bring your hands around to your front and rub your wrists. "We're just pushing the bodies out the windows now. It's giving the zombies out there something to eat, at least..."

"My god," you whisper, shaking your head. "Did the one with the key to my cuffs die?"

"Yeah. That's how I got them." She puts a hand over her face and sighs. "I'd be careful, if I were you. I heard the chief ranting at Marvin that if he caught any more civilians wandering around, he'd shoot first and ask questions later. He's locked his office with the mayor's daughter."

"Wait, what? He has the mayor's daughter with him?"

"Personally protecting her, apparently."

"It's not that little girl, is it?"

"No, Mayor Warren's daughter is older, about your age. Nobody's seen the little girl yet, but the chief has people looking for her."

>Stay in the main hall
>Continue sneaking around
>Find Marvin and try to get him to help you
>Search for an underground passage
>Other
>>
>>4030842
>Find Marvin and try to get him to help you
Ask if he has any details about these secret passages he said the chief uses and whether he knows were the keys to the STAR’s office are.
>>
>>4030842
>Find Marvin and try to get him to help you
>>
>>4030842
>Find Marvin and try to get him to help you
>>
>>4030858
>>4030864
>>4030866

When Marvin enters the main hall, you rush up to him. "Marvin, you mentioned that the chief uses secret passages, right?"

"This old place is full of them," he replies. "Unfortunately, not many are known. The records of the building's original construction are all locked up."

"Do you know if any of them might connect to the underground?"

"Some might," he nods. "I think there's one that runs under the main hall, but I don't know where it might open to. If we had a map..." He thinks for a moment. "You know, I think I saw one in the east office. Might be able to get there, but it's dangerous. It's right next to the sealed-off eastern corridor that zombies made it through. They could be crawling all over that office."

"Anywhere else I could look?"

"The library, I suppose... but if the chief finds you again..."

"Maybe you could distract him for me."

"I can buy you a little bit of time, but not much. He's locked in his office, but when I knocked on the door, he wasn't around. There might be some kind of passage in his office, I'm not sure."

"Is there anything else you can help me with? I saw the little girl go into the S.T.A.R.S. office. Do you have a key?"

"I'm afraid not. Only S.T.A.R.S. members and the chief himself have the key, and he told me he hid other keys all over but we have no idea where they are. I do have an idea, though. We're going to try and lure the zombies out of the eastern halls. Me and a few others are going to head up to the second floor and get on the side of the building through the helicopter landing pad. Once we're there, we plan on setting off a loud alarm. This might draw the zombies out."

"Good luck," you wish him. He nods and moves off.

>Wait near the eastern doors
>Head to the second floor
>Return to the photo room
>Talk with Dylan and Jennifer
>Other
>>
>>4030930
>Wait near the eastern doors
>>
>>4030930
>Talk with Dylan and Jennifer
>>
>>4030930
>Other
Ask for a uniform so at least we won't get shot on sight be that fat fuck.

Maybe bring up that little girl we say, and give a false area she went into, maybe say we saw the little girl around the east wing but she keeps running away disappearing when we get close.
>>
>>4030932
support
>>
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>>4030932
>>4030950

With Dylan and Rita at your side, you wait by the eastern doors. In about an hour, you hear the alarms going off outside the building. You open the door to the eastern hall, a darkly-lit corridor with payphones, and they move in.

"Clear," Rita says, moving to the office door. The three of you stack up on it before she opens it.

Almost immediately, you see several zombies, most of whom are police officers. They are at the far end of the room, their backs mostly turned due to the alarms outside. When you open the door, however, one of them turns and moans, drawing the attention of the others.

"Shit," Rita says, moving to close the door. You stop her and rush into the room.

"Daisy!" Dylan shouts, moving after you.

'We need that map,' you think to yourself, looking around. The Room has a few tables and desks. If you can avoid them just long enough, you can perhaps find the map...

Rita and Dylan both start firing, trying to hold the zombies at bay.
>>
Rolled 14, 17, 7, 12, 5 + 20 = 75 (5d20 + 20)

>>4030972
Light Inventory: +10
Fire Support: +10
>>
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>>4030974

Jumping on top of a desk, you leap over the arms of a zombie as he reaches for you. Dylan blasts another one in the chest, stumbling him slightly, which allows you to leap to another table. In the back of the office is a room with a door. Two zombies reach for you, but Rita manages to distract them by waving her arms and moving around the right side of the room, narrowly avoiding getting bit by a zombie on the floor.

You jump between the zombies as they crash into each other, both lunging for you. You make it into the smaller office and close the door, then lock it behind you. Almost immediately, a zombie starts banging on the outside.

There is a desk and a safe here. You search desperately for anything useful in the drawers, eventually finding a stickynote that reads "2236". You look at the safe, crawl over and enter the combo. A zombie starts banging on the glass window behind the blinds.

The combination works! You open the safe, seeing shotgun shells and a map! You quickly grab the map, shoving it into your pocket. Outside, Rita and Dylan continue to shoot.

Now, you are trapped. Unless...

A moment later, you throw a chair through one of the windows. Glass sprays everywhere as you follow after it, cutting yourself on some of the glass. When you hit the ground, you run, right up to a zombie that is between you and your allies.

The zombie lunges for you, managing to get ahold of you. His bloody mouth hisses as he goes for your neck, but you have your combat knife! With a single stab, you impale it into the side of his neck, shoving him off of you. You are forced to leave the knife behind, but you make it back to Dylan and Rita. The three of you shut the door behind you and rush back out to the main hall.

Once you are clear, you fall to the ground. Jennifer runs up and sees that you have a cut on your arm and starts tying to help. Dylan and Rita help you over to the desk.

Using part of your medkit, they clean and cover the cut. "That was crazy," Dylan says as your heartbeat returns to normal.

"But it worked," you reply, taking out the map.

>Get the map to Marvin
>Study it
>Relax for a moment, give the zombies in the east wing some more time to be drawn away by the noise
>Thank them
>Other
>>
>>4030999
>Thank them
>Study it
>Get the map to Marvin
>>
>>4030999
>Thank them
>Study it
>Get the map to Marvin
>>
>>4030999
>Thank them
>Study it
>Get the map to Marvin
>>
>>4030999
>Thank them
>Study it
>Get the map to Marvin
>>
>>4030999
>Thank them
>Study it
>Get the map to Marvin
>>
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>>4031007
>>4031011
>>4031026
>>4031049
>>4031064

You stand up, thanking both Dylan and Rita. You turn and place the map upon the desk, smoothing it out so that the four of you can study it. Unfortunately, the map does not concern any underground passages, but does detail the three floors of the building and what keys unlock what doors. It does not, however, show the basement either.

"This is hardly any good for us," Dylan laments.

"Look here," you say, pointing to the second floor. "This is a library. There must be old records in there, right? Can we get up to the second floor?"

"There is a ladder nearby but it is currently not lowered," Rita says, pointing up at it. "Maybe we can climb up there on each other's shoulders?"

"Marvin is tall, let's get him to help," you suggest.

Rita goes to get him. When she returns with him, you explain your idea about getting into the library. "Alright, I'm in," he says. He looks at Dylan and says, "Help me give her a boost."

Rita and Jennifer stand back while Dylan and Marvin allow you to climb up onto their shoulders. You reach the second floor railing and begin to pull yourself up, thankful that you are able to do so. Marvin walks over to a nearby computer and takes out a blue key card, which he uses to unlock the Main Hall's doors. With that, you're able to get into the library. The library is a spacious room, with lots of shelves populated by old books, reports, files and such. There are desks with scattered items all over the place, as well as a staircase leading up to the third floor. There are paintings everywhere.

You begin inspecting the area. It looks like someone else has been here, as several books are disturbed and thrown about, like someone was rifling through the shelves looking for something. You wonder if it was the chief, looking for any more evidence of wrongdoing.

>Inspect the shelves
>Go up to the third floor
>Search the desks
>Inspect the artwork
>Other
>>
>>4031110
>Inspect the shelves
>Search the desks
>>
>>4031110
>Inspect the shelves
>Search the desks
>>
>>4031110
>Split up
>We inspect the shelves
>Dylan takes the desks
>Rita examines the artwork
>>
>>4031110
Supporting >>4031125
>>
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>>4031117
>>4031123
>>4031125
>>4031127

Dylan and Rita, who both climbed up with Marvin's help, stay back to lower the ladder. Marvin and Jennifer climb up it and join with them, and all four enter the library with you. With five people searching the room, it isn't long before something comes up.

Or, more specifically, comes down. Rita, inspecting the art on the higher level, suddenly falls though the walkway floor.

"Rita! Are you okay?" Marvin asks.

"I'm alright," she answers from an unreachable part of the library. I'm walled off in here. Hang on, I see something..."

You hear a click as she presses a button, causing a shelf to slide away, allowing her to exit. You search the back area, finding a strange plate with unique symbols on it resembling columns beneath a work of art. It is identical to the large painting dominating one of the walls. You step out and see that the shelves in front of the painting can be moved.

"Hey, give me a hand," you say. You, Dylan and Marvin all push the shelves so that they line up.

When the shelves are pushed so that they match the pattern on the panel, it opens. You look inside and see a number of strange art artifacts, an odd plug but most importantly a file. You remove it and open it up. "Marvin, look at this!"

The file concerns the architecture of the former museum the police station was retrofitted from. It has details on secret passages and more.

"This is perfect," he says with a smile. "It says here the statue in the main hall can move and reveal an underground passage. If that's the case, then we can get out of here."

"But it needs something," he says. "Two pieces of art were once placed there. A unicorn medal, or the crescent plates. Here, look, there's a drawing."

He points to two round objects; one depecting a unicorn's head, and the other depecting five crescent objects that, when put together, make a circular piece of art.

"Once either of these are placed inside, a passage will open," Marvin says. "I think I've seen these around before..."

"The unicorn medal was in the S.T.A.R.S. office," Rita says. "I remember seeing it there. And yeah, I've seen those other pieces around, but I can't remember where. They're scattered all over."

"Is there any other way to get into the S.T.A.R.S. office?" you ask.

"Not unless we know someone who can pick locks," Marvin replies.

"I can," Jennifer says, surprising everyone. She sheepishly looks down, afraid of admitting this to a cop.

"Jennifer, say that again?" you say, approaching her.

"...Remember when I said that I took money from the register? I didn't know how to open it, so I unlocked it. I... I can pick locks."

"Where did you learn to do that?"

"High school," she admits. "I locked myself out of my locker a hundred times. Could never remember the combination. So, I learned."

"That's great," Marvin says, surprisingly. "Maybe we can get into places the chief barred from us!"
>>
>>4031197


>Head to the S.T.A.R.S. office
>Head to the records room
>Head to the main hall
>Head to the evidence room
>Other
>>
>>4031199
>Head to the evidence room
time to go shopping
>>
>>4031199
>Head to the S.T.A.R.S. office
This should be the priority for now
>>
>>4031197
>Head to the S.T.A.R.S. office
>>
>>4031197
>>Head to the S.T.A.R.S. office
we need that proof, to take control of the station from Irons
>>
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>>4031213
>>4031216
>>4031262

The door leading out of the library towards the S.T.A.R.S. office is locked. Marvin turns and says, "You ready to prove yourself?"

Jennifer nods and approaches it. She takes out a small pin and some other tool and starts fiddling with the lock. After ten minutes, nothing has happened.

"You sure you know how to do this?" Dylan asks.

"It isn't easy," Jennifer says.

You kneel alongside her. "You're doing fine, Jen. Keep going."

She nods, takes a deep breath, and tries again a few more times. After another minute or so, you hear a loud click. "I got it!" she says, turning the doorknob. "Once we close the door again, though, it'll lock."

Marvin picks up a book. "We'll keep the door open, then. Close it if we need to."

They proceed into the lounge area, which connects to the second floor corridor that the S.T.A.R.S. office door is in. Your pipe is nearby; you pick it back up. Once more, you wait for Jennifer to pick the lock. Surprisingly, this one takes only about half as long; perhaps she was merely out of practice.

The legendary S.T.A.R.S. team's office is as wide and diverse as the team itself. Each desk is personalized, with different items and things scattered around, and weapons. There is a weapons locker alongside a communications station, and there are gun parts on at least three different desks.

"S.T.A.R.S. always did get the best stuff," Marvin says, walking up to the locket and opening it. "God dayum! Look at this!" Rita and Dylan join him in inspecting the weapons. "This is some serious firepower," he says, taking out a grenade launcher.

You start searching some of the desks. Most are locked. "Jen? A little help?"

Jennifer walks over and starts working at one of the desks. You start turning over papers; anything that might be useful. You pick up a letter and read it.

>To my bestest S.T.A.R.S. buds,

>How are you all doing in that drab, old station? Hanging in there against old Irons? Me? I just got back from a date with a hot chick. Bet you can guess what we got up to under her extra-large umbrella.

>Europe is amazing. One month is in no way enough to even scratch the surface. Maybe I'll extend my vacation for another six months.

>Barry, don't you even think of coming to join me. Wouldn't want to make all the cute girls cry, yeah? So you just leave the babes to me.

>Jill, if Claire tries to contact you, please let her know I'm OK.

>Chris Redfield, August 29
>>
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>>4031298

Your eyes narrow. "Hey, Marvin?" you ask. "Where are the members of S.T.A.R.S. now?"

"They got into a fight with the chief over something," he says. "Officially, they were disbanded after more than half of the team died on some mission. We think there was something more going on, but we were never able to figure it out. Brad was here yesterday evening, but I haven't heard word from him since. He was looking for the other members."

"There's someone named Chris on the team, right?"

"Redfield? Yeah, he was a member. One of the last ones before the chief cut the team and formed the SWAT."

"I see..." You place the note down, and look at the man's desk. There is a file here, and upon picking it up, you discover the unicorn medal!

"Marvin! I found it!" You hold up the unicorn medal. "Now we can get out of here!"

Marvin throws you a thumbs-up. Dylan walks over with a strange-looking crossbow. "Hey, I thought you might be able to use this," he says, holding it out to you. "It isn't your standard kind of weapon, doesn't have nearly the same kick as a real gun, but there's some ammo for it. Might help."

>Take the bow gun
>Search for other items
>Take another weapon
>Attempt to use the communications station
>Other
>>
>>4031302
>Take the bow gun
>>
>>4031302
>>Take the bow gun
>Attempt to use the communications station
>>
>>4031302
>Take another weapon
Samurai Edge........

>Attempt to use the communications station
Tell the officers to regroup at the hospital, College, and Police station.
>>
>>4031302
Make sure we lock the door behind us while searching so if anyone comes in, we'd hear them opening the door....
>>
>>4031302
>Take the bow gun
>>
>>4031318
>Tell the officers to regroup at the hospital, College, and Police station.

before we can do that we will need to take Irons down.
>>
>>4031326
Well no one is willing to kill him at the moment...

Maybe if we see them hurt the little girl, but we ought to find her first.
>>
>>4031328
we have circumstantial evidence against him, but we need something concrete linking him to Umbrella. which is why we are looking for proof
>>
>>4031302
>Take the bow gun
>Attempt to use the communications station

H*ck yeah, just as>>4031326 said, let's attempt to save some lives.

A word of thanks QM, the way you write is inspiring. I struggle with long paragraphs and I've taken some pointers from yours to improve the cohesion of mine.
>>
>>4031351
if we do this, then we will likely have to openly fight, then kill irons with out the support of the majority of the cops in the station.
>>
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>>4031314
>>4031317
>>4031318
>>4031320
>>4031324

Taking the bow gun and its rounds, you look around again, this time searching for the little girl. Sadly, it seems she is not here, and you checked thoroughly under every desk and behind everything you could. She must have left at some point, or found another vent to crawl through.

It is with a heavy heart that you admit that you probably won't find her, at least not in this room.

As Marvin, Dylan and Rita arm themselves with as much as they can carry in the hopes of arming the police force with significant firepower, you approach the communications station and take a seat in front of it. You turn it on and speak into the microphone. "Hello? Is anyone out there?" You wait for a response, but none comes. You try again, hoping to raise anyone who might be listening. Again, there is nothing but low static.

Marvin leans over and tries switching to a few other stations. Each has the same amount of success. "Damn," he mutters. "I wonder if the radio tower has been tampered with."

"You don't think the chief would do that, do you?" Rita asks. "Just cut off all of our communications capability?"

"He might," Marvin admits. "We need to move. With these weapons and this ammo, we can retake the east wing, and send someone through the underground passage. I never thought I'd say this, but thank God for S.T.A.R.S. and their disregard for firearm regulations."

You hear Jennifer suddenly curse. "My lockpick broke," she reports. "I'll need to find another one..." Helping her up to her feet, your group prepares to depart from the office. As you leave, the door locks behind you. With pistols, shotguns and other weapons, you help the group carry them to the library, then into the main hall. Before you proceed down, however, Marvin pulls you off to the side.

"Don't use the medal on the statue just yet," he explains. "I'll take the officers on a mission to clear the east wing. Then, you can go once the coast is clear. I don't want any word of you leaving to reach the chief."

Once your group is down the ladder, Marvin begins assembling police officers and discussing a means to clear the east wing, now that they have been properly armed. The teams begin to assemble as one force will tackle it on the first floor and another on the second. When they give the signal, they go inside and begin their work.

You, Rita, Dylan and Jennifer approach the statue and place the medal within the plate in front of it. Sure enough, you hear the grinding of stone, and a small passageway opens--a very small one, that is. You crouch to look at it from the base of the statue.

"That's it?" Dylan asks. Suddenly, a key drops from above--the statue's arm moved in a mechanical fashion, lowering the jar it is holding, allowing it to fall out. He picks it up; it has the image of a spade on it.
>>
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>>4031396


Rita looks in the passage. "This is very small," she admits. "Perhaps it opens wider when the other objects are assembled?"

"Is it wide enough for anyone to fit?"

"Maybe just us girls," Rita replies. "We might be able to squeeze through it."

You look back at Dylan. "That would leave you here."

"I can take care of myself," he replies. "If you can go and get help, maybe you should."

"I'll go alone," Rita volunteers.

>I'll go alone.
>Rita will go alone.
>You and Rita will go.
>You, Rita and Jennifer will go.
>Other
>>
>>4031398
>You and Rita will go.
>>
>>4031398
>You and Rita will go.
come on, 20 minute adventure. Nothing wrong will happen
>>
>>4031398
>Other
Get it to open more?

Leave the key with Dylan and make sure its somewhere easy to find, because Jill will probably rage quit if she gets stuck i nthe city until its nuked.
>>
>>4031413
support
>>
>>4031413
Support
>>
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>>4031402
>>4031410
>>4031413
>>4031426
>>4031467

Without the other arfifacts, the

"Rita and I will go," you say. "Dylan, you keep that key. See if you can find anything around the station that will help, but keep it here in case anyone else needs it. If you can collect the other items and open the passage fully, it'll be a useful escape route."

"Right," he says, putting it in his pocket. "Be careful, Daisy."

"We'll go find help where we can," Rita says. "There are other police officers around the city. If we can link up with them, we'll send them here to reinforce the station."

Jennifer walks up and reaches for your hand. "You're going back out into the streets?" she says in dismay.

"I won't be gone for long," you assure her, even though you aren't sure of that yourself. "Until then, stay safe."

"You're the one walking into danger," she says, holding tightly onto your hand. "Please, Daisy, don't get hurt. I..." She seems like she wants to say something more, but holds herself back from doing so. Her eyes say something instead, and you think you understand. With a nod, you thread your fingers through hers and hold tightly back, silently promising to return.

Rita crawls through first, her gun in one hand and a flashlight in the other. You aren't far behind. Up ahead, Rita slips out of an opening into some kind of dark room and looks for a light. By the time you are inside, she's found it, and the lights dimly flash to life, revealing an old office of some kind. The walls and surfaces are covered with dust, and there are antiques and books on its shelves.

"Guess nobody's used this for a while," Rita says, brushing the surface of the desk. "Place must be decades old..."

You walk up to a table and see that there is a typewriter here. Rita walks past some old clay pots and finds a hall leading to an elevator. "Might be a way out here."

>Tell her to wait a moment, and use the typewriter
>Search the room some more
>Call up to the others what you've found
>Proceed down the elevator
>Other
>>
>>4031474
>>Tell her to wait a moment, and use the typewriter
An update from what we found and what mistakes to avoid, perhaps?
>>Search the room some more
>>
>>4031474
>Search the room some more
>>
>>4031479
Support
>>
>>4031479
Support.
>>
>>4031474
>Search the room some more
>>
>>4031479
>>4031482
>>4031483
>>4031484
>>4031508

You test the typewriter out, finding that it still works, but lacks ink. When you search the room for a moment, you find some ink in a puck, allowing you to use it.

"What are you doing?" Rita asks.

"Just making a quick note," you reply, leaning over to use the typewriter. "Just in case..."

>To whoever finds this...

>This is the second record of Daisy Dixon, chef and zombie apocalypse survivor (for now).

>I've uncovered a possible link between the Umbrella Corporation and the chief of police. He's mad, giving crazy orders and sabotaging the efforts by his own men to make things safer. He mentioned Umbrella by name and was burning evidence of their connection. But more has to exist, somewhere. To think that Umbrella might be behind this zombie attack...

>I haven't turned into a zombie. It seems to spread through direct contact with an infected person, probably by biting or scratching. I guess I'm lucky so far. There is still a chance it might be in the water or air; in case of the former, I'm only drinking from water bottles, but if it is the latter... well, here's hoping. I don't exactly have a gas mask.

>I write this from an underground passage in the police station. Officer Rita Phillips is here with me. We're trying to go and get help from outside the station. If you are reading this, then I am probably dead, so please send help to the police station and rescue the people there.

You're satisfied with that. Taking the note, you fold it and put it with the other one. Rita is checking her weapon. "Ready?" she asks.

"Ready."

You proceed down the elevator, into an underground stairwell with very little to no lighting. "Have you ever been down here before?" you ask Rita.

"No... never." She swallows and holds up her flashlight, leading the way with her pistol alongside it. "So, you live around here?"

She's clearly desperate to converse to simply break the tension of the area's silence. "I live in a small apartment building on Kensington," you tell her. "Well, used to, anyway."

"Any pets?"

"No. You?"

"A cat." She swallows again. "Maybe... maybe we should keep quiet, just in case anything hears us."

You're about to remark that she's the one who started conversing in the first place, but you're just as nervous as she is, so you keep quiet.

Eventually the two of you come to a junction. One direction seems to lead to an area with a lot of machinery, while the other is a worker's area that seems to connect to the sewers. Rita looks at you and asks the question without speaking: which way?

>To the machinery room
>To the sewers
>Search the area
>Wait for a moment and catch your breath
>Other
>>
>>4031552
>To the machinery room
>>
>>4031552
>Search the area
>Wait for a moment and catch your breath
>>
>>4031552
Supporting >>4031560
>>
>>4031560
support
>>
>>4031560
>>4031562
>>4031563

You stop moving for a moment to catch your breath. Rita does the same, leaning up against a wall. The two of you sit opposite each other for a moment more, slowly calming yourselves down.

It seems Rita cannot help but talk to soothe her nerves. "Anyone special? In your life, I mean."

"Hm?" You look up at her in surprise. "Oh... no, not really. I dated here and there but focused more on my work and my studies. You?"

She takes a moment to think, then smiles. "There's another officer, kind of a rugged guy. Bit of a drunk, I hear. But he seemed... I don't know, simple." She thinks over her words for a moment and then sits up. "Not like, he's simple in the head, I meant like it seemed like a relationship with him wouldn't have been complicated, you know?"

"Right. What's his name?"

"Kevin. I wonder if he's still alive... he was probably at a bar when all this happened." She rubs her arms and sighs. "Feels like the end of the world. Almost makes you wish you had made a move earlier, you know?"

"...Yeah, I can understand that."

Rita nods. "Let me ask you a question. Are you and that girl up there...? You know." She crosses her fingers.

"What? No. I mean, we were co-workers, we hardly ever spoke before this. I guess I did sort of save her life, but..."

"Sorry, I didn't mean to imply anything." Rita clears her throat. "We should probably get moving, then..." She stands up and offers you a hand; you take it and together you both search the area. Just outside the worker's break room that connects to the sewers, Rita finds a grenade. "How the hell did this get here?" she wonders. "Well, I'll take it."

Searching the area and the room yields some bullets for a gun neither of you have, and a strange case you cannot open without a S.T.A.R.S. badge. "I guess they used this passage at some point," you say.

"I guess we're back to square one," Rita says. "Machinery room, or the sewers."

>Machinery Room
>Sewers
>Split up
>Wait a while longer yet
>Other
>>
>>4031586
>Machinery Room
its not OOC to want to hold off on walking around in poo water
>>
>>4031586
>>Machinery Room
IC reason to not take the sewers, it's dark tight and if zombies are in there we are fucked.
>>
>>4031586
>Machinery Room
>>
>>4031586
>Machinery Room
>>
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>>4031592
>>4031596
>>4031599
>>4031607

"I'd rather not go into the sewers," you say. "If we get cornered down there..."

"I agree," Rita replies. "The other way, then."

The machinery room is very large, and somewhat daunting, as it is loud. Water pumps, steam vents and pistons for devices you don't understand whir unceasingly as you pass by them. Walking down a raised platform, you come to a ladder and descend. Rita goes first, always leading with her gun up.

"I don't see anything," she says as you both cross through the area, "but stay sharp..."

The area, thankfully, seems devoid of life. You find another ladder and climb it, which takes you to a control room. Within it, you find a green herb growing in a pot.

"I use these in my cooking," you say, taking it and carefully stuffing it into a pocket after uprooting it. "They're good for medicine, too."

"Yeah, I've heard all about the magical Arklay Mountain herbs. I think my neighbor grows them for her tea. Says they keep her strong."

"My professor told me that Umbrella settled here because of the herbs. It's how they made their money in pharmaceuticals."

Up ahead, down another walkway, you find a ladder, this time one that leads up. Rita goes up first, finding a manhole. She calls down, "If this leads to the street, be careful." You nod and wait for her to push it up. She grunts and manages to do so with great effort, looking up to see where it leads. "I'll be damned. We're in the parking garage."

"Under the station?" you ask. She pushes the lid away fully and gets out, helping you up. She approaches the gate that was dropped earlier when the zombies threatened to swarm inside during the evacuation. The zombies are not there anymore; something must have drawn their attention elsewhere.

"If we can get this open, we'd be able to get out and bring help back in the same way," she says. "Evacuate just like we planned."

You hear her, but your attention isn't quite with her. You're thinking about how you're underground, where the jail cells are supposed to be.

>Find the jail cells
>Search for the way upstairs
>Go to the kennel
>Go to the generator room
>Other
>>
>>4031634
>>Find the jail cells
>>
>>4031634
>Find the jail cells
>>
>>4031634
>Find the jail cells
>>
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>>4031638
>>4031647
>>4031653

You poke Rita's shoulder. "Where are the jail cells?"

Rita points in their direction, in the southwestern corner. You lightly jog in that direction, with Rita following after. "Hey, wait!"

You make it into the cells and see that most of them are empty, but some of them have people in them. There's a cell with two people, and a cell with only one.

"Hey there baby," a bald man says behind the bars. "What's going on out there, eh? Sounds like the whole world's lost it."

"I'm looking for information about Umbrella and Chief Irons," you say, which neither of them know how to respond to.

The man in the other cell, however, does. "Sounds like I'm the man you need to talk to."

You approach his cell and look at him. He is in his mid to late twenties, with his hair pulled back into a ponytail. He wears a white shirt with a red tie, and a jacket hangs near him. He has a lit cigarette. "So, it's happening, is it?"

"You know about all of this?" you ask as Rita walks up behind you.

The man looks at her and straightens up. "I'm not saying a word with one of Irons' lap dogs around."

Rita looks at him and replies, "All I want to do is get the people in this station out of here."

"Hey, does that include us?" the man in the other cell asks.

"The chief is trying to undermine the police's efforts to make the station safe," you explain to the man. "He's giving all kinds of crazy orders and he's completely off his rocker."

"I'd say so, considering what he's been up to. My name is Ben. I'm a reporter, and for the last few months I've been digging up dirt on this lady's boss. Turns out he's in deep with some bad people."

"So you have proof?"

"Ah-ah, I'm not saying another word until she leaves."

>Convince him that Rita is on your side
>Offer to trade him your evidence for his
>Ask Rita to leave so you may speak with him
>Threaten him into cooperation
>Other
>>
>>4031697
>>Convince him that Rita is on your side
Failing that
>>Offer to trade him your evidence for his
>>
>>4031697
>Offer to trade him your evidence for his
>>
>>4031700
Supporting
>>
>>4031700
>>4031705
>>4031723

"She's helping me against the chief's wishes," you explain. You reach into your pocket and take out the photo you developed earlier and wave it around. "Do the words, 'Code G Human Body Experiment' mean anything to you?"

His eyes widen. "Is that...? Let me see that!" He reaches for it, but you snatch it away from him.

"Ah-ah! Not quite. Tell me what you know."

"Look, I need that. I could win a pulitzer for bringing down Umbrella."

"Talk, Ben."

"Fine, fine! The chief's been taking bribes from Umbrella. I think that extends to other city officials but I cannot be sure. I have documents that directly prove it, and Irons knew it, so he locked me up in here on false charges. I knew something was going on, something big, that Umbrella had really screwed the pooch on something, but I never dreamed it would be this big. What's it like out there? Complete destruction?"

"Zombies are everywhere, yeah. Whole city's gone."

"That is fantastic," he says with a smile. "A whole city undone by their fuck-ups. This case is going to make us millionaires."

"Us?" you say with a cocked brow.

"Well, sure. You get me out of here and I'll split the profits with you. I mean, I'll get the credit of course, but I won't forget my friends."

"Sure... do you have the documents?"

"Of course I do. You give me that, and I'll hand them over."

You hold out the photo, and he snatches it up. "This is perfect. I always wondered what the G-Virus does. If this was just an arm..."

"Well?"

"Hm? Oh, I don't have them on me."

"But you just said--"

"Irons didn't exactly lock me up with them," he says with a shrug. "But I have them in a safe place. If you get me out of here, we can go there together."

"We're trying to get help for the others," Rita explains to him. "We can't leave the garage."

"Well, it just so happens that I have a parking pass," he says, taking it out and holding it up. It hangs around his neck from a lanyard. "So, are we partners?"

>Agree to release him
>Focus on getting help first
>Get him to reveal where he stored the documents
>Talk to him more about Umbrella
>Other
>>
>>4031737
>>Focus on getting help first
Also figure out to open the other cells
>>
>>4031737
>Agree to release him
>Focus on getting help first
>>
>>4031737
>Agree to release him
>>
>>4031737
>Agree to release him.
"Partners." Give em a wink too.
>>
>>4031743
support
>>
>>4031739
>>4031743
>>4031746
>>4031748
>>4031751

Putting your hands on your hips, you give him a smile and say, "Partners." For added measure, you throw in a wink as well.

He smirks back at you. "So, all that leaves now is getting me out of this cell."

You look at Rita, who seems uncertain of this course of action, clearly questioning Ben's character. "I don't have the keys," she replies. "Marvin or someone else might, though."

"You know where to find me," Ben says, leaning back against the wall of his cell. "You and me, kid, we'll bring down a worldwide giant."

Upon departing from the jail and ignoring the others, Rita gets your attention. "Are you sure this is a good idea? We still have another way out: the sewers."

"What good is getting out of here if we can't prove to the outside world what really happened?" you ask. "An entire city is dying. We can't have their deaths be for nothing."

She finds it hard to argue against that. "Well, I see your point... The way up through the east wing might be difficult if Marvin and the others haven't cleared it yet," she says. "We could take the long way around, though."

>Go up through the east wing
>Take the long way around, through the secret passage
>Search the basement
>Send Rita to meet with Marvin while you go back and talk to Ben
>Other
>>
>>4031763
>Search the basement
>>
>>4031763
>>Search the basement
>>
>>4031763
>Search the basement
>>
>>4031763
>search the basement
>>
>>4031770
>>4031780
>>4031781
>>4031790

Heading out into the basement hall from the parking garage, you stop when you hear a strange noise from up ahead, a kind of repeating padding noise. That's when a dog walks around the corner. Rita holds up her flashlight and pistol, shining it upon the dog, whose hide is rotting, with exposed musculature and pure white eyes.

"Oh no," Rita gasps as the zombified hound barks and breaks into a run in your direction.

You raise your bow gun and fire as Rita shoots.
>>
Rolled 13, 13, 13, 11, 20 + 20 = 90 (5d20 + 20)

>>4031799
Fire Support: +10
Narrow Hallway: +10
>>
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>>4031803
The bow gun fires, sending three bolts flying through the air. Each strikes the dog, two in the neck and one in the upper leg, causing it to fall forward and skid along the ground as it struggles to stand back up. Rita, having missed her first shot, doesn't miss her next one, putting away a few shots in the hound's hide before it stops moving again.

"Nice work," she compliments you, taking a moment to ensure the creature is dead by nudging it with her foot. "Must've gotten loose from the kennel..."

"How could they have gotten infected?"

"Maybe they were given bad meat or water," Rita offers. If the virus can be waterborne, that would make sense; dogs wouldn't have access to clean sources of water like people would.

You and Rita explore the basement. There is a shooting range, the kennel, the generator room, the morgue and a weapons storage room that is locked by keycard. There is also the hallway leading up to the stairs that will take you into the east wing.

The generator room is interesting, because most of the fuel has been removed. You approach them and see that they are nearly all in the red. "The chief ordered the fuel to be taken out, didn't he?"

"That's right, yeah. In case we needed it for something else, he said."

"That's stupid. Help me fill them back up." You and Rita work together to empty the plastic gas cans into the generator, ensuring that it will work much longer than previously. After doing so, you inspect the room, finding a desk and several tanks of strange material hooked up to some kind of hose system. "What are these?"

"Those are the riot control tanks," Rita explains. "In an emergency, rooms in the station can be flooded with gas."

"Who can control that?"

"The chief. He has a control panel in his office, I think."

>Return to the parking garage
>Search more of the basement
>Search the desk in the corner
>Disconnect the gas cannisters
>Other
>>
>>4031825
>Disconnect the gas cannisters
>Search the desk in the corner
>>
>>4031831
support
>>
>>4031825
>Disconnect the gas canisters
>>
>>4031831
>>4031833
>>4031839

"Well, we can't have that. Not like this stuff would even work on the undead," you say, picking up a wrench and disconnecting the cannisters. Rita helps you, preventing Irons from using them in the future.

As Rita heads towards the door to ensure that the coast is clear, you walk up to the desk. It looks odd to be in here, like a discarded piece of furniture, but you inspect it nonetheless. There is a map of the basement on it, which you fold up and take with you. In its bottom drawer, however, buried beneath a file, is a single piece of paper that conspicuously looks placed there to be hidden.

You take it out and inspect it. It is a list of transactions over the last few years, all in sums of thousands of dollars. At the bottom, you can make out an erased name, but it is still clear--"B. Irons."

"So this is how much they were paying you," you think out loud. "But no mention of Umbrella. All this proves is that you were getting money from someone." The inconsistent amounts, ranging between two thousand to fifteen, are damning enough, but not quite. Ben says he has documents that directly link the chief to Umbrella, so that's what you really need.

Rita opens the door, and then nearly screams and slams it shut when another dog jumps out at her. You rush over to her as the dog claws at the door from the other side, then is joined by another. Both of them are relentless in their attempts to get inside, and you doubt your ability to fight off two of them at once without getting injured.

"Now what?" Rita asks. "The others were depending on us."

"We just wait for them to lose interest and then make a break for it," you suggest.

You and Rita move to the back of the room and sit down, trying to wait for the dogs to leave. It ends up being a few hours before they do. Time passes slowly, and you and she slip in and out of exhausted naps. Eventually, when you check the doors, you hear nothing on the other side.

"We need to figure out where we're running to," Rita says. "Either upstairs, to the east wing, or back to the parking garage."

>Stay here a while longer yet, just to be safe
>Run up the stairs to the east wing
>Run back to the parking garage
>Split up and hope one of you makes it
>Other
>>
>>4031877
>>Run up the stairs to the east wing
If it's not clear by now then it's not going to be cleared.
>>
>>4031877
>Run up the stairs to the east wing
>>
>>4031877
>>Run up the stairs to the east wing
>>
>>4031877
>>Run up the stairs to the east wing
Take a chance
>>
>>4031877
Why couldn't we open the door a crack, and shoot them dead?

Could have braced the door with some heavyer stuff behind it so they can't barge in and the doors wouldn't open more than a inch.
>>
>>4031921
ah that's the golden quistion does the door open outward or inward
>>
Just want to say I love this quest, QM. One of the freshest on the board right now. Keep in up. And please don't die on us!
>>
>>4031924
Swing door?
>>
>>4031931
I'm not going anywhere, don't worry.
>>4031884
>>4031892
>>4031902
>>4031919

"Upstairs," you say. "If it hasn't been cleared out yet, then... Well, let's just go, shall we?"

"Remember: out the door and to the left, then take the first left," Rita says. "One... Two..." She takes a single peek out of the door to ensure that the coast is clear. She holds up her third finger and then the two of you rush out.

The dogs, near the parking garage entrance, turn and see them, running and barking after them. You and Rita round the corner and sprint for your lives up the stairs. Knowing that the dogs will be behind you, you and she run into the eastern corridor, seeing that there are no zombies within it, but nearly all the windows are broken. You run to the end, hearing the dogs getting closer, their growls and snapping getting louder. Rita opens the door, slamming it shut once you are through.

You find yourself in the east office once more, only this time there aren't any zombies, but officers. They aim, but stop when they see that it is one of their own. "Hold your fire," Marvin says, lowering his shotgun. "Rita? How are you here?"

The dogs attack the door as you both walk towards the others. "We made it around to the parking garage," Rita explains. "We have a way to open the parking shutter to the street. If we can clear the path to the basement of those infected dogs, we can evacuate the refugees through it with a vehicle once we go find help."

"I like it," Marvin says. "What do you need?"

"The keys to the jail," you reply. "The man you told me about, Ben? He has a parking garage pass that can open the shutter."

Marvin's face turns grim. "We don't have it," he explains. "Perry was the last one with the keys. We sent him up to the helipad to make sure that the water tank was secure, but we haven't heard back from him yet."

"Let's go find him, then," you suggest. "If we've cleared out the east hall, we should be good to go, right?"

"Not exactly," Marvin replies. "Just as soon as we cleared the east wing, the west wing started getting hit. I've got officers trying to retake it." He brings you both over to the map you found earlier, laid out on the table and lays out the defenses. "Power's been cut to the shutters. We can't keep them closed. As long as we've got open windows, the zombies will keep coming in. The good news is that we have a secure path from where the wood is stored, so now we can resume making barricades."

"What about the chief?" you ask.

"Still locked up in his office," Marvin replies.

>Go to the roof with Rita
>Go to the roof with Marvin
>Go to the roof with Marvin and Rita
>Link back up with Dylan and Jennifer
>Other
>>
>>4031956
>>Link back up with Dylan and Jennifer, we will get the key
>>
>>4031956
>Link back up with Dylan and Jennifer
>>
>>4031956
>Link back up with Dylan and Jennifer
>>
>>4031963
I like this, except maybe not Jennifer? Only because she needs a new lockpick. And right now that's her only applicable skill. Bringing her with us would just put her in danger of becoming zombo chow.
>>
>>4031970
support
>>
>>4031963
>>4031966
>>4031967
>>4031970
>>4031972

You thank them and promise to be right back. Out in the main hall, you find Jennifer, who is relieved to see you are still alive. She hugs you. "Did you get help?"

"Not yet. We managed to get back into the parking lot from underground. We're working on getting a safer way out of here." After the hug, you ask, "Where's Dylan?"

"He's somewhere in the west wing," she explains. "When the zombies attacked, I think he got trapped in one of the rooms. I haven't heard from him since. I just hope he's alright."

You think for a moment. "Did you ever find a new lockpick?" She shakes her head. "Damn, that means we can't go through the library..."

Jennifer takes a moment to compose herself. "He said that he found a room that key he had opened. Some kind of records room, I think."

"The records room? I remember passing it. Maybe he was trapped inside when the zombies broke through the windows. That means he could lock the door from his side, so he's safe for now."

>Wait for the police to attack the west wing
>Attempt to rescue Dylan
>Return to Rita and Marvin
>Use the typewriter at the front desk
>Other
>>
>>4032000
>Use the typewriter at the front desk
Not sure if we should rush to help or not
>>
>>4032000
>Attempt to rescue Dylan
time is a factor and Dylan does consider suicide as an option
>>
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I'm off to bed. We'll be resuming tomorrow, as usual.
>>
>>4032026
Night qm, thanks for running
>>
>>4032000
>Attempt to rescue Dylan
>>
>>4032000
>Attempt to rescue Dylan
>>
Rolled 9, 10, 4, 7, 15 = 45 (5d20)

>>4032013
>>4032254
>>4032399
>>
>>4032000
>Return to Rita and Marvin
>Wait for the police to attack the west wing
>Attempt to rescue Dylan

Encourage teh cops to hurry up and we move in force.
>>
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>>4032494

Loading up your bow gun with three more bolts, you rush towards the western corridor doors. Jennifer follows after you.

"Daisy? Daisy! What are you--?"

You tell her to wait here and that you'll be right back. You've never been one to play the hero before today, but now seems like a good time to start. Opening the doors to the waiting room, you proceed through it, past a window that a zombie is banging on and into the hallway.

The records room is just around the corner, and you already see two zombies. You raise the bow gun and fire, launching three bolts into the first one, which puts him down. He is still twitching, and still alive, but you aim and fire at the next one. These bolts mostly miss, but one hits his arm. He comes at you hard, but is stopped when you fire three more into his chest and face, making him stumble backwards.

You rush forward. If you can just get to the records room door and have Dylan open it, together you two will--

A zombie lunges at you from around the corner. You gasp and try to raise the bow gun to fire, but his hands push it aside. You suddenly find yourself fighting against the larger, stronger creature, and his horrible eyes, rasping moans and bloodstained teeth loom in your face.

Then, suddenly, they sink into your flesh as he bites your shoulder. You scream in pain as he pulls back, taking a chunk of your shirt and shoulder with him. You push him away and cry out, "Dylan!"

The door to the records room opens and Dylan is there, looking disheveled and fearful. He aims and fires his gun at the zombie in front of you, causing him to stumble to your left, allowing you to hobble into the room. Dylan closes the locks the door, then turns to you as you put your back against the wall and slide down.

"Daisy... oh, god," he whispers, looking at your shoulder.

"He got me," you say, tears running down your cheeks. "I thought I could save you..."

He sits you down and quickly takes out your medkit to clean your wound. You remain still for the time being, but your mind is whirling with thoughts.

'I'm bitten... I'm... infected,' you slowly come to realize, and a wave of fear runs through you. 'I'm going to... turn into one of those things?'

The wound is cleaned and covered, but continues to bleed. He puts pressure on it as he shakes his head. "Oh, Daisy..." You wonder if he is thinking the same thing that you are.

Outside, the zombie who bit you pounds on the door, then is joined by another. Even if the door is locked, they might eventually break it down. And there were more in that hallway...

You look into his eyes, and question if it was all worth it.

>Mutual suicide pact
>Wait for rescue
>Search for a way out
>Try and fight your way back
>Other
>>
>>4032520
>Other
Use whatever might help stop the bleeding from the medkit and combine the green herb with whatever can bandage the wound.
>Search for a way out
>>
>>4032520
Have sex then kill yourselves
>>
>>4032520
Well gotta save dyllan and get hin out. Fight your way back. Then use herbs for healing.
>>
>>4032545
+1
Hopefully we're in the ten percent immune to the virus.
>>
>>4032564
Well as a protag we would hope
>>
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>>4032545
>>4032564

You struggle to stand up. Dylan supports you as you look around the records office, seeing shelves of files. "Did you find anything in here?"

"I found this," he says, handing you a report. You inspect it.

"Jill Valentine," you read the name of the author aloud. "It's a report on Umbrella's bio-organic weapons... from July. How did this not get out?" You pause and blink. "The chief. Of course."

You take the file and add it to the others. "Now what?" Dylan asks. "We wait?"

"We fight," you reply, holding up your bow gun.

"Daisy, that's crazy. There are at least three or four of those things out there. If they get in here... we're zombie food."

"We'll work together," you reply. "We can do this, Dylan."

"Hell... might as well go out swinging," he says. He approaches the door as you reload. When you are done, you crouch and aim at the door.

He inserts the key, takes a deep breath and says, "3... 2... 1..."
>>
Rolled 9, 3, 10, 7, 2 + 20 = 51 (5d20 + 20)

>>4032572
Fire Support: +10
Narrow Hallway: +10
>>
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>>4032574

The zombies immediately flood into the room. Dylan fires as he backs up, and you shoot your bow gun, but even as the first zombie falls, he is pushed forward by the two behind him. Another appears behind those two. The first zombie is stepped upon by the others, but is crawling forwards. Dylan empties his six-chamber revolver rapidly, hitting a few and missing a few others, and tries to reload--an exceedingly difficult task for a non-professional while under pressure. Two of the zombies grab him and he struggles, knocking over the file shelf to your right. He and the zombies go down with it as they swarm over him.

You fire relentlessly with your bow gun, pumping bolt after bolt into the undead, but the ones behind push the ones in front of them forward, preventing them from being stumbled backwards. A zombie with several bolts falls forward onto your legs, and the one behind him trips over his legs, landing directly on top of you. You scream as the zombie begins to snap at you even as you try and hold him back.

Dylan's screams seem far away as the zombie on your legs begins snacking down on them, tearing into your thigh even as you try and kick him away. The one on top of you pushes forward, sinking his teeth into your neck. Your eyes go wide as he tears out your throat. Blood burbles from your lips as your eyes roll back into your head. Panic and fear begin to fade, as does the pain, as you slowly drift off into darkness. You know that you are being eaten, that your body is being torn apart, but somehow the sensations lose their grip.

Your last breath escapes your lips as your body goes completely limp, and all is darkness.

>YOU DIED

>Roll up a new character
>Continue playing as Jennifer (or another character)
>Start the campaign over
>Daisy: Wait... what is that light? How could it be...?
>>
>>4032588
>Daisy: Wait... what is that light? How could it be...?
Not ready to give up on Daisy
>>
>>4032588
>Roll up a new character

Daisy is gonna have to stay dead, unless we can go back before she is bitten.
>>
>>4032588
>Daisy: Wait... what is that light? How could it be...?
Thank god for those typewriters
>>
>>4032588
>Daisy: Wait... what is that light? How could it be...?
>>
>>4032588
>Daisy: Wait... what is that light? How could it be...?
WOW Many things happened while I was away. Typewriters ho!
>>
>>4032588
>load that typewriter save
>>
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>>4032591
>>4032598
>>4032605
>>4032617
>>4032618

Suddenly, there is a flash of light. Everything seems to brighten and... rewind. You see Dylan, getting bitten, talking to Jennifer, talking to Marvin, escaping the zombie dogs, talking to Ben, the parking lot, the machinery room, the stairwell, the elevator...

You open your eyes and scream. Suddenly, Rita is in front of you. "What's wrong? What happened? Daisy!"

Gasping, you stare up at her is disbelief. Looking around, you see that you are in the room beneath the statue in the main hall. You look at your hands, staring at them as well, turning them over. No blood, no wounds, nothing. You feel your shoulder. You remember the pain, but it is not there.

"I'm... alive..."

"Daisy, talk to me," Rita insists.

You'd like to, but words fail to come out of your mouth. You stammer and blink and try to rationalize what just happened. Was it all a.. dream? No. No, it was real. You felt the pain, you lived those moments. But then, how are you alive? And here? And...

Slowly, you look over at the typewriter, your mouth open in shock.

"That's... impossible..."

Rita snaps her fingers in front of your face. "Daisy! Come on, give me something! What's going on?"

Taking a few deep breaths, you look at her. "I... I don't know. I just had a... a vision of me dying, I think. I felt like it was real, but..."

"Well, you're okay. Are you going to be able to come with me? Maybe I should leave you here..."

"No!" you say, sitting up. "No, we need to keep going. I... I just had a weird moment. But I'm okay now. I'm... okay." You say it again to yourself to remind yourself that you are, in fact, alive. Somehow, against all logic and the laws of the universe, you are unharmed, alive and... back in time.

Rita helps you to your feet. You look at the typewriter again and snatch the note you wrote, reading it over. It's just like you wrote it hours ago, only hours ago is now again. Rita, near the elevator you took earlier, looks back at you. "Ready?"

"...Ready."

As you stand in the elevator, your thoughts continue to swirl about your rebirth. How could this be happening? Have you been given some kind of a second chance? None of this makes any sense...

You enter the dark underground stairwell. Rita leads the way with her pistol and her flashlight. "So, you live around here?"

She asked you that question before. "Kensington," you numbly reply. "I mean, I had an apartment on Kensington."

"Any pets?" The same question as before.

"No, but... you seem like a cat person, right?"

"Hah, that's right, how'd you know?" she asks. Her smile fades as she swallows. "Maybe... maybe we should keep quiet, just in case anything hears us."

Almost exactly like before... She doesn't recognize this place, but you do. Because you've been here before.

>Retrace your steps
>Take a new path through the sewers
>Stop and talk with Rita about your death
>Pause and wait a moment until you can sort through your thoughts
>Other
>>
>>4032588
LOAD THE TYPEWRITER SAVE

failing that create a new character
>>
>>4032636
>Retrace our steps
Hey, it worked out the first time.
>>
>>4032636
>Retrace your steps
>>
>>4032638
>>4032641

Remembering what you did last time, you sit down in the hall and relax for a moment. Rita asks you about your love life, like she did before, and talks about Kevin again. You mostly nod and respond minimally as you replay events in your head.

You want to tell her about what happened, but how could she believe you? You hardly believe it yourself.

As Rita finishes asking you about Jennifer, she clears her throat. "We should probably get moving, then..." She stands back up, offering you her hand. You take it and begin to search the area, though you do so in somewhat of a daze. It's all so surreal...

In the worker's break room that connects to the sewers, Rita finds the grenade she found earlier. "How the hell did this get here?" she wonders. "Well, I'll take it."

You find the bullets and the strange case that cannot be opened without a S.T.A.R.S. badge again. "S.T.A.R.S. must have used this passage at some point," you echo your earlier words. It's all so bizarre...

"I guess we're back to square one," Rita says. "Machinery room, or the sewers."

"Machinery room," you say almost immediately. "I... think the sewers are dangerous. Being cornered by those zombies in a tight space is nearly impossible..." This time, you speak from direct experience, which chills you.

"I agree," Rita replies. "The other way, then."

Once more you enter the machinery room, with all of its pumps, pistons and steam vents. You realize you are sweating and wipe your brow. Rita goes down the ladder first. As she leads with her gun and flashlight up and ready, she says, "I don't see anything, but stay sharp..."

Climbing up the next ladder, you step into the control room, and see the herb you took earlier, prestine and untouched in its small pot. You take it and examine it.

Rita pokes her head in. "Is that one of the magical Arklay Mountain herbs? I think my neighbor grows them for her tea. Says they keep her strong."

"I use them in my cooking," you reply almost mechanically as you uproot it. "They're good for medicine, too, which is why Umbrella settled here. My professor told me that it's how they made their money in pharmaceuticals."

The two of you approach the ladder that you now know leads up to the garage. As before, Rita goes first. "If this leads to the street, be careful." After a moment, she grunts and lifts it. "I'll be damned. We're in the parking garage."

Beneath her, you nearly mouth the words as she says them. You follow her up into the garage and she helps you up. She then approaches the dropped gate. "If we can get this open, we'd be able to get out and bring help back in the same way. Evacuate just like we planned."

You nod and look back towards the southwest corner, where the jail is.

>Go talk to Ben, like before.
>Talk to Ben, but without Rita.
>Tell Rita to watch out for dogs.
>Go and take care of the dogs before anything else.
>Other
>>
>>4032663
>Go and take care of the dogs before anything else.
>>
>>4032663
>Go and take care of the dogs before anything else
Now this quest is getting really interesting
>>
>>4032663
>Go and take care of the dogs before anything else
>>4032685
Yeah, we have made huge progress today
-Sorted through all the Library stuff
-Found our way into the STARS office
-Gotten into the basement
-Gotten a promise of Evidence from Ben as soon as we got his cell keys
-Gotten killed by zombies on the way to rescue Dylan
-Discovered the Typewriter works as-advertised in game and that we are a Proper Protagonist

Things are definitely Getting Interesting in the Chinese Proverb way.
>>
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>>4032674
>>4032685
>>4032702

You look down at your bow gun and then back at the eastern basement hallway. "Hey, Rita," you say to her. She approaches you. "I think there might be something dangerous over there."

"What?"

"...I heard some of the other officers talking about the dogs in the kennel. They might have been infected. There was that one that got into the main hall..."

"Oh, that's right," she says. "You think they got out of their cages?"

"Let's just see," you say, already knowing the answer.

You approach the doors and open them, slowly moving into the hallway. Rita is right behind you. With your bow gun raised, you crouch and then, sharply, whistle.

Rita looks down at you, but you say, "The light!" which causes her to keep pointing it forward. You then hear the familiar padded feet of zombie dogs as they are drawn by your whistle.

One of them comes around the corner, turns its white eyes in your direction, growls, barks and breaks into a run. You fire, sinking three bolts into it, just like before, and Rita finishes it off.

"There might be more," you reply, slowly moving forward.

There are, just like you knew there would be. Two more, to be exact. Just like the first, they come around the corner and you fire your bolts, allowing Rita to end them. You finally take a breath in. You missed some of those shots, but still managed to take them down. You lower the bow gun and reload it, having learned how important keeping a fully stocked weapon can be.

"I don't hear any more of them," Rita says. "Good intuition, Daisy."

'Intuition... right.' You stand up and look down the hall towards the generator room and the stairwell leading up to the east wing. Thinking on the timeframe, Marvin and the others probably haven't cleared it yet; you remember waiting for a few hours in the generator room. 'That's right. The generator room, with the fuel, and the gas cans, and the evidence of Irons' bribes...'

>Go to the generator room, fill up the tank, disconnect the gas cannisters and get the evidence
>Explore more of the basement
>Head up to the east wing to help the officers clear it
>Return to the jail to speak with Ben
>Other
>>
>>4032718
>Explore more of the basement
Might as well since we have more time to kill
>>
>>4032718
>Go to the generator room, fill up the tank, disconnect the gas cannisters and get the evidence
Might need the lights down there
>Explore more of the basement
>>
>>4032731
>>4032743

Where to first?

>Morgue
>Kennel
>Firing Range
>Outside Area
>Explore the parking garage more thoroughly
>>
>>4032773
>Firing range
>>
>>4032773
>Firing Range
>>
>>4032773
>Firing Range
>>
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>>4032783
>>4032797
>>4032831

Upon entering the firing range, you look around and notice a few things. For one, there are human bodies here, but they are not moving. You explore the area, finding some shells for a shotgun, which Rita takes to distribute later.

You find a small yellow box and open it, finding a broken car key. A small note nearby notes that while it will not work to start the vehicle, it can unlock it and open its trunk. You pocket it. There is another locked door here that is impassable at this time; a small Diamond emblem can be seen above the knob.

You and Rita return to the parking garage and use the key to open up a police car's doors and trunk. It blinks and beeps, allowing you to see which car it belongs to. Upon opening the trunk, you find a pistol, some handgun rounds and a kit to modify a pistol with a stock.

Taking those items for yourself, you feel like you couldn't carry anything more, and rejoin Rita.

>Explore the morgue and kennels
>Return to the generator room to add more fuel to the tanks, disconnect the gas cannisters and get the evidence
>Talk to Ben in the jail
>Go over a plan with Rita
>Other
>>
>>4032838
>do all the stuff in the generator room
>>
>>4032838
>>Return to the generator room to add more fuel to the tanks, disconnect the gas cannisters and get the evidence
>>
>>4032847
+1
>>
>>4032838
>Return to the generator room to add more fuel to the tanks, disconnect the gas cannisters and get the evidence
>>
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>>4032843
>>4032847
>>4032851
>>4032869

"There's a generator or something down here, isn't there?" you ask Rita, and she nods. "Show me." Keeping up the pretense of being here for the first time, you go through similar motions as before, convincing Rita to help you refill the generator's tanks, then having her explain the gas cannisters. "That's not happening," you say, steeping up to disconnect them. "The last thing we need is the chief flooding the floors with this stuff. Not like this stuff would even work on those zombies."

Having accomplished both tasks, you approach the desk and take the basement map from the top of it, then retrieve the file you know is in the bottom drawer. You read over it briefly. "Rita, take a look at this."

She walks over. "What is it?"

"Amounts of money paid to the chief. Look at these numbers; these aren't paychecks, they're bribes. He's on someone else's payroll."

Studying it intently, she nods. "Yeah... I can see what you mean. That's a lot of money..."

"Look at this last one here, from last month: fifteen thousand dollars. That's crazy. We need to get to the bottom of this. Marvin told me about a man in the jail cells who might know more."

"But what about getting help?"

"Think about it: even if we get help and get out of here, what good is it if we can't prove what happened here? That the chief and Umbrella were in on a conspiracy? The entire city is dead out there; we can't have their deaths mean nothing."

She frowns, but eventually nods. "Well, I see your point..."

>Talk to Ben with Rita
>Talk to Ben without Rita
>Explore more of the basement
>Secure the jail key before speaking with Ben
>Other
>>
>>4032875
>Secure the jail key before speaking with Ben
>>
>>4032875
>Secure the jail key before speaking with Ben
might as well
>>
>>4032875
>Secure the jail key before speaking with Ben
>>
>>4032875
>Secure the jail key before speaking with Ben
>>
>>4032875
>Secure the jail key before speaking with Ben
>mfw I wake up to see that we died and loaded up our last save state
I knew the typewriter would actually work, we totally need to use the next one we find.
>>
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>>4032907
>I knew the typewriter would actually work, we totally need to use the next one we find.
I didn't start off with that in mind, but this post >>4027517 planted the idea.
>>4032879
>>4032881
>>4032886
>>4032903
>>4032907

"We're going to need the key to the jail," you say to Rita.

"What? Why?"

"I know that the man in the cells won't cooperate unless we can promise to let him go. Plus, he has a parking pass so we can leave through the shutter. He probably won't give it up unless we let him go."

"How do you know all this?"

"Marvin told me," you say, half-lying. "The chief arrested this man on trumped-up charges because he was getting close to blowing the whistle on him. He'll have the proof we need. We get the key, we get him, we get out of here."

Rita nods. "Alright, makes sense to me... but where is the key?"

"Probably on one of the officers upstairs," you say. "If I had known we'd be in the parking garage, I'd have gotten it ahead of time, but... Well, we need to help them clear the east wing."

"If you're sure," she replies. "But ee still have another way out: the sewers."

"Trust me, with all that we've seen, the last thing we want to do is go through there," you tell her. You both proceed into the basement hall that leads to the first floor staircase. "Ready?"

She holds up her pistol, takes a steadying breath and nods. You both move carefully up the stairs.
>>
Rolled 18, 1, 6, 16, 13 + 25 = 79 (5d20 + 25)

>>4032912
Fire Support: +10
Narrow Hallway: +10
Growing Experience: +5
>>
>>4032907
>>4032912
I intended it as a joke but okay.
roflmao
>>
>>4032932
I wouldn't have gone through with it if people had voted to play as another character, but hey, why not?
>>4032916

Keeping low, with Rita behind and firing over you, the two of you systematically take down the zombies in the hallway. There are four of them, but rather than run into the problem you had last time, you aim for their legs, causing them to stumble forward. Then, Rita is able to put a few rounds in their head. Whether they live or die is unimportant; working together, you are able to clear the path forward and rush into the eastern office.

There are officers in here, battling the undead. Marvin is at the front, holding a zombie back with his shotgun pressed up against its chest. You raise your bow gun and fire, sinking three bolts into the zombie's back. This causes the creature to stiffen, allowing Marvin to push the monster down to its side, aim the barrel at its head and blast it into oblivion, painting the floor red with blood and brain matter.

He looks up, surprised to see you both, but cannot question your appearance just yet. Another officer is about to get bitten when Rita shoots the zombie in the knee from behind, forcing it onto one leg. The officer pushes the zombie off of him, and together he and Rita sink several more bullets into it.

Marvin blasts a third zombie with his shotgun, annihilating its right arm. You are about to fire when another officer blasts it in the head, putting it down.

After confirming that the zombies in this room are dead, Marvin approaches you both. "Rita? Daisy? How are you here?"

"We made it around to the parking garage," Rita explains. "We think we have a way to open the parking shutter to the street. Since we cleared the basement of the infected dogs, we can evacuate the refugees through it with a vehicle once we go find help."

He nods. "I like it. What do you need?"

"The man in the jail has the parking pass, but we need the key to his cell," you explain. "Do one of the officers have a key?"

"Yeah, Perry. We sent him up to the roof."

"Which way?" you ask, and he points to a door in the back of the room.

>Head up there now
>Reunite with Dylan and Jennifer
>Warn them about the west hallway
>Pull Marvin off to the side and speak with him
>Other
>>
>>4032940
>Warn them about the west hallway
>Reunite with Dylan and Jennifer
Guy on the roof is either dead or already dead, or if we get there early is in the process of deading.
>>
>>4032940
>Warn them about the west hallway
>Reunite with Dylan and Jennifer
>>
>>4032940
>Head up there now
If we can, we get the keys. If not, we head back to reunite with Dylan and Jennifer, and we get backup.
>>
>>4032940
Supporting >>4032943
I don’t think I’ve seen many, if any, quests use a save and reload function so that’s pretty cool
>>
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>>4032943
>>4032944
>>4032960

You thank them and promise to be right back. Out in the main hall, you find Jennifer, who is relieved to see you are still alive. She hugs you and you eagerly hug her back. "Did you get help?"

"Not yet," you reply, looking around. "Where's Dylan?"

"He's somewhere in the west wing," she explains. "He just left."

"I think I know where he is," you reply. "When I return with him, we'll talk more, okay? We have a way out of here. Just sit tight for a moment."

Jennifer nods and watches you go to the western doors. You jog briskly through the waiting room and into the west hallway. Sure enough, there are zombies banging on the windows here, threatening to get in soon.

You approach the records room and open the door, seeing that it is unlocked. Dylan is inside. He looks up, thinking you may be a monster, but gives a sigh of relief upon seeing that it is you. "Daisy. I thought you were--"

Approaching him, you give him a hug. He is stunned by your sudden display of affection. "Did something happen?" he asks.

"No," you say with a smile. "Nothing." After breaking the hug, you ask, "Did you find anything?"

"No, not yet," he replies. "I sort of just started looking..."

Remembering that the file was in a bright blue folder, you look through the shelves. "Got it!" you say, holding it up. "Let's go."

"What? But we just got here."

"There are zombies right outside these doors, and trust me, you do NOT want to get trapped in here." You grab him by the wrist and drag him out of the room and back into the main hall, very eager to leave the room in which you faced mortality--and then rebirth.

"Alright, alright," he says, shaking you off. Jennifer runs up to you both. "I thought you and Phillips were going to go and get help."

"We were and still are," you inform him. "But now, we have a way to open the parking lot's exit. You can help us."

"What about me?" Jennifer asks.

"We'll figure out what we do once we open the shutter. Dylan, I need you to come with me. Jen, wait here for now."

"Alright," he says. "How'd you know which file you needed, by the way?"

"Call it intuition," you say over your shoulder.

>Proceed upstairs to the roof
>Take Rita with you and Dylan upstairs
>Arm him with the Handgun HP and stock
>Use the typewriter near the main desk
>Other
>>
>>4032990
>Use the Typewriter
>Arm Dylan
>Head upstairs with Rita and Dylan
>>
>>4032990
>Proceed upstairs to the roof
>Arm him with the Handgun HP and stock
>Use the typewriter near the main desk

Arm your allies. And keep an eye out for lockpicks for Jenny. Maybe if end up back in the evidence room?
>>
>>4032990
>Use the typewriter near the main desk
>Arm him with the Handgun HP and stock
>>
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>>4032997
>>4033001
>>4033005

"Here, take these," you say to Dylan, handing him the handgun, stock and bullets you picked up in the basement.

"These are nice," he says, fiddling with the stock to try and put it on the pistol.

As he and Jennifer puzzle out how to do that, you approach a typewriter at the front desk. Wondering how the 'magic', for lack of a better term, works, you sit down in front of it and load an ink ribbon into it. There is one other ink ribbon here, which you take, just in case.

'What do I write?' you think to yourself. 'Do I write about how I was able to come back to life?' You hesitate for a moment. 'Nobody will believe that if I write it down... well, if it worked before, just do what I did before, and hopefully it will be fine...'

>To whoever finds this...

>This is the third record of Daisy Dixon. The date is September 25th, 1998.

>We have begun a plan to get out of the police station. Collecting art items allowed us to open a passage to the underground. From there, we made it into the parking garage. There is a man in the jail named Ben who has information connecting the police chief to Umbrella. I have also collected evidence that he was bribed, and files concerning Umbrella's experiments in bio-organic weapons.

>If we can get out of here, I will do everything in my power to reveal what really happened here to the world. We'll bring the truth to light, no matter what.

>Now, we just need to get help and get out of the city... easier said than done.

"Daisy?" Dylan asks as he walks around the desk. "You alright?"

"Fine," you reply, taking the third note and folding it neatly into your pocket with the others. "Let's go."

Leaving Jennifer in the main hall for now, you proceed back into the eastern office and inform them of the zombies in the west hall. Taking Rita with you, the three of you proceed out the back door to a fire escape which leads up to the second floor. From there, you enter a dim hall with many windows. Rita takes you over to the rooftop helipad, which is just through a door at its northern end. As you approach, you hear gunshots.

The three of you burst out and see a dismal sight. One officer is dead, and another is firing wildly into the air. He is being swarmed by undead crows who are violently attacking him. He is covered in scratches and cuts.
>>
Rolled 2, 1, 8, 6, 7 + 10 = 34 (5d20 + 10)

>>4033042
Fire Support: +10
>>
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>>4033044

Taking out your pipe, you run out and start swiping at the crows as Dylan and Rita open fire. They caw loudly as they flap about, screeching at you while you work to save the officer.

One of the ravens swoops down and scratches your arm, then another attacks the back of your neck. You flail and suddenly they're all over you, one of them clawing at your face.

"Daisy!" Dylan shouts, running up to help you, but it is too late. You back into a railing and fall over it. The crows fly away as you tumble down a story, landing on a hard surface.

Pain rushes through you, and you feel terrible. When you pick yourself up, or try to, you let out a cry as you realize your leg is broken. Looking up, you see that there are zombies here, that you are just outside the police station near some kind of shack.

They start to shuffle towards you.

Rita and Dylan run down the stairs, aiming and blasting at the zombies while they can. You manage to bring your bow gun up and fire at the nearest zombie, knocking him down. Your vision is blurry, due in part to the fall but also due to a scratch over your eye causing blood to run down.

Dylan and Rita make their way over to you, crouching down to help. You look up and see that more zombies are coming, blocking your way to the stairs.

"Damn!" Dylan says. "What do we do?"

>"I've got an idea." Take his gun and blow your brains out.
>Fight to the stairs
>Try and hold out for as long as possible
>Attempt to escape through a window
>Other
>>
>>4032990
Nice speedrun there.

>>4033055
Welp, I guess we just start save scrimming alot now.

Like we have a green herb so we don't have to "die" every time we get a scratch.

Did we really have to die there? We could have used a stun or flash grenade to take out the crows, and then stomp on them to finish the job.
>>
>>4033055
>Other
Use green herb.
>>
>>4033059
I think asking Melvin for the shotgun might work better here since of the spraying power.
>>
>>4033044
God damn rolls now.
>>4033055
>use green herb
>>
>>4033055
Supporting >>4033060
Let’s see how long we can last and what stuff we can find before we resort to loading our last save
>>
>>4033059
>>4033066
It's not going to be an every-bad-roll-means-death kind of thing, I promise you. Daisy's going to get experience and learn how to handle situations and new creatures as she runs into them, kind of like what you just said.
I'll be right back, I need to go pick up some dinner.
>>
>>4033055
>Fight to the stairs
>>
>>4033055
>Other
Herb
>Fight to the stairs
Tell Rita to take point with Dylan lending us his shoulder and also ask to borrow the gun we gave him since his hands are going to be full with him carrying us so we at least provide a bit of cover fire for Rita. Aim for the legs to slow them down.
>>
>>4033079
Supporting this

>>4033069
Also, I wanted to say that your writing times are fucking great.
>>
>>4033066
support, yet
>>
>>4033069
>Daisy's going to get experience
We'll be pulling off the RE Vendetta hallway scene before we know it!
>>
Back. Writing now.
>>
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>>4033060
>>4033066
>>4033067
>>4033078
>>4033079

Taking out the green herb you got from the machinery room, you quickly shovel it into your mouth. It is earthy and doesn't taste great by itself, kind of like spinach, you hope it does its job and heals you. Dylan leans down and picks you up, scooping your arm over his shoulder and neck as the three of you begin to walk towards the stairs.

An idea pops into your head. "Rita, your grenade!"

She takes it out, pops the pin and tosses it. The three of you turn away as it explodes, knocking the zombies to the floor. "Go, go, go!" Rita urges, and the three of you make it up to the stairs. You wince in pain as Dylan supports you up to the top. Rita is right behind, blasting at any of the zombies threatening to come up after.

Thankfully, the grenade's explosion seems to have scared off the crows. "Wait!" you say, looking at the dead police officer near the wounded one. With Dylan's help, you limp over and turn his body over, seeing that he too was picked apart by the crows. His nameplate reads "Perry" and you search him for the key.

You find it on his belt. Taking it, you urge Dylan to get you to the door. Rita helps up the wounded officer and all four of you make it back inside and down the hall to the fire escape. From there, you enter the east office.

As Rita gets the other officer to Marvin, Dylan leans you up against a table. He kneels to inspect your leg. "It isn't broken," he says, which fills you with relief. "But you do have a nasty sprain..."

"There's another herb over on that table," you say after a moment of looking around. "Get it for me, please."

He returns with it, and you quickly crumble it and consume it. Rita walks over with a white can. "Here," she says, rolling up your pant leg. "First aid spray." She sprays it lightly, and you begin to feel relief; from the herbs or the spray, you aren't sure, but this stuff works wonders.

Rita sprays your other cuts and scrapes and wipes them clean. After a moment, you move to stand on your injured leg. It is still sore and you walk with something of a limp, but you can move again on your own.

"That was crazy," Dylan says, shaking his head. "Zombie birds? I can't believe you just went out there swinging."

"I think that won't work on those things," you reply with a wistful tone. "You don't think that those bites and scrapes did anything to me, do you?"

Rita and Dylan exchange uncertain glances. "We won't know for sure until you start coming down with signs of infection, if you do," she says.

You look down and frown, wondering if perhaps there was another way to handle that situation. The birds seemed to be scared away by the loud noise of the explosion; a weapon with considerable spread might also have been effective against them.

Even so, you aren't sure if you are infected or not...

>Go down to the jail and speak with Ben
>Wait for a while
>Search for a means to fix the window shutters
>Kill yourself
>Other
>>
>>4033267
>>Search for a means to fix the window shutters
say "well theirs nothing for it now, only time will tell"
>>
>>4033267
>Go down to the jail and speak with Ben
Dunno if this counts as meta-gaming but I feel like if we wait too long he'll get got by Mr.X
>>
>>4033267
>Go down to the jail and speak with Ben
>>
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>>4033283
Oh, meta-game away, X ain't showing up until the 29th.
Maybe.
>>
>>4033290
>maybe

hey come on man we haven't fucked up the timeline that badly yet
>>
>>4033295
I know, I'm just playing. Or am I? Yes, I am.
>>4033283
>>4033288

Taking Dylan and Rita with you, you head downstairs and make for the jail. "You sure you're alright?" Dylan asks.

"Fine," you insist. "Come on, we need to talk to this Ben guy."

Upon entering the jail, you pass by the cells with the two prisoners who are alongside Ben. ""Hey there baby," the bald man says behind the bars. "What's going on out there, eh? Sounds like a real riot."

Approaching Ben's cell directly and ignoring the others, you face him and say, "Hello, Ben."

He looks up from his cigarette; he's currently sitting on his cell's bunk. "My reputation must precede me. I don't believe we've met." He looks over at Rita. "Oh, good, another one of Irons' lap dogs."

"She's not working for Irons anymore," you say.

Rita looks over. "What?"

"I mean, you're working for the police, sure, but you're more interested in survival and--Look, the point is, we know that Irons is a crooked, dirty cop, and he's in with Umbrella. They're responsible for all this mess."

He leans forward. "All this mess? So, it happened, huh? I knew something was on the horizon. What's it like out there?"

"The whole city is overrun with zombies," you reply. "The station is under attack and we need to get out of here."

"Fantastic," he laughs, putting out his cigarette. "I knew Umbrella had really screwed the pooch, but I never dreamed it would be this big. I can hardly believe it. A whole city undone by their fuck-ups. This case is going to make me a millionaire."

"Let's not worry about money right now," you tell him. "We need to get out of here, and I know you have a parking pass."

"Maybe I do and maybe I don't," he shrugs.

"It's hanging from a lanyard under your shirt. Don't play with me, Ben."

His eyes narrow. "You're a sharp little minx, I'll give you that. You know a lot about me, but I know nothing about you."

"My name is Daisy Dixon, I'm a chef, and I'd like to leave this place alive. I think we both would." You hold up the key to his cell. "I can get you out if you get us out."

"Sounds good to me," he replies. "What are we waiting for?"

>Have him hand over his parking pass first
>Ask him for the evidence in his possession
>Show him your evidence, but don't let him grab it this time
>Tell him you'll come back later
>Other
>>
>>4033310
>>Show him your evidence, but don't let him grab it this time, You have any evidence that can back up what I already have?
>>
>>4033310
>Show him your evidence, but don't let him grab it this time
>>
>>4033315
This
>>
>>4033322
Fuck forget to add

>Ask him for the evidence in his possession
>Other
Ask Rita if she knows what the other two guys are in for.
>>
>>4033310
>Show him your evidence, but don't let him grab it this time
Tell him we'll give him the originals and you give us a copy just in case okay? But we want that parking pass, so you don't go running off
>>
>>4033310
>Show him your evidence, but don't let him grab it this time
>>
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>>4033315
>>4033322
>>4033327
>>4033330
>>4033332

You take out the photo you developed earlier, along with the file you took from the records room. "Do the words, 'Code G Human Body Experiment' mean anything to you? How about, 'MA-121 Hunter'? Or 'T-002 Tyrant?'"

With each word that comes out of your mouth, his eyes grow wider and he gets more and more slack-jawed. "Let me see those!" He reaches for it, but you snatch it away from him.

"Not so fast, Ben. I also have a list of transactions for the chief that prove he was bribed, but not by who. Do you have any evidence that can back up what I already have?"

"Hell yes, I do! I have direct evidence that links Umbrella to Chief Irons. He's been taking bribes, alright, and it might extend to other city officials. Damn, you've done all the legwork already. Evidence must be just lying around the station, huh? If I wasn't behind bars I'd be snooping around for more myself."

"The chief hasn't made it easy," you explain, putting away the files you've collected. "He's doing everything he can to undermine our escape attempts. Now: are you going to give me your evidence?"

"Sure, sure, we'll work together and split the profits. I mean, I'll get the credit of course, but I won't forget my friends."

You smile. "You don't have any evidence on you, Ben. The chief would never have locked you up with it."

He's about to respond, but instead he smiles and leans against the bars, giving you an appreciative once-over. "I gotta say, you'd make one hell of a journalist. You and me would make a fine team." He shoots a look at Dylan, then back to you. "Unless you're, you know, on someone else's team."

You smirk up at him. There is something rather handsome and charming about this roguish reporter. "So, just where is your evidence?"

"I have them in a safe place. If you get me out of here, we can go there together."

>Agree, and open his cell
>Agree, but conditionally
>Tell him you will return shortly
>Have him hand over his parking pass first
>Other
>>
>>4033351
>Have him hand over his parking pass first
We get something if you turn up to be scamming us, and if you aren't then you won't be bolting with all the goods.
>>
>>4033351
>Have him hand over his parking pass first
>>
>>4033351
>Agree, but conditionally
>Have him hand over his parking pass first
>>
>>4033370
support
>>
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>>4033354
>>4033361
>>4033370
>>4033386

"Hand over your parking pass and I'll let you out."

"From where I'm standing, I'm the one in the position to make demands. I have your only way out of here."

"And I have your only way out of there," you reply. "We can leave another way, through the sewers. You don't have that option. So either you hand over your parking pass and I let you out, or nothing happens. If you want my evidence, hand it over."

Dylan and Rita look on, somewhat stunned by your boldness. Ben folds his arms and shrugs. "I've already got evidence directly linking Irons and Umbrella. But, I don't want to stay in here, I'll give you that. You drive a hard bargain, so I tell you what: we trade at the same time."

"...Deal." You hold out the key, and he takes off the parking pass. Once you both are holding onto both items, you and he let go, effectively trading them.

"I like your style," he says, reaching through the bars to open them with the key. He turns it and slides open the door. "Shall we?"

The four of you proceed out into the parking garage, whereupon you walk up to the panel, slide the key and watch as the shutter slowly opens. The path up to the street is now open and you can proceed onwards.

"Back out here again," Dylan mutters.

"This way," Ben says, heading down the street.

"Hey, wait!" Rita calls out, even as zombies further up the street turn towards her. "We need to go get help."

"Any direction is as good as the one I'm going in," he says, looking back at them. "At least I know where I'm going. If you want my evidence, you'll come too."

>All four go with Ben
>Split up; you go with Ben, and Dylan goes with Rita
>Get Ben to come with your group
>You, Dylan and Rita will go your own way; Ben will go his
>Other
>>
>>4033508
>>Get Ben to come with your group, a lot of good your evidence will do you if you are dead. if a regular zombie doesn't get you then the dog or bird ones will. We will go for the evidence in due time.
>>
>>4033508
>All four go with Ben
Might as well have an easy objective to follow. Compared to looking for help by just wandering around, Ben at least might have a huge as map of the city if he was following any conspiracy leads on Umbrella. Basically get the evidence and a easier time of figuring out where the other cops might have gone.
>>
>>4033508
>All four go with Ben
>>
>>4033508
>>All four go with Ben
>>
>>4033508
>All four go with Ben
>>
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>>4033539
>>4033565
>>4033573
>>4033598

"Come on," you say to them with a frown. As you walk up the street, you can see zombies loitering about in the area, slumped up against walls or wandering around.

"So that's what the T-Virus does to people," Ben mutters under his breath. "I read about its effects, but to see it so widespread..."

"T-Virus?" you ask, jogging to keep up with him. "Tell me all about it."

"Well, Umbrella developed it. They've been working on it for years. A few months back, there was an incident, but even before that there were strange murder cases all over the Arklay Mountains region. That's what attracted me to the case. I learned from Umbrella employees and a little bit of espionage about the T-Virus and its capability to make bio-organic weapons. Great stuff, like something out of a comic book, right?"

Up ahead, several zombies turn and start walking around abandonned cars. "Let's go the other way," Ben suggests, and the four of you take to an alleyway. "You know, those things don't seem so hard to dodge. They move so slowly."

"They can be surprisingly quick if you get near them," you say. "But yeah, out here, we can kind of circle around and lead them on--just watch out for big groups. Doesn't work so well on them."

Dylan and Rita are right behind you, which you confirm with a quick check. You look back at Ben and say, "Go on. How does the T-Virus spread?"

"For it to have happened on this scale, there's no question that it must've gotten into the water supply. Probably infected things swimming around in it. But this T-Virus? Nothing compared to what they've been cooking up here. They call it the G-Virus. Supposed to put all of this to shame."

"Something even worse?" you reply, swallowing a nervous lump. "So... how much contact does it take to get infected, anyway?"

"No idea. Could be as small as a scratch or a bite."

The knot in your stomach twists a little tighter. "But is there a cure?"

"Hell if I know. Most Umbrella employees are damn good at shutting their traps." Your group comes to an end of the alleyway and looks out into the street beyond. "Clear for now. Let's go."

The four of you jog lightly over some broken glass, making your way over to the other side of the street. Form there, you enter another alleyway.

"Do you know where you're going?" Dylan asks.

"Of course I do," Ben replies. "I might not be from around here, but I know my way around. I do all my best journalism on foot."

Coming to a T intersection in the alley, Ben goes right, then stops at another junction. He thinks briefly on which path to take, left or right, eventually deciding on the left path. After crawling halfway through the alleyway, Ben turns and smiles. "Almost there."
>>
Rolled 16, 9, 8, 8, 10 + 20 = 71 (5d20 + 20)

>>4033638

A door to his left bursts open and a figure violently emerges, gurgling and groaning with its hands raised up. It is a zombie, and yet there is something very different about this one, for it moves much faster and its hands end in claws. It latches onto Ben and pushes him up against the wall, its red skin seeping with blood from its many patches of exposed musculature. Its teeth snap up towards him.

"GAH! GET THIS THING OFF ME!"

You, Dylan and Rita rush to help him.

(Fire Support: +20)
>>
>>4033641
Oh no they are evolving
>>
>>4033641
we got crimson heads already? fuck
>>
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>>4033677
>>4033691
Some of the infected are days or weeks old. Some have already turned into lickers.
>>4033641

Taking out your pipe, you smack the creature off of Ben with a solid whack to the side of its head. It stumbles to the left, allowing Ben to push it off of him. Rita and Dylan respond with a volley of shots. It takes several before it goes down fully.

"Goddamn," he says, feeling around himself. "That thing nearly got me..."

"We need to move," Rita suggests. "They'll be attracted by the gunfire..."

You help Ben up to his feet. "Come on," you tell him, urging him to lead on. He breaks into a faster jog than before, and you look down at the creature, noting its claws. 'They change...?'

As you look at it, the monster suddenly comes back to life, lunging up at you. You scream and hop back, narrowly missing its grasp, raising your bow gun and firing three bolts at it. Even though you manage to pin its arm to the ground, it reaches out, moaning and snapping its teeth.

Dylan runs back and takes you by the arm, helping you follow after Ben and Rita. Sparing a single look back, you see the monster pull itself free and get up, walking after you at a pace much faster than a normal zombie.

"That thing's still following us," you say as you both catch up to them. "How much farther?"

"Just around this corner," Ben replies, walking around a parked firetruck. He looks on it and picks up a red fireaxe. "This'll do nicely if any of those things comes after me again."

Further up ahead, you come to the front of a hotel. "Here we are," Ben announces. "Apple Inn... looks like it's seen better days, though." The building was clearly on fire at one point, though it has been put out by now. The front door has been smashed inwards.

"This is where your evidence is?" you ask.

Ben nods. "I've been staying here. Come on. Let's hope my room wasn't destroyed..."

Rita's radio suddenly crackles to life. "Hello? Is anyone out there?"

She picks it up and responds. "Harry? Harry is that you? This is Rita Phillips."

"Rita? Oh, thank god! I thought I'd never hear another friendly voice."

"Where are you?"

"Trapped in an armored van off Main Street. I've been here since yesterday."

"Stay put. We're coming to get you," she says. "Main isn't far from here. We can go there now."

Ben puts his hands on his hips. "I don't have time for this," he says, approaching the inn. Not far away, you hear that bloody zombie approaching.

>Go with Ben; Dylan will go with Rita to secure transport
>Let Ben go; you'll go with Dylan and Rita to secure transport
>Convince the others to go into the hotel with you and Ben; we'll go to the transport after
>Convince Ben to come with your group to go to Harry and the transport
>Other
>>
>>4033698
>>Other
Before we do anything, can we put that zombie down for good? Don't want it taking a chunk out of our asses.
>>
>>4033698
>>Convince Ben to come with your group to go to Harry and the transport
>>
>>4033700
Then after
>Convince the others to go into the hotel with you and Ben; we'll go to the transport after
Picking up his evidence shouldn't take as long as finding Harry.
>>
>>4033698
>Convince the others to go into the hotel with you and Ben; we'll go to the transport after
Hes in an armoured van.
>>
>>4033700
Probably aim at its legs with bolts since gunfire is going to attract more and hopefully it stumbles so we can either bash the head in with a pipe or another bolt aimed at the head.
>>
>>4033713
Yeah, that's good. Knock it over with bolts and then Daisy and Ben can mash it's head in.
>>
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>>4033702
>>4033710
>>4033700
>>4033713
>>4033729

"Ben, wait!" you insist. "That thing is still coming after us. Let's end it for good."

He pauses and listens, then raises his axe. "Damn... let's finish it quickly."

Looking at them, you hold a finger to your lips and motion for them to be quiet; you hold up the bow gun, which makes nearly no noise. They nod, but still take up position just in case.

With your bow gun at the ready, Ben waits near the firetruck. The crimson monster draws near, lowly groaning.

Ben swings his fireaxe at the thing's legs, having waited in a tense position with the axe held up high. The force of it knocks the zombie forward, tripping it and taking off a leg at the knee.

You're on it in an instant, firing six bolts by squeezing the trigger twice rapidly. At least two of the bolts end up in its brain, making it twitch as it dies. You breathe out, glad that it is dead.

Ben picks up his axe and pats you on the shoulder. "You really know how to handle a crossbow," he says with a smile. "Come on. Let's go."

"What about Harry?" Rita points out.

You look at her and say, "He's been in an armored van since yesterday. He'll hold out a little while longer yet. Let's get Ben's evidence and then get to the van."

Dylan walks up. "We should stay together," he says, agreeing with you. "Hopefully it won't take too long."

Rita sighs. "Alright. Let's go."

Together, the four of you enter the Apple Inn. The place is very dark, so Rita turns on her flashlight. Up ahead, you discover a strange-looking corpse, female with all of her skin missing. Her fingers are long and claw-like, like the zombie outside, and her feet are bent in a strange way, looking almost hooked.

"It's like they're mutating," Dylan whispers.

"Some real crazy shit must've gone down in here," Ben says, stepping up the door in the back of the room. It's completely wrecked, with part of the ceiling collapsed on it. As you enter the front lobby, you see that the area is mostly burnt up and wet, with many collapsed areas.

"Is this safe?" you ask.

"Probably not," Ben admits. He approaches the lowered ladder in the center of the room. "Up here. My room was on the second floor."

He climbs up first, and you follow after, with Dylan and Rita close behind. Once you are on the lobby walkway, you hear a noise from elsewhere in the inn, like something falling over, or being knocked over.

"What was that?" Dylan asks nervously.

"Probably just debris," Ben waves it off, though you see he is sweating too.

Nearby is a security office. Ben is forced to break open the door when it doesn't budge. When he does, you hear another noise, echoing throughout the inn; this time, it is like some kind high-pitched squeal.

"That was't debris," Rita mutters.

The four of you quietly move into the security room. As you inspect it, you see that there is a typewriter nearby on a desk.

>Use the typewriter.
>Continue searching.
>Talk to the others.
>Wait a moment and listen.
>Other
>>
>>4033779
>>Wait a moment and listen.
Don't wanna use the typewriter just yet. We've only got 1 ink ribbon left. Let's see if we can tell where that noise is coming from and avoid it.
>>
>>4033779
>Wait a moment and listen.
High-pitched squeal makes me think Lickers.
>>
>>4033779
>Wait a moment and listen.

>>4033796
that and we still aren't sure if we are infected
>>
>>4033779
>Wait a moment and listen.
>>
>>4033796
>>4033803
>>4033779

>wait and listen.

Good point we should still treat this as a null life untill we are sure. Dont want to get stuck in a death loop
>>
>>4033779
>Wait a moment and listen
>>
>>4033811
exactly, at that point, our only hope would be to infiltrate Umbrella HQ and hope we can find a cure. which probably doesn't exist.
>>
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>Meanwhile, in Bizarro /qst/...

>There's nothing better than living in Raccoon City, USA. It has all the charm of a small town with the ameneties of living in the big city. You've lived here all your life and it would just about take the end of the world to make you want to leave this little slice of heaven. Friendly neighbors, great pizza, and a police force with its own paramilitary arm to make you feel extra safe. So what if there have been a lot of weird things going on in the news lately? These things happen. It's probably just some bad meat or a band coming to town or something. You have more important things to worry about.

>Like how the date is the 24th of September, 1998, and it's your birthday! To be specific, you're turning 21 today, and can now legally drink! After you get off work, you and your friends plan to meet up for a big party.

>You're a chef, working at a small diner in the heart of town. Your name is Duke Dixon, Chef Duke you like to call yourself, and while you aren't the head chef, nobody can match your meals. Your secret ingredient? Herbs, of course! Arklay County is full of these fascinating medicinal herbs and you like to mix and match to see which ones bring out the best flavor in each dish. FDA approved? Who needs 'em! That Umbrella Corporation you see ads for literally everywhere can push out more drugs than anyone can count, so why not sprinkle some ground up herbs on a plate of spaghetti?

This isn't canon, I just thought it'd be funny
>>
>>4033831
had me going for a second there
>>
>>4033831
Is Fat Bertha gonna live since a big strong daisy duke can come to the rescue?
>>
>>4033796
>>4033798
>>4033803
>>4033807
>>4033811
>>4033815

"Wait," you whisper sharply to the others. "Listen..."

They all pause. Somewhere else in the inn, you can hear a strange noise, a kind of scraping combined with a suction-like effect. There is a hole in the ceiling of this room, not very large, but you catch a glimpse of something moving on the floor above you.

You hold a finger up to your lips and slowly move out into the hall, bow gun at the ready. Rita has her flashlight pointed forward and is right behind you. Ben and Dylan make up the rear, with Dylan looking backward.

Something falls upstairs, and there is another squeal. Scraping can be heard as whatever it is moves on to investigate. To your immediate right, the entire hall is collapsed and impassible, with walls having broken down.

"This way," Ben whispers. You carefully tiptoe forward, wincing at every single board squeak. He rounds the corner, but then curses. "My room is right here."

You look past him and see that debris has fallen in the hall, preventing passage. "Can we get around it?" you ask.

"I say we just break it down," he says, raising his axe.

"Stop!" Rita says, pointing her light up into the hall of the third floor that can be seen through the hole in the hallway's ceiling.

Something crawls into view straight out of your nightmares. It was human, once, but now has no skin, its muscles and in some areas bones exposed completely, which glisten in the light of Rita's torch. Its musculature is grossly disproportionate in some areas, particularly its arms and thighs, and its limbs end in horrifying claws. Its face has lost any form is distinguishing characteristics, from eyes to hair to even the top of its skull; its brain is exposed, pulsing inhumanly. The creature is scaling the very ceiling as if it were the floor, walking on all of its limbs like a deranged animal.

Then, it opens its mouth, and a tongue emerges, prehensile, dripping wet and at least the length of a meter. A strange sigh-like gasp can be heard from it as it seems to taste the air with its tongue.

It is staring right at you, right into the light, but does not move. Its tongue swings slowly from side to side as it seems to linger.

Elsewhere in the inn, another chunk of debris falls. The creature's tongue snaps into its mouth as it squeals and scampers after the perceived direction of the noise, moving fast--VERY fast--out of sight.

Your heart is racing and you are frozen with fear; you're certain that the others are as well.

"What was that?" you whisper.

"Whatever it is, it didn't see us..." Rita replies. "...I think it's blind."

"That tongue," Dylan says as he shakes. "Did you see how sharp it looked?"

Ben swallows. "Come on... there must be another way around..."

>Leave this place
>Follow, quietly
>See if you can make noise to draw the creature elsewhere
>Split up
>Other
>>
>>4033877
>>Follow, quietly
>>
>>4033877
>Follow, quietly
Don't split up, we'll need to back each other up if it does detect us
>>
>>4033877
>Follow, quietly
>>
>>4033877
>Follow, quietly
>>
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>>4033881
>>4033883
>>4033895
>>4033898

There is a stairwell to your left. You point it out to Ben, who motions for Rita to take point, since she has the flashlight. The four of you slowly make your way downstairs. At the bottom, you find yourself in a lounge that is scorched black in most places. Debris litters the floor, and you gingerly pick your way over it, trying your best not to disturb anything. The door to the first floor corridor is destroyed, and so you head to the northwestern side of the room.

The corridor beyond seems relatively undamage. Rita motions for you to follow. There is some burnt flooring here, along with the walls, requiring you to step very carefully over it.

A single loud crunch is all it takes. Dylan, in the back, accidentally steps on a bad piece of wood and his foot goes through, causing a momentary loud noise. You hear a clicking sound, followed by the heavy breathing of one of the creatures as it moves closer. Rita hones in on it, aiming her light and weapon at it as it slowly crawls forward on the wall.

At the end of this hall is the door to the corridor you need to take. The four of you look at the monster on the wall as it silently moves around. This one is different from the one before, slightly thinner and with more sinew, with a particularly pronounced series of spinal bones jutting from its backside. The creature's tongue emerges and slithers along the wall. You can't help but notice it ends in a bone-like spike, which you don't doubt could impale you in a heartbeat...

Your group realizes it will have to sneak by this creature, moving literally within three feet of it. You gulp and prepare yourself.
>>
Rolled 20, 10, 2, 17, 3 + 10 = 62 (5d20 + 10)

>>4033944
Sneaking:
+10 Blind Enemy
>>
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>>4033946
>62
>>
>>4033946
>that 2 and 3
Praying for a miracle
>>
>>4033946

All four of you side-step past the monster. Rita, who goes first, keeps her light trained on it, so that the others may see. Ben follows. When it is your turn, you gulp and hold your breath. The creature exhales and you freeze; it then crawls slowly up to the ceiling. You close your eyes and inch your way to Ben. Never before has a hallway felt so long and foreboding as right now.

Finally, Dylan. He sneaks under the monster and makes his way over to you, crouching lest he disturb it. After a moment, he manages to make it over.

Ben sighs in relief, and opens the door to the corridor, which hits a plank of wood that was on the floor. This pushes the wood into a cabinet, upon which is a lamp that then falls, shattering with a loud ping.

The monster turns around and lets loose a high-pitched wail. The four of you panic and run through the door, slamming it shut behind you. Ben, after closing the door, sighs again. That's when the monster's tongue shoots through it, ending up an inch from his face and sending a chunk of wood flying away. The monster retracts its tongue and starts clawing at the door.

"This way!" Ben says, taking off. The four of you run under a very poor piece of the floor, the ruined section of the second floor you saw while in the second floor corridor. As you make it past, the same monster you saw earlier dives through the ceiling, tearing his way through the weak, burnt wood, screaming behind you as it joins in the chase.

Your group runs around the corner, passing three rooms. Both creatures free themselves and take up pursuit, their cries echoing down the halls. "Shit, shit, shit!" Ben shouts as he makes it to the stairwell. "Come on!"

Rita, then you, and finally Dylan make it through before Ben can shut the door. Both monsters attack the other side, clawing at it. He backs up, then runs up the stairs to the second floor. "It's right up here!" he calls out.

Now on the other side of the fallen debris you came across earlier, Ben reaches his room and takes out his key. He quickly opens the door and the four of you rush inside. Once you are in, he closes it, locks it with every latch and steps back, waiting. All of you control your breathing and try to calm down.

You hear the things break down the corridor door and start exploring, but they cannot find you. After several minutes, things go quiet again. They are still out there, somewhere, and they know you are as well.

"Here we are," Ben finally says with a grin. "...Easy, right?"

Ben's room is small, but it has a double bed and a bathroom. Everyone is panting and breathing hard as he approaches his desk, sits down and lights up a cigarette.

"Really?" Rita asks, conscious of her noise.

"What? Those things don't have noses, you saw them." He takes a long drag and blows out. "Heh. Not the worst hotel I've ever been in."

>Secure the evidence
>Take some time to relax and go over your notes with Ben
>Try to look for another way out
>Take turns sleeping
>Other
>>
>>4033987
>>Secure the evidence
>>Take some time to relax and go over your notes with Ben
>>Try to look for another way out
>>
>>4033987
>>Secure the evidence
>>Try to look for another way out
Let's not wait around for the Lickers to find us. We can go over the evidence once we're back in a safe zone like the Main Hall.
>>
>>4033987
>Secure the evidence
>Try to look for another way out
>>
>>4034003
changing to support
>>
>>4034003
Supporting
>>
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>>4034003
>>4034005
>>4034006
>>4034027

Ben approaches his bed and slides a briefcase out from underneath it. He sets it down on the bed and enters a combination. Crouching alongside him, you catch the combo yourself--8093. He opens it up and within are several papers, but one in particular he singles out.

"You don't want to know what I had to go through to get this," he says, handing it to you. "Be careful. Until we can make copies, that's the only one I have."

You quickly read it over. It is a series of emails from one William Birkin to Brian Irons, detailing several things. The loss of a mansion, S.T.A.R.S., direct deposting of money to Irons, explicit instructions to not let certain information go public, Umbrella, the G-Virus and more. The smile on Ben's face is picturesque.

"This stuff will be on every headline on every paper in every major country," he says, putting it back in the case. Putting a hand on your shoulder, he gives you a smile and says, "You and me, kid, we'll bring down a worldwide giant." He motions to your pocket. "Here, give me yours, they'll be safer in here."

"Not until we're somewhere safe," you whisper.

"What? We're safe here. Those things will eventually go away. This suitcase survived a building on fire! It's waterproof, fireproof--people proof, too. We have our evidence, now let's just keep it safe!"

In the bathroom, Rita contacts Harry. "How are you holding up, Harry?"

"I've got enough food to last me at least two more days," he radios back. "Things are quiet, but I can still hear those things outside the van..."

"Harry's fine," Ben says, then looks back at you. "Look, it's late, we're all tired. I wouldn't mind sleeping on a real bed for once in this hell. Let's brace the door and wait until morning before we head out."

Dylan isn't sure, but he does look weary. You have to admit that you are tired yourself. Even so, you stand up and walk into the bathroom next to Rita, who is inspecting the only window. "Hell of a drop," she says forlornly. "The only way out might be the way we came in."

"What if we made a blanket rope, or something?" you ask.

"Might work, but there's nothing to tie it around."

"My pipe," you say, holding it up to the window, showing that it is too long to pass through horizontally. "We take the sheets and tie them all together and escape that way."

Ben appears in the bathroom doorway. "Yeah, that's a nice plan and all, but can we at least get some rest here first?"

"With those things crawling around?" Rita counters.

"If we're quiet, they won't find us. They couldn't hear us when we were right next to them." He yawns. "We need sleep, people. Plus, it'll be easier to get around the city during the daylight, right?"

"That's a good point," Rita concedes. "Less chances of getting ambushed from a dark corner..."

>Take turns sleeping in shifts.
>Put your evidence in his case to protect it.
>No, we leave now.
>Maybe we can sneak out the way we came in if we distract those things.
>Other
>>
>>4034049
>>Take turns sleeping in shifts.
if we go we will likely have a penalty to our rolls.
>>
>>4034049
>Take turns sleeping in shifts.
Offer to go first, then just pretend to sleep during Ben's shift. I've got a feeling he might try and fuck off with the evidence. Could just be paranoid. There's also less of a chance of that if we keep our evidence on us.
>>
>>4034081
>>4034049
Tentatively supporting this, but we also need to go rescue the other guy in the armored car.
>>
>>4034049
Supporting >>4034081
>>
>>4034092
I agree but we are no good to anyone if we are dead on our feet
>>
>>4034095
True, I'm just worried he'll do something stupid or get smacked by a Tyrant if we wait too long.
>>
Probably also tell everyone to at least keep an eye on the bathroom window since lickers can climb.
>>
>>4034100
My dude has been waiting for backup with out doing something stupid. now that its on the way I doubt he will start.
>>
>>4034102
This. Lickers are very sneaky.
>>
>>4034105
Yeah, but I'm worried about Tyrant Drops.
>>
>>4034155
Mr. T doesn't show up for two more days. probably
>>
>>4034159
And it's the *probably* part that worries me.
>>
>>4034166
we roll the dice with every choice