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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
>>
>>4034076
>>4034081
>>4034092
>>4034094
>>4034095
>>4034100

"Alright," you say, admitting that sleep is a good idea.

"We'll all need rest," Rita says. "Why don't two of us sleep at a time, and two keep watch?"

"Sounds good to me," Ben says. He yawns and rolls onto his bed. "I get first dibs."

Rita closes the bathroom's window blinds and shuts the door. You approach Rita and whisper, "Take this first nap. Watch Ben and make sure he doesn't try to make off with anything."

The female officer nods and hands you her watch before getting comfortable in the corner. You and Dylan stay up, but soon enough Dylan is sleeping with his head on the desk. You sit in the opposite corner and try to stay awake, keeping an eye on the watch that Rita gave you.

Six hours pass in relative silence. In the night, you think you hear things, but nothing comes scratching at the room's door. When the time is up, you wake up the others and get on the bed. They give you plenty of time to rest as well, along with Dylan, who had periodically woken up in the night.

It is afternoon when you wake up, September 26th. You take a moment to figure out how you feel. If you were infected, you would be sick, surely? You don't feel sick.

Stretching your legs, you look over at Ben, who is sitting at the desk with his notebook, going over his material. He is smoking another cigarette. He looks at you and nods. Just to be sure, you check your notes, and they are all still there.

"You know, I was thinking," he says, taking out his cigarette and tapping it into a dish, "There is a newpaper building about three blocks east. The Raccoon Press. I had some contacts who worked there. There's probably a copier in there. Then, we can both have the same amount of evidence. What do you think?"

"It's not a bad idea," you say. "But first, transport."

"I've contacted Harry," Rita says, holding up her radio. "He's still in the truck on Main."

"Then I guess it's time for us to go," you say, picking up the sheets. You, Dylan, Rita and Ben all work together to tie the material you have, using a knife in the room to cut up the sheets into longer strips and reinforcing them with knots. Afterwards, you open the bathroom window and test the pipe; braced agaisn the window, it seems like it will work.

"Who's first?" Ben says.

"I'll go," Rita offers, climbing out of the window feet-first and facing them. She grabs onto the rope and starts working her way down to the alleyway below. Once she is clear, she waves up at them.

Ben offers for you to go next. You carefully do just as Rita did, and climb out slowly. Down below, she keeps the rope tight until you are pulling the pipe yourself. Rita reaches out for you as you get to the bottom, helping you carefully step down. Ben sends Dylan out next, and once he has climbed down, he sticks his head out of the window. "Catch," he says loud enough for you to hear, and he prepares to drop the suitcase. The three of you catch it and he climbs down.
>>
>>4034182

Back on the streets and with the Apple Inn far behind in both memory and distance, you are headed northeast. Main street is your objective, and as your group keeps to the alleys and avoids the walking dead, your thoughts yet linger on your life. Are you infected or not? Those crows scratched and clawed at you; was it not enough to infect you? Or is it perhaps delayed?

You swallow your fear as you follow along, making it towards main street. Following the Central-Raccoon Line, your group slowly progresses, but are eventually forced to halt.

"What the hell...?" Ben says, looking over your shoulders.

Main Street is completely obliterated. For at least two blocks, all the way to the river bridge, it has been blown to hell, with massive amounts of debris and corpses.

"I remember Marvin mentioning something about a team being sent to Main Street on the chief's orders," Rita explains. "Then, later on, there was a massive explosion..."

"I remember," you say to her. "I was talking to you at the time it happened. Then, Marvin or someone near him talked about Main Street... I guess the chief wanted it blown up."

"Look at all those bodies," Dylan says, pointing several of them out. "Some of them are still moving..."

"Buried alive," Ben snorts. "Or, rather, dead. But still kicking."

Rita takes out the radio and contacts Harry again. "Harry, Harry, come in. What is your exact position, over?"

"Wallace Street," he radios back. "On the other side of the clock tower."

"Alright. Just sit tight, Harry, we're on our way." She puts the radio away and looks back at you three. "Now, we just need a way to get over there."

>Let's go through the clock tower.
>We can go the long way around, over the river.
>How about the sewer?
>If we can find a boat, we can go up the river to Wallace Street.
>Other
>>
>>4034183
>>Let's go through the clock tower.
We are running out of time.
>>
>>4034183
>Let's go through the clock tower.
>>
>>4034183
>Let's go through the clock tower.
>>
>>4034183
>>Let's go through the clock tower.
>>
>>4034183
>Let's go through the clock tower.
>>
>>4034196
>>4034200
>>4034201
>>4034207
>>4034209

You look up towards the sky, seeing the clock tower. It is another legacy building of Raccoon City, much like the police station, old and gothic in style. "Through there," you say to them. Your party moves, dodging zombies in the streets as you make it under the Raccoon-Stone Ville tram line. From here, you can look on and see the entrance to the clock tower itself.

The courtyard of the clock tower has zombies prowling around it. Alongside the tower itself are a number of small structures; it is connected to a chapel, and a smaller part of the building on the east side can be seen. Further on, to the northwest, you can see Raccoon Hospital.

"Now what?" Ben asks.

>Fight your way to the front of the building
>Go through the chapel
>Go through the eastern portion of the tower
>Head further up the street, to Raccoon Hospital
>Other
>>
>>4034217
>Go through the eastern portion of the tower
>>
>>4034217
>>Go through the eastern portion of the tower
>>
Rolled 18, 10, 20, 6, 18 + 40 = 112 (5d20 + 40)

>>4034227
>>4034228
Out in the Open: +10
Fire Support: +30
>>
>>4034240
The zombies self destructed
>>
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>>4034240
>>
>>4034240
Fuck them zombies
>>
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>>4034240

Your party hops the fence and gets into the courtyard. Rita leads the way and heads towards the eastern building, as it has the lowest concentration of undead. Though they take notice of you, the four of you working together are able to hold them off; none of them get close. Dylan in particular scores a skillful headshot on one zombie, blowing its head clean open. You and Ben work to open a window and climb inside. Just as the zombies reach your group, the last of you is pulled in as Dylan is lifted by Ben and Rita. With the window closed, you are safe once more.

Finding yourselves in a somewhat lavish and ornate bedroom, you spread out and begin to search the clock tower, carefully checking doors. Immediately beyond it is a living room, filled with old furniture and relics.

Among these relics are a chess board and a typewriter. As Rita and Dylan explore the next room, you approach the typewriter and consider if you should use it or not.

'I know I don't feel sick,' you think to yourself. 'I would have been infected nearly twelve hours ago. That has to have been enough time, right?' You look at your hand, feeling the strength of your arm afforded to you by a good night's sleep.

Ben walks up behind you, nearly startling you. "Something the matter?" he asks.

"No... nothing. Just wondering if this old typewriter still works."

"Oh, these things are great. I like to write my articles with them." He looks back at the door where Dylan and Rita have gone, and then looks back down at you. Taking another step closer, he brings up a hand and brushes a strand of hair alongside your face, his touch suddenly growing intimate. "You know, you're really quite an impressive young woman. I wasn't lying, you know, when I said we'd make a fine team. We should be working together."

"What do you mean?"

"I know the way you look at me dirty, treating me like I'm going to run off the second I can. I want out of this city, sweetheart, and I want you with me. Just imagine the things we can do once we bring this dirt into the light. I'm talking Pulitzer here." His other hand trails up your arm; he's now holding you close. "Come on... I want to clear the air between us. Whaddaya say?"

>Push him away.
>Agree to help him.
>Combine your evidence with his.
>Kiss him.
>Other
>>
>>4034255
>Push him away
>"Save the flirting when we're not being chase by monsters, lover boy. We have to escape the city first then we'll talk about being a team."
>>
>>4034261
Supporting
We need a job after this, and we can't be a line cook forever
>>
>>4034261
support
>>
>>4034255
>Push him away.
>Agree to help him.
All for working together but he's getting all handsy real fast
>>
>>4034261
This
>Other
Also search the room for anything that might be useful
>>
>>4034261
Support
>>
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>>4034261
>>4034265
>>4034266
>>4034269
>>4034279

You push him back, forcing him to step away and you take a step yourself for good measure. "Save the flirting for when we're not being chased by monsters, lover boy. We have to escape the city first, then we'll talk about being a team."

He holds up his hands. "Hey, hey, sorry for being friendly," he says with a shrug.

Dylan enters the room, glancing between you both. "Something the matter?" he asks.

Ben cocks a brow in his direction, giving him a smug smile. "Nah, nothing at all." He hefts his fireaxe up and walks past Dylan, who then gives you a concerned look.

You assure him that everything is okay with a nod, and Dylan leans in the doorway. "Reporters, huh? Slimeballs through and through." He approaches you and sits down in one of the fancy chairs. Clearing his throat, he says, "Daisy, I, uh... I never really, that is..."

"What is it?"

"I never, uh... thanked you. For, you know, talking me down." He rubs the back of his head. "So... thank you."

You smile at him. "You're welcome, Dylan."

"I don't want to die. really I don't," he says, shaking his head. "I just... when I thought the only ways out were a bullet or my brains getting munched on, I..."

"It's okay. I understand." You kneel alongside him and put a hand on his knee. "I'm glad you're still with us. We're going to get out of this. I'm going to make sure of it."

He chuckles. "You speak with a lot of certainty on that. How's your leg, by the way?"

"It's better. Still hurts, but better."

"I'm glad to hear it. Rita thinks that we can use the window in the library of this place to get to Wallace Street. Then, we get in that armored van, and we're good to go." He looks down at the hand you still have on his knee. You blush and retract it. He lets out a nervous chuckle. "Daisy, I..." His voice trails off as he looks into your eyes.

>Use the typewriter
>Move on
>Wait here for a while and search the clock tower for anything useful
>Kiss Dylan
>Other
>>
>>4034285
>>Kiss Dylan
YYYEEEEEAAAAAASSSSS
>>
>>4034285
>Use the typewriter
Lets not do the licker part again.

even if this is a dead end with us infected its pointless to worry about since we'd get the ink cartridge back after we load an earlier save and some time paradox related mumbo jumbo.
>>
>>4034294
support, we are fucked it we really are infected and save
>>
>>4034285
>Use the typewriter
tfw no harem route
>>
>>4034285
>Use the typewriter
>Wait here for a while and search the clock tower for anything useful
>>
File: source.gif (7.87 MB, 720x405)
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7.87 MB GIF
I must now retire to bed. We shall resume tomorrow.
Are you enjoying the quest so far? I'm having a lot of fun writing it. I hope you are having a lot of fun reading and participating.
>>
>>4034308
Can't wait to do a speed run on a newgame+.
>>
>>4034285
>>Kiss Dylan
>>Use the typewriter
>>4034308
Night qm thanks for running. This is actually a pretty fun quest so good job on that. I can’t wait see what fucked up time shit we can do with the typewriter and our saves.
>>
>>4034285
>Kiss Dylan
>Use the typewriter
>>
>>4034290
>>4034344
>>4034363
Just a quick distinction: kiss before or after saving?
>>
>>4034389
Before, it’d be weird if we just got up and started type our new save then went back to kiss him.
>>
>>4034285
>Kiss Dylan
>Use the typewriter

>>4034389
After so we can do it again if we die lol, but seriously do it before because it'd be odd.
>>
>>4034389
after
>>
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>>4034290
>>4034294
>>4034302
>>4034306
>>4034344
>>4034363
>>4034564
>>4034398

You stare into his eyes briefly before leaning up to kiss him. You aren't quite sure what spurs you on to do this, but you simply want to. There is a light tingling you can feel in your stomach, like butterflies, as your lips meet, and he is surprised but returns it eagerly. With your eyes closed, you simply enjoy the moment.

It lasts fleetingly few seconds. When you break away, you look up at him with a warm smile. "We're going to make it through this, together."

He puts his hand on yours and holds it. His mouth opens to speak, but it seems you've rendered him speechless, which is rather flattering. You giggle softly as you rise and walk over to the typewriter. "I'm going to use this for a moment," you tell him. "I won't be long."

"Go ahead," he says. He takes this moment to reload his weapon.

Using the ink ribbon on your person, you load it into the typewriter and pull up a chair in front of it.

>To whoever finds this...

>This is the fourth record of Daisy Dixon, on September 26th, 1998.

>We spent last evening in a hotel with monsters. We left the police station to get help and secure evidence with the help of Ben, the reporter. Along the way, we encountered some new type of zombie, with red skin and long claws. Then, in the hotel, things got even worse when we were stalked by skinless long-tongued things that climb on walls.

>I think the zombies are changing. I don't know what causes it or if it happens to all of them, but even after initial infection they seem to be mutating. Sometimes they get back up when you think they're dead, even after you've shot them several times.

>The evidence we've secured directly links Chief Brion Irons to a man named William Birkin who works for Umbrella, who has been bribing the chief. It also concerns something called "G-Virus" which he has been working on.

>I write this from an old room in the clock tower. Soon, we'll head out to an armored van with a policeman inside, and take it back to the station. We're almost home free.

You finish writing and take the page from the typewriter, fold it up neatly and add it to the others. Dylan approaches and says, "Everything okay?"

With a happy smile, you say, "It is now."

He swallows and moves up closer, putting a hand on your backside. You put a hand on his chest, and you both lean towards each other--then a gunshot interrupts your moment. The two of you break apart and look towards the door. "Rita," you gasp.

"Oh fuck!" you hear Ben shout from further in the building. Then, another gunshot.

The two of you stand up and run to help them. In the main hall of the clock tower, Ben and Rita are backed up against the wall as a horrifying sight closes in on them: a massive, man-sized spider.
>>
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>>4034772

"Holy shit!" Dylan shouts upon seeing the monstrous arachnid. You freeze yourself, a primal fear overtaking you. You are deathly afraid of spiders and this thing may as well have crawled out from a web spun out of your nightmares.

The massive thing, covered in odd hairs of yellow, black and reddish-orange, has a sickly exterior with a mottled hide. Its fangs drip with some kind of clear fluid as it approaches them.

Dylan raises his pistol and fires, scoring a hit on one of its legs, which causes a puke-like green fluid to emerge. You put a hand to your mouth and nearly throw up at the sight of it.

Rita blasts it in the face, taking out one of its eight black, soulless eyes. This causes it to back up for a moment in pain and confusion. Ben, raising his fireaxe high, charges forward with a cry and buries his axe center-mass. "Fuck! You!" he shouts, tearing it out and backing up.

The giant spider seems to twitch, its legs expanding and contracting at random before it flips onto its backside and curls up. Everyone takes a moment to breathe.

You, however, never took your eyes off the spider and see that its abdomen is still moving. No, not its abdomen... the surface of its abdomen...?

As if things couldn't get any worse, large, fist-sized infant spiders begin to crawl off of its hairy backside and onto the floor, scattering about. You scream as one of them draws near. Dylan stomps on it, grabs you and takes you back inside. Rita and Ben follow, stepping on a few of the spiders themselves. One of them jumps up onto Ben's back and he shouts. "Get it off, GET IT OFF!"

Rita turns and swipes with the butt of her pistol, knocking the baby arachnid off of him. Once they are past the door leading to the library, Dylan shuts the door.

"Fuck this place," Ben says, brushing himself off as though he were covered in tiny spiders. "Whose idea was this again?"

"Let's just get ready to go," Rita says as she approaches a window. She confirms there are no undead outside and opens it. "Wallace street is just up ahead."

Your group quickly makes their way outside as your mind reels from what you just saw. 'It makes spiders gigantic...' you think over and over.

Rita leads the way, running down the street and into an alleyway. There is a fence here, which you work together to get past. A zombie wandering on the street appraoches, but by the time he arrives, your group is already over. At the end of this alley, Rita looks out into the street and sees the armored van, parked in front of a bridge spanning the river.

"Damn," she mutters. "There must be a dozen of those things..."

You peek out and see that the van is surrounded. It doesn't take a genius to see that your group doesn't have enough ammunition for all of them.

"We'll need to lure them away somehow," Rita says. "I'll do it."

Dylan looks over. "No, you need to tell Harry when to open the doors. I'll do it."

"Let me," you say.

"Well I'm sure as hell not doing it," Ben says flatly.
>>
>>4034774

>Rita will be the bait
>Dylan will be the bait
>You will be the bait
>Come up with a different plan
>Other
>>
>>4034774
>>You will be the bait

we have the power to [RESTORE SAVE] it has to be us
>>
>>4034774
>>4034781
Support, we have the ability to come back if we die. The others don't, as far as we know.
>>
Rolled 10, 17, 16, 17, 18 + 20 = 98 (5d20 + 20)

>>4034781
>>4034787
Light Inventory: +10
Out in the Open: +10
>>
>>4034795
We are growing stronger
>>
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>>4034795

'It has to be me,' you think. 'If I die, I can come back and try again...'

Rita and Dylan are about to argue again when you take a deep breath and say, "Nope, it's me," and run out of the alley.

"No! Daisy!" Dylan calls out, but he is held back by the other two.

"HEY!" you shout at the zombies surrounding the truck. "EVER HAD SOME OF CHEF DAISY'S FOOD? COME AND GET IT!" You wave your arms and jump around, even onto the hood of a car, stomping your feet on it to make as much noise as possible.

The zombies slowly turn their attention squarely upon you, but you need all of them. You run around to the other side of the truck. "HEY! COME ON! YOU WANNA EAT, YOU NEED TO WORK FOR IT!"

This shouting has the added side effect of drawing other zombies from further up the street. Before too long, you've got about twenty coming after you.

"Well... I think that's good enough," you mutter, slowly backing up. Now you just need to lead them away.

Your heart races as the group closes in on you. You turn and run, dodging a grab, but this brings you closer to another. Skidding on one foot, you dive past the second one's reach, even as he howls. Moans fills your ears, but you try and push them out and focus.

'Just like flag football back in middle school,' you think. 'Don't let anybody touch you...'

You juke, spin, dodge, dive, duck, dip and dodge some more as you remain just out of reach of the zombies, but they are everywhere and unrelenting. There are no safe places to run, and you know you can't keep doing this forever, even if you were in great shape. Your heart pounds and you know that one single little mistake means the difference between life and death.

Hopping up onto a car, however, gives you some added advantage. The zombies have difficulty with basic motor skills like climbing, and so even as they reach for you, you are able to jump from one broken car to another.

Having led the horde away, and to one side of the street, you suddenly hear a horn beeping. The armored van drives up, past the group of zombies chasing after you, stopping further up the street. The door on the back opens up, and Rita waves at you from it. "Daisy! Run!"

You leap off the car you are on and hit the ground, but this proves to be a mistake with your sore leg. Pain shoots through you and you stumble slightly. A zombie grabs onto the back of your leg, and out of sheer adrenaline and fear you rip it from his grasp. A bit of pantleg remains in his grip as you make it to the van, and Rita pulls you inside. Dylan and Ben help drag you all the way in as Rita shuts the door. "GO!" she shouts.

Harry, the driver, wastes no time in driving forward, down the street and turning right.

You breathe heavily as you stare up at the ceiling of the van. Dylan helps you sit up. "You're crazy, you know that?" he says.
>>
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>>4034865

"Nice work," Ben compliments you. "Thought you were a goner there. Then your evidence would be lost with you. You know, you can still put it in this case here--"

"Can we not right now?" Dylan cuts him off.

Rita sits down next to Ben and wipes her brow. "That was too close," she gasps. "We need to get to the station, ASAP."

The van comes to a stop. "Aw, shoot," Harry says. "We can't go this way."

Rita climbs up to the front. "What's wrong?"

"It's blown to hell from when we set the charges. I didn't know they went back this far."

"Well... go back and turn onto French, then take Good down to Flower or Ennerdale. One of them will get us across the river."

"Right, right," he says, backing up. He has to carefully weave around abandonned vehicles and zombies as he drives.

In the back, Ben takes out a cigarette. He sees you both staring, and offers you one from his pack. "How about no smoking in the van?" Dylan speaks up.

"How about you lick me?" Ben replies, striking it up with his lighter. He blows smoke off to the side. "Bad enough I gotta deal with those things out there, sheesh."

You put your hand over Dylan's to calm him down. Ben takes notice but doesn't say anything.

"Oh, damn it all," Harry says, stopping the van again. "Good Street is completely blocked off."

Rita looks to the left. "What about the university? We can take it through there, can't we?"

Your ears perk up. "The university?" You push up next to Rita. Sure enough, you're right alongside the college you attend. "I know a way through it," you say. "See if the front archway is clear."

Harry backs up and turns around again, driving to the front of the college. The archway is indeed clear, allowing the van to enter the grounds.

You direct him to the back entrance of the school grounds, but it is closed. You can see that it is locked with a chain around it.

"There must be someone around here who has the key," you say. "I'll get out and look for it."

"There's no way in hell I'm letting you go out there alone," Dylan says.

"Ditto for me, too," Rita adds on.

Ben says nothing. "You guys go on ahead. I'll be here in the armored truck with the food and water and ammo."

>Go alone
>Have Rita or Dylan stay back to watch Ben
>Make Ben go with you
>Rita will take the keys to the van with her
>Other
>>
>>4034867
>Other
See what might be useful for us in the armored car
Tell Ben we’ll give him the photo if he helps out with the key. He is a journalist gotta make him work a bit more for his story.
>>
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>>4034963

Dylan and Rita take some weaponry and ammo from the back of the van. Rita, in particular, takes a shotgun and several shells, while Dylan restocks his reserves of handgun ammunition. You look up at Ben, who puts his hands behind the back of his head and relaxes.

You frown, and take out the photo of the G experiment. "Hey, Ben. If you help us find the key out of here, I'll give you this."

He picks his head up and stares for a moment, considering. "Alright, hand it over then."

"Oh, please. You're a journalist, you've gotta work a bit more for your story."

He rolls his eyes and gets out of the van. "Fine. But I'm taking this." He reaches inside and picks up a powerful-looking handgun. "This'll do nicely if any of those mutant freaks gets near."

Harry looks back out the window. "I'll stay here," he says. "You know... to keep the truck safe."

"It's alright, Harry, we got this," Rita says, loading her shotgun. "Let's move, people. Stick together." As you traverse the courtyard, Rita asks, "So, you attend school here?"

"Yeah, I'm in my second year," you reply. "I wonder if anyone else around here is still alive."

"If you have an idea of who might have the key, lead on," Rita suggests. "We're right behind you."

>Enter the main hall
>Go around the side, to the loading passage
>Walk along the pier
>Enter through the dorms
>Other
>>
>>4035070
>Go around the side, to the loading passage
>>
>>4035079
support
>>
>>4035070
>Enter through the dorms
>>
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>>4035079
>>4035116

The loading passage on the side of the campus is a sparse area where trucks can drive up and offload material. There is scaffolding here running alongside the structure, and an empty truck with a flatbed trailer. You team spreads out, never getting too far from each other as you explore the area and move forward.

"Hey, look at that," you say, bending over to pike up a pipe. "Old reliable..."

"There's a door over here," Rita calls out, and you all move over to it. She opens it, and you enter the vacant back lot of the university. It is wide and spacious and, for the time being, devoid of hostiles. Nearby is a scenic view of the river, and beyond it is the massive bridge leading into the main part of the city which was partially destroyed when Main Street blew up.

The four of you approach the waterside overlook and look on. "Well, that's going to be a problem," Rita says with a sigh.

"What?" Dylan asks.

She points, and everyone follows her view. You look at the more southern bridge and see that the center of it is raised, as if to allow a boat to pass. "Once we get out of here, we'll need to lower that bridge lift, otherwise we can't cross the river. That'll be an issue."

"Great," Ben mutters. "More problems."

You approach a nearby fence and crouch down to inspect the plants growing there: green, red and blue herbs. Upon inspection, they seem healthy and ready to be used.

>Spend some time mixing herbs
>Approach the northern shack
>Walk down the pier waterway
>Enter the back of the university
>Other
>>
>>4035311
>Spend some time mixing herbs
>Enter the back of the university
>>
>>4035311
>Spend some time mixing herbs
>Enter the back of the university
>>
>>4035311
>Spend some time mixing herbs
>>
>>4035336
support
>>
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>>4035336
>>4035345
>>4035358
>>4035429

Picking up the herbs, you are able to mix them into two complete mixtures: one combines a green, red and blue herb, and the other is only a green and blue herb. You know that blue herbs do well against toxins, poisons and diseases, and the red herb acts as a kind of enhancer, amplifying the effects of a green herb when used in conjuction with it but is otherwise useless on its own.

Dylan approaches the back door of the university and discovers that it is locked. He tries to knock on the door, but Rita holds his arm back. "Not too much noise unless we need it," she advises him. "Let's look for another way inside."

"Hey, I found something over here," Ben says near the northwest corner of the square. You approach and see that there is an open manhole behind a warning triangle. "Maybe there's a way inside through here."

"There's also the pier nearby," Rita suggests.

As you discuss it, suddenly a beeping noise is heard near the back entrance, followed by a clicking sound. Dylan turns around and tries the door again and suddenly it works. "Hey, neat," he says. "Hey guys, the door's unlocked now."

Rita's brow furrows. "Doors don't just unlock. Someone opened it for us."

"Why don't we go inside and see who?" Ben suggests. "Maybe they saw us on a security camera and are going to let us in. We've got guns, after all."

After another moment, Rita nods. "Stay sharp," she says, and your group enters.

You find yourselves in a darkly-lit back hall. Some sparks shoot out from a nearby exposed wire, startling you. This hallway looks like a maintenance hall that staff would use, but one that you have never been in before.

>Proceed to the main hall
>Search the eastern wing of the university
>Return to the back lot and take another path
>Call out to anyone who may be listening
>Other
>>
>>4035435
>>Proceed to the main hall
>>
>>4035435
>>Search the eastern wing of the university
>>
>>4035435
>Proceed to the main hall
>>
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>>4035439
>>4035443

There is a door in this hall that leads to the main entrance hall of the university, which you are very familiar with. Upon entering it, you walk around the large central staircase and into the main area proper. "This place is pretty nice," Dylan says. "Never been in here before."

"Who's that?" a voice says. You all look and see two college students up on the upper balcony. One of them, a male and the one who spoke initially, pumps his fist. "Yes! A cop! We're saved!"

There is a woman with him, a black female with a pink top. Both of them have backpacks. "You don't know how long we've been waiting for you guys to show up," she says with a heavy sigh.

They quickly move to the staircase and walk down to greet you. "I'm Sky, and this is Amber," he introduces them both.

"Are there any others here?" Rita asks them.

"A few of us, but not many," he replies. "Most of them took off and tried to make it to the police station, but I don't think they made it across the bridge."

"Well, that's where we're headed as soon as we get the keys to the back gate. Do you have any idea who might have them?"

Amber thinks for a moment. "The professor might."

"Which professor?" you ask.

"Professor Jenkins," she answers.

Your eyes light up. "Jenkins? Peter Jenkins? He's my professor! He's still alive?"

"Yeah, but we haven't seen him for a while. We think he went up to the third floor... or the basement, we aren't sure."

Rita approaches them. "Someone unlocked the back door of the university for us. Was it you?"

Sky looks surprised. "What? No, we don't have any kind of access like that. Must've been one of the staff."

The policewoman nods. "Have you had any contact with the staff recently? Were any of them injured?"

Amber answers, "Most of them are dead, wandering around. The hallways aren't safe; none of the campus is, really."

"Well, at least someone can remotely lock and unlock the doors," Rita says, putting a hand on her hip. "We can get you two out of here with us, but you need to do everything we say, understood?"

"Yes ma'am," Amber replies.

Ben takes out his notebook. "Ben Bertolucci, I'm a reporter. You kids mind giving me a first-hand account of what happened on the day of the outbreak?"

>Wait here in the main hall
>Search the security office
>Explore the east wing
>Enter the student affairs office
>Other
>>
>>4035482
>Search the security office
There might be some keys we might need if any of non electronic doors are locked.
>>
>>4035500
>>4035482
Support
>>
>>4035482
>>Search the security office
>>
>>4035482
>>Search the security office
>>
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>>4035500
>>4035510
>>4035514

As they talk to Ben, you, Dylan and Rita walk over to the southwest corner of the room. There, you discover a door that leads to the security office. "I remember there being a campus guard who worked in here," you say to them. Upon opening the door, you find yourself in a small office that connects to a short hallway leading to a set of double doors.

There is a desk here with a computer. Rita sits in front of it and boots it up. "Look at that," she says, pointing to the logo. "Umbrella Inc. software. Same kind as the station."

"That doesn't fill me with a lot of confidence," you say. Looking towards the elevator doors, you see some shelves and lockers. You and Dylan inspect them, finding a map of the university's main floors and some of its sublevels.

"You ever been down there?" he asks. "There's apparently a water treatment facility."

"No, not my field," you admit. Opening the lockers, you discover some more herbs, a green and red one.

>Combine the green and red herb into one
>Combine the red with the G+B mix
>Leave them here for now
>Use these two herbs on yourself to fully heal your injured leg
>Other
>>
>>4035529
>>Use these two herbs on yourself to fully heal your injured leg
>>
>>4035529
>Combine the red with the G+B mix
Eat the green to heal our leg a bit
>>
>>4035558
>>4035529
This one.
>>
>>4035529
Supporting >>4035558
>>
>>4035558
>>4035561
>>4035567

You quickly eat the green herb, finding it just as tasteless as before, but knowing it will help your leg. You take the red herb and combine it with your earlier mixture of blue and green to complete it.

"Can't get the elevator to work," Rita reports. "It needs some kind of code. Maybe we can find it around here."

You search the room thoroughly, but turn up neither a code nor a key to the back gate. Rita checks several security cameras by switching through them on one of the screens. Several zombies are glimpsed throughout the campus, in halls or in rooms.

Then, on one screen, the three of you see two people speaking to each other in some kind of office. You immediately recognize one of them. "Hey, that's my professor, Dr. Jenkins!" you say, pointing to the man on the left. "I don't know who the man on the right is, though."

"Says here they're up on the third floor," Rita reports. She turns the camera to the receiving area only to see a truck pulling in. "What the hell...?"

You lean over and look as you see a black truck pulling up, and then another alongside it. On their side is a logo, red and white.

"Umbrella..." you whisper.

"What are they doing here?" Dylan asks as you run out into the hall.

"Ben! Two Umbrella trucks just pulled up in the loading area."

He looks up at you. "What? Really?" He goes to the window to try and see them, but cannot from this angle. He enters the security office and looks.

Soldiers in black armor are exiting the vehicles, alongside research personnel in blue and yellow outfits. They open up the backs of the trucks and begin to remove large containers on wheeled mechanical pallets.

>Go outside to speak with them
>Everyone hide
>Continue observing them through the camera
>Search for Professor Jenkins
>Other
>>
>>4035673
>Continue observing them through the camera
>>
>>4035673
>>Continue observing them through the camera
>>Everyone hide
Oh shit, we aren’t prepared to deal with them
>>
>>4035673
>Everyone hide
>Continue observing them through the camera
>>
>>4035673
>>Continue observing them through the camera
>>Everyone hide

Craaaap, the Tyrants are here. Everybody be very stealthy, after we find out where they're going.
>>
>>4035673
>Everyone hide
>Continue observing them through the camera
>>4035710
Also means hunters are on the loose now
>>
>>4035673
>Everyone hide
>Continue observing them through the camera
>>
>>4035681
>>4035687
>>4035689
>>4035710
>>4035718
>>4035736

"Everyone, in here!" you say in the main hall. Sky and Amber join you in the security office as you observe the Umbrella personnel go about their work.

"Looks like their own personal security force," Ben says, taking notes. "Research personnel, field analysts, specimen transportation cells... this is great stuff."

Rita checks other monitors, but she only has the one view of them. The soldiers wear black armor from head to toe, with helmets and gasmasks. They are all carrying assault weaponry. The research personnel, not armored but still wearing protective environment suits, seem to be checking the specimen tanks while the soldiers secure the area.

"What are those things?" Dylan asks, pointing at the tanks.

"B.O.W. specimen transport tanks," Ben explains.

"B.O.W.?"

"Bio Organic Weapons," he says. "Umbrella must be using the city as a testing ground while they can."

"But how can they just drive trucks into the city?" you ask. "I thought there was a military perimeter."

"Umbrella's in good with the government, or at least they will be until we expose them," he says. "They probably had clearance and drove right through. Likely under a pretense of helping the city or some other crap."

Rita narrows her eyes, squinting at the screen. "Looks like they're taking them down to the pier..." She switches a camera to the pier alongside the campus. Two zombies are there, drawn by the noise. Two soldiers advance, take position and efficiently end the threat with shots to their legs. They then move up and switch to their sidearms to place a bullet in each of their heads, center mass, before kicking them off into the water.

"Very nice," Ben says, jotting down everything he is seeing. "These guys knew what they were going up against. Trained ahead of time." He nudges Rita in the back. "Too bad the cops weren't, eh?" Rita shoots him a nasty look as he shrugs and continues writing.

Several tanks are taken under the campus through some kind of underground entrance. Others are lined up outside at the water's edge on the pier. You watch as the field personnel stand back. A remote control is used to open the tanks.

Water rushes out of them, over the edge and into the river. Something else goes with them.

"What was that?" Rita says, squinting. "Something in those tanks came out with the water. Looked like they were the size of a man, but I couldn't get a good look."

"Oh, I read about these," Ben says with a smile. "Aquatic B.O.W.s, some kind of variant from the standard stock. They must be releasing them into the open waters to see how they spread. How many tanks do you see out there: eight? Ten? And more under this facility. Incredible."

"I'm glad you're enjoying this," you say distastefully. "You know, those are things we might have to deal with."

"Which is why I suggest we leave immediately," he shoots back.

"They're taking the empty tanks back up to the trucks," Rita reports.
>>
>>4035752

In the back, Sky and Amber remain quiet, confused about everything that is happening. You watch Rita switch back to the camera on the trucks as they load the empty tanks back up. The research personnel and security forces get back in the trucks and prepare to depart, backing out of the receiving area.

Before you can decide what to do next, you hear the elevator doors opening. Two figures emerge, talking to each other.

"Yes, but the emission tower has lost all power, and--" You recognize that voice. The man it belongs to stops as they both see your group.

"Dr. Jenkins?" you say, standing up straight.

"...Daisy?" he says, adjusting his glasses. He looks horrible, like he hasn't been getting sleep and his labcoat is a mess. "What in the devil are you doing here?"

You're about to speak to him when you see the man that he is with, an older man with glasses, a closely-cut haircut and pale skin, is wearing a labcoat with the Umbrella logo on it.

>Raise your weapon.
>Ask Jenkins what is going on
>Demand to know what Umbrella is up to
>Shoot first and ask questions later
>Other
>>
>>4035753
>>Raise your weapon.
>>Ask Jenkins what is going on
>>Demand to know what Umbrella is up to
We’re gonna need to find a new ink ribbon soon
>>
>>4035753
>Demand to know what Umbrella is up to
>>
>>4035753
>Ask Jenkins what is going on
>Demand to know what Umbrella is up to
>>
>>4035753
>Raise your weapon.
>Ask Jenkins what is going on
>>
>>4035753
>Ask Jenkins what is going on

Turn off the screen and keep up the act.

We can probably get the key, and get out without having to deal with heavily armed mercs.
>>
>>4035799
You have a good point.

>>4035753
>Ask Jenkins what is going on
>>
>>4035753
>Ask Jenkins what is going on

And this>>4035799
>>
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>>4035762
>>4035764
>>4035788
>>4035788
>>4035798
>>4035799
>>4035814

"Dr. Jenkins? What's going on?" You approach them both. "I know that Umbrella is behind all of these zombies and monsters. What are they really up to?"

He adjusts his glasses again. "Well, that's... Let me introduce my colleague, Dr. Greg Mueller."

The man with the slick-back blonde hair and brightly-rimmed glasses nods in your direction. "Charmed."

"How did you find out about Umbrella?" he asks you.

"I uncovered a conspiracy between the chief of police and Umbrella. They were bribing him."

Ben coughs into his hand. "Technically, I'm the one who uncovered it, you just stumbled into it."

Dr. Mueller steps forward. "It is true that Umbrella are the ones responsible for the catastrophe that has befallen this city. Their arrogant disregard for what they possess has caused it to infect nearly the entire population."

"But you're with Umbrella," you point out.

He cocks a brow. "After what has happened, I am tendering my resignation."

Dr. Jenkins holds up his hands. "You have to understand, we're working on a cure for the t-Virus, in order to weaken Umbrella. You recall when I told you about Umbrella being in possession of something big, yes? This was it. A biological weapon of unrivaled power, able to destroy an entire population and turn them into monsters. Dr. Mueller and I want to manufacture a cure and get it out into the world so that Umbrella cannot use it."

"Precisely," Dr. Mueller says.

"Then what was up with all those trucks that just pulled up?" Daisy asks. Behind her, Ben is furiously writing in his notebook. "They were dumping Bio Organic Weapons into the river and bringing them under the campus!"

Dr. Mueller takes off his glasses and takes out a cloth to clean them with. "My associates at Umbrella Europe. They are attempting to gather data related to their own strands of B.O.W. in live environments in order to strengthen their position before the company's inevitable collapse. In exchange for use of my facility, I received material vital to the cure we are developing, not that they knew it."

Daisy can hardly believe what she is hearing. "You agreed to let them bring monsters and dump them into the river so you could get a cure? What about the people those monsters might kill?"

"The situation isn't exactly ideal," Jenkins admits. "It's exceedingly complicated, but it will all be worth it once we create the cure."

After putting his glasses back on, Dr. Mueller looks at your group. "Now then, as I am the one who let you into the campus grounds, are you willing to assist us in creating the cure? As it happens, there are several difficult complications that have arisen, and your weaponry may be able to counter those complications."

>We just want to get out of here.
>What can we do to help?
>Dr. Jenkins, you should come with us.
>You two are under citizen's arrest!
>Other
>>
>>4035823
...These guys were trustworthy in whatever game they were in, right? If not, eh, we have a save file.
>What can we do to help?
>>
>>4035823
>What can we do to help?
>Other
Ask if they have the keys for the locked gate
>>
>>4035829
>These guys were trustworthy in whatever game they were in, right?
Oh, yeah totally, no tyrants involved either
>>
>>4035823
>>Dr. Jenkins, you should come with us.
There is no way to cure the dead and Umbrella is not our friend
>>
>>4035823
>We just want to get out of here.
>Other
What about those heavily armed mercenaries you had with you? They seemed like real pros.
>>
>>4035859
>There is no way to cure the dead
But people who are infected and not turned can be cured
>>
>>4035876
Do you honestly believe that Umbrella cares about saving the infected? Let's examine their actions thus far: they fucked up resulting in this mess, they bribed the chief of police to look the other way on illegal activities, and now they are using this city as a testing ground for even more horrors. the good doctor is a fool if he believes that Umbrella is here to help. So are you if you do too.
>>
>>4035823
Supporting >>4035840
>>
>>4035823
>We just want to get out of here.
Alive, mind you.
>>
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>>4035829
>>4035840
>>4035896
>>4035861
>>4035915

Giving the others a look, you turn back and ask, "What exactly can we help with?"

Dr. Jekins walks forward some more. "We happened to be working on the cure already when the outbreak occurred. As such, some of our research materials are scattered around campus. People and creatures have mutated and neither of us is equipped to retrieve them."

Dr. Mueller adds, "The emission tower is also no longer operating. It must have been shut down when the staff were turning. It'll have to be re-activated. From there, we can assemble the components of our cure and proceed towards synthesis."

"Look, we just want to leave," you say to them. "Do any of you have the keys to the back gate?"

"As a matter of fact, I do," Mueller says, turning to re-enter the elevator. "Assist us in completing the cure so that we may cripple Umbrella for what they have done, and you will be allowed to leave."

"You can't just hold us here," Rita protests. "We can leave and find another way."

"But that wouldn't create a cure, now would it?" He presses a button on the panel and holds it. "Dr. Jenkins, I entrust you to operations down here. I must return to the laboratory."

"Greg, we must help them, we can--"

"Dr. Jenkins, time is wasting," Mueller says as the doors slide shut.

The professor runs a hand through his hair and sighs. He looks back at your group with a defeated look on his face. Ben pushes to the front. "How long has the university had a connection to the Umbrella Corproation? Were any other members of the staff employed by them? What is the extent of Umbrella's facilities on this campus?"

He is clearly overwhelming Dr. Jenkins with questions. You give Ben a shove and tell him to knock it off. You approach Dr. Jenkins and put a hand on his arm. "Professor, I'd like to believe you're doing what you're doing for the right reasons, but what about him? He's with Umbrella."

"Yes, but he does not wish to associate himself with the organization any longer," he says. "He had nothing to do with the outbreak. He explained to me that Umbrella's off-site research facility in the Arklay Mountains was compromised."

"A rogue agent," Ben says, recalling his evidence. "Albert Wesker."

"Yes! Something terrible happened out there only a few months ago, and now it has bled into the city. We mustn't let it spread further, Daisy. The t-Virus must be stopped. Dr. Mueller and myself are working against Umbrella now."

>We'll help you. What do we need to do first?
>We should go have a chat with Dr. Mueller and force him to give us the key.
>We should leave and find another way around.
>How could this have happened, professor? How could the entire city be infected?
>Other
>>
>>4035947
>We'll help you. What do we need to do first?
The sooner we do this the sooner we can get out.
>>
>>4035947
>Other
>We'll help you, but we should go have a chat with Dr. Mueller first.
Talk about giving us support and weapons for starters. They can drop BOWs into the city and move platoons of UBCS here and there, dropping us a few crates of weapons and ammo shouldn't be hard for them.
>>
>>4035947
>>We'll help you. What do we need to do first?
>>
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>>4035954
>>4035955
>>4035973

"We'll help you, professor. What do we need to do first?"

Taking you all out into the main hall, he lays out the map of the university on a table. "There are a few things that we'll need to do," he says, nervously adjusting his glasses. "It may help to break into separate teams."

"Lay them out," you ask him.

"Firstly, I need access to my study. It is a secret room, somewhat clandestine I admit, but it can only be accessed in a certain peculiar manner. I require two gemstones, a blue sapphire and a red ruby. Once secured, they can be placed in the eyes of the moose behind the stairs. This opens the passage to the study."

Dylan looks around, wondering if he is being pranked. "Are you serious?"

"Reminds me of the station," Rita mutters under her breath.

"I know it seems strange, but our valuable research notes are kept there," Jenkins explains. "Umbrella was always so particular about its secrecy, and, well... now you know why. The ruby is in the general manager's office on the first floor, through those doors over there. The sapphire is kept in the art room, but can only be accessed by the university president's room. Unless any of you know how to play piano."

"How could that possibly be a factor," Dylan deadpans.

"Playing the piano in a certain manner will cause the statue holding the sapphire to release it." He rubs his hair. "I know how this all sounds, but this wasn't a problem when there weren't monsters running around."

Ben folds his arms and smirks. "It's almost like things shouldn't be designed this way in the event of an emergency."

"Once both gems have been assembled, I can access the study. Then comes the difficult portions."

"Difficult how, exactly?" you ask him.

"Two samples must be retrieved." He unrolls another map of the water treatment facility beneath the campus. "The water treatment plant is being used to house dangerous B.O.W.s. It is from them that a sample must be retrieved. We have several specimens contained within the tanks, but part of the arrangment with Umbrella Europe was to release their B.O.W.s in the river, so... some of them may have gotten inside."

"Well, that's just great," Ben says. He leans against the railing and lights up a cigarette.

"Go on," you implore Jenkins. "What else?"

"The emission tower that Dr. Mueller mentioned... it was being used to house several experiments. During the course of the outbreak, containment failed and power was shut off; those events are likely correlative. A sample of poison must be obtained from the inside of the tower, but it is locked from the outside, meaning that you must go underground, restore power, ride the lift up and acquire a sample."

"What poison?" you ask.

"Hornet venom," he says softly. "Hornets that have been mutated by the t-Virus. They are of an... exceptionally large variety. It seems to be a commonality among insect and arachnid species when exposed to it."
>>
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>>4036032

"Wait," Rita says, getting the doctor's attention. "You said those things are loose? So the inside of this 'emission tower' is a hive of these things?"

"I'm afraid that is the case, yes."

Dylan, standing near Sky and Amber, holds up his fingers. "So, we need to retrieve two gemstones from zombie-infested rooms, fight bio-weapons in the basement and get some of their blood, and wade into a nest of giant hornets and get some of their poison, probably by asking them nicely I suppose?" He drops his hand and looks at you. "Daisy, we need to get the hell out of here."

"I know this all sounds like much, but if we do not secure these elements, the synthesis of the cure cannot occur," Dr. Jenkins pleads with you. "I know that it can be done."

You look at the map. Never did you have any idea how complicated the university was, nor how extensive its underground facilities were.

>Alright, we'll split up into two teams.
>We need help on this one.
>I think we should leave. Dr. Jenkins, come with us.
>Let's have another chat with Dr. Mueller.
>Other
>>
>>4036033
>>We need help on this one.
what the fuck
>>
>>4036033
>We need help on this one.
>Let's have another chat with Dr. Mueller.
Tell him if he wants to have the cure made we are going to need the key so we can go back to the police station and ask for help there.
>>
>>4036033
>>We need help on this one.
Umbrella’s fucking insane
>>
>>4036048
THIS, SO MUCH THIS
>>
>>4036033
Actually changing to >>4036048
>>
>>4036048
>>4036033
Yep, if we want a cure we need backup.
>>
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>>4036048
>>4036054
>>4036055
>>4036044
>>4036066

"We can't do this alone," you say, shaking your head. "Bio weapons and giant hornets... Dr. Jenkins, we need to speak with Dr. Mueller so that we can get the key, return to the police station and then come back here with reinforcements. If we can truly make a cure as you said, then we can convince the police to come here and help."

He rubs his beard. "If you think it is the wisest course of action... but I do not know if he will agree. What has been done by Umbrella is highly illegal, and he was an employee of theirs."

Rita pushes forward. "Look, we're all in this together, legal and illegal isn't as important as surviving. We have innocent people who need evacuating at the station. Once that's accomplished, then we can come back to create a cure."

"Very well," Dr. Jenkins concedes. "Daisy, if you'll accompany me up to the laboratory."

"Why just me?" you ask.

"Yeah, why just her?" Ben says. "I need details, here!"

"He won't allow just anyone. I can get her up there because she is my student, and he trusts me." He looks at you and says, "If you present your case, then he may let you return to the police station."

Looking back at the others, you slowly nod. He brings you into the security office, enters a code into the computer which unlocks the elevator, and together you both step into it. As the doors shut, Jenkins looks over and says, "I am very glad to see that you are still alive, Daisy. So many have died in this tragedy..."

"I'm happy to see you as well, professor."

The elevator opens on the third floor, and he brings you into the laboratory. It is a densely-packed room with lots of machines and devices, as well as storage shelves for samples. A refridgerated sample locker is in one corner, not far from a large centrifuge. A few computers can be seen, as well as a typewriter.

Your eyes lock onto the typewriter as Dr. Jenkins speaks.

"We've been doing experiments with the t-Virus ever since it started showing up in the water supply," he says. "We knew of it beforehand, but once people started becoming infected with it, well, we had ample time to retrieve samples."

He takes you into the next room and you nearly scream. There, hanging on hooks, is a reptillian monster, slightly humanoid in its proportions but inhuman to the extreme, with clawed hands and feet and yellow eyes. Bone-like protrusions emerge from its rib and back, and its mouth is filled with razor-sharp teeth.

"Don't worry, it's quite dead," he says, taking you by the hand. "This is what Umbrella refers to as a 'Hunter'... one of their Bio Organic Weapons. It is quite fascinating, isn't it? That one single virus allows for things such as reanimation of dead tissue, growth of arthropods and the sculpting of entirely new creatures such as these..."

"Professor, this is horrifying," you say, finding it hard to look at.

"Very much so," he agrees. "It should never have been made."
>>
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>>4036124

"Dr. Jenkins," Dr. Mueller calls out from the back room. "I believe you were given instructions to the contrary of you being up here with one of them."

He leads you into the next room, where Dr. Mueller is behind a table with several computers and other electronics. He is typing away and looks up as you both enter. "This had better be worth the delay."

"This is one of my students, Daisy Dixon, an aspiring biologist," he explains. "She is going to help us, but they need to reach the police station to bring backup. Please, Greg."

"I think not," he says, looking back down at his computer. "Time is of the essence. The faster we can secure the cure to the t-Virus and leave the city, the better. The fewer police who are aware, the better."

You step forward. "Why are you afraid of the police? What are you hiding?" Dr. Jenkins reaches for your arm, but you shrug him off.

"It's not the police I am afraid of," Mueller replies. "It is the members of the police force who are corrupted by Umbrella. You see, right now Umbrella believes that I am still working for them. Right now, that is the only thing keeping them from killing us. If they learn that I am manufacturing a cure, they will send assassins after me... and worse."

"You already told us about the cure," you point out.

"Precisely, which is why I am not allowing you to leave until I have it. I control the campus from here; I can lock down the area and make it impossible for you to leave. The B.O.W.s in the surrounding area should also provide sufficient motivation to want to avoid escaping on foot."

Dr. Jenkins steps forward. "Greg, please, you're not speaking rationally, you're--"

Dr. Mueller raises a pistol and aims it at Dr. Jenkins. "Since you didn't want to play things the nice way, now we must be difficult." He looks at you. "You. Girl. If you don't want me to murder the good Dr. Jenkins, you will retrieve for me the components to make my cure."

"You're insane," you tell him.

"I am not going to allow Umbrella to learn about what I have done or plan to do," he mutters. "You don't even know the true extent of the horror that Umbrella is unleashing. The outbreak was an accident, but they are taking advantage of it and deploying their most dangerous weapons in this city. Not only to test their effectiveness, but to silence witnesses, their enemies and any liabilities." He considers something for a moment, then turns on a projector. "Let me show you what they are sending to this city. My associates at Umbrella Europe have been quite forthcoming with one of their supposed own. Behold..."

You look at the projector, and see the image that he projects upon the wall. You gasp and put a hand over your mouth. "My god... What is that thing...?"
>>
>>4036126

The thing in the picture could hardly be called a man. It is groteque to the extreme, with a twisted face devoid of lips and a nose or other identifying features. Flesh covers one of its eyes, along with a row of staples. Its neck and shoulders are bulging with some kind of purple, fleshy tube that emerges from within its body. The massive monstrously muscular mutant is bound in black clothing that looks strapped on its form, tightened at multiple points to be constricting in all areas. But the most horrifying aspect of its visage, apart from its rotting-like brown mottled skin, is the one eye, bright white, staring into your soul.

"They call it Nemesis," he explains. "A tyrant... a disgrace. Look how revolting it is. A mockery of true scientific achievement; a frankenstein's monster in every sense of the term. They care nothing for the aesthetic beauty of a tyrant, only its effectiveness as a killing machine, even going so far as to implant it with a controlling parasite. The fools..."

"And this... thing... is coming here?"

He adjusts his glasses. "It is already here. It was dropped in Raccoon City less than an hour ago by helicopter. I know not its objective, but it is out there... hunting."

He shuts the projector off. "Now then, enough unpleasantness. Secure the cure, or Dr. Jenkins dies. Simple as that."

Jenkins pleads with him. "Greg, please, I--"

"Shut up, Peter. You are a weak man and a weaker scientist. I needed you up until now, meaning you are disposable to me. So, miss, you may either watch him die, or do as you are told."

You look at Dr. Jenkins, who stares back at you, wondering what you are going to do. You are doing the same thing.

>Attack Dr. Mueller.
>Agree to get the cure.
>Agree to get the cure, but actually find a way off campus.
>Attempt to get Dr. Mueller talking again, and then attack.
>Other
>>
>>4036128
>>Attempt to get Dr. Mueller talking again, and then attack.

FUCK THIS
>>
>>4036128
>>Attempt to get Dr. Mueller talking again, and then attack.
>>
>>4036128
Well at least we're getting valuable information out of this run.
>>
>>4036128
>Attempt to get Dr. Mueller talking again, and then attack.
Use what we learned from what Ben gathered in his investigation. Seems like the type of guy to get jealous if he found out about a new virus.
>>
>>4036137
we might still be able to save this run...maybe. Side note do we want to bill muery groundhog day this shit, finding the most optimal way to survive and save the most lives?
>>
>>4036140
This, ask him if the Tyrant is the result of the G virus and shoot him if he gets distracted
>>
Rolled 20, 19, 1, 3, 14 + 10 = 67 (5d20 + 10)

>>4036130
>>4036134
>>4036140
Sneak Attack during Monologue: +10
>>
>>4036147
67 niice
>>
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>>4036130
>>4036134
>>4036140

"That tyrant," you say, slowly edging to the right. "Was it made by the G-Virus?"

Mueller sneers and then chuckles. "The G-Virus? William's pet project? Please. As if that could ever produce anything worthwhile."

You take out the photo of the Code G experiment and hold it up. "That's not what this says."

He frowns and walks around the desk, holding the gun on Dr. Jenkins. He snatches the photo from you and looks at it. "What? This is... How could this be? Surely he hasn't actually achieved something that--"

His voice is cut off as he turns away from you ever-so-slightly. You reach for your bow gun with one arm, bring it up and fire. Mueller gasps as he falls back, dropping the picture. Thinking quickly, you kneel down to scoop it up.

Three bolts stick out of his chest and side. He falls back against his table, trying desperately to fight against the pain and finding it difficult to breathe. Dr. Jenkins goes for the gun that he dropped, managing to get ahold of it and point it at him with a shaking hand. When he sees you approaching the wounded man, he runs around the back of the desk to fiddle with the computer.

"I've unlocked all the doors," he says.

"The key to the lock on the gate!" you say, stepping on Mueller's hand and aiming the bow gun at his head. "Hand it over!"

He coughs up some blood, weakly reaching into his pocket with his other hand. What he removes instead is a remote, which he presses.

"What was that?" you ask, pointing the gun at his head. "Answer me!"

"You'll never... make it," he says, blood dripping from his mouth. You must've punctured one of his lungs. He coughs. "One of the staff downstairs had it... Now, you get... to play... with my perfect creation... my... Thanatos..."

Setting the bow gun aside, you search his person for the key, finding it in his coat pocket. You realize you hear something draining from an alcove nearby covered by a sheet. Stepping back, you reach for your weapon and keep it raised as you hear a mechanical sound like something sliding open and liquid pouring onto the floor. Then, a footstep, loud and heavy, followed by another.

The sheet is torn away, revealing an eight-foot-tall masculine monstrosity with dark skin, fingers ending in claws, a pulsing external organ resembling a heart emerging from its right breast armored by a protective metal plate... and, strangely enough, a jet black speedo.

The Thanatos tyrant turns its bright white eyes towards its creator, then to you.

>Fight the monster.
>Attempt to escape.
>>
>>4036189
>>Fight the monster.
Welp we’ll do better next run
>>
>>4036189
>Attempt to escape.
Tell Dr.Jenkins to get the elevator ready while we stall Thanatos for a bit. Seems
like his heart is a weak point, but it’s covered at the moment.
>>
>>4036143
I do!
>>4036189
>RUN AWAAAAAY!
>>
>>4036189
Use the type writer so we can have infinite tries at killing this thing.
>>
>>4036189
>>Attempt to escape.
>>
>>4036189
>Attempt to escape.
>>
File: thanatos 4.png (3.04 MB, 2600x4136)
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3.04 MB PNG
Rolled 3, 5, 11, 9, 16 + 10 = 54 (5d20 + 10)

>>4036204
>>4036205
>>4036230
>>4036234

Dr. Jenkins, screaming in fear, raises his gun and fires at the tyrant. His bullets may as well be useless; they seem to bounce off its hardened skin. The tyrant looks at him before breaking into a full-on sprint, clearing the length of the room at exceptional speed before impaling Dr. Jenkins on the end of its claws. He lifts up the dying professor and carelessly hurls him across the room to smash against the wall, tumbling to the floor lifelessly.

This momentary distraction gives you a chance to escape.

(Distracted by Another: +10)
>>
>>4036239
....fuck, uh anyone opposed to a restore to the last save point?
>>
>>4036242
No objections. We have valuable information, including "Probably shouldn't go to the university before going to the police station or picking up some bolt cutters!" and "Nemmie is now active"
>>
>>4036245
Oh, and don't forget the ever-valuable "TYRANTS ARE FUCKING DANGEROUS, OW MY ENTIRE RIBCAGE."
>>
>>4036242
I wonder how fucked mentally Daisy will be by the time she’s done with Raccoon City
>>
File: Thanatos Window.gif (1.88 MB, 480x270)
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>>4036239

You make it to the laboratory as the Thanatos takes notice, chasing after you through the room with the dead hunters. You slam the door behind you and run out of the lab, into the elevator hall as you rapidly press the 'call' button.

The door to the laboratory is kicked open, and the Thanatos knocks aside a table as it approaches the hallway door. Just as the elevator doors slide open, he forces the door between you and him open and crouches to get through.

Turning, you raise your bow gun and fire, managing to stick two bolts into his shoulder and one into his face. He thrusts his hand forward, the sharp claws tearing into your arm and knocking you back into the now-open elevator.

Bleeding, you desperately press the button for the first floor, followed by the button to close the door. The Thanatos steps into the hall just as the doors start to close, and attempts to force them to remain open, holding each one with a clawed hand. You raise your bow gun and fire at it again, scoring a hit on its chest, specifically the heart above the metal plate. He lets go and steps back.

In the elevator, you try to control the bleeding. Using the medkit, you quickly wrap up the wound while using a mixed herb, both in your mouth and on the wound itself before wrapping it tightly. You wince as tears run down your cheeks, both from the pain and at losing Professor Jenkins.

Down at the bottom floor, you see Rita in the security office. She looks over at you but before she can say anything, you shout, "RUN!"

You and she make it out into the main hall. "What happened?" Ben asks, flicking his latest cigarette aside.

"There's no time. I have the key to the gate! We need to--"

You hear a great crashing noise as the Thanatos leaps through the enormous ornate window at the top of the stairwell. He lands in the center of the main hall, smashing some of the flooring and kicking up dust. When he rises, everyone backs away.

"Fuck," Ben whispers.
>>
>>4036265
I am hoping its more like that bill muery groundhog day zen
>>
Rolled 17, 7, 7, 1, 11 + 30 = 73 (5d20 + 30)

>>4036268
Fire Support: +30
>>
>>4036265
I mean, she's been exposed to:
-Zombies
-Crazy policemen threatening to have her shot
-Cerberi
-Other people dying
-Herself dying
-The fact that time travel is real
-Crimson Heads
-Lickers
-Giant Spiders
-The revelation that not only do aquatic monsters exist, but also giant killer hornets
-Tyrants
-Being killed by a Tyrant
-Whatever the hell Nemmie is
-Wait, wasn't that Wesker guy in charge of STARS? STARS was in on this too?

Yeah, she's going to have a mental breakdown after this. That, or reach some sort of Zen zombie-slaying enlightenment.
>>
>>4036272
>Zen zombie-slaying enlightenment
like leon
>>
>>4036272
Okay so not "Being killed by a Tyrant, YET" but swap that for "Killing another human being in cold blood"
>>
>>4036275
Leon seems to be somewhere between "Mental Breakdown," "Error 404- Fuck Supply Unreachable- Have A Pun Instead," "Alcoholism," and "Zombie-Killing Zen Badassery"
>>
File: thanatos 5.png (1.65 MB, 1680x2560)
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>>4036271

Rita raises her shotgun and fires. Dylan does the same with his handgun, and Ben raises his magnum. The Thanatos reacts to the onslaught of fire by raising its arms and barreling forward, knocking Rita over. He thrusts his arms out to the side, smacking her down.

"RUN!" you shout, kneeling down to pick up Rita.

Sky and Amber try and make a break for it, but the Thanatos sprints at them like an olympic athlete. He thrusts his hand forward, impaling Sky through the stomach. The college student gasps and falls, nailed to the floor by the monster's claws. Amber screams as you all make for the back door. As the tyrant rises, Sky's twitching form is still on the end of its hand. He casually discards the corpse.

The five of you make it out into the back hall and then out of the main building's rear exit. Once in the back lot, you sprint for the door to the receiving yard.

The Thanatos breaks down the back door, skidding to a halt. He chases after your group, his footfalls heavy and growing louder.

Once you are through the gate, you shut it behind you and lock it with a handle. Your team keeps moving forward, towards the canal in the back you used to get there from the front square.

Like a titan descending from the heavens, the Thanatos leaps over the wall with a single bound, landing in front of your group in a low, squatted position before rising. It begins walking towards you as you slowly back up.

"LIGHT IT UP!" Rita cries, aiming her shotgun.
>>
Rolled 5, 4, 15, 19, 5 + 30 = 78 (5d20 + 30)

>>4036285
Fire Support: +30
>>
>>4036277
I think that's the best anyone can hope for
>>
File: thanatos 3.png (28 KB, 395x390)
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>>4036287

You fire from your bow gun again as Dylan and Ben let loose with their handgun and magnum respectively. Combined with Rita's shotgun, the tyrant seems to stumble for a moment... then charges, straight at you.

Like a linebacker, or perhaps more like a truck, the Thanatos charges into you and carries you forward, eventually dropping you to the ground as it skids to a halt. You hit the ground rolling, bruised and beaten.

"HEY!" Dylan shouts, running to its right and firing with his handgun. "OVER HERE, YOU OVERGROWN SON OF A BITCH!"

The Thanatos looks over at him, taking a bullet to the face. It grunts and charges at him. When it reaches him it swipes, but Dylan falls back, barely dodging it, but now he's on the ground. The tyrant raises its foot and tries to bring it down upon him, but is knocked off-balance by a blast from Rita's shotgun, which is followed by a shot from Ben's magnum. Dylan rolls to the side and crawls for a moment before getting up to this feet and running.

Amber, already climbing up the scaffolding to get around the truck and escape, turns back and cries out, "Up here! This way!"

You pick yourself up and run as the four of you make it to the bottom of the ladder. Ben starts climbing.

The Thanatos recovers quickly, facing you and charging. "MOVE!" Rita shouts as it barrels into the scaffolding while the three of you dodge out of the way. You find yourselves under the truck, crawling to the other side.

Ben, halfway up the scaffolding, is left hanging from the ladder by both hands while the bottom half breaks away, his legs dangling in the air. "Ah! Help! Help me!" he cries. Amber gets on her stomach and tries to reach down to help him. She grabs his hand and helps pull him up.

The Thanatos, tangled in the bent metal poles of the scaffolding, starts tearing the structure apart from the bottom, swinging its arms with abandon, knocking out support poles left and right. The entire structure starts to sag, tilt and then begin to fall. Ben and Amber make it to the other side and jump off, onto the bed of a truck.

The scaffolding falls on top of the truck in a spectacular display, pipes and poles banging and clanging everywhere. You cover your head and ears as the structure collapses, littering the area with debris. You, Dylan and Rita climb out and start making your way past it when the Thanatos erupts from the debris behind you, still in pursuit.

You make it to the canal, open the door and close it behind you once everyone is through, even though you know it won't stop it.

"We're almost to the truck," you say breathlessly. "Just a little bit more!"
>>
Rolled 14, 12, 3, 5, 16 + 30 = 80 (5d20 + 30)

>>4036298
Fire Support: +30
>>
>>4036299
80 was the number to beat.
Writing now.
>>
>>4036300
Does that mean we win?
>>
>>4036303
Yes
>>
>>4036300
We live, but are more than likely totally infected now.
>>
>>4036306
that's not a certainty,...I hope
>>
>>4036306
Herbs can cure the poison.
>>
>>4036306
We still have a GRB, I think.
>>
>>4036299
>>4036300

You make it back to the front square where Harry awaits. Rita runs up to the van, opening the door and shoving him over to the side, even as he reacts in confusion. You run up to the back gate and work as quickly as you can to unlock it, fiddling with the stubborn lock and the heavy chain. "Why'd it have to be wrapped around twice?!" you cry, yanking on it. Finally, you pull it free and push the gate open as hard as you can.

The Thanatos leaps into the area, landing in the center of the square. It raises its arms to the sky and and leaps to attack. Ben, running into the van, narrowly dodges its swipe. Dylan fires at it from behind, drawing its attention, while you fire at it from the left. The Thanatos looks at you with its dead, emotionless stare and charges.

You dive to the side, hitting the ground hard as it runs into the wall, knocking loose some of the bricks. As Amber climbs into the back of the van, its engine roars to life, with Rita behind the wheel. Dylan hops back as she backs up, turning the van so that it faces the Thanatos. As it turns away from the wall, it is met with an armored van running into it, crushing it up against the wall. The tyrant slumps forward, unmoving, as Rita backs up.

For added measure, she gives it one more go, driving forward and over the tyrant itself. Dylan runs over and helps you up to your feet, putting your arm around his shoulder. Together, you make it to the back of the truck, where Amber opens the door and helps pull you both in, shutting it behind you.

Rita backs up over the Thanatos one last time and turns towards the gate, flooring it. The armored van hits the partially-open fence on the way out, causing it to swing wildly to both sides as you make it onto Bake Street. She takes a right turn and continues to drive as you breathe heavily, your heart pounding in your chest.

Dylan helps you to a seated position in the back. "We made it," he says, laughing. "I can't believe it!"

"W-what was that thing?!" Harry says from the passenger seat.

"Dead, now," Rita replies. You sigh and lean back, putting your head on Dylan's shoulder.

You're just glad that's the last you'll see of the Thanatos. You feel weak, weary and winded, but you're still alive. You look at your bow gun, seeing that you only have six bolts left in total; only two more shots.

>Consume your last herb mix
>Talk to the others
>Park the van somewhere quiet
>Secure a new weapon
>Other
>>
>>4036321
Wow, we lived through that and only one person died!

>Talk to the others

In game terms, what are we on? Caution? Danger?
>>
>>4036321
>Consume your last herb mix
>Talk to the others
“Yeah so we might run into another one of those.”
>Secure a new weapon
>>
>>4036324
>In game terms, what are we on? Caution? Danger?
Well technically we consumed a GRB after taking that first hit, but since this is narrative I tend to lean more towards herbs having a slow over-time effect opposed to instantaneous healing properties (maybe that's more of the First Aid Spray's thing) so I'd say Caution going into Fine after some time has passed.
>>
>>4036327
Then I remove consuming our last herb mix
>>
>>4036321
>>Talk to the others, share what we learned
>>
>>4036321
Supporting >>4036327
Wonder what’s happening back at the station, hope it’s not overrun.
>>
>>4036324
>>4036327
>>4036331
>>4036332

You look at the others and take a deep breath. "Umbrella is dropping more of its weapons into the city," you tell them. "Dr. Mueller, before he died, showed me one. Called it 'Nemesis' and said it was in the city, right now."

"A tyrant, like that thing back there?" Ben asks, jotting this down in his notebook.

"They also had these reptile-like things... hunters, they called them."

"Oh, I read about those," Ben says. "This is great stuff, keep going."

Dylan gives him a nasty look. "Can you take all of this seriously, please?"

"Oh, I'm very serious. Everything we learn here will take down Umbrella once we're free and clear. What? We're all alive. We're fine."

Alongside him, Amber cries, burying her face in her hands. Ben realizes that Sky is dead, but shrugs and goes back to writing down notes. "Go on. Describe this 'Nemesis'."

The van comes to a halt. "We're at the bridge," Rita announces. "It's still raised. We're going to need to find a way to lower it."

Ben sticks his head through the door to the cab. "Can't you just go around?"

"We're on Flower Street," Rita snipes at him. "The police station's rear entrance is JUST down the road! We can try Ennerdale, but it's a bigger bridge. It might be blocked, or have more zombies. At least we can see here that the bridge is up and it's clear of hostiles and barricades."

>Let's lower that bridge.
>Try for the other street.
>See if you can radio the station.
>Maybe we should try for the city outskirts.
>Other
>>
>>4036344
>Let's lower that bridge.
>>
>>4036344
>>Let's lower that bridge.
>>See if you can radio the station.
>>
>>4036344
>Let's lower that bridge
>See if you can radio the station.
>>
>>4036351
>>4036357
Irons is still in charge until we get the evidence back to the station. best not to call
>>
>>4036359
Oh shit your right
Changing >>4036351 to
>>Let's lower that bridge
>>
>>4036344
>Let's lower that bridge.
>>
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I'm off for the night. I think we did a good job not dying tonight. Those rolls against Thanatos were great!
For those curious, I have a table of values for dangerous situations based on enemies. Like, certain enemies are worth certain values, and in a situation where there are multiple values they combine and compound, etc.
I keep those to myself, but that's what happens when we roll.
Anyway, goodnight, and I'll see you tomorrow when we resume.
>>
>>4036369
Night qm thanks for running. What day is it supposed to be anyway?
>>
>>4036369
Did we actually kill thanos?
>>
File: thanos.gif (3.59 MB, 640x606)
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>>4036377
It is late afternoon/early evening of the 26th of September.
>>4036378
>mfw
>>
>>4036384
ah fuck me
>>
File: nothing buts.jpg (227 KB, 1200x800)
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>>4036384
>mbw
>>
File: thanatos eye.gif (1.8 MB, 480x270)
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>>4036386
>>4036387
Don't worry guys, it's cool.
>>
>>4036384
>>4036392
>>
>>4036348
>>4036357
>>4036366
>>4036367

"I'll go and do it," Dylan volunteers. You give him a look and realize that ever since your kiss, he's become more confident and protective, throwing himself into danger more readily... for you. His eyes meet yours and he quickly averts them as he loads up his pistol.

Rita puts the van in park and grabs her shotgun. "Well, nobody's going out there alone. Harry, scoot over and get in the driver's seat."

"R-right, yeah," he says, following after her as she opens the driver side door and hops out.

As Dylan opens the back, you move to follow him. "Hey, wait," he says, looking back at you, "don't you think you should stay here? You're hurt."

You smirk at him. "Let's move, Dylan."

Knowing that arguing with you isn't going to be a winning battle, he hops out of the back and helps you out.

"Have fun out there," Ben says as he closes the door behind you. You and Dylan exchange distasteful looks.

Rita comes along the side and the three of you survey the area. There aren't any zombies here, for now at least, and so you move over to the bridge's control station located on its northern side. A glance over the side tells you that the building itself is located just above the water's edge, with a pier surrounding it. It is a low, brick building with a black roof and dark windows; there are no lights on inside.

"Let's go and stay sharp," Rita says, leading the way with her shotgun down the stairs alongside the bridge leading to the control building. You walk right behind her, with Dylan bringing up the rear, each of you scanning the area for any movement. It is getting dark and somewhat foggy, especially once you get closer to the water's edge.

Rita approaches the door to the control building and tries to open it, but it is locked.

>Shoot the door
>Look for another way inside
>Search the surrounding area
>Try knocking
>Other
>>
>>4036849
>>Look for another way inside
>>
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>>4036870

"There must be another way in," you say. "Let's look around."

As you walk around the building, stepping onto the pier, you inspect the building for any openings or holes that might offer a way inside. The soft sounds of water washing up against the shore and the smell of the river fill your nostrils as you search.

Suddenly, Dylan grabs your arm. "Look!" he says, pointing out into the water. You turn, but only catch a glimpse of something disappearing beneath the surface, like a black tip of a triangle. "It looked like... a shark fin," he says.

"There aren't any sharks in the Circular River," Rita says, sounding incredulous.

"There weren't any zombies until two days ago, either," you say, backing up from the water's edge. Rita concedes your point and both she and Dylan do the same, hugging the building.

On the other side, you find an open window along the ground that leads into the basement of the control station. Much like back at the station, it is large enough for you and Rita to fit, but not Dylan.

"Go on," he says, keeping his gun up and at the ready. "I'll be fine out there."

Rita looks at you. "Perhaps I should go in alone? I have the shotgun. It's very effective at close range."

"We'll go together," you say, but allow her to go first. As she climbs inside, you see Dylan watching the water's surface very diligently, a look of great fear in his eyes. You touch his arm, which startles him.

"What is it?"

"I don't like the water," he replies, staring out at it. "Never did... and those Umbrella guys dumped something into it..."

"Maybe you should go back up to the van," you suggest. "We might be able to unlock the front door from the inside."

"Yeah... yeah, I'll do that," he says, and starts slowly making his way back.

You crawl down and enter the building as Rita searches for a light. Her flashlight illuminates the room, which is mostly storage. As you touch down on your feet, she focuses on the nearby staircase. "This way." Taking slow, measured steps with her shotgun, she approaches it.

>Search the basement shelves
>Head upstairs
>Find a fuse box
>Arm yourself with the pipe instead of the bow gun
>Other
>>
>>4036903
> >Arm yourself with the pipe instead of the bow gun
>Find a fuse box
>Search the basement shelves
>>
>>4036911
this
>>
>>4036911
>>4036934

Taking out your pipe, you spy a fuse box nearby. You approach it and start flipping switches. The lights in the control station turn on, and in the basement there is a single lightbulb. "Power's back," you say with a smile. "Now we can lower the bridge."

Rita nods and proceeds upstairs as you search the shelves, no longer needing her light to do so. Most of it is junk, but then you find a box with a familiar logo on it, the one belonging to the company that produces typewriters. You open it up and find three ink ribbons within.

"Yes," you say to yourself with a smile. "Now, all I need is a typewriter."

"There's a body up here," Rita calls down.

Pipe raised up high, you walk upstairs onto the first floor. You look at the door and see that it is locked and barred from this side; you unlock it so that you have a way out. In the next room, Rita stands near a dead body. The man committed suicide; there is blood sprayed all over the wall behind him, and there is a gun in his lap. There is a bite on his arm.

"The controls must be upstairs, in the windowed area," Rita says. She gently nudges the dead body with her foot. "I guess he must be dead..."

Together, the two of you climb a ladder into the control tower that overlooks the river. You approach a lever and pull it, which turns on the lights in the area, including spotlights that shine out onto the river, illuminating its dark surface. That's when you notice that it has begun to rain; the soft pitter-patter of raindrops on the roof and windows gradually increases in intensity.

Rita sets her shotgun down on the console. "We should be able to lower the bridge from one of these controls... you wouldn't think these kinds of things are complicated, right?" Experimentally, she presses a red button. Lights begin to flash around the area on the bridge, red beacons and a siren, but it doesn't start lowering.

"Shit! That must've been used for emergencies," she says, trying to shut it off. After a moment, it stops. "That's going to attract trouble." Slapping her forehead, she tries the green button.

A loud noise is heard as the bridge rumbles to life. Both halves begin to lower towards each other. "I guess noise was always going to be a problem," you say, patting her on the shoulder. "Let's get back to the van."

You climb down the ladder as Rita grabs her shotgun. When you reach the bottom, you hear a hissing moan as the man previously thought dead is suddenly at your side, grabbing you! You stumble back as the zombie's mouth opens and a wet gurgle emerges as he lunges in for a bite.
>>
Rolled 8, 2, 4, 18, 9 + 10 = 51 (5d20 + 10)

>>4036976
Armed with Melee Weapon: +10
>>
>>4036977

"GAH!" You let out a loud grunt as you bring up the pipe and slam it into the bottom of his jaw, knocking him back. Double-handing the pipe, you hit him with it from the side as you bring up your elbow, getting some distance, before finally swinging it like a bat and forcing him into the next room over.

Rita slides down the ladder, raises her shotgun and fires, knocking the zombie down into a bathroom. She approaches the door, kicks his legs in and slams it shut. He'll have a hard time getting out, since the door opens in his direction.

As you fall back, breathing heavily, Rita comes over to check you. "Are you alright?"

"Fine," you reply. You look over at a nearby table in the room you are in, which is one you didn't explore before going upstairs. It is an office, containing files and memos, and a means to fill out blank forms: a typewriter!

>Use the typewriter
>Get back to the van
>Search the rest of the control station
>Go back up to the second floor
>Other
>>
Hmm to use the typewriter or not
>>
>>4036989
>>Use the typewriter
>>Get back to the van
>>
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>>4037000
>>4037001

"We need to get back to the van," Rita says, loading up another shell.

"One moment," you say, approaching the typewriter. "I just need a minute..."

"There's no time for this!" Rita insists. "That alarm would have brought zombies!"

"Just a moment, please," you insist, knowing how important it is. Rita curses and moves to the front door to brace it, just in case. You load up the ink ribbon and grab a blank page of paper. Knowing that time is of the essence, you write as fast as you can.

>To whoever finds this...

>This is the fifth record of Daisy Dixon, September 26th, 1998.

>Too much has happened to record in a short time, which is all that I have. Umbrella is bringing monsters into the city to test them. I have seen one, a Tyrant, and it chased us. My professor at Raccoon University was trying to create a cure, but now he is dead.

>We are almost to the police station, and then we can get out of here.

You finish writing and grab the paper from the typewriter, shoving it into your pocket after folding it. You go to meet with Rita, certain in knowing that at least you have another point to return to.

As she opens the door and runs outside, the river suddenly bursts as a creature emerges, leaping from it. You both react in shock and fall back as the humanoid blue frog-like monster lands on its feet alongside you. The surface of its skin looks diseased and malformed; its underbelly, a cracked hide of white, bulges while its bright red neck expands with a loud croaking call issued from its wide mouth. You can't see any eyes, but you know it is looking right at you.

It raises webbed fingers and leaps forward, croaking again.
>>
Rolled 6, 6, 7, 18, 3 + 10 = 50 (5d20 + 10)

>>4037041
Fire Support: +10
>>
>>4037043

You bring up your pipe and the monster's wide mouth comes down around it. Holding it at bay, you stare into its gullet, seeing the red flesh and yellow bile that fills it. The monster is strong, and forces you to the ground even as you continue to push against its mouth with the horizontal pipe.

The creature has claws, and they dig into your arms as it grabs at you. Letting out a cry of pain, you bring up a foot and kick into its chest, managing to knock it back. Rita raises her shotgun and fires at it, knocking it down.

That's when another one of the creatures emerges from the river, leaping onto the pier. It croaks and charges. Rita blasts that one as well, forcing it to fall back.

You crawl up to your feet and look up the stairs, your eyes widening in fear as you see three zombies walking down towards you, their arms raised and mouths open as they moan. Behind you, Rita looks between both of the frog-like monsters as they hop up to their feet, preparing to advance again.
>>
Rolled 17, 3, 17, 6, 11 + 10 = 64 (5d20 + 10)

>>4037051
Fire Support: +10
Option to Run Back Inside: +10
>>
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>>4037055

You grab Rita's hand and run back into the control station. From here, you can hear the zombies and the creatures trying to get in. One of the monsters leaps up onto the roof, and you can hear it knocking away singles with its webbed toes as it searches for a way inside.

Rita takes out her radio. "Harry, we're trapped down here," she says. "Some kind of frog-monsters came out of the water, and there are zombies. What about up there?"

"No zombies up here!" he says. "We'll come get you!"

There's a smash from the second floor as one of the monsters leaps through the windows of the control room. You can hear it croaking loudly, stepping around with its wet, slippery feet.

When it sticks its head through the ladder hole, Rita is waiting with her shotgun, letting loose a round that knocks half its head off. The creature, dead, slumps halfway through the hole and drools blood and other liquids onto the floor.

Outside, you hear gunshots, and the banging on the front door ceases. Rita approaches it, kicks it open and blasts at the zombies who were on the other side and became distracted by getting shot at. All three of them fall down, allowing you and Rita to run to the stairs, where Dylan is at the top.

The frog-monster on the roof turns, squats and launches itself from the roof, flying directly at you with its mouth wide open.
>>
Rolled 15, 8, 4, 10, 13 + 20 = 70 (5d20 + 20)

>>4037073
Fire Support: +20
>>
>>4037074

Rita turns, raises her shotgun and fires--blasting the monster out of the air! The creature lands alongside you, its face a ruined mess of blood and pulp, its limbs flopping along the ground. The rain pouring down washes away the monster's blood, which begins to pool near the zombies, who are starting to get back up.

Without considering it for more than a glance, you run up the stairs and you both join Dylan in making it over to the van. All three of you pile inside the back and shut the door as Harry takes off over the Flower Street Bridge, driving down the road. "Are you alright?" Dylan asks, seeing your arms bleeding.

"I'll be okay," you say, nodding at him. "It stings, but they don't feel too deep..."

Harry weaves around abandonned cars and, three blocks later, is at the back of the police station. He drives the van down the ramp in the back, but to everyone's absolute dismay, the shutter is closed.

"Hand me the parking pass," Rita says to you, and you fish it out. She hops out of the back of the van and runs around to the front to approach the exterior parking access panel. She stops in her tracks when she sees it. "I don't believe it!" she shouts. Running up to the driver window, she says, "It's been sabotaged! Somebody took an axe to it!"

You look at Ben and his fireaxe. "What? Don't look at me, you were with me when we left," he says. "Plus, I got this later."

"C-can we f-f-fix it?" Harry asks.

"No, it's completely destroyed," she says distastefully. "It can only be opened from the inside now!"

>Radio Marvin, have him come down to the shutter, and give him the pass through it
>Drive around to the front of the station
>The van stays here; you'll go out and find a way inside
>Drive the van through the shutter
>Other
>>
>>4037090
>Other
Secure new weapon from the van
>The van stays here; you'll go out and find a way inside
>>
>>4037090
Supporting >>4037104
>>
>>4037090
>>Other
hack the bars at the points where the van will go through to weaken it then drive the van through at full speed
>>
>>4037104
support
>>
>>4037104
>>4037118
>>4037144

You let out a heavy sigh. "Well can't drive through it and wreck one of the only barricades that'll keep zombies out," you say. "So, we'll need to find a new way in."

"How can we have the worst luck in existence?" Dylan says as you move to open up the back. You and he hop out, and you look inside for a weapon. You pick up a pistol and some rounds for it.

"You ever used one before?" Dylan asks. You shake your head. "Well, it's not hard... you just point and shoot."

"I'll keep that in mind," you say as Rita walks around to join you. All three of you look weary and worn-down. Your clothes are muddy, wet, bloody in areas and torn in others. You give Dylan a resigned look, one that he returns.

"Shall we?" he asks. The three of you walk up to the top of the ramp and peek out, looking up and down the street, seeing zombies mulling about.

>Get into the sewers and get into the police station through that way
>Try and go around to the front of the station
>Look for some way to climb up the wall
>Explore the nearby shops and stores for anything useful
>Other
>>
>>4037156
>>Explore the nearby shops and stores for anything useful

we are low of supplies best take this quite time to restock
>>
>>4037156
>Explore the nearby shops and stores for anything useful
>>
>>4037156
>>Explore the nearby shops and stores for anything useful
>>
>>4037156
>>Explore the nearby shops and stores for anything useful
>>
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>>4037161
>>4037164
>>4037171
>>4037176

"This way," you say, heading down the street.

"Do you know where you're going?" Dylan asks.

"Sure," you lie. Keeping to the side of the street with the fewest zombies, a light up ahead catches your eye: a neon sign that reads "KENDO GUN SHOP". "Over there!" you tell them, and your group picks up the pace.

The front door is locked. When you try it, a small window opens up and a shotgun barrel emerges.

"No, no! I'm human!" you cry.

"Go away!" a man on the other side says. "Nobody's getting in here! Nobody!"

Rita pushes forward. "Sir, I'm with the Raccoon Police Department. Please let us inside!"

"Nobody's going to hurt my family! Nobody!"

"They're starting to take notice," Dylan says as he faces the street. With his gun raised up, he makes out zombies as they approach. "At least four, maybe more!"

You push forward. "Sir, please! We're not going to hurt you or anyone else! None of us are infected!"

"They're getting closer... run or gun?" Dylan says, holding his fire. "Guys?!"

The shotgun retracts and the window closes. After a moment, you hear a clicking sound, and the front door opens.

You grab Dylan by the arm and pull him inside. Once all three of you are behind the door, the man locks it again, then looks back at you. He is a large fellow, not fat but not quite in shape--possessed of a 'dad bod' is a way to put it. His face is scruffy and unshaven, his eyes tired, but his discipline with a firearm is obvious, as his shotgun is pointed straight at you with steady hands.

"Who are you?" he asks. "What are you doing?"

Rita lowers her own shotgun and holds up her palm. "Sir, my name is Rita Phillips, and I am with the RPD. We are not here to hurt anyone or take anything. Please lower your weapon."

Slowly, his weapon goes down. "Alright. I'm sorry, it's just... precautions. I have a family to protect."

"Where are they?" she asks.

"In the back. My wife and daughter."

You look around. The shelves and walls are lined with weapons: rifles, shotguns, handguns and lots and lots of bullets. Many of the shelves have been converted into defensive positions or stripped for materials to reinforce the windows.

He walks around to the front desk as zombies begin to pound on the door. "They won't get in," he says. "I reinforced this place myself. boarded up the windows with wood and sheet metal." He looks at Rita and says, "If you're a cop, you should know something about what's been going on, right?"

>Tell him about Umbrella
>Ask him if there is a way to get to the police station
>Ask him if you can have some bullets and ammo
>Ask if he can teach you how to shoot a gun
>Other
>>
>>4037209
>>Tell him about Umbrella
>>Ask him if there is a way to get to the police station, then Invite him and family along
>>
>>4037209
>>Ask him if there is a way to get to the police station
They seem pretty safe & secure here, don't think we should take them with us.
>>
>>4037231
ooc(not when that nuke hits)
>>
>>4037209
>>Tell him about Umbrella
>>Ask him if there is a way to get to the police station
>>
>>4037209
>Tell him about Umbrella
>Ask him if there is a way to get to the police station
>Ask him if you can have some bullets and ammo
Pretty sure Rita might need some shotgun shells by now.
>>
>>4037240
Yeah but we don't know that, see
>>
Also congrats OP on hitting the bump limit.
>>
>>4037258
true but IC we know about the tyrants and how fucking hard they are to kill and this shop will get fucked
>>
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>>4037224
>>4037231
>>4037241
>>4037253

"It's Umbrella," you answer for her. "They made a virus that turns people into monsters and it's spread all over the city."

He raises his brow. "Damn... I always knew this would happen."

"You did?" you ask.

"Well, no, not exactly... I just meant something bad. Corporations get too big, too greedy, and the government is always trying to step in with regulations that restrict freedom and..." He shakes his head. "Ah, don't get me started. This whole thing is a mess."

Rita runs a hand through her hair as Dylan sits down on an overturned locker. Nearby, the zombies continue to pound on the windows and doors, but you all try to ignore him. You walk around to the side of the counter and ask, "We came to get people out of the station, but the back entrance is closed. Is there a way into the police station from here?"

"Well, the front door of my apartment leads to an alley that you can use to get around to the front. There's an old sewer line out back, too. I think the tunnels run under this whole place. Might be your best bet. The construction elevator should still be working."

You approach the front of the desk. "You mentioned you have a family, right?"

"That's right."

"Whatever you do, don't drink the water. I think that's what started all of this--a virus in the public water supply."

He blinks a few times. "What? When all of this started, I did what anyone with disaster training would do, I filled up as many water jugs as I could. I already had plenty of stocked up water, but..."

His voice trails off as he suddenly leaves the store through the back door, heading into the adjoining building. He leaves the three of you just standing there.

>Go after and see if you can help.
>Search for the sewer entrance
>Start getting weapons and ammo
>Talk over a plan
>Other
>>
>>4037276
>>Go after and see if you can help.
God let us have
>>
>>4037276
>>Go after and see if you can help.
>>
>>4037276
>>Go after and see if you can help.
Oh they dead AF
>>
I am back from getting dinner and I am writing now.
>>
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>>4037286
>>4037309
>>4037318

Sparing a look at the others, you follow him into the alleyway outside and then into his apartment. A little girl looks up at you from behind a table, startled, then you hear movement upstairs. You hold up a hand, assuring her that things are going to be alright with a light gesture, before slowly walking upstairs.

You find a hallway with a door slighly adjar, and walk up to it. Peeking inside, you see the man kneeling alongside a bed with a woman in it. "Hey, sweetheart," he says softly, rubbing his hand over hers. "How are you feeling?"

The only thing that comes out is a low groan, weak and just on the cusp of sounding raspy.

"Sir..." you say, pushing the door open. "I think you should back away..."

"This is my wife," he says in a voice threatening to break. "She's just sick, is all. She needs rest."

"I know this is difficult," you whisper, keeping a very, very close eye on the woman, whose face you cannot see from your angle, "but you need to listen very carefully to me and slowly back away."

"She's alright," he insists. "She... she took a shower, and..." He wipes his brow, sniffling as he fights back the tears. "That was yesterday, and well... She's been weak since last night, and..."

You see some movement in the bed. "Sir!" you say, drawing your pistol.

The woman in the bed turns over, moaning, but does not attack her husband. He rests his head on her arm, slowly coming to a sob. "Oh, honey... Not you... Please, oh God, please..." He inhales deeply, then his shoulders slump and he cries. "You're alright, you're gonna be okay, you're alright," he says over and over.

Your footfalls are light, and they bring you to his side. Gently, you put a hand on his shoulder, but all the while you are watching the infected woman for signs that she will turn. "Sir... we need to please leave. Now."

Slowly, he pulls away, holding her hand. He kisses it, taking a moment to admire her ring finger. "This can't be happening," he whimpers. It takes some more coaxing from you before he finally decides to break away full and stand up, the woman's arm falling limply alongside the bed, her fingers twitching before becoming completely still.

As you both leave, you shut the door behind you. He leans up against the wall, not facing you as he cries. Respectfully, you give him a moment.

>Leave him to grieve for now.
>Ask him to come with you, and bring his daughter.
>Go over your supplies.
>Walk back inside and put a bullet in that woman.
>Other
>>
>>4037394
>>Ask him to come with you, and bring his daughter.
>>
>>4037398
Not immediately give the dude sometime, have someone make sure the wife doesn't comeback
>>
>>4037394
>>Leave him to grieve for now.
>>
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>>4037398
>>4037415

You leave him alone to grieve for the time being. On the way down the stairs, you pass by his daughter, who looks up at you again but remains quiet. From the look in her eyes, she doesn't seem to understand the full scale of what is happening, but that's okay--she's only a child. You walk across the alleyway, back into the gun store.

"Well?" Rita asks.

"His wife," is all you say. You walk over and sit next to Dylan, who puts his hand over yours. You squeeze it tightly as you feel the knot in your stomach tighten.

Rita scratches the back of her head. "This might just be the worst thing that's ever happened," she says, setting her shotgun down on the countertop. "Fires, tsunamis... tragedies, yes, but..." Taking a deep breath, she turns around and changes the topic. "We need to get back to the station. I suggest we go through the sewers."

"Who knows what might be down there, though?" Dylan points out.

"But it's the only way into the station," she replies. "The way I see it, Chief Irons is the one who destroyed the panel. There's no other explanation for it. If I use the radio to call for help inside, he'll know. We can't compromise the integrity of the station's defenses by having them tear down the barricades they've put up, so we need to get inside another way."

The door opens, and the man is standing there. Behind him is his daughter. "If you're going down there, you'll need weapons and ammo," he says. "I've been hearing strange noises from the sewers."

Standing up, you approach him. "You should come with us. We can get you and your daughter out of the city."

He thinks for several moments, then looks down at his daughter. She stares up at him with sad, scared eyes. "Alright," he says, picking her up. "Take whatever you need."

>Powerful handgun
>Submachine gun
>Rifle
>Shotgun
>Other
>>
>>4037394
>Leave him to grieve for now.
>Go over your supplies.
And I’ll second this>>4037408
>>
>>4037469
>>Shotgun
>>
>>4037469
>Submachine gun
>Other
And whether or not his store sold lockpicks since Jennifer needs a new one.
>>
>>4037483
>And whether or not his store sold lockpicks since Jennifer needs a new one.
Sure, we'll nab one for her.
And you know what, this is a good opportunity to swap out our key item for something more versatile than a keyring.

>Multitool
>Lighter
>Flashlight
>Radio
>Other (suggest a key item)
>>
>>4037504
What are Rita and Dylan's key items?
>>
>>4037508
Good question. Rita's had a flashlight for a minute now, and Dylan hasn't really had any key items outside of starting with a gun. Perhaps now is a good time to deck them out, too.
>>
>>4037514
>Give Dylan a Lighter
>Get a Multitool for ourselves
>>
>>4037515
Sounds good.
>>4037476
>>4037483
Alright, I'll just need a final decision on Daisy's weapon.
>>
>>4037529
Shotgun, we will be able to use it better given our limited fire arms expireance
>>
One last quick question: ditch the pipe for a different weapon, yay/nay?
>>
>>4037559
what are our options
>>
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>>4037569
Could get a defensive knife, or bat with nails in it or something, or free up the space for something else like ammo or an item if we come across it. This is our current inventory.
>>
>>4037580
Yeah lets drop it for a knife
>>
>>4037580
Knife
>>
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>>4037476
>>4037483
>>4037515
>>4037540
>>4037582
>>4037584

Your group takes a moment to arm themselves, searching the store for anything useful. You find a case with various tools and ask the man if he can open it for you. Taking the butt of his shotgun, he smashes it in. "Name's Kendo, by the way," he says, brushing aside some of the glass. "Robert Kendo."

"Daisy Dixon. Nice to meet you," you greet as you shake his hand. "That's Dylan, and Rita already introduced herself."

He picks up his daughter and hoists her with one arm. "This is my little girl, Emma. I'll carry her."

"Are you going to be able to run and fight while carrying her?" you ask.

"There's not a goddamn thing on this earth that will get to her while I'm still breathing," he says, cocking his shotgun with one hand. He walks over and sits her on the countertop. "Now, sweetie, I need you to wear these earplugs... things are going to get loud, so just put them in and don't take them out, okay?"

As he tends to his daughter, you pick up a multitool and toss away your old car keys, sliding them into the same pocket. Then, you find a curious thing, a lockpick set. Wondering if it is legel to sell lockpicks, a tool expressly used for breaking into things, you think to yourself, 'The hell does it matter?' and take it for Jennifer once you reunite with her.

You arm yourself with a shotgun and carry three reloads for both it and your handgun. Strapping yourself up with tactical pouches and a side pack, you discard your chef's smock and throw it over a barricade, exchanging it for a vest. Tightening your new leg holster for your handgun, you slide on a backpack, the sling of which lets you carry a knife. Testing a few times how easy it is to draw it, you sheathe it and prepare.

"Ever use one of those things?" Robert asks, pointing at your pump-action shotgun. You shake your head. "Follow me."

He leads you over to the door while Rita takes Emma into the next room. He opens the small, window-like slot, and a zombie starts trying to get in. Robert briefly tells you how to hold it, giving you some pointers, like how to breathe and squeeze the trigger and where the safety is. You stick the barrel out the slot, right at the zombie.

"Alright, get a feel for it," he tells you. You breathe out, gently squeeze the trigger. The force of the recoil is startling, but not world-ending. It is quite loud, so you ask him for a pair of those earplugs, just to be safe.

You use three more shells and get a crash-course on reloading the shotgun before putting it away. You look at Dylan, who is now also carrying a few weapons and ammo, flicking his new lighter on and off. He puts it away and gives you a smile before hefting up his new submachine gun.

Rita returns a moment later with Emma. She is still wearing her police outfit, but has taken a few pouches for extra ammo. Her shotgun is now fully loaded and she's ready to roll.

The question now is where to?
>>
>>4037621

>Take the sewers.
>Find a way to scale the walls of the police station.
>Attempt to go through the front door.
>Return to the armored van.
>Other
>>
>>4037622
>>Take the sewers.
>>
>>4037622
>Take the sewers
>>
>>4037622
Normally I'd say "Climb The Walls," but the walls are tall.

>Sewers
>Be on alert- confines are tight down here. Pay attention to potential water sloshing that isn't from your group to get advanced warning of zombies.
>>
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>>4037629
>>4037633
>>4037640

Out back, there is a maintenance elevator leading down into the sewers used by construction personnel prior to the outbreak. The five of you prepare to load into the elevator.

Emma looks at Robert. "Daddy? What about mommy? Isn't she coming too?"

You all avert your eyes as he hold her close, resting her head on his shoulder. "Mommy's sleeping, sweetheart. Try and get some rest yourself... it'll be alright."

All of you board the elevator and begin to descend.

"We'll need to be extra careful," Rita says. Having duct-taped her flashlight onto the end of her shotgun barrel, she turns it on. Your new backpack's right strap has an L-shaped flashlight on it, which you also turn on, and Dylan and Robert do the same. When the elevator stops, your group carefully moves out.

Rita continues, "It's going to be tight down here. Pay attention to water sloshing that might not be from us, and try to not let the smell get to you."

You take a moment to admire Rita. She's been through a lot, and had to have been a tough girl in the first place to become a cop, but she's really kept a level head throughout this crisis. You're glad you met her.

Moving through passageways and maintenance tunnels, you eventually come to a central tunnel. Your path is split between two directions; one left, which looks more maintenance-focused, with construction signs and orange barriers, and one right, which seems to lead into the sewer proper. You quickly make a decision.

>Go left, into the maintenance tunnel
>Go right, into the sewer tunnel
>>
>>4037622
>>Take the sewers.
I hate it but its what we are going to have to do
>>
>>4037652
>>Go right, into the sewer tunnel
>>
>>4037652
FUCK FUCK FUCK WHICH WAY!!
>Go right, into the sewer tunnel
>>
>>4037652
>Go right, into the sewer tunnel
>>
Rolled 95 (1d100)

>>4037659
>>4037666
>>4037669
>>
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>>4037674
>Rolled 95 (1d100)
Ah so this is how we die
>>
>>4037674
>>
>>4037674
I hope thats our encounter roll and we only ran into a half dead plant
>>
>>4037674

"This way," you say to them, climbing down a ladder. You step into the sewage, which smells horrible, but for now it is bearable. You take a moment to ensure that your evidence remains dry; back at Kendo's shop, in preparation for travelling in the sewers, you secured it in sealable plastic bags.

The four of you, with Robert carrying his daughter, wade through the muck at a slow, careful pace. For what feels like the length of a city block, you don't encounter anything dangerous. Eventually, you come to a junction point, and your group is about to turn left again--when you see that it is gated and will not allow passage.

But that's not what stops you. What stops you is what is on the other side of the fence.

Emma begins to pick her head up. "Daddy? What's--"

He forces her head down, buring it into his shoulder and neck. "It's nothing, sweetheart..."

Your group is very, very still. On the other side of the fence is a massive alligator, its hide covered in sores and exposed patches of muscle. It's like something out of a horror film--which is par for the course--but this is single-handedly the biggest monster you've seen, and it is staring right at your group.

Slowly, it raises its snout up, and opens its mouth, easily large enough to swallow a man whole. A hiss unlike any you've heard in every nature documentary about alligators and crocodiles emerges from its mouth, chilling you to the bone.

"Everyone remain calm," Rita says, slowly backing away. "No... sudden... movements..."

The alligator rushes forward, banging against the fence. The iron bends slightly.

"Make sudden movements and run!" Dylan says, and your group takes off. You wade through the thigh-high sludge at a much faster pace, your heart racing as you hear the alligator try to get through, roaring and clawing at the metal. You can heart stone and metal grinding and breaking.

"Keep moving, don't look back!" Rita says.

Your group comes to a sudden slope, and are forced to slide into a foul-smelling pit of refuse. You look around, seeing an area nearby with a ladder that can be reached, as well as two tunnels leading out of the area; one large, and one not as large.

Behind you, the sounds of the alligator as it breaks through the metal fence fully can be heard, as well as it sloshing through the sewage and scraping up against the walls.

You need a place to go, and fast.

>Climb the ladder
>Take the large tunnel to the right
>Take the not-as-large tunnel to the left
>>
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>>4037695
>>Climb the ladder
we dead as fuck
>>
Rolled 7, 14, 16, 4, 16 = 57 (5d20)

>>4037700
>>
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>>4037715
>57
>>
>>4037715
Damn, I come back to this?
>>
>>4037715
If someone has to die let it be us, so we can RESTORE
>>
Thankfully, the earlier roll of 95 gave us a head start, allowing for a lower number to be successful on the subsequent escape roll. (I do a higher-number-the-better kind of thing).
>>4037715

"Up that ladder!" you shout, and your group wades through the garbage to get up onto the stone platform. You grunt as you swing your leg up onto the concrete, pulling yourself up before helping Rita. Dylan pulls himself up with both hands, quickly scaling it, and then both you and he help Robert, first by picking up Emma and handing her off to Rita, then by grabbing his hands and pulling him up.

From further up the tunnel, you hear another hissing roar as the alligator grows nearer. "Go!" you say to Rita, who hands Emma to Robert before climbing. He gets his daughter to hold tightly onto his neck as he climbs, followed by Rita.

Dylan grabs your shoulder and pushes you towards the ladder. As the alligator's head emerges from the upper slope, he sprays submachine gun fire at it, peppering its hide and the wall with a chaotic burst. The monster doesn't seem to notice as it shimmies down.

"DYLAN!" you cry, halfway up the ladder. He turns and starts climbing, so you resume. As he reaches the halfway point, the alligator bursts out of the water, craning its neck up and snapping at him, sending water and sewage everywhere. You grab his hand and pull him up, just barely out of the reach of the loud snap of the jaws of death.

You fall back with Dylan on top of you as the alligator roars below, unable to reach you. Your group falls back into a tunnel, putting the sound of the monster far behind.

"I thought it only made bugs bigger," Dylan says, panting. "But now fucking crocodiles and shit?" You hug him, glad that he is alive, and he returns it readily.

"It can't reach us up here, thankfully," Rita says. "Now, we just need to keep moving."

Up ahead is a maintenance elevator, which your group enters. It goes down even further than before, which fills you with some dread, but at the bottom you enter an empty room with an iron door. Beyond it a small ventilated room with a table and a typewriter. You check one of your pouches; you still have two ink ribbons.

>Save your progress
>Continue onwards
>>
>>4037746
>>Save your progress
SAVE, SAVE NOW!
>>
>>4037746
>Continue onwards
Too soon, the bridge save is not that far away
>>
>>4037755
That crocodile is clearly a boss monster
>>
>>4037746
>>Save your progress
>>
>>4037763
I'm just wary of using up our ink ribbons and not being able to find more
>>
>>4037767
I understand I do, but we just made it passed that monster without losing anyone. the odds of that are crazy low
>>
>>4037746
>Continue onwards
I think it's too soon.
>>
>>4037781
>>4037755
>>4037750
>>4037764
I was in the midst of writing the usage of an ink ribbon, but now I'll need a tie breaker.
>>
>>4037793
Roll a 1d2

1 we use the ink ribbon

2 we don't
>>
Rolled 1 (1d2)

>>4037796
Sounds fair
>>
>>4037750
>>4037764

"Wait a moment," you tell them, pulling back the chair in front of the typewriter.

"Now hold on just a minute," Rita says, her brow furrowed. "We almost got killed by those frog-things because you had to sit down and type a letter, when not just a minute earlier an alarm blared. What's so damned important about all this?"

You look up at her. "I... I just think it's very important," you say. "If something happens... if someone finds us... they need to know what we know. So that what we're trying to accomplish can still happen. If we die, everything we know dies with us... unless it's written down." It is a half-truth, more of a lie of omission; while you do believe what you say is important, your other reason for using the typewriter would be far harder for them to believe. You're still unsure if you believe it yourself.

She leans back, reevaluating her position. "Alright... I see your point. But let's keep it short, yeah?"

"I always try to," you say. Dylan leans over your shoulder as you load up the ink ribbon, curious himself. Nearby, Robert sits down on a plastic barrel with Emma, trying to keep her calm and from crying. You begin to type.

>This is the sixth record of Daisy Dixon, September 26th, 1998.

>We made it back to the police station, but the way into the garage was blocked. The panel we would use our pass on was smashed and destroyed. We think it was the chief, sabotaging efforts for people to leave or come back. Thankfully, we still have the evidence we need, and once we get into the police station, we can open it from the inside.

>The sewers are now our only way forward. We came down here hoping to find an easy path into the police station, but then we ran into a giant mutant alligator. We got into the sewers from the gun shop owned by Robert Kendo. He's here with us and his daughter. His wife, unfortunately, didn't make it. She showered in infected water; it must've gotten into her eyes, mouth, any number of places. I'd like to shower this sewage off, but not if that's what'll happen to me...

>We escaped from the giant alligator, but we're lost. Until we can find some kind of map or identifying tunnel, we're wandering blind... The others are waiting for us in the van behind the police station. They'll be safe in there, but until we can get to them, neither them nor the people in the police station have much hope of escape.

You finish typing, fold it, place it in the plastic bag with the others, and zip up your backpack. Dylan reloads his SMG while the others prepare to move on.

In the next hall, there is a hallway leading to the left, and the end of the corridor you can see with has a lift. A number of things are written on the wall here, with arrows. The identifiers for the left hall are "Incinerator, Container Room, Treatment Pool" and the identifiers for the hall with the lift are "Water Gate, Warehouse, Control Room" with no further information given.

>The hall on the left
>The hall with the lift
>>
>>4037799
>>The hall with the lift
>>
>>4037799
>>The hall on the left
>>
>>4037817
why?
>>
>>4037799
>The hall with the lift
>>
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>>4037809
>>4037828

Boarding the lift brings you to an access area with a stairwell that leads both up and down. The downward stairs are indicated as "Water Gate" and the upward stairs are labeled, "Warehouse, Control Room".

"I vote for going up," Dylan says. "I want to stay away from the water. As if I didn't like it enough already..."

"Let's take a look," Rita agrees.

You walk up the stairs into the warehouse, which is mostly empty, but there is a ladder which leads into the control room for the sewer management. Climbing it, you find yourselves in an office with a table, chairs and several other items. Rita approaches a locker and opens it, discovering a first aid spray within.

There is a fax machine nearby, and several papers that look relatively recent. You pick them up and scan them, quickly recognizing several names. "What the...?"

Dylan walks over. "What is it?"

"A fax to the sewer manager, looks like... from the security chief at Umbrella," you say. "It details people who visit the sewers and when... like Chief Irons, who would visit on the 6th and 16th of every month, to attend the meetings in the... lab?"

Rita looks over. "Lab? There's a lab down here?" She walks over. "There's no way. That doesn't make any sense."

"Oh, sure it does," Robert says, sitting on the table and allowing Emma a moment of rest while he speaks with you. "Umbrella ran this city. They could do whatever they wanted. If they wanted a lab in the sewers, they'd get it. Hell, that's probably how the water supply got contaminated in the first place. Goddamned corporations..."

You look down at the bottom, seeing an entry about William Birkin, the man that Ben's evidence links directly to the chief of police and the apparent creator of the G-Virus. It mentions that a threat on his life is likely, and that he is to be protected at all costs. 'Police, sewer managment, the university... maybe Umbrella really could have a lab down in the sewers,' you think to yourself.

You put this evidence with the rest, securing it tightly.

There is a hallway here, and the sign on the hallway says it leads to the Filtering Room.

>Proceed to the Filtering Room.
>Travel down to the Water Gate.
>Return in the direction you came from.
>>
>>4037822
To see what’s there before we leave whatever floor we’re on
>>
>>4037848
>Proceed to the Filtering Room.
>>
>>4037848
>>Proceed to the Filtering Room.
>>
>>4037848
>Proceed to the Filtering Room
>>
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>>4037860
>>4037862
>>4037864

You leave the control room through its southern door, proceeding towards the filtering room. There, you walk alongside a massive filtration device, though it appears to be inactive and sewage seeps through its lower portion unfiltered.

Suddenly, you hear a noise that seems to echo throughout the sewers. As opposed to the earlier alligator roar or any zombie's moan that you've heard up until now, this sounds like a man in pain, but there is something strange about it. It sounds almost... familiar, in a way. The pained moan, deep in bass and lasting a few seconds, echoes throughout the halls.

"What was that?" Dylan asks, holding up his gun.

"I don't know... but I don't want to find out," you say. You can't shake the idea that you've heard that cry before, somewhere...

Past the water filtration area is a large septic room which smells positively foul. A central walkway takes you between large tanks, the bottoms of which are hidden in murky water. Beyond the septic room is a hallway, with another choice of going left or right.

The left path seems to lead to an area under construction, with building materials strewn about. The path on the right seems less used, older and more worn, and slightly narrower.

As you decide which direction to go in, you hear the roar again, that pained, horrible cry, sounding much nearer than before. It seems to come from the path to the left.

>Go left, to the construction area
>Go right, to the old hall
>Go back the way you came
>>
>>4037889
>>Go right, to the old hall
>>
>>4037889
>>Go right, to the old hall
>>
>>4037889
>Go right, to the old hall
>>
>>4037889
>Go right, to the old hall
>>
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>>4037909
>>4037911
>>4037913
>>4037928

"Let's not go that way," you say, taking the lead. You bring the group over to the older path, the tunnel with the well-worn bricks. You notice that its surface has lots of old cobwebs, but think nothing of it. You press on, rounding a corner, and--

"DAISY!"

You think nothing of the cobwebs, that is, until Dylan points his light up, and a giant spider on the roof of the tunnel begins crawling down towards you, mandibles open and dripping, and you freeze. Your primal fear of spiders kicks in and causes you to simply stare.
>>
Rolled 14, 11, 2, 11, 8 + 30 = 76 (5d20 + 30)

>>4037929
Fire Support: +30
>>
>>4037930

Dylan grabs you and yanks you back, just as the spider opens its mouth and spews some kind of bile at you. The greenish-yellowish liquid hits the ground, sizzling softly, as if it were some kind of digestive stomach acid.

Rita raises her shotgun and fires, knocking it off the wall. It falls down, landing on its side, whereupon Dylan raises his submachine gun past you and aims. You cover your ears as he lets loose a volley that sprays the giant spider and part of the wall.

Just like in the clock tower, smaller spiders begin to emerge from its hide, spreading up the walls. Your eyes dart madly from point to point, watching as they spread out. One of them draws near, raises its legs in a threatening manner, and then charges. You scream and stomp on it.

Further up the way, you can see water. Another giant spider rounds the corner, its monstrous and hairy legs coming into view before its body. Raising its own legs, it charges forward, coming at your group sideways with its front legs wide open and ready to catch prey.
>>
Rolled 8, 18, 2, 13, 7 + 30 = 78 (5d20 + 30)

>>4037941
Fire Support: +30
>>
>>4037942

Again, the combined fire of Rita's shotgun and Dylan's submachine gun is enough to take down the mutant spider. It falls to the floor, twitching, as baby spiders crawl off of its hairy abdomen and onto the surrounding floor and walls. Your group begins to back up, out of the hall, content to leave it to the spiders--but it seems the noise of your shouting and gunfire has attracted something.

Emma screams loudly as you reach the staircase that led into this hall, and you all turn to behold a horror unlike any other. At the top is a man, a scientist with blonde hair by the looks of him, but there is something horrifically wrong with him. The entirety of his right arm, and part of his right face and chest, has grossly mutated into an abomination, bursting through whatever clothing he once had there. Fleshy, cancerously-like growths and hyper-developed muscles have formed, creating an arm which nearly dwarfs the rest of his body, ending in red fingers that flesh and twitch inhumanly. The mass of the flesh that seems to glisten with blood and mucas pulses with life that seems independent of the rest of the body, and no more is this made apparent than when it looks upon you.

Not the man himself, even though his own two red eyes are staring down at you, no. The arm is most bulbous at the shoulder, for when two flabs of flesh slide apart, there you can see an eye, massive and orange, dripping with fluid and contracting as it rotates in its fleshy home to focus upon your group. The bloodshot eye, glowing in the dim light, seems to move from each one of you, focusing on one at a time.

The man opens his mouth and unleashes the horrible, painful cry you heard earlier. His body convulses as he takes a step forward, down onto the staircase.

Now faced with the option of running through the spiders or facing this mutant, you no longer know which option seems preferable.

>Fight this monster
>Run to the end of the hall and climb the ladder
>>
>>4037958
can the spiders infect us?
>>
>>4037958
Fuck it's Birkin

>RUN BITCH RUN
We can't permanently put him down and making him mutate faster is BAD.
>>
>>4037958
>Run to the end of the hall and climb the ladder
FUCK fighting birkin
>>
>>4037958
>>Run to the end of the hall and climb the ladder
>>
>>4037974
>>4037972
Besides, G1 is relatively slow.
>>
>>4037958
>Run to the end of the hall and climb the ladder
>>
Rolled 13, 14, 12, 6, 17 = 62 (5d20)

>>4037972
>>4037974
>>4037976
>>4037980
>>
Rolled 68 (1d100)

>>4037983
>>
>>4037985
This was Birkin's roll, wasn't it? Shit.
>>
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>>4037985
>68
>>
>>4037985
Shit
>>
>>4037985
Fuck
>>
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>>4037983
>>4037985

"That's no zombie," Dylan shouts. "RUN!"

Your group presses down into the hallway. The monster roars after you, stumbling down the stairs after your group.

The baby spiders scurry about, up the walls and onto the ceiling. You jump down into the water, finding that it is about knee-deep, and the others follow. One of the spiders falls from the ceiling onto your back and you scream, flailing to try and get it off. Dylan knocks it aside and into the water, where it starts wildly kicking as it tries not to drown.

Rounding a corner, you discover a ladder, and at the top, a manhole that is open. You climb for your life, praying that none of the spiders draw near. Dylan is right behind you, encouraging you.

As you get to the top, you realize you are in some kind of structure with cages. Then you hear barking and a zombie dog rounds the corner. Your eyes go wide as you pull your shotgun off your back, aim and fire, forgetting your earlier core principles--but miraculously, the spread of the attack is enough, and the dog is knocked back. It isn't dead, however, and neither is the one that comes around the corner to follow it. You blast again twice, your heart pounding so hard you think it's going to burst.

Dylan makes it up and helps by laying down a field of suppressive fire, tagging the dogs with multiple shots as they try to recover. They go down.

Down below, Rita is about to start climbing when the monster rounds the corner, stepping down into the water. Kendo stares at the thing and knows what he has to do.

"Take her," he says to Rita, handing over Emma. Rita stares at him, horrified.

"You can't--"

"GET MY DAUGHTER OUT OF HERE NOW!" he commands, raising his shotgun and firing down the hall. Rita closes her eyes and holds onto Emma tightly as she climbs.

You reach down and help Emma up, then Rita. Dylan keeps an eye on the alley to ensure that no further dogs come running. Looking down below, you see Kendo backing up to the ladder, blasting away. Even if he had started climbing, it would have reached him. He seemed to realize this as well, and ensured that his daughter made it.

"COME ON YOU UGLY SON OF A BITCH! COME ON!"

"KENDO!"

You watch helplessly as the monster thrusts its mutated arm forward, grabbing him by the top of his head, its fingers and palm covering it completely. Some kind of fleshy tentacle emerges from the arm, shoving itself his open mouth. Kendo struggles and twitches as it lodges in his throat, forcing its way down.

The monster removes its arm, leaving the tendril behind. It slithers down into his mouth, vanishing completely. Kendo's body convulses as he slides down, unconscous, blood and other fluids seeping from his mouth.

The monster looks up at you and roars. Rita grabs the manhole and pushes it closed, then Dylan sees a metal barrel. He grabs it and drags it over, and with Rita's help, puts it on top of the manhole.
>>
>>4038007

On your shoulder, Emma is crying. You hold onto her as tears stream down your face. Down below, you hear another roar, but if the monster intended to follow, it cannot.

Rita looks around. "This is... I know this place! We're in the kennel! The kennel in the police station! We... we made it!"

Dylan leans down to help you stand up. You rise slowly, holding onto Emma tightly. Knowing the way, Rita takes you and Dylan out into the basement hall, then into the parking garage. You hand Dylan the parking pass, and he runs over to the shutter, sliding it across. The shutter rises slowly, and the armored van outside turns on and drives in. As soon as they are clear, Dylan lowers the shutter again.

The back of the van opens and Ben and Amber emerge. Ben, in particular, is thrilled. "You guys made it! Haha, I can hardly believe it. You..."

His voice trails off as he looks at you all, seeing how distant you seem. Dylan has his hand on your shoulder and you gently rock Emma back and forth. Rita, off to the side, is hiding her pained expression.

Ben cocks his brow. "I miss something? Who's the kid?

>Get upstairs
>Give Emma to Amber
>Start loading up weapons and ammo onto the truck
>Take a moment to sit and calm down
>Other
>>
>>4038007
Hm. So Kendo is dead.
Do we want to reload and try and save him, or do we want to keep going?
>>
>>4038009
I want to, I really do, but what if in the attempt we lose someone else.
>>
>>4038008
>>Give Emma to Amber
>>Start loading up weapons and ammo onto the truck
>>4038009
To dangerous to do, I’m honestly surprised we didn’t lose anyone else.
>>
>>4038008
>>Give Emma to Amber
>>4038009
nah
>>
>>4038008
>>Give Emma to Amber
>>Start loading up weapons and ammo onto the truck

Irons is going to pay for his part in all of this even if we have to do it ourself
>>
>>4038009
I'd really like to avoid doing that if possible. We should try and look at it as a second chance in case we bite it and not a fix everything button.
>>
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I must now go to bed. How are you all liking the tale so far? I'm surprised we haven't died more, frankly. We're overdue, I think, but Daisy's a real trooper--I think she'll pull through this.
We took a pretty good path through the sewers, I think. Could've been worse. We also could've run into another group of intrepid survivors, but they'll have to make their own way.
I resume work tomorrow, so I won't be updating as frequently, but stay tuned for more! Thanks for reading and participating so far!
>>
>>4038017
is the mayor's daughter still alive i wonder. we should get her out too
>>
>>4038032
Thanks for running. I’m surprised we haven’t abused the hell out of the magic of the typewriter, freaking everyone out each time we load up a previous save with Daisy’s unexplainable knowledge of the future.
>>
>>4038037
>is the mayor's daughter still alive i wonder.
Yeah, she is. Won't be long before Irons releases her so her can hunt her down for sport.
>>
>>4038032
I've been liking it. Daisy just has the potential for massive zombie-killing badass, she just never managed to unlock it in canon because she went to help out when the zombies first broke into the bar the first time.
>>
>>4038032
It's been enjoyable, I like the premise of the quest and the action.
>>
>>4038043
By the way, nobody try and work out the maps for real, I'm using like a weird hybrid of every game (original, remake, spinoffs, etc.)
RE maps are already insane as it is
>>
Approaching Amber, you hand Emma over to her, asking her to please watch after her for the time being. You pull away and find a pillar to lean up against, rubbing your eyes clean and trying not to break down. Around each and every corner is some new horror, a nightmare without end, and it is beginning to take its toll upon you. It would be one thing if it were merely zombies, but these monsters seem to come in every size, shape and terror available. What is next? Giant snakes?

Dylan, giving you some space, helps Rita in loading their collected weapons and ammunition onto the armored van, placing them in the back. Rita looks over and speaks with Harry briefly, but then realizes that someone is missing. "Where is Ben?"

You look up, suddenly aware of the fact that he isn't in the room anymore. He didn't leave through the hallway, as you were near it--so where could he be? Your eyes are drawn towards the southwestern corner, which leads to the jail, and your eyes narrow.

A moment later, you are striding past the cells and up to his, and sure enough--there he is, lying on his prison bunk, smoking a cigarette. You think you smelled him before even seeing him. "Ben! What are you doing?" you ask, trying to pull open the door--a task which is impossible, given that he is the one with the key.

He lifts that very key up and spins it around one finger. "Sorry, babe, but this cell's taken. Try another."

"Ben, get out of there, right now."

"Why should I?" he says, taking another drag. "It's safer in here than it is out there. Hell, this is probably the safest place in the whole prison. None of those mutants are going to get to me in here. None of them are getting through underground stone walls and iron bars."

"Oh, you'd be surprised," you say, your hands on the bars. "Stop being an idiot and get out there and help."

"Help what? Let me know when you're planning on leaving, then I'll consider getting out of this cell."

"The evidence--"

"What evidence?" he laughs, sitting up. "The evidence I have? It's all I need. Yours is nice, but it's all circumstantial--I've got the actual proof of the blackmail. I think I'll be just fine in here."

You look in the corner. "You took the food from the back of the van?"

"Of course. Had to prepare to be in here for a while."

"You selfish tabloid-chasing jackass," you mutter.

"Scathing," he chuckles. "Now, if you'll excuse me, unless you've got something better for me, I'll be in here." He takes out his magnum and checks it, pulling on the slide and inspecting it closely. "Otherwise, I've got everything I need right in here."

Dylan enters the jail, jogging up to you. He looks into the cell. "Oh, give me a break."

"Come on, we need to get out of here," you say. You pass by the other two men in the cell.

"Hey, wait!" the bald one calls out. "Is there really something bad goin' on out there? All this talk of the city bein' destroyed an' all? Let us out! You can't just leave us in here."
>>
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>>4038259

The other inmate stands up. "Yeah, it ain't right."

You look at Dylan, then back at them. "Unfortunately, I don't have the key anymore. He does," you point at the next cell over. The two inmates start shouting at Ben while you leave. You return to Rita and explain the situation to her and Harry.

"What do we do?" you ask her.

"Well, it's not like we can just point a gun at him and make him do what we want," Rita says. "We're still officers. If he wants to stay in there, might as well let him and hope he rots."

"What were those two in for, anyway?" Dylan asks.

"Suspected armed robbery and theft from a gun store." She frustratedly rubs the back of her head. "We need to get upstairs."

>Everyone proceeds upstairs.
>Harry will stay with the armored van, and open it for nobody.
>You and Dylan will go upstairs to make sure the path is safe.
>You'll go with Amber and Emma.
>Other
>>
>>4038262
>Harry will stay with the armored van, and open it for nobody.
Leave Emma with him too.
>>
>>4038262
>Harry will stay with the armored van, and open it for nobody.
>>
>>4038262
>>Harry will stay with the armored van, and open it for nobody.
>>
>>4038309
Support. She shouldn't have to see the things we're about to do anyways.
>>
>>4038262
>Harry will stay with the armored van, and open it for nobody.
>>
>>4038262
>>Harry will stay with the armored van, and open it for nobody.
>>
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>>4038309
>>4038498
>>4038506
>>4038513
>>4038514
>>4038608

You look over at Emma, who is still with Amber. The college student is sitting in the van, carefully ensuring that the young girl is very still.

Approaching them, you look at her and say, "Keep her safe, okay? We'll be back shortly." Then, you close the doors, and walk around to Harry. "You should stay with the van, and don't open it for anyone but us. Understood?"

He nods. "Y-yeah. Right. I got it." He then climbs into the cab, and locks all the doors.

Kneel and start taking out shells to load into your shotgun to replace the ones you spent on the dogs. Seven in the weapon, eighteen on hand, and you'll have Dylan and Rita with you. Looking up at them, you ask if they are ready, and their nods are all you need. While the east wing was secure when you left, any number of things could have happened between then and now.

Stacking up near the stairs, Rita takes point and you all run up. To your dismay, the hall is not clear of the undead--far from it, in fact. There are four zombies, and more lingering outside through the broken windows. As you three reach the top of the stairs, they all turn and unleash their gurgling moans, shuffling towards you.

Rita opens fire, blasting the first one down, then the second, then the third, walking forward and firing. As you walk, you aim down at the ones she blasted, putting your barrel against their heads or necks and turning them into stains on the carpet. It's strange--before all of this, you'd have been revolted by the idea of putting a gun to a human's head and firing. But then again, these aren't human, and dying has given you some perspective on things.

Dylan keeps an eye on the windows, and when any of them draw near, he sprays them with his SMG. You make it to the end of the hall and into the eastern office, whereupon a few zombies begin to close in. No longer in the tight, narrow hall, Rita focuses solely on the path forward, letting the ones on the outskirts of the room linger and get stuck walking around desks and tables. Those ones, you and Dylan take care of, aiming and firing across the room.

You have to admit, there is a satisfying punch to this shotgun. When you hit your seventh shot, you slide it away instead of taking the cumbersome time needed to reload it and withdraw your pistol, firing a half-dozen shots into one of the zombies and breaking a picture frame alongside it when you miss.

Rita opens the door into the payphone hall, then immediately opens the door to the main hall, only to be met with Marvin, aiming his gun at them. He lowers it upon recognizing Rita.

"Lieutenant," she says with a smile, moving up to him. You close the door behind you as she continues, "We made it back. We have a van in the parking garage."

"Damn fine work," he says, though something is clearly weighing heavily on his mind.

Rita looks around the hall, noting just how few people there actually are. "Where is everyone?"
>>
>>4038795

"The chief ordered almost the entire force out into the streets to fight those things," he says distastefully. "There's less than a dozen officers left in the station now, including us. The only ones who stayed back were the ones who believed me about the chief. Things are getting worse... more than just zombies are starting to get into the station."

Before you can ask any questions yourself, you suddenly hear your name. "Daisy!" Jennifer runs over, throwing her arms around your neck. She then kisses your cheek in a manner that seems startlingly more than friendly. "I was so worried!"

"It's nice to see you too, Jen," you say, returning her hug. Her affection continues with a kiss on your shoulder and then another one on your neck as she buries her face in your neck while tightly embracing you. Your cheeks burn as you look at Dylan, who clears his throat.

"I'm still alive, too," he says to her.

Seemingly not hearing him, she inhales and then opens her eyes. "You smell like the sewer," she comments, pulling back to look at you. "You were out there for a whole day! Are you hurt?" She looks at the scratches and bandages on your arms, showing great concern for you.

"I'm alright," you assure her, patting her back. You look and actually see tears in her eyes, so relieved is she that you are alive. You have to admit, you're happy to see her too, after what you've gone through. The smell, while clearly repulsive, isn't as strong as her feelings and she pulls you in for another hug. It's almost strange... you've never had someone this happy to see you before.

>Ask Marvin about the state of the station
>We need to evacuate everyone as soon as possible
>Tell him about the monsters in the sewers
>Kiss Jennifer
>Other
>>
Well we could take everyone and leave the city in the truck. Or we could off ourselves amd attempt a better run
>>
>>4038804
>>Ask Marvin about the state of the station
>>Tell him about the monsters in the sewers
>>
>>4038804
>>Ask Marvin about the state of the station

>>Tell him about the monsters in the sewers
>>
>>4038804
>>Ask Marvin about the state of the station
>>We need to evacuate everyone as soon as possible
>>Tell him about the monsters in the sewers
>>
>>4038804
>Ask Marvin about the state of the station
>Tell him about the monsters in the sewers
>>
>>4038804
>Ask Marvin about the state of the station
>Tell him about the monsters in the sewers
Did we give her the wrong idea?
>>
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>>4039006
>Did we give her the wrong idea?
No, she's infatuated as a coping mechanism. Daisy is basically the only element of her normal life that's in this hell so she's clinging to her.
>>
>>4039006
I think it has to do with how she see’s Daisy, like some sort of hero to cling to. Also Daisy’s hasn’t responded negatively to any of Jennifer’s affection so she probably thinks Daisy’s down with yuri. Also what this anon said >>4039015
>>
>>4039023
>anon
>it’s the qm
Damnit I should have looked closer
>>
>>4039030
My phone gives different IDs. I'm on my way back home with an update.
>>
>>4039015
Ah, makes sense. Should let her down gently. Also, I'm a bit late. But I'm glad we didn't give Ben the time of day. I do hope he can avoid Mr.X though.
>>
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>>4038862
>>4038905
>>4038914
>>4038980
>>4039006

You look at Marvin as you pull away from Jennifer, though she still insists on holding your hands. "We had to come through the sewers to get into the station," you explain to him. "We didn't exactly have an easy time of it."

Rita folds her arms. "There's a lot more than zombies and dogs out there. Umbrella is dumping their mosnters into the city to 'test' them. We saw things you wouldn't believe..."

Marvin shakes his head. "From what I've heard, some of them are already here."

"What is it?" you ask him. "What have you seen?"

The third floor and maybe the second has these things that can crawl on walls, with long tongues."

"We saw those!" Dylan says, now looking up at the ceiling. "They're here?!"

"They're attracted to noise," you explain. "They're blind otherwise."

"That's good to know," Marvin replies with a nod. "But even so, we've lost both wings of the station. They've been hitting us harder and harder. It's like they're being lured here... I can't explain it. When we make progress somewhere, it gets taken from us elsewhere, and now we hardly have enough men to stop them from overwhelming the station entirely."

"This is what the chief wanted," you say softly. You look up at him. "He knows evidence exists about his cooperation and bribes from Umbrella and he's doing everything in his power to stop it from happening."

"We still haven't seen him, and now we can't get up to his office," Marvin says with a heavy sigh. "I've got the rest of the men trying to put their fingers in a leaky dam, but I don't know how much longer we can hold." He then looks over at you and says, "And I received word that there's still a little girl running around this station, all alone."

"What?" you approach him. "The one from before?"

"Don't think it's any other," he replies. "That, and the chief still has the mayor's daughter with him. Other than that, you're looking at pretty much all that's left."

"Damn that Irons," you mutter, bringing a hand up to your chin in thought. "What can we do?"

"With him having all the keys and more monsters getting into the station by the minute, not much," Marvin replies.

>Make a plan to escape the city in the van
>Start evacuating people into the garage
>We can hold the station. We just need to take out Irons.
>Talk to Marvin about the potential cure at Raccoon University
>Other
>>
>>4039044
He has the key so he can get out
>>
>>4039044
> He went back to the cell

Press x to doubt
>>
>>4039072
>Make a plan to escape the city in the van

With less officers we may not need more transport. Going after Irons will get a lot of people killed for little gain and we have no one alive to finish the cure.
>>
>>4039072
>Make a plan to escape the city in the van
>Start evacuating people into the garage
As much as I wanna be a big damn hero, we should probably just try and escape.
>>
>>4039072
>>Make a plan to escape the city in the van
>>
>>4039072
>Make a plan to escape the city in the van
I want to confront Irons before we go
>>
>>4039072
>Make a plan to escape the city in the van
>Start evacuating people into the garage

Just leave, the Chief is too entrenched in his office for us to get there past the zombies and question him its a lost cause.
>>
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>>4039078
>>4039080
>>4039087
>>4039091

Your group gathers around the front desk. An extremely small number of officers and civilians mull about nearby within earshot. Marvin smooths out a map of the city on its surface that he took from a nearby wall. He points first at Main Street. "Main Street is blown to hell," he says, then points to the street behind the police station. "Flower is only good up until the bridge. Can't go west on it; too much construction, even before the outbreak. Ennerdale's blocked off on both ends, and all the debris in the middle, and now Warren is too blocked off, too. That's where the chief sent all of the others to set up new barricades."

Rita points at Central Street. "We were on that earlier. I saw a bus and a firetruck completely blocking the road. We won't make it there."

He nods. "And apparently all of South Raccoon is a mess... The bypass is completely backed up and now it's full of abandonned cars. I don't know if that's the case for the whole road, but it's enough. That leaves only one way out of the city by car: North Raccoon, by Mission Street. Getting there is going to be tough, and with more than a dozen people packed into one single vehicle, if we get caught or stuck we'll be like a lunchbox out in the open."

"What's the alternative?" one of the other officers asks.

"We make multiple trips," Marvin says. "The van gets one group to outside the city limits and then comes back, same way in that they took out."

"There must be some other way to get help," you say. "What about signalling a helicopter?"

"That'd require getting to the roof, and that's now easier said than done," Marvin replies. "You guys may have made it through the east wing, but more are coming in there. We're about to start nailing up the doors in the main hall that lead to it."

"But that's our only way to get to the basement," Rita points out. "If we can't get the civilians through, what's the point?"

"Unless we manage to drive the van up to the front and we send the first group out the front doors," Marvin says. "With enough coordination and firepower and quick-movement, it could work. No matter what, we're going to be facing zombies. No way about it. We just need to figure out which way is going to be the best."

>We should clear a path in the east wing to the basement and find a way to seal the windows.
>Let's drive the truck around to the front, and then have people run in.
>We should try to make one single trip with everyone in the van.
>Let's make multiple trips like you suggested.
>Other
>>
>>4039176
>>We should try to make one single trip with everyone in the van
>>
>>4039176
>Other
Suggest maybe everyone goes down to the basement and use the jail cells there to keep the people that are left behind safe for the time being while the first group goes outside the city limits in the van.
>>
>>4039210
Ben has the keys to the cells, also what happens if/ when we are overrun
>>
>>4039176
>Let's make multiple trips like you suggested.
Honestly, this seems like the most prudent thing. All eggs, one basket, you know. That way we can improvise even if the van gets fucked. Then we can decide how to proceed once we evacuate, since we all know the capable fighters will be the last ones out.
>>
The thing with multiple trips is that we won't be able to tell if the everyone in the van is dead or just delayed. And things will only get worse.
>>
>>4039176
>We should try to make one single trip with everyone in the van
>>
>>4039176
>>We should try to make one single trip with everyone in the van.

if worse comes to worst we can just RESTORE
>>
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>>4039207
>>4039241
>>4039265

"I say we make it all in one trip," you tell them. "The more trips we make, the more likely it will be that something goes wrong. Even if we are putting all of our eggs in one basket, at least we won't leave half the people here stranded and worrying about what's going on with the other group."

And although you don't tell them, you know that in the event of a worse-case scenario, you'll come back and change things, just like before.

"It won't be easy," Marvin says, scratching his chin. "We won't be able to go very fast with that many people in one vehicle. And if it does break down, or gets stuck, that'll be a lot of people on foot, almost 18. I don't think we can even fit that many in."

"Which means some people are going to have to stay behind no matter what," Rita says.

Marvin makes up his mind quickly. "I will."

The others react with shock. Rita walks around the table. "Marvin, you can't--"

"We're police officers," he says to her firmly. "At the end of the day, we protect and serve. I won't take a spot on the van when there's already so few for the people who need it."

"But what will you do?" you ask him.

"We'll figure something out," he says. "But getting the civilians out of here is our priority. That includes you and the others. I know some of the other officers will want to go, and I can't stop them. But I won't."

He's stoic to a fault, it seems, but his willingness to sacrifice his life is admirable. Just like Robert was up until the end for his daughter.

Rita, standing off to the side, sighs. "Well, we won't accomplish anything tonight. It's late, and we've been running and fighting all day. We need rest. In the morning, come heaven or hell, we'll leave."

Marvin nods, and the group begins to split up. Dylan puts an arm around your shoulder as you walk over to your familiar corner, with Jennifer hugging your arm. She's very quiet, obviously at a loss for words at the hopelessness of the situation for the police officers. Even so, she clearly is hopeful for the chance to escape.

As you three sit down, your thoughts of Kendo and Jennifer remind you to reach into your pocket and retrieve the lockpick set. You hand it to her. "Here," you say, putting it in her hands. "I found this in a store. Do you think you can use it?"

"Yes, I think so," she says, opening the various shaped lockpicks from the swiss-army-knife-like handle. "But, I mean, you saw how long it took before. I don't know if I could be much help."

"You'll do your part," you tell her, and she smiles warmly at you.

Dylan seems deep in thought. You give him an inquisitive look, and he shakes his head. "I'm just puzzling over our odds," he says. "I'll just keep it to myself."
>>
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>>4039290

You feel Jennifer's hand slip around your own and she holds it tightly. Meeting her gaze, she says, "I was really worried you wouldn't come back. I didn't know what I was going to do." She leans down and brings your hand up to kiss the back of it, then rubs it against her cheek. "I'm... really glad you're still alive, Daisy."

Dylan's brow shoots up as he looks at this display. You blush, feeling slightly awkward as Jennifer does this in front of him. Why is she being so affectionate and... well, loving? Before all of this started, you and she hardly knew each other. You look at Dylan, who gives you a confused look; you can only wonder what he's thinking.

>Talk to Jennifer in private.
>Speak with Marvin and Rita.
>Take some time to reload your weapons and heal up.
>Save your game at the main desk with your last ink ribbon.
>Other
>>
>>4039293
>Save your game at the main desk with your last ink ribbon.
Also tell Jennifer to lay off. We do appreciate her but not this way.
>>
>>4039293
>Talk to Jennifer in private.
Ground her down a bit since a mental breakdown won’t be good later on
>>
>>4039293
>>Take some time to reload your weapons and heal up.


>>4039325
To soon
>>
>>4039293
>>Speak with Marvin and Rita.
>>Take some time to reload your weapons and heal up.
>>Save your game at the main desk with your last ink ribbon.
Dylan and Jennifer can talk while we do stuff
>>
>>4039314
>>4039335
>>4039349

You smile at Jennifer, but slip your hand out of hers. "You wouldn't be doing that if you knew where we were less than an hour ago," you say to her. Standing up, you look at her and Dylan and say, "I think you guys should get some sleep."

"What about you?" Dylan asks.

"I will, too. Just going to handle a few things." You nod at them, and proceed over to the main desk. There, you set your shotgun down, take out your pistol and start loading rounds into them both. Afterwards, you consume your final herb mix and change out your bandages, rubbing some of the mixture onto your scratches. You don't know if that actually helps, but you think you saw it in a movie once, and if there are zombies and giant spiders and tyrants, why not?

You take out your last ink ribbon and set it down next to the typewriter. Pulling up a chair, you begin to type.

>To whoever finds this,

>This is the seventh record of Daisy Dixon. It is nearly midnight, but it is still September 26th, 1998.

>We made it back into the police station, but not without loss. Robert Kendo sacrificed himself so that his daughter Emma could live. I don't know what it was that killed him, but it looks familiar to the picture I found - 'Code G Human Body Experiment' - and it was horrible, the man's arm was mutated and had a giant eyeball. It shoved some kind of tentacle down this throat and killed Kendo. Is that what the G-Virus is?

>Chief Irons ordered nearly all of the police out into the streets to fight the zombies. They're probably all dead by now, since none of them came back. He's done everything in his power to ruin our chances at survival. If I see him again, he's a dead man.

>We're planning on heading out in the van at daylight. It'll be easier to see trouble that way. We're going to try and make one trip with everyone in the van, but not everyone will fit. Marvin volunteered to stay back. I wonder how many others will, too.

As you take out the letter and fold it neatly, placing it into your backpack, you look at the nearby computer monitor. It's set to the parking garage. You can see the armored van, some of the pillars, the closed shutter and...

...What is that standing on the other side of the shutter? It looks like...

Your eyes widen as the Thanatos tyrant reaches into the metal of the shutter, its claws fitting between the openings and begins to pry it apart.

"No," you whisper. "No, no, no..." You stand up and shout, "Marvin! Rita!" to draw their attention. They come running, and look on as the Thanatos rips open a hole large enough for itself to fit, then steps inside.

"What the hell is that thing?" Marvin asks.

"I thought we killed it," Rita says in disbelief. "How could it...?"

The Thanatos approaches the armored van, and inside is Harry, Amber and Emma.

>Fight it in the parking garage
>Attempt to lead it out of the station
>Try to lure it somewhere else in the station
>Wait and see what happens
>>
>>4039396
>>Attempt to lead it out of the station
>>
>>4039396
>>Fight it in the parking garage

we can't lose the van!
>>
>>4039396
>Attempt to lead it out of the station
>>
>>4039396
>Try to lure it somewhere else in the station
>>
Help, how do you kill a Tyrant without a rocket lawn chair?
>>
>>4039396
>Attempt to lead it out of the station
Can't risk him fucking up the van or the other survivors
>>
Rolled 14, 8, 18, 16, 13 = 69 (5d20)

>>4039408
>>4039413
>>4039435
>>
>>4039396
>>Attempt to lead it out of the station
changing to this
>>
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>>4039441

"It's after me," you say to them, grabbing your weapons. "I killed its creator. It followed us here for me. I'll lead it away!" Even if it isn't true, and merely followed the van out of some other primal directive, you convince yourself that you can lead it away from the station. You must.

As you run to the east wing, you hear the others protest, but you disregard them. Almost immediately upon entering the east office, a zombie from your earlier trek through attempts to grab you. You blast him once with the shotgun and make it into the eastern corridor. One more zombie has gotten through the broken windows here, but got its foot caught in the glass and its leg hangs as its upper body flops around on the floor.

You leap over that zombie and get to the stairs, running down them, racing nearly as fast as your heart.

'A van running into that thing couldn't kill it,' you think to yourself. 'What hope do I have?'

You dash into the parking garage, whereupon you see the Thanatos attacking the side of the armored van with its claws, attempting to pry open the side. Thankfully it is resisting its efforts.

"HEY!" you scream, echoing throughout the garage.

The Thanatos stops, turns its head, and locks onto you with its dead, soulless white eyes.

Drawing your pistol, you aim and fire, hitting its shoulder. The Thanatos turns and begins to walk towards you, then breaks out into a sprint.

You prepare to time your movement to make a break for the entrace it made in the shutter, and pray you aren't wrong.
>>
Rolled 18, 11, 2, 9, 16 + 20 = 76 (5d20 + 20)

>>
File: thanatos 7.png (2.53 MB, 1920x2560)
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>>4039455

You dive to the left as it swipes with its claws, and you pick yourself up and start sprinting towards the opening. Leaping as high and as hard as you can, you jump through it, and make it to the ramp leading up to the street.

Behind you, the Thanatos bursts through the shutter, landing in a squatted position. You can hear its heavy footfalls as it starts walking, then sprints, quickly closing the gap. Knowing that death could be one swipe away, you grunt as you dodge to the left, nearly hitting the side of the wall as the Thanatos swipes again, barely missing.

You turn around and blast at it with your shotgun, the point-blank range causing the tyrant to stumble for a moment. This is where you keep moving, managing to make it up onto the street. Your head snaps from left to right. Left, which is to say west, is the direction you took earlier this evening to enter the sewers behind Kendo's shop. Right, which is to say east, is the bridge you drove over.

>Lead it west, toward the sewers
>Lead it east, towars the bridge.
>>
>>4039464
>Lead it west, toward the sewers
HOLY SHIT HOW FUCKING AWESOME WOULD IT BE IF A THANATOS FOUGHT BERKIN?!
>>
>>4039464
>Lead it west, toward the sewers
>>4039468
Make it happen!

Taking bets!
Thanatos wins first two rounds then birkins, wins final round in final form!
>>
>>4039464
>>Lead it west, toward the sewers

>>4039481
Birkin hands down
>>
>>4039481
Birkin will eat it alive. Leon is going to have a hard time with that bullshit
>>
Rolled 5, 19, 10, 3, 18 = 55 (5d20)

>>4039468
>>4039481
>>4039491
>>
>>4039464
>>Lead it west, toward the sewers
>>
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>>4039496

You turn left and sprint down the street, towards Kendo's gun shop. The Thanatos is on your heels every step of the way, his heavy footsteps booming in your ears.

He dives forward, his left claw swiping across your leg. You trip and fall as he draws blood. Grunting in pain, you turn and face him as he stands over you, raising one claw up high and preparing to impale you with it.

At the last moment, you roll to the side, and he buries his claw in the cement. You wince in pain as you get up and start running again, blood running down your leg, narrowly avoiding a zombie in the street that wandered too close. Behind you, the Thanatos struggles to withdraw its hand from the stone.

You reach Kendo's shop, only to realize that the front door is closed and locked. Nearby, three zombies take notice and start to close in on you. With no other option, you aim your shotgun and blast at the door, aiming at the handle. Sparks fly and the door opens as the alarm to his shop goes off.

Making it inside, you quickly run to the back. The Thanatos breaks through the metal and wood placed over the windows, knocking over a shelf. You cover your ears as the store erupts in chaos from his entrance before you break open the back door and run for the elevator.

To your horror, you realize that the elevator is still down from when your group used it last. You press the button again and again. Behind you, you hear the Thanatos enter the alleyway.
>>
Rolled 19, 7, 16, 10, 5 = 57 (5d20)

>>4039512
>>
>>4039496
>>4039516
These rolls aren’t inspiring a lot of confidence
>>
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>>4039516

As the elevator rises, the Thanatos rushes forward, crashing into you. The metal doors at the top of the elevator give way to the great force as you and he tumble below, into the darkness. You watch as the light of the alley fades, and when you and he hit the elevator as it rises, meeting it halfway, it breaks down and falls. The crash is spectacular, kicking up dust and dirt as the entire elevator structure collapses at the bottom.

After a moment, the debris shifts, and the Thanatos rises, your corpse impaled on the end of its claw. It regards your lifeless body for a moment before casting you aside, into a dark corner.

Only, you're not cast aside. You are instead drawn through the air back onto his claw, then the two of you and the elevator are going back up. You are at the top of the elevator, then in the Gun Shop Kendo, then in the street. From here, you and the Thanatos run in reverse towards the police station's rear entrance, then you are inside the parking garage, running through the basement, the stairwell, the east hall, the office, the main hall, and then--

You open your eyes. You're back. You gasp, realizing that it's happened a second time, only this time was less jarring.

There are only seconds before the Thanatos arrives at the shutter. What do you do?

>Drop the shotgun, less weight to carry.
>Drop the shotgun and the pistol.
>Attempt to fight the Thanatos in the garage.
>Try your last run again the same way, only without making the same mistakes.
>Other
>>
>>4039533
>>Drop the shotgun, less weight to carry.
>Try your last run again the same way, only without making the same mistakes.
IM GETTING MY MONSTER FIGHT GODDAMN YOU
>>
>>4039533
>>Try your last run again the same way, only without making the same mistakes.
>>
>>4039536
>>>Drop the shotgun, less weight to carry.
this is a stupid move.
>>
>>4039533
>Try your last run again the same way, only without making the same mistakes.

>>4039536
We really shouldn't drop the shotty, it's the only thing we've got capable of stunning him.
>>
>>4039548
>>4039547
Go for a
>Other
>Drop pistol
Instead then?
>>
>>4039533
>Other
Let them die
>>
>>4039556
I honestly can't see it making much of a difference. But we'll have to rely on past experience and better rolls this time.
>>
File: thanatos 13.png (170 KB, 827x900)
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Run 2: Begin
https://www.youtube.com/watch?v=_UO-WTS6KUg
>>4039536
>>4039537
>>4039548

"TYRANT IN THE BASEMENT!" you shout to alert the others, not even pausing as you run into the east wing. You kick open the door to the office, and rush inside. Knowing there the zombie inside was going to attack from, you inside juke to the right, knocking him aside with the butt of your shotgun. In the east hall, you jump over the tripped zombie, and run down the stairs.

Bursting into the hall, you make for the hole in the shutter, and once you are through, turn around the blast at him with the shotgun. The Thanatos stops, turns and sees you, but you are already halfway up the ramp.

'Gotta keep moving, must keep moving,' you think. 'The elevator is going to take too long, I can't wait for it. Must be another way down...'

As you run down the street, you hear the stomping of the tyrant behind you. Up ahead is the construction site that leads down into the sewers. The street ends, creating a massive gap of drainage ditches and pipelines.

As the Thanatos catches up to you, you prepare to jump.
>>
Rolled 9, 18, 3, 20, 4 + 10 = 64 (5d20 + 10)

>>4039568
Experience: +10
>>
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>>4039572

As the Thanatos swipes, you duck and roll foward, over the edge and down a slope into the construction area below. You grunt as you hit the ground hard, picking yourself up and making it towards one of the nearby pipes.

The Thanatos lands in front of you, his descent breaking some of the stone at his feet. He stands up and turns around, only to meet your shotgun. You blast him in the chest, stunning him for a moment as sparks shoot off of the metal plate protecting his heart. He is otherwise undamaged, but it gives you a moment to run into one of the pipes.

Too small to fit into the pipe himself, the tyrant leaps on top of it, and begins to smash it with his claws as he walks forward. Crouched as you are, you hear his destruction behind you as you struggle to reach the end of the pipeline. There, at the other opening, is another drop. All fear vanishes from you as you take a leap of faith and jump out.

You land in water, about waist deep. To your left is an enormous drain opening that leads into the sewer. Seeing a walkway alongside it, you lift your shotgun up and wade over towards it.

The Thanatos, still in pursuit, leaps into the water. The splash is tremendous, nearly knocking you over as the spray falls down all over and around you. As you get to the stone walkway and climb, placing your shotgun on the concrete and then pushing yourself up with it, the tyrant charges and swipes.
>>
Rolled 2, 13, 11, 9, 12 + 10 = 57 (5d20 + 10)

>>4039587
Experience: +10
>>
>>4039590
Do we have the ability to load earlier saves?
>>
File: thanatos 11.png (1.75 MB, 1186x833)
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>>4039590

Again, the claws of the tyrant swipe across your leg, drawing blood. You let out a cry and turn to take aim, blasting him again, this time in the face. He takes a step back, his previously slightly-deformed face now featuring several additional scars and is blackened with the discharge of your shotgun.

You reach a railing and grab onto it, moving with a limp as hard and as fast as you can. The monster recovers a moment later and continues charging down the waterway after you, though the water it is in starts to grow deeper and slows it down. Keeping your injured foot off the ground and supporting yourself with the railing, you hobble quickly.

The tyrant swings at you again, knocking part of the railing off and creating a loud bang as the metal bar hits the wall. He does it again and again, striking at it as he attempts to attack you from behind.

Finally, the tyrant climbs up onto the walkway, but it is far too short for him to stand, preventing him from sprinting after you, and his body continually hangs halfway off the concrete and over the water.

He continually shreds the railing behind you, allowing him the space to crouch and walk as you hobble. Sweat runs down your body, mingling with the blood of your fresh wound. Your blood drips into the water, washing away into the sewage.

Despite your hobbling, the tyrant is catching up to you. It would take a miracle to escape him at this point...
>>
Rolled 32 (1d100)

>>4039598
>>
>>4039595
Yes? Probably,

We made multiple saves.
>>
>>4039599

The tyrant lunges forward, burying its claw in the back of your leg. You cry out in pain and fall to the floor, bleeding badly. He begins to drag you closer to him, even as you claw at the ground. You close your eyes, preparing for yet another death.

The waterway suddenly bursts as a massive creature emerges from the water. The alligator you glimpsed and ran away from earlier snaps its mouth up, lunging at you and the tyrant. Fortunately, as you are prone, the alligator is able to only snap up the Thanatos in its jaws, locking onto its right arm and slamming down. You hear a sickening crunching sound as the alligator shakes its head, pulling the tyrant off of you, causing its claw to withdraw from your leg accompanied by another cry of pain from you.

The Thanatos is lifted high up, towards the very top of the tunnel as it stabs at the mutant gator with its left arm, trying desperately to free itself. The massive reptile isn't having it, however, and twists its body, sinking back under the water--and taking the Thanatos with it. You see more thrashing and splashing as the alligator slinks away, still struggling with its prey.

You groan in pain as you sit back up against the wall, looking at your bleeding leg. "That's a problem," you say, wincing as you prepare to rip some of your clothing to create a makeshift tourniquet.

That's when you hear something echoing down the tunnel in the direction you came from. Voices. Human voices!

"I think I heard it over here," one of them echoes down to you. Looking further up, you can see figures with flashlights wading through the water.

>Call out to them.
>Raise your weapon.
>Play dead.
>Warn them about the alligator.
>Other
>>
>>4039612
>>Raise your weapon.
>>
>>4039612
>call out to them
>>
>>4039612
>Warn them about the alligator.
>>
>>4039612
>>Raise your weapon.
>>Warn them about the alligator.
>>
>>4039617
>>4039624
>>4039641

Reaching for your shotgun, you raise it towards them and shout, "Get out of the water! There's a giant alligator!"

Perhaps not believing you, the figures shine their lights on you, causing you to wince slightly. One of them pushes forward. "Easy, lady, we're here to help," he says with an accent slightly-tinged with hispanic flare.

You manage to catch a glimpse of a green uniform. "Are you the Army?" you ask as he climbs up. The man hands his hand down to you.

"Not exactly," he says, and that's when you notice the Umbrella logo on his shoulder. "Carlos Oliviera of the Umbrella Biohazard Countermeasure Service. UBCS for short."

Your eyes widen and you retract your hand, backing away. The man, with shaggy hair and light facial hair, raises his hand up while his other hand, the one with the assault rifle, goes down and to the side. "What? Something I say?"

"You're with Umbrella," you say in an accusatory tone. "Umbrella are the ones who caused all of this!"

"Hey, lady, I don't know anything about it. We've been sent in here to rescue civilians, and you're a civilian in need of rescuing. Don't give me the cold shoulder."

Further up the tunnel, you hear vigorous splashing and a roar. The other UBCS team members raise their weapons.

"We don't have much time before your gator turns around and decides it wants another snack, eh? Tick tock, time's on the clock, now we gotta move!" He motions with his hand. "You gonna take my hand, or do I have to carry you out of here?"

>Don't trust him. Crawl in the opposite direction.
>Shoot at him.
>Take his hand and get out of here.
>Allow him to carry you.
>Other
>>
>>4039673
>>Take his hand and get out of here.
>>
I'm off to bed for the night. We'll resume tomorrow.
>>
>>4039673
>3make Carlos
>Don't trust him. Crawl in the opposite direction.
>>
>>4039673
>Take his hand and get out of here.
>Allow him to carry you.
>>
>>4039687
>3make Carlos
But I like his poofy hair
Don't worry, there aren't enough pictures to use of his new look, so I'll be swapping between like I do for Marvin
Anyway, night
>>
>>4039673
>>Don't trust him. Crawl in the opposite direction.
>>4039680
Thanks for running
>>
>>4039673
>Take his hand and get out of here.
>>
>>4039673
>>Don't trust him. Crawl in the opposite direction
Changing into not trusting him
>>
What about the others? We didn't tell them to run after any amount of time.
>>
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>>4039678
>>4039689
>>4039710
>>4039687
>>4039696
>>4039733

You consider going with him, and consider crawling away; both seem like good alternatives given his affiliation. It seems Carlos makes the choice for you, leaning down to pick you up by the hand. "Come on, we need to stop that bleeding."

"I can't trust you," you tell him. "You work for Umbrella."

"We're just mercenaries sent in to help the civilians," he insists. "Now come on." Knowing that you can't walk in the water with an open wound like the one you possess, he supports you along the walkway as you limp along. "There we go. We've got a ladder outside."

The splashing you heard a moment ago gets louder. "It's coming back!" you realize, and hurry along. Carlos tries to as well. The three other mercenaries with him spread out in the water, aiming their weapons forward. "Tell them to get out of the water!"

You might not have any love for Umbrella, but you don't want to see people die, either. Carlos relays it to them. They start walking towards the concrete path when the alligator bursts out of the water, snapping one of them up in an instant. The others open fire but it pays no heed to them as its mouth opens and closes, chomping down on the merc.

"Damn!" Carlos says, picking up the pace, all but dragging you towards the mouth of the tunnel. The others get onto the concrete platform and run after you both.

He sends you up the ladder first. You go as fast as you can, heading up to the top. The three mercenaries follow, with the last one making it just as the alligator sticks his head out of the tube, sloshing around the water. Looking down, you can see it thrash about for several moments before crawling backwards into its sewer home when it realizes there is no prey available.

The three soldiers breathe heavily as Carlos brings you over to a pile of lumber, sitting you down on it. He kneels to inspect your leg. "This is some nasty stuff. What did this to you? That croc?"

"No, something... else," you say, remaining vague. You can't help but consider every action of his to be suspicious. You try and contradict him. "Why would Umbrella both send people into the city and also dump their experiments into it?"

"I don't know, but my orders are to help people. Let's start with this leg." Taking out a first aid spray, he disinfects your wounds with it before taking out a medkit and wrapping them up.

"There, that's a start," he says. "Can you move? We need to get you with the rest of the civilians."

"Where?"

"We've got several others at the tram station, protected in a train. We're trying to use it as transport to evacuate people. There's a helicopter standing by."

>No, I need to go to the police station.
>I'm leaving on my own.
>Go with him
>There are civilians in the police station; you need to help them too.
>Other
>>
>>4039980
>There are civilians in the police station; you need to help them too.

Carlos is a good dude, we can get him to help.
>>
>>4039980
>No, I need to go to the police station.
>>
>>4039980
>>There are civilians in the police station; you need to help them too.
We already have a route out of the city.
>>
>>4039980
>There are civilians in the police station; you need to help them too.
>>
>>4039980
>>No, I need to go to the police station.
>>
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>>4040039
>>4040054
>>4040101

"There are civilians and officers in the police station," you explain to him. "They need help, too."

"The police station? That place is swarming with those things!" He sees the look on your face and scratches his chin. "How many people, exactly?"

"At least twenty people," you reply. "Look, it's just down the street. At least see if you can help them, if you're actually here to do as you say."

After a moment, he nods. "Alright. Let's go. Can you walk alright?"

"I'll make it," you say, ignoring the pain in your legs.

"Tough chick," he says with a smirk. "Follow me."

He and the other two mercenaries walk up a construction platform, then climb up onto the street. You follow after them, limping slightly but still keeping up. They move out and begin tactically avoiding the zombies outside, manuevering around them. You've gotten enough experience avoiding these things now that it too is like second nature to you.

When you reach the ramp leading into the police station, you hear some gunfire from down below. It seems a few zombies tried to get into the garage through the hole the Thanatos made. You call out that it is you approaching, and climb through.

Rita and Dylan are down in the garage, and Dylan runs up to you. "Daisy! What happened? Where is that thing?" He looks at your leg. "Are you alright?"

"It had a run-in with a certain giant alligator," you say with a smile, hugging him. "I don't think he'll be giving us any more trouble."

Rita notes the three mercenaries as they enter, but approaches Daisy. "You actually led it out into the sewers? How? I mean, the guts it takes to do something like that alone..."

"Are the others safe?" you ask. "That's all that matters."

Dylan nods. "Yeah, they're all fine. Everyone is. Daisy, you're..." His voice trails off as he shakes his head. "You're crazy. How could you do that? You gave us all a heart attack."

"Sorry," she says with a sigh and a smile. "I didn't really have time to come up with another plan."

Carlos and the two other UBCS soldiers approach. "Excuse me," he says, introducing himself, "but we're here to help." Rita and Dylan both notice the Umbrella logo on his sleeve and uniform. He takes note of their sudden shift in attitude as they both take a step back, with Dylan in particular putting a hand in front of you. "Jeez, is everyone in on something I'm not?" he asks.

"Umbrella are the ones behind all of this," you say. "They started the outbreak, they're the ones dropping monsters into the city. Why would they send you in?"

"Look, all we've been ordered to do is rescue civilians," he insists. He puts a hand on his chest. "Honest! Things haven't been good for us either, you know. They didn't brief us about half of what's in this city. When we dropped in, we suffered heavy losses. We were expecting sick people, not monsters."

"They lied to you?" Dylan asks.

He shrugs. "Or they didn't know."
>>
>>4040120

"I find that hard to believe," Rita says. "Well, what's your plan?"

"One of our platoons went to secure the clock tower as a landing zone for evac choppers. We've got a tram with civilians and the tram line can go right to the tower, but it's broken. We've been searching the city for a way to fix it and for other civilians."

Rita perks up. "You said a chopper? If we can secure the rooftop, we have a helipad. We can evac people from here."

Carlos nods. "That would actually be ideal, but we've been briefed on how dangerous this station is. The zombies are swarming in this area. It won't be easy to secure the roof., but if we can, we have the means to signal the chopper with us."

Rita looks over at the van. "Originally, we were going to drive out of here."

"That's a decent plan too, but a lot of the roads are blocked off. You probably already knew that, though."

>We should clear the roof and call for a chopper.
>Let's stick to our original plan and drive out.
>If we can make it to that tram, we can get our people onto it.
>Let's try both plans.
>Other
>>
>>4040122
>Let's try both plans.
One of them is bound to succeed.
>>
We're still infected, aren't we?
>>
>>4040122
>>Let's try both plans.
We can do civilians on the chopper and police on the car.
>>
>>4040122
>Let's try both plans
>>
I just remembered what happens to the chopper. hopefully the timeline has changed in our favor for this one.
>>
>>4040172
I don't remember
Is Nemesis around yet? He could take us down in a second.
>>
>>4040184
So far all we know is that he's been dropped in the city.
>>
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>>4040144
>>4040166
>>4040170

"Why not try both plans?" you ask. "One of them is bound to work, and at best, both do."

Everyone seems to agree. With a helicopter, you could potentially carry the people who wouldn't have been able to get in the van. "We'll radio this in," Carlos says.

The mercenaries plan on staying in the parking garage, in order to ensure no zombies get in. Rita asks you to relay this newest development to Marvin, and Dylan walks upstairs with you. Thankfully the eastern hall is clear for now, but that could change from minute to minute, and you and he are able to return to the main hall. Jennifer is once again ecstatic to see that you are alive, and you placate her with a hug. Marvin, after hearing your story about luring the Thanatos tyrant away, is impressed.

"I think you missed your calling in life," he says with his arms folded. "You could've made a great cop."

You and he have obtained a new mutual respect for one another, due to your willingness to self-sacrifice, but deep down you know it is not the same: you can come back from death, and he cannot. As he and Dylan talk about plans to clear the roof with two other officers, you sit down alongside Jennifer and think hard about what you have learned.

Twice now you have returned from the dead. Why? How is it possible? And what are the true mechanics of it? Both times that is has happened, you have felt strange, like your body is disconnected, floating in some kind of void before snapping back to reality at an earlier point in time. But while the first time was jarring, this time it was not as much. Will you get used to it even more?

You take out your letters and look at them. Seven so far. Seven points that acted as safety nets. But what if they are more? What if you could return to even earlier moments than merely your most recent one?

Another thought occurs to you. If such an ability were possible, and you went back to, say, the first time you used a typewriter in the photo room, what would happen if you then did things differently, and used it again? Would it erase the points you had already been to in the future? Or would you be able to hop between branching timelines, taking knowledge and information from one to another? And if it were possible, how could you go about learning how to do it at all?

Thinking about all of this gives you a tremendous headache. You are tired, and starving, and want to go to sleep. From what you can overhear, it sounds like the escape plans are going to happen tomorrow, either in the morning or later in the evening. You look at Jennifer, who has fallen asleep on your shoulder, and your own eyes grow heavy. You would like to use a typewriter, but you're out of ink ribbons. You'll need to find some more at some point.

>Sleep
>See if you can find something to eat
>Talk to someone
>Get up and walk around
>Other
>>
>>4040244
>>See if you can find something to eat
>>Talk to someone
Dylan
>>
>>4040244
>Sleep
We can afford to starve for a few more hours.
>>
>>4040260
Support
>>
>>4040244
>See if you can find something to eat
>Talk to someone- Dylan
>>
>>4040244
>Other : Eat
>Sleep
We are no use to anyone if we arent in fighting shape
>>
>>4040244
>>See if you can find something to eat
>>Talk to someone- Dylan
>>
>>4040244
>Another thought occurs to you. If such an ability were possible, and you went back to, say, the first time you used a typewriter in the photo room, what would happen if you then did things differently, and used it again? Would it erase the points you had already been to in the future? Or would you be able to hop between branching timelines, taking knowledge and information from one to another?
That's a good question
Would going back to Point 3 erase points 4 thru 7?
And can we only go back when we die?
>>
>>4040244
>>See if you can find something to eat
>>Sleep
A healthyish and rested Daisy is a good Daisy
>>
I'm back. Very sore from the shots I received today--inocculation against the t-Virus and all.
>>4040591
>>4039595
>>4039601
I'll open this to a point of discussion: so far, I've been doing a "restore only up to the last savepoint" kind of thing. Were it to expand to other areas, such as going to earlier points, how do you feel about being able to return to others from previous (future) saves, even if we change the timeline and make new saves?
I'm prepared for things to get complicated, so I'm not averse to it.
>>
>>4040815
That sound pretty rad actually and makes sense for a save and load system.
>>
>>4040815
Not keen on it. It'd feel too gamey for a quest. Best to keep it to last save point.
>>
>>4040815
I would be interested in it, but you would have to introduce a sanity system or something similar to prevent Anons from abusing the hell out of it. after all, we are 3D beings, to be constantly jumping from a branching timeline to another branching timelines can't be good for the mind/soul. that said FUCK YEAH! let's do it
>>
>>4040260
>>4040281
>>4040293
>>4040374
>>4040481
>>4040495
>>4040595

As Jennifer falls asleep, you gently coax her into lying down and cover her with a blanket, putting a pillow under her head. You stand up and stretch. There is a significant soreness in your legs and lower back. You're soaking from the sewer and the rain, not to mention the blood staining your clothes. Combined with the fatigue and the hunger pains, you must look as bad as you feel.

Limping over to a stack of cans of food, you grab one, noticing that it doesn't have any way to open it. With a smirk, you take out your new multitool, and flip up the can opener. You start to carve it open and discover that it is beef vegetable. With no utensiles, you put it up to your lips and drink the thick soup like a soda pop, albeit one that requires you to stop and chew.

Dylan walks over, carrying some bottled water. You thank him as he sits down next to you. As you eagerly eat and drink, he stares. You pause in the midst of your devouring to look back at him. "What?"

"Nothing," he says with a chuckle. "If anyone deserves to eat like a pig, it's you."

"Hey, I'll have you know I can be very refined when I eat," you say with mock-indignance, wiping your lips on your sleeve. "I'm a chef, you know."

"And here I thought that smock you were wearing when we met was just for show." His smile is warm and genuine, but then it fades. "Listen, about earlier, when you ran outside and had that thing follow after you... Don't get me wrong, I'm amazed that you survived, and very glad, but... I'd prefer it if you don't act so, well, suicidal. And that's coming from me."

You lower the can. "Dylan, I--"

"And it's because I want to get out of this with you. I don't want something bad to happen to you."

Slowly, your eyes fall downward. "Death is..." You stop yourself and try to rationalize what you've been going through. It is nearly impossible to put into words what dying once, let alone twice, gives you perspective on. How can you explain that you're willing to throw your life away knowing that you're actually doing the exact opposite? "I've come to realize recently that my life isn't as important as other people's," you tell him.

"Not to me, it isn't."

You look up into his eyes, feeling those words rattle the very fiber of your being in a way you've never felt before. Even if you begin to disregard the value of your own life, he isn't. You set the half-empty can aside and pull him in for another kiss, and his arms wrap around you, holding you tightly. For one moment, the apocalypse doesn't matter, and your deaths seem very far away.

Sadly, like every other fleeting happy thought in this nightmare, it fades quickly. He pulls away, and sees a tear running down your face. "What is it? We're going to make it out of this."

"Dylan, listen carefully to me. If there is a chance for you to escape, but without me, you need to take it."
>>
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>>4040897

"Don't talk like that. We're getting out of here together, like you said."

"But if we can't, if I can't, I need you to know that I'll always find another way."

He lifts up your chin. "You don't believe in losing, do you?"

"I believe in loss," you whisper. "I lost Tony, and Dr. Jenkins, Sky, Robert... But I know that I'll make it. What's important to me now is making sure others survive, too."

He swallows. "I wish I had your confidence in my odds," he admits, laughing softly to himself. "With our luck, the van will blow up or the helicopter will get shot down."

"Oh please don't say that," you whisper, putting a hand on your forehead. "I don't know how I'll be able to stop those."

He blinks twice in confusion. "What?"

"Nothing." You pick the can back up and finish eating. You open one for Dylan as well, and soon enough you're both fast asleep, with bellies full of beef vegetable soup and fresh water. He has an arm draped protectively over you, and the warmth and comfort it brings is better than any blanket.

The night passes quietly, which is a blessing. When you awaken, the main hall is picking up in chatter as small conversations echo around. You stir, which causes Dylan to wake up as well, and you both sit up, sore from having slept on the floor but relatively well-rested.

'September 27th,' you think to yourself. You look over and see that Jennifer is still asleep, and go to wake her as well.

>Talk to Marvin and Rita
>Talk to Carlos
>Talk to Jennifer and Dylan
>Spend some time alone
>Other
>>
>>4040901
>>Talk to Marvin and Rita
>>
>>4040901
>>Talk to Carlos
We should bring a typewriter with us when go to leave the city.
>>4040845
I like that idea, hell seeing that most of us don’t seem to want to abuse the typewriter we could have it so that only after we have finally left Raccoon City for the first time we could finally be able to load up other saves so that we don’t end up abusing the ever loving hell out of the typewriter.
>>
>>4040901
>Talk to Marvin and Rita
>>
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>>4040919
>>4040956

You walk over to Marvin and Rita, who have some of the other officers with them. "We're going to need to clear a path to the roof," Marvin says. "Going through the east office and up through the fire escape should do it, but we'll have to ensure the hallway adjacent to the helipad is free of hostiles as well. Now, thanks to our apparent... 'friends' at the UBCS, they say they can get us a chopper. That gives us two options for getting out of here, and we're gambling with both of them."

Rita looks at the other officers. "No matter what, not one cop gets evacuated until every civilian is either on the truck or on the chopper. Then, we can figure out which of us is going to get out first."

Marvin walks around the table, pointing at the back of the police station on the map. "Now, thanks to the hole made in the garage shutter, zombies are threatening to get in. We managed to board it up with some plywood and chains, but the noise in fighting them off attracted more. So, now we've got zombies swarming at the parking entrance again. On top of that, more are getting into the halls through the windows, which we can't close because the control cables are cut."

"Damn chief," one of the cops mutters. "Why don't we go up there in force and make him pay for what he's done?"

"He has a hostage, and all the keys," Marvin reminds him. "Our priority is getting the people in this station to safety. Now, if all else fails, the UBCS has gathered civilians here," he says, pointing at the tram terminal not far from the station. "It isn't far, but moving people in the open would be risky. That's our backup plan."

"But they said the tram isn't working," another officer says.

"Like I said, it's a backup plan," Marvin reiterates. "Now, we might as well cut all ties with the west side of the station. The east side needs to be our focus: it has access to both the roof and the basement. If we clear these areas, there's no telling how long we'll have before they are compromised again."

"Is there a way to fix the window shutters?" you ask, stepping forward.

"Not without a replacement cable," Marvin answers. "And we don't know where to start looking for one. Only the chief would know that, and I think we're all well past the point of asking him for help." He clears his throat. "We need to know which teams are going to be taking the truck, and which are clearing the helipad, and which civilians are going where. We'll need to be precise and decisive."

>Offer to search the station for supplies, like a power cable.
>You'll help the team with the path to the basement, and take the truck.
>You'll help the team with the path to the helipad, and take the chopper.
>Maybe we should delay the operation.
>Other
>>
>>4041059
>Offer to search the station for supplies, like a power cable.
>>
>>4041059
>>Offer to search the station for supplies, like a power cable.
>You'll help the team with the path to the helipad, and take the chopper.

If we see any promising leads on the way there its worth stopping to check. We will need breathers between licker attacks anyway
>>
>>4041059
>Offer to search the station for supplies, like a power cable.
>You'll help the team with the path to the helipad, and take the chopper.
>>
>>4041059
>>Offer to search the station for supplies, like a power cable.
>>You'll help the team with the path to the helipad, and take the chopper.
>>
>>4041059
>>Offer to search the station for supplies, like a power cable.
>>You'll help the team with the path to the helipad, and take the chopper.
>>
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>>4041108
>>4041115
>>4041128
>>4041149
>>4041098

"I'll search the station for a power cable," you speak up, and the others all look at you with mixed reactions. Marvin nods at Rita, who gently takes your arm and pulls you off to the side. He continues to brief the other officers as she speaks with you in a hushed tone.

"Daisy, no one here doubts that you're capable."

Your brow furrows. "Isn't that the kind of sentence that is usually by a, 'But...'?"

Rita sighs. "But... things have gotten more dangerous. Those... licker things, they've gotten into the upper floors of the station. Nobody here wants to lose you."

"I don't think that's going to happen."

"It's one thing to be confident, it's another to be throwing your life away. You're valuable, you've proven that. Everyone here respects what you did to lure that monster out of the garage. What worries us is how readily you do it. You charged into that situation with reckless abandon."

'Because it was my second time doing it,' you think. "We survived in the streets, in the hotel with those 'lickers' and at the river when those frog-things emerged. I promise you, I'll be fine. I could take someone with me--Dylan, or Jennifer. She can pick locks and--"

"I'm an officer, so even if I wanted to, I would be morally opposed to sending you off on your own. Furthermore, Jennifer hasn't been through what you've been through. She could compromise you. When we went through the library, Marvin and I were with you."

"Rita, I'm asking you to trust me. We've been through a lot together. Doesn't that count for something?"

Rita frowns. "You make... odd decisions, Daisy. Like when we were in the control station for Flower Bridge, and you paused to use that typewriter after an alarm had gone off and drawn hostiles to our location. We were attacked, maybe because of it. Maybe you've been lucky up until now, maybe one wrong choice at the wrong time could result in a death. Maybe--"

"You were the one who turned on that alarm," you find yourself snapping, then immediately regretting.

She nods. "I know. As an authority figure, I'm asking you to stay here, where at least we know it is safe." She slowly lowers her eyes, casting a look over at Marvin's group. She then whispers to you, "...But, I can't stop you from disregarding my request."

You pause for a moment as you listen to her words and take in her body language, and you understand. "Alright, Rita. I get the message, loud and clear."

She thanks you with a gentle pat on your arm, then rejoins the other police.

Knowing you are about to leave the main hall without their approval, you only consider where you're going and who you're going to take with you, if anyone at all. After all, sneaking out of this room alone will be easier than leaving with one or two others, but having someone to watch your back or pick locks wouldn't hurt...
>>
>>4041345

>West wing; Dylan and Jennifer
>West wing; only Dylan
>East wing; Dylan and Jennifer
>East wing; only Dylan
>West wing; solo
>East wing; solo
>Other
>>
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>>4041345
>Your brow furrows. "Isn't that the kind of sentence that is usually by a, 'But...'?"
*usually followed by a

Anyway, sorry for my lack of posting at my usual speed today, I'm very sore and need to get to bed. We'll be resuming tomorrow.
>>
>>4041348
Honestly best bet would be to find it now and grab it way earlier when the station wasnt so fucked. Mabey kill irons in the hallway upstairs too.

>west wing solo. We can grab Jennifer when we find it
>>
>>4041348
>>West wing; solo
>>
>>4041348
>West wing; only Dylan
>>4041354
Thanks ark for running the first good RE quest in so so long.
>>4041356
Yeah I wanna rescue Katherine before she gets murdered too.
>>
>>4041354
Thanks for running Ark.
>>
Someone should probably archive the thread.
>>
>>4041345
>>West wing; solo
>>
>>4041363
>Thanks ark for running the first good RE quest in so so long.
Thank you, anon, that means a lot.
>>4041415
I'll do it, don't worry.
>>
>>4041432
I've been here since the beginning and there was only one other good RE quest (sadly dead). It's a very rare thing indeed.
>>
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>>4041362
>>4041363
>>4041419

Looking back at Jennifer and Dylan as they eat soup and drink bottled water, you reflect on what it could mean if you went alone versus having someone else with you. If you were to die, you would simply go back, but if one of them were to die, they would cease to be, unless you went back to a point before their death.

Then, another thought occurs to you. When you saved Dylan from the records room, you knew there was a file in there you wanted. You only knew this because of a previous life. What if you could find a power cable and return to an earlier point in the timeline? To then go and find it much earlier, and use it much earlier?

You hesitate. 'The cable was cut by the chief,' you think to yourself. 'If I found another cable and used it earlier, would he cut that one, too? Then again, he's done several things wrong. He's probably trying to make sure as few people as possible survive and make it out.' Closing your eyes, you consider another scenario. 'What if I had shot the chief when he appeared in that hallway? I'd have all the keys in the station, and he wouldn't be running around ruining things. But can I really do that? Kill a man like that? I could get the evidence from Ben's room in the hotel and prove to all of the other officers how corrupt he is; that would prevent them from following his orders. They could arrest him and throw him in the jail downstairs.'

All this speculation makes your head hurt. You don't even know if you can go back to before your last use of a typewriter. And even if you could, a damaging thought runs through your mind: 'You can't save all of them, Daisy.'

But can't you?

Grabbing your shotgun, you make for the western hallway. Dylan and Jennifer both look up as you walk near them, towards the western door. "Woah, what are you doing?" Dylan asks, and Jennifer runs to the railing.

"I'll be right back," you tell them, and attempt to open the door, when you realize it is locked. Your lips part slightly as you realize that the doors in the main hall are locked from the front desk computer, which Marvin has the access keycard to. He must've locked them precisely for the express purpose of preventing anyone from going off like you're trying to. You can't blame him for trying to protect the others; it's not like he knows what you know about you being able to come back from death. Either Rita knew and didn't tell you, or he didn't tell her, likely knowing that she'd probably tell you. Either way, they're both trying to protect you.

Dylan walks around the railing. "Daisy?"

Jennifer follows quickly after, reaching for your arm. "Don't tell us you're going back out there!"

You put a finger up to your lips and tell her to shush. Looking back, you see that none of the officers have noticed; they're all on the other side of the statue, still conferring with each other over the plan.
>>
>>4041980

>Convince Jennifer to pick the lock on the door
>Attempt to get the keycard from Marvin
>Wait in the main hall for the time being
>Go out the front door
>Other
>>
>>4041980
>Convince Jennifer to pick the lock on the door
>>
>>4041981
>Wait in the main hall for the time being
>>
>>4041981
>>Convince Jennifer to pick the lock on the door
>>
>>4041981
>>Wait in the main hall for the time being
>>
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>>4042020
>>4042022
>>4042078
>>4042156

You look at Jennifer, who is conflicted by your desire to head out into the hall. "Can you unlock this door?" you ask her.

"I..." She looks between you and Dylan. "Is that a good idea?"

"Look, there are important things in this station that we can find. Dylan and I can protect you while you unlock the doors."

"I think we should wait here," Dylan says. Jennifer wants to help you, but also wants you to be safe, and so she agrees with him after a moment of consideration. He gives you a worried look and says, "We can wait here until the rescue operation begins."

With a sigh, you nod and go with them back to your corner. You sit down, puzzling things through in your head. Even if you did die and come back, you would have to lure the Thanatos away again. If things could have been different, you would never have let Dr. Mueller unleash that thing...

A gunshot can be heard in the station, and the main hall goes quiet. It is difficult to pinpoint where it came from, but it sounded like the east wing. Then, another gunshot. The three of you walk around the statue, approaching the officers. Rita picks up her radio. "Harry? Is everything alright down there?"

At first, there is nothing but static. Then, suddenly, he answers. "The chief!" he says, sounding frantic. "The chief just appeared through a door and shot out two of the tires on the van!"

Everyone looks at each other as Rita says, "Can you get to him, Harry?"

"Those Umbrella guys in the green uniforms are trying to follow him. He just suddenly appeared, I..."

"Damnit all," Marvin says, slamming his hands against the table.

"He's not going to let us leave," you say as you step forward. "He's got eyes in the station. The cameras. He tried to keep anyone from getting in the back way by breaking the panel, and when we did, he decided to shoot out our tires. When he learns we're going to escape with a helicopter, he'll try and sabotage that plan, too! And it won't stop, not until either him or all of us are dead!"

"She's right," another officer says. "Ed's been missing since yesterday, and he was near the chief's office. How do we know he hasn't killed him?"

"We can't go after the chief," Marvin says. "We have civilians we need to evacuate." He looks at Rita and says, "Get those mercenaries on the line. Tell them the plan is still on. We're doing this before that bastard can put a stop to it. We need to get everyone up to the roof and get a chopper here to lift them out."

She nods, taking out her radio. Having set the channel to one the chief doesn't know, she asks for a status update on the pursuit. "The chief got away," Harry reports. "He went behind a locked door, and they kicked it down, but all they could find was a closed elevator shaft with no way to call it."

"Tell them to get ready to fight their way through the east wing, and you're going with them," Rita relays Marvin's orders. "We're calling for that chopper."
>>
>>4042252

The officers start to gather near the eastern doors, ready for their plan. As they check their weapons, Marvin gathers up the civilians, including yourself, Dylan and Jennifer. Nearby, Amber holds Emma's hand. There are a few other civilians who have made it up to this point, each of them looking worn and haggard.

He addresses them. "We are about to clear a path to the rooftop helipad. After we have done so, a helicopter will be summoned. Civilians have priority to evacuate. Once we have the path cleared, you will be given a signal to move, through the hall, into the office, up the fire escape, through another hall and then you will arrive at the helipad. Please remain calm and do everything that the officers instruct you to do, and you will make it out alive."

Gunshots are heard in the eastern wing; automatic rifles, which could only mean that the UBCS mercenaries are engaging the undead in the stairwell hall.

"Time to move," Marvin says. He approaches a computer and slides they keycard, unlocking the doors. The police officers move through them and begin their plan.

>Go with the plan and attempt to escape
>When no one is looking, break away and head into the western wing of the station
>Help the police secure the east wing
>Climb up the ladder to the second floor
>Other
>>
>>4042257
>>When no one is looking, break away and head into the western wing of the station

We need to find an ink ribbon. Then we can commence operation Fuck You Fatty

>Other
>Find Ink Ribbon
>Make backup save
>Perform the Kurt Cobain maneouver
>Load save slot 1
>Take Dylans pistol
>Sneak into records hall
>Kill Chief Irons
>...?
>Profit
>>
>>4042257
>>When no one is looking, break away and head into the western wing of the station
Ink ribbons here we come
>>
Also OP you should heavily consider starting a new thread. We are in autosage and well over 1k posts. Its about time dont you think?
>>
>>4042291
Well, I'm mostly keeping this one going because I'm about to deploy to Iran and will probably die, so I don't want to start another one while I can't fully commit to it.
I'm kidding of course. About the Iran part, not the deployment part. I've got about just under two weeks before I leave.
I was also kidding about the dying part (probably).
I'll continue to support this thread until it falls off the board or just shortly before that point if I find a good place to leave it off on; that's kind of my style.
More threads will come in the future, you have my word.
>>
>>4042367
And again, this thread is not ending yet, so by all means continue to participate.
>>
>>4042439
This is kind of what I was getting at. Autosage means that the thread no longer bumps with new posts, so this thread is sliding farther and farther down the catologue. Unless more people like me have the thread open and reply, the users will dwindle down to nothing since new players cant see you on the front page.
>>
>>4042466
Yes, that's also a factor. Were I not in the situation I'm currently in, I'd make another thread, but as I need pretty much all of next week to settle my pre-deployment affairs, I wouldn't be able to give it the time needed. When I run, I want to invest time into it and not have to divide my attention.
I'll keep this thread going until I feel I've reached a good point to leave it off until I can resume.
When I return from work this evening, we'll continue.
>>
>>4042257
>When no one is looking, break away and head into the western wing of the station
>>
Back, writing now.
>>
File: inventory 15.png (904 KB, 1500x1126)
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>>4042268
>>4042264
>>4042537

Everyone's attention is drawn towards the eastern doors, you take a few steps back and then turn towards the western doors that were locked a moment ago. You swipe the diamond key from the front desk and put it into a pocket before walking through the doors, into reception area and then into the hallway beyond it. Almost immediately, a zombie turns its attention towards you, raising its arms and lunging with a sharp moan. You bring up your shotgun under its arms and push right as you move left, deflecting him off to the side. You've been around these things enough to know how to handle one.

Up ahead, however, there are two more, blocking the door that leads to the north. To your immediate right is the records room. Going in there would trap you again, just like the first time you died, only now you have a shotgun.

Suddenly, you hear the door to the hall that you entered from open, and gunshots ring out as Dylan shouts. You curse under your breath and turn around, especially after hearing Jennifer shout. 'No, no, no,' you think, running around the corner. Thankfully, you see that Dylan has subdued his zombie and has placed his gun to the back of its head as he presses down on its back with his knee. He blows its brains out with two shots, then looks up.

"Daisy!" he shouts. "What the hell are you doing?"

"I just needed to check something!" you say. "Go back!"

He raises his gun as the two zombies you left behind shamble after you around the corner. You turn and aim, blasting at them with your shotgun, knocking them back. Dylan and Jennifer run up to you, and both grab you to try and pull you back towards the main hall.

"You guys need to get out of here, it isn't safe!"

"I'm glad we agree, now let's go!" Dylan insists.

"Daisy, please!" Jennifer begs.

"Listen to me!" you say to them both. "I can't leave yet. There is something I need to do. But you two have a chance to get out of here!"

"We're not leaving without you!" Dylan says, looking at the two zombies from a moment ago get back up. "Look out!"

You and he both shoot at them, knocking them back again and killing one of them. You look back at them both and say, "You need to stay with the officers. They'll keep you safe."

"What about you?" Jennifer pleads. "Where you go, I'm going!"

"Same for me," Dylan says.

You sigh, approach the other zombie as it crawls forwards, put the barrel against its head and pull the trigger, splattering it all over the floor. "I still think you guys should be trying to reach the helipad."

"If you think you're going anywhere alone, you're crazy," Dylan says firmly. Jennifer, though afraid, agrees with the notion.

After a moment, you sigh and nod. "Alright then. Let's go."

>Search the records room
>Continue on to the operations room
>Continue on to the evidence room
>Continue on to the photo room
>Other
>>
>>4042849
>>Search the records room
>>
>>4042849
>Search the records room
>>
>>4042849
>Continue on to the operations room
>>
>>4042849
>>Search the records room
>>
File: ink-ribbon.png (129 KB, 400x320)
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>>4042866
>>4042936
>>4042966

Knowing that you've hardly scratched the surface of what could be in the records room, you open the door, usher them both inside, and then lock it to ensure that nothing can get it.

"What are we doing?" Jennifer asks nervously. "Weren't we going to escape?"

"I still want to," you say. "I just feel that we've hardly searched the station." You begin rifling through cabinets and shelves, looking for anything valuable. Dylan follows your lead, opening the drawer of a desk.

"Some bullets here," he says, holding them up.

"You take them," you insist, before dropping a box and sighing. You mutter under your breath, "This is a records room, there needs to be some in here..."

"Uh, Daisy?" Jennifer says, holding up something. "I found these."

You look, and your eyes nearly bulge. Ink ribbons! Two of them! You smile and hug her, which seems to please her greatly. You take the ink ribbons and put them in your pocket.

Dylan walks around one of the shelves, climbs up a small stepladder and roots around for something. He returns a moment later. "I found a crank and a hand grenade," he says. He tosses the crank onto a nearby table, thinking it useless compared to the other item.

"Good work," you say, but right now your mind is ablaze with possibility. If you can write an eighth record, you can put your theory about travelling to earlier points in time to the test. But first, you must decide what to do next.

>Return to the main hall
>Continue on to the operations room
>Continue on to the evidence room
>Continue on to the photo room
>Other
>>
>>4043004
>>Return to the main hall
I am willing to change for a good reason
>>
>>4043004
>>Return to the main hall
We need to save, I think our last save was before run with the tyrant and croc.
>>
>>4043004
>Return to the main hall
>>
>>4043004
>Continue on to the evidence room
>>
>>4043004
>>Return to the main hall

OPERATION FUCK YOU FATTY IS A GO
>>
File: LickerCreature.jpg (14 KB, 402x247)
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14 KB JPG
Rolled 6, 5, 9, 18, 20 + 20 = 78 (5d20 + 20)

>>4043026
>>4043032
>>4043095
>>4043122

"I have what I wanted," you say to them both.

"Those things?" Dylan asks, confused. "You just needed them for a typewriter?"

"It's important," you tell him. As you open the door, however, Jennifer screams for you to look out as a skinless man leaps at you from the ceiling. You try to react quickly in time.

>Experience: +10
>Fire Support: +10
>>
>>4043135
Yeah, those are Tyrant rolls. Boom, headshot.
>>
>>4043135

As the licker leaps, you turn, take out your knife and stab it into the neck of the monster. Well, you don't stab it so much as allow it to fall onto the blade, allowing its mass and momentum to do the work for you, but the effect is the same. The licker falls back, letting out a shrill cry before hopping back up to its stomach on all fours like a twisted contortionist. Dylan gets to the doorway and opens fire with his SMG, spraying the licker with a hail of bullets until it screams and twitches in its death throes, its limbs flailing as it falls onto its back.

You sigh in relief as you grab the knife and slide it back into its home. Now you, Dylan and Jennifer run back to the main hall. As Rita runs up to question you, Dylan explains what happened while you push past and run up to the typewriter at the front desk. Without pausing, you load in an ink ribbon and begin to write.

>To whoever finds this...

>This is the eighth record of Daisy Dixon. It is the 27th of September, 1998.

>After my last message, the tyrant that Greg Mueller created attacked the station. I managed to lead it away, to the sewers, where it was eaten by a giant alligator that we managed to escape from earlier. I don't think I'll be seeing it again. Afterwards, I met mercenaries hired by Umbrella, but they insist their orders are to save people. I still don't know if I can trust them.

>They are here at the station, helping us to signal a helicopter. It won't be long now. I only hope that the others and I can escape and finally get out of this hell.

You finish typing and grab the letter, folding it and shoving it into a pocket before looking to your right. Marvin receives a signal from the team on the roof; they are setting up a flare and preparing to signal the chopper. "Upstairs, move!" he calls out, and the civilians begin to travel into the east hall, through the office towards the fire escape. You fall in line at the back of them as they are guided along the path by officers watching for any attacks from the undead.

At the top of the fire escape, you wait in the hall that leads to the helipad with the other civilians. As you wait in the hall for signs of rescue, you hear something strange coming from further up the hall. The others are all chatting nervously, wondering if rescue will truly come, and so you try to zone them out and focus.

It sounds like a woman crying. Your eyes widen. 'The mayor's daughter...? Or the little girl, maybe?'

>Stay with the group.
>Break away and try to find the source of the crying.
>Tell one of the officers about it.
>Grab Dylan and Jennifer and go investigate.
>Other
>>
>>4043240
>Stay with the group
>>
>>4043240
>Grab Dylan and Jennifer and go investigate.
One could hope that it's the mayor's daughter.
>>
>>4043240
>Grab Dylan and Jennifer and go investigate
>>
File: katherine warren.jpg (28 KB, 512x403)
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>>4043252
>>4043253

Grabbing Jennifer and Dylan, you pull them further up the hall. "What is it?" he asks. "We're about to--"

"Shh! Listen!" You get them both to be quiet and they, too, pick up on the sobbing. "It sounds like it's coming from one of these other rooms over here..."

With your weapons drawn, you approach a door. The sobbing stops, but you hear gasping and breathing on the other side, like someone trying to keep quiet. You try the door and the person inside cries out in terror, but it is locked, so you motion to Jennifer. She approaches with her lockpick and, within the span of a minute, works her magic.

The door opens and you find yourself in some kind of darkly-lit art room. Old paintings, statues and covered-up furniture line the area. You poke your head in and speak. "Hello? Is anyone here?"

Perhaps because your voice is female, the woman risks revealing herself. She slowly rises from her hiding place behind a couch covered in cloth. She is a young woman, pretty with blonde hair and a round face, wearing a light white dress. Her hair is draped over her shoulders in two ponytails, and she looks like she has been crying and sleep deprived for some time now.

"Are you the mayor's daughter?" you ask.

"Yes," she gasps and nods, running around to you. "Oh, I'm so glad you found me, it was horrible, I--"

All three of you are looking at her as she runs over. As she reaches you, a gunshot rings out in the hall, and Dylan falls to the floor, clutching his shoulder in pain. He screams as blood runs down his arm. Jennifer cries out and steps back, trying to catch him and help him while the mayor's daughter cowers in place, putting her hands over her head.

You run out into the hall, standing over Dylan as a figure escapes around the corner to the north. 'The chief,' you realize. 'He shot Dylan!'

>Go after him.
>Get Dylan, Jennifer and the mayor's daugher to safety.
>Get them into the art room.
>Fire back at the figure.
>Other
>>
>>4043240
>>Break away and try to find the source of the crying.

we just saved there is literally no reason not to go
>>
>>4043282
>>Go after him, tell Jennifer 'GET EVERYONE TO SAFETY' as we go after the chief.

smooth move guys, smooth move
>>
>>4043282
>Get Dylan, Jennifer and the mayor's daugher to safety.
Would love to kill him but getting them out safely is our priority.
>>
>>4043292
The fuck face is going to shoot down the heli if we don't stop him first
>>
>>4043282
>>Fire back at the figure.
Worst case scenario, we miss, but we have a save from like 5 seconds ago and we can ultra-gank him next time
>>
>>4043282
>Get Dylan, Jennifer and the mayor's daugher to safety.
>>
>>4043282
>>Fire back at the figure.
Fucking chief
>>
>>4043282
>Fire back at the figure.
ez shot
>>
Rolled 3, 6, 13, 9, 13 + 10 = 54 (5d20 + 10)

>>4043292
>>4043302
>>4043301
>>4043303
>>4043291
>>4043387

You take out your pistol and shoot at him, but end up only hitting the hallway twice. Cursing under your breath, you kneel down to help Dylan as you and Jennifer prop him up against the wall.

"Go and get him and the mayor's daughter to the helipad!" you tell Jennifer, before running down the hall.

"Daisy! Wait!" Jennifer calls out.

You come to the corner and peek out, only to be shot at. The bullet hits the wall and you catch yourself before leaving your cover and entering his line of fire.

After he fires, you hear him running away, up a staircase. You go to follow him but again he shoots, covering his retreat. You fire three more times at him, but again he's gone.

'How can he move so much for a man his size?' you think to yourself.

You chase him up the stairs as he slams a door. You're about to go after him when you hear it locking on the other side. In anger, you slam against it and kick the door a few times before raising your gun and getting ready to shoot through the other side.

That's when you hear the clicking of a licker's claws on the ceiling, and look up in time to see it crawl through a vent, attracted by the sounds of the fighting.

>Experience: +10
>>
Rolled 13, 9, 20, 3, 3 + 10 = 58 (5d20 + 10)

>>4043417

The licker's tongue shoots out, its sharp edge impaling your arm and making you drop your pistol. You fall down and scramble for it, but then the monster's tongue wraps around your leg and it starts to pull you in and up.

Reaching for your knife, you lean up and cut the tongue from your leg, causing the licker to scream and drop you. You hit the ground hard and moan as the licker's tongue retracts fully into its mouth, then it drops from above.

>Experience: +10
>>
File: licker.png (115 KB, 400x320)
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Rolled 17, 2, 12, 5, 7 + 10 = 53 (5d20 + 10)

>>4043422

The licker falls on top of you, scraping your side with its claws. You try to shove it off, but the monster is relentless, howling in your face as it swipes again and again, drawing blood as its claws dig into your arms and sides; you suffer one particularly nasty gash down the side of your face. The licker gives one last how before it dives down, biting your shoulder with its elongated, sharp teeth.

You scream as you bring up the knife, trying to stab it again and again while it gnaws on your shoulder, digging into your flesh. It's claws hold you down while it violently twists its head and neck, trying to tear a chunk out.

Feeling yourself begin to succumb, you raise the knife again and try to impale it through the monster's head.

>Experience: +10
>>
>>4043438
Welp. At least we saved just before this
>>
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>>4043438

Unfortunately, as you attempt to stab it, the licker lets go with its teeth and rears backward, raising a claw high up into the air before bringing it down. The sharp claw slices into your neck and your mouth rapidly fills up with blood. Your vision turns blurry as you find it difficult to breathe. The last thing you see is the licker's tongue emerging and then shooting forth to break through your skull, between your eyes, to get at the delicious brains within, which it then begins to scoop out as it gnaws on your face.

Then, like before with the Thanatos and the zombies in the room, everything starts to reverse. You watch the licker's movements as they play back in the opposite direction. It flies up to the roof, and then you are chasing Irons again. Back in the hall, exchanging gunfire, Dylan getting shot, finding the mayor's daughter. Making your way up to the hallway from the main hall.

The typewriter.

'No, wait,' you think to yourself. 'I can do more... I can...'

The sensations of this out-of-body experience are unlike anything else you've ever felt, but you are becoming used to it. You can understand more and more of what is happening, and you can do more. You know that you can go back further... there are earlier points in this chain of events that you can revisit, like cosmic stops for a metaphysical bus. You focus... Focus intently...

You feel yourself slipping further from your last note, going back in time more, but just as you start to get the hang of it, you lose control and are slingshotted forward again, back to your eighth record.

The noise of the main hall as the civilians gather in preparation to head up to the helipad fills your ears. A breath enters your lungs; you're back in your body again. When you open your eyes, you look up at the statue in the center of the hall, the woman holding the vase.

"Irons," you mutter to yourself. "You're not getting away this time."

>Do as you did before, right up until the moment Dylan was shot
>Send Dylan and Jennifer off to the line; you'll take the ladder up to the second floor and then flank Irons
>Take Dylan and Jennifer with you to confront Irons before he attacks
>Warn the officers about where Irons is going to be
>Other
>>
>>4043438
Hopefully we roll better next incarnation, I want recreate that scene with Spiderman chasing Shocker up the bell tower.
>>
>>4043465
>>Take Dylan and Jennifer with you to confront Irons before he attacks
we will ambush him!
>>
>>4043465
>>Take Dylan and Jennifer with you to confront Irons before he attacks
>>
>>4043465
>Send Dylan and Jennifer off to the line; you'll take the ladder up to the second floor and then flank Irons
>>
File: brian-irons2.png (164 KB, 400x320)
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164 KB PNG
Rolled 8, 12, 2, 7, 5 + 30 = 64 (5d20 + 30)

>>4043475
>>4043485

Taking hold of Dylan and Jennifer, you bring them over to the ladder.

"What is it?" he asks. "We're about to--"

"Trust me," you tell them. "We're going to go the other way, in case Irons tries to do anything funny."

"Are you sure?" Jennifer asks.

"Positive," you reply, opening the second floor eastern door into the reception area for the chief. You take out your shotgun and load it. 'Seven shells in the weapon, four left,' you think. 'Better make each one count, just to be sure.'

Beyond this door is the hallway you were in moments ago. The sound of the mayor's daughter crying reaches your ears again. You motion for Dylan and Jennifer to open that door, and explore it. Jennifer unlocks the door as quickly as before, and Dylan enters first. As you subtly guide Jennifer into the doorway, you stay with your gun aimed down the hall at where you know the chief is going to appear.

Jennifer speaks up this time. "Hello? Is... anyone here? We're here to help..."

The mayor's daughter peeks out and runs to your aid. Just like you suspected, the chief was waiting for it, because then he sticks his fat, moustached head out from around the corner, only to see you with your shotgun half-covered by the doorway.

You fire, causing the mayor's daughter to scream. Your shot was too low, and missed--the chief retreats. 'Damn,' you mutter. "Jennifer, stay with her! Dylan, come with me!"

He follows after. You hold up your hand and make him stop right before the chief fires from the top of the stairs, just like you knew he would.

With a look of pure determination, you chase him up the stairs with Dylan on your heels. "Watch the ceiling for lickers!" you tell him, and he looks up.

When you reach the top of the stairs and hear the chief locking the door on the other side, you raise your shotgun and fire at it. You hear him curse in pain as he falls back; some of your round must have hit him.

"Daisy!" Dylan shouts, and you turn and aim up at the licker you know will be there.

>Experience: +20
>Fire Support: +10
>>
File: Chief_Irons.jpg (46 KB, 654x678)
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>>4043516

You fire, blasting the licker off of the ceiling. It falls down and Dylan sprays it with bullets, not stopping until his gun clicks empty. Thankfully by then it is dead.

Turning back towards the door, you bring up your foot and kick it open. You discover that it leads to a balcony, and Irons is here, holding his injured side. In his other hand is a lit lighter, and your nose is instantly hit with another smell--gas. You look down and see that the ground, and a good portion of the roof, is covered in it.

'He's going to set the roof on fire to keep the helicopter from getting close,' you realize.

His eyes widen as he looks at you. "What the hell? You? Who the hell are you? You're no cop. Who sent you? Was it Umbrella?"

"My name is Daisy," you say to him, raising your shotgun. "And I'm a chef."

"Shoot me and I drop it!" he threatens. "Nobody's getting out of here alive... nobody!"

"It's too late, Irons," you say, looking beyond him in the distance. "I can already see it."

The helicopter is on approach from the south. It is a larger model, one that can carry every civilian out of here.

"Goddamn it... I'm the one in control here. If I say nobody gets out alive, nobody gets out alive! Nobody is leaving here, not if I have anything to say about it!"

His arm tenses as he prepares to drop the lighter.
>>
Rolled 14, 18, 17, 14, 8 + 20 = 91 (5d20 + 20)

>>4043537
>Experience: +20
>>
File: 1455198816894.jpg (5 KB, 250x236)
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>>4043541
Nice
>>
>>4043541
Get fucked Irons
>>
File: the return.gif (4.14 MB, 480x270)
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4.14 MB GIF
>>4043541

You turn your barrel slightly to the left and fire. The blast utterly annihilates his hand like his name was Alex Murphy and yours was Clarence Boddiker. The lighter, similarly destroyed, flies off and over the the side of the roof, nothing more than specks of metal in the light. The chief falls down to his knees, screaming in pain, holding onto the arm that now ends at the wrist. Blood pours from the wound, spraying the ground in front of him.

"You... you bitch!" he mutters. "I'm gonna fucking gut you and mount you on the wall! When I'm through with you, there won't be enough meat to throw to the fucking dogs! I'll--"

A shadow passes overhead, accompanied by a whooshing sound. You, Irons and Dylan are all knocked back as a massive figure leaps onto the station from the street below, easily clearing three stories in a single bound. The floor at its feet crack as it lands.

You shake your head and look up, your eyes widening in horror.

The Thanatos tyrant, missing its right arm, has mutated. Its previous form, relatively human-shaped, has given way to a gross expansion of its chest, shoulders and neck. Its left arm, perhaps in compensation for the loss of its right, has now grown doubly--or perhaps triply---more massive, its claws now bone-white and large enough to skewer two men at once. Its legs bulge under the weight of the monster, and the metal case that protected its external heart is now shattered, as the organ has doubled in size, breaking free of its prison.

And somehow, the black speedo remains, straining against the flesh that has grown beneath it.

Having lost its stoic, emotionless expression, the Thanatos now roars in absolute fury and rage, thrusting its arm outwards and upwards in a gesture of both power and mindless, all-consuming hatred. The roar that emerges from its scarred, thick throat is long, deep and leaves little question as to how it feels about its existence--and the existence of others.

The chief tries to crawl away, but the Thanatos brings its massive arm down in a slap-like motion, and like a fly caught beneath a flyswatter, the chief is flattened. The Thanatos grabs his barely-living body in its claws and lifts him up, roaring in his face before smashing him up against the nearby wall, painting it red with his blood.

Now, the Thanatos turns its attention to you, its eyes burning with hunger for revenge.

>Fight it outside, on the helipad
>Lead it into the station
>Try to climb up onto the roof
>Have Dylan use his lighter
>Other
>>
>>4043578
>Boss Fight Theme: https://www.youtube.com/watch?v=3zSwzJ1dMNA
>>
>>4043578
>Fight it outside, on the helipad
We need firepower, but we can't lead it back to the civvies. Does the chopper have a gun?
>>
>>4043578
>>Try to climb up onto the roof
>>
>>4043578
>Have Dylan use his lighter
KILL IT WITH FIRE
>>
>>4043578
>Fight it outside, on the helipad
The heart is exposed now?
>>
File: thanatos mutant 2.jpg (46 KB, 474x736)
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>>4043615
Yeah, he's got a big 'ol classic "fuck me here" spot now, z-targettable and everything.
I must retire to bed. We'll continue the thread tomorrow! See you then! Thanks for sticking around for this long, it's been a real roller coaster so far.
>>
>>4043610
Actually changing to
>Try to climb up onto the roof
>>
>>4043619
Thanks for running.
>Thanks for sticking around for this long, it's been a real roller coaster so far.
From Chef Daisy to Thanatos Tyrant killer Daisy, Daisy sure has done good for herself.
>>
>>4043578
>>Try to climb up onto the roof, say to Dylan "Run i'll lead it away" then leads thanatos away
>>
>>4043578
>Try to climb up onto the roof
>>
>>4043578
>Fight it outside, on the helipad
>>
>Fight it outside on the Helipad
>>
>>4043578
>Try to climb up onto the roof
>>
Update will come a little later today; I'm getting off work early and basically have the weekend to run the quest.
See you in a bit.
>>
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Rolled 9, 10, 20, 4, 16 + 30 = 89 (5d20 + 30)

>>4043609
>>4043623
>>4043638
>>4043647
>>4043799

"I'll lead it away," you tell Dylan as you run over to a barrel and begin climbing up it.

"I'm not letting you fight this thing alone again!" he says. As you reach the edge of the rooftop, the Thanatos swings its massive arm from left to right, knocking both the barrel and Dylan off to the side. You hope he isn't hurt too badly.

You grunt as you pull yourself up to the roof. The police station's rooftop is mostly flat with several inclines which are easily navigatable, and so you start getting as much distance between yourself and the tyrant as possible. The Thanatos leaps high into the air, at least two stories worth, before landing on the roof. It displaces shingles where it lands, which is right in front of you.

The Thanatos roars again as you back up slowly, raising your shotgun. You find your heart racing, but it isn't with fear. You know that you'll be able to return to life if the Thanatos kills you, but you're not about to let it destroy the helicopter or harm any of the civilians or officers. Twice now you've had to escape from this thing, and so you finally understand that it is now either him or you, and he's only got one life to give.

It'll be one hell of a life to take, though.

>Experience: +20
>Open Area: +10
>>
Rolled 13, 1, 10, 2, 16 + 30 = 72 (5d20 + 30)

>>4044456

You fire twice in rapid succession, each shot hitting the massive monstrosity in the chest. Blood bursts from the thick, red tubing emerging from its overgrown heart, but rather than stun the tyrant like it did in its previous form, this only seems to further enrage it.

The Thanatos charges at you, holding up its one arm across its chest. You dive to the side and slide down the shingles to the next level of the rooftop below as it skids to a stop, kicking up roofing tiles as it does. As you stop, you take out your last four shells and load them in, giving you six left.

You look up as you reload, seeing the tyrant roar as it jumps up high, aiming to slam down upon you. You only manage to slot in two more shells before you are forced to move. When it lands, the roof beneath it cracks; it has been many years since the museum-turned-police-station's roof was renevated.

Turning towards you, it raises its left arm and attempts to impale you, slamming it into the side of the sloped roof. You narrowly dodge it, keeping as light on your toes as you can, knowing that a single bad step could mean another death. When it rips out its claw, tearing through the shingles and sending them flying, it roars again before charging.


>Experience: +20
>Open Area: +10
>>
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>>4044460

You fire but your shot goes wide; you miss by a narrow margin. The Thanatos charges into you, knocking you to the left with its arm. Your body goes flying towards the edge of the roof, threatening to roll off completely, but you stop just before tumbling down. You wince as you try to pick yourself up; you think that blow might've cracked a rib or something. The pain is immense and difficult to overcome.

However, your will to survive is greater. As the Thanatos comes to another stop, its mouth opening in another furious howl, you pick yourself up and reload your final two shells. You shoot at it twice, limping to your right and away from the roof's edge.

It swings its arm from left to right, and then from right to left, attempting to swipe at you while walking forward. Both times, you hop back, barely keeping out of its impressive reach. You fire a third time, hitting it right in the heart, and causing it to stumble for a moment--but only before it roars, squats low and then leaps high into the air.

You turn and run, and the Thanatos lands behind you, and then leaps again, doing the same thing, and then again for a third time. Each time he lands and then leaps, attempting to crush you. It may be difficult to breathe, but you can still move. Each stomp leaves an impact on the roof, breaking parts of it more and more.

Finally, he leaps, but rather than attempt to land where you are, he intentionally overhsoots it in order to land in front of you. You raise your shotgun as he raises his arm.

>Experience: +20
>Open Area: +10
>>
Rolled 20, 18, 2, 5, 1 + 30 = 76 (5d20 + 30)

>>4044482
Forgot dice.
>>
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Rolled 19, 14, 7, 17, 17 + 50 = 124 (5d20 + 50)

>>4044486

The Thanatos lunges forward, wrapping its claws around your body. You nearly drop your shotgun as you shout in pain, trying desperately to escape its grasp. The tyrant, its eyes burning with rage, roars again and attempts to crush you, squeezing down and bringing you closer, as if to stare at you while you perish. Overhead, the helicopter can be seen circling the building.

You reach for your knife with your left hand before withdrawing it and burying it into the side of its pulsing heart, forcing it to drop you. When you land on the ground, you take a knee and aim upwards, blasting it three final times with the last of your shotgun's ammunition. Each shot is aimed at its chest, right at the heart you stabbed.

The Thanatos steps back, breathing heavily, grunting... but does not die. Your eyes widen as it raises its arm again, preparing to bring it down upon you and smash you like it did the chief. You raise your hands over your head and prepare for the impact.

Bullets suddenly rain upon the tyrant from behind. You open your eyes and look up and see the tyrant holding its massive arm in front of itself like a shield. Looking back, you see none other than Dylan and Carlos charging forward; Dylan with his submachine gun, and Carlos with his assault rifle.

You crawl to the left to get out of the line of fire, crawling up the sloped side to the top of the roof. You're hurt badly, and in hardly any condition to fight, but that doesn't mean you aren't going to. Once there, you take your pistol out of your leg holster and fire at it again and again, adding to their combined hailstorm of bullets.

'Come on, die already!' you think as the Thanatos withstands your attacks. 'Die!'

When Dylan and Carlos run out of bullets and are forced to reload, the Thanatos lowers its bloodied arm and roars. It then squats low and leaps high once more.

>Experience: +20
>Open Area: +10
>Fire Support: +20
>>
>>4044515
And STAY dead!
>>
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>>4044515

You dive backwards as the Thanatos lands in front of you. It is nearly the center of the roof, and not far from a point where it landed before, and so when it lands this time a large crack forms between its feet and the previous point. Part of the roof gives way, forcing the tyrant to stumble.

"DAISY!" Dylan shouts, holding up the grenade he found in the records room. "CATCH!"

He throws it like a baseball, and you gasp as you leap upwards to just barely catch it into your hand. When you land, you collapse to one knee, weak and injured as you are. You look up, finding yourself staring into the eyes of the Thanatos while its mouth exhales a steamy breath.

You've never used a grenade before, but there's a first time for everything. You pull out the pin and simply roll it forwards, then dive to cover yourself with your arms. The grenade rolls over the broken shingles and into the small dented surface of the roof in which the tyrant stands, ending up right at its feet.

Then, it explodes, blowing a hole in the already-weakened roof of the police station. The Thanatos falls, trying to catch itself on the edge, but its tremendous weight only causes that chunk of the roof to break and collapse with him. The roar of the monster echoes throughout the main hall until it suddenly comes to a crescendo, crying out one last time--before falling completely silent.

You pick your head up and crawl forward, looking down into the hole. The statue, holding the vase and the spear-like flagpole, was directly beneath the tyrant. It landed on top of the statue, smashing it to pieces, but not before being completely impaled upon it, with the sharp-pointed tip piercing through its spine and out of its pulsing external heart.

The tyrant lies still, though its heart continues to beat. Once... twice... and then no more. The Thanatos lies, its mouth slack-jawed and its eyes staring up at the hole in the ceiling, unblinking and unmoving. You let out a tremendous breath of relief, knowing that it is truly dead.

"Try coming back from that," you mutter, before collapsing near the edge of the hole.
>>
>>4044515
Humanity fuck yeah!
>>
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>>4044544

You feel hands on your body as Dylan and Carlos hoist you up, draping your arms around their shoulders. They quickly drag you over to the balcony, where the two other mercenaries help you down before they climb down the barrel they used to climb up originally. As the helicopter lands on the helipad, you are brought through the hall with the other civilians. You are placed on a stretcher before being loaded into the helicopter. While four men work to carry you inside, you get one last glimpse at Marvin and Rita, who remain behind until the civilians can make it inside. Amber, Emma and the mayor's daughter are here as well, though Ben is absent.

Dylan and Jennifer sit on opposite sides of you, each one holding your hand. "We made it," Dylan says to you.

You smile up at him as a fluid line is stuck into your arm. Satisfied that you have finally made it, you drift off to sleep.

When you awaken, you are in a tent somewhere. It is a white tent, like the kind used for emergency relief operations. You look over and see that you are still hooked up to an IV, but your attention is drawn moreso to the large red and white logo on the side of the tent wall: that of an Umbrella.

You hear someone entering the tent. It is a man in a black suit, and behind him are two armored guards, all wearing black tactical gear and gas masks. You recognize them as the same uniforms as the personnel you saw dumping B.O.W.s at the university were wearing.

The man is holding several pieces of paper, and is looking through them. "You've been busy," he says, reading through the files. "I'm told you were picked up at the police station. It makes sense why you'd have all this with you."

"What...?" you blink. "You're..."

"Part of Umbrella's official cleanup detail," he explains. "We're working with the government to ensure everything is contained; infection and otherwise. This is a very dangerous area, even in the outskirts of the city like we are. The infected are still common, especially amongst rescuees." He walks around to your IV line.

You try to move, but then realize that your hands and legs have been bound, strapped to the stretcher. He takes out a small needle and sticks the end of it into an injection port on the rubber tube. "You understand. It's important for us to deal with the infected quickly. We can't have them getting out."

His cold, emotionless eyes stare at yours as you realize that he is killing you because you know too much, and will easily be able to cover it up.

"The others..." you whisper.

"They don't know nearly as much as you do, but your male friend, Dylan, will need to be disposed of as well. Contact with so many infected individuals and carriers such as yourself warranted his containment."

You take a few deep breaths. "I swear... I'm coming for you. All of you. Umbrella will... will... pa..."

Your eyelids grow heavy; your voice grows soft. The last thing you see is him finally cracking a smile.

"I doubt it."
>>
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>>4044598
All that hard work, just to get the Bad End?
>>
>>4044598
Hah the dumbass doesn’t know about our bitchin powers. So we definitely don’t board the helicopter and trying to find another way out with the gang.
>>
>>4044598

The poison works fast. You feel yourself slipping away into a deep slumber, but the moment your heart stops beating, everything is very still...

You feel yourself falling backwards through time again, having another out-of-body experience, sliding towards your last point in time, immediately prior to your escape.

Only this time, you stop yourself entirely. It isn't like coming to a stop during a run, as if there were physical ground to catch you, but rather like being caught on the end of a bungee cord and pulled backwards. You're still falling, floating it feels like, disconnected yet aware, tethered to this strange place but no longer forced into one point of it.

The realm you are within exists in a form you cannot comprehend. You try to visualize it in a way that makes sense, manifesting it in the form of a temple, or a palace, with columns and floors and grand, sweeping archways.

Once, you read about the concept of a 'Memory Palace'. You imagined it would be like a Roman temple, with memories lining its walls and corridors like a museum. It is dark, save for points of light; each time you have used a typewriter, and a ninth spot at the opening of the temple: the beginning point.

Your mind is foggy, and errant thoughts stray through your mind that you try to hold onto.

'Umbrella,' you think to yourself. 'I can fight zombies, monsters, tyrants... but they are the true evil. Even when I was able to escape, I was picked up by them... They are responsible for this. All of it. But I can stop them...'

You look upon the points of light that represent your past lives... your 'save points.' At each point, you learned information that would have benefited your past self, and each one allowed you a kind of 'safety net' to return to a previous moment in case you had perished afterwards.

As you near the entrance to the temple, looking upon the memory of you in the kitchen of your diner and hearing Jennifer scream, you realize that you have unlocked the power to travel to any point you have created in this place.

'I can go back,' you think. 'To any point I want... I can stop them... I can survive!'

The choice is now yours.

>Go back to the very beginning
>Go back to a later save
>>
>>4044633
>>Go back to a later save
Going to the beginning sounds a little to dangerous and tedious, we’ll have to repeat so many things and who knows what’ll end up getting changed. I say we go to our last save or the save before that and I’m leaning towards the the save before that, the one right before our run with the Thanatos and super croc.
>>
>>4044633
What was the last save before Irons shot our tires out?
>>
>>4044633
>Go back to the save before Irons shot our tires out.
>>
>>4044686
Second fight with the Thanatos when it shows up in the parking garage.
>>
>>4044686
>>4044689
Why not kill Irons when we tried to break in the STARS room. Pretty sure we were the only ones there, but we only had a pipe then.
>>
>>4044696
I think he had a gun, then, and we didn't.

Also, where are the station security cameras?
>>
>>4044717
Because people weren't so suspicious of Irons, then, and us being caught on camera killing him could go *very badly* for us.
>>
>>4044633
>Go back to a later save
Go back before we face the Thanatos for the second time. I told you all umbrella cannot be trusted.
>>
>>4044717
>Also, where are the station security cameras?
Seems like there's one in every hall, at the least.
>>
>>4044633
Can you list all of our save point please?
>>
>>4044830
Yes, I've been meaning to make something like that.
>>
>>4044907
I went to go take a nap.
>First Record: September 24th, Photoroom, just before overhearing Chief Irons
>Second Record: September 25th, Secret Room Beneath Statue, going underground with Rita
>Third Record: September 25th, Main Hall, returned from underground parking garage and meeting Ben
>Fourth Record: September 26th, Clock Tower, having just kissed Ben
>Fifth Record: September 26th, Flower Bridge Control Station, just raised the bridge
>Sixth Record: September 26th, Sewers, travelling back to the station with Robert and Emma
>Seventh Record: September 26th, Main Hall, just prior to Thanatos attack in the parking garage
>Eighth Record: September 27th, Main Hall, just prior to escape attempt
>>4044686
>>4044689
>>4044740
So, having listed them all out, is the consensus still going back to Save 7?
>>
>>4045162
>>Fourth Record: September 26th, Clock Tower, having just kissed Dylan.

we can prevent Thanatos from being released
>>
>>4045162
>Fourth Record: September 26th, Clock Tower, having just kissed Dylan
>>
>>4045162
>>Seventh Record: September 26th, Main Hall, just prior to Thanatos attack in the parking garage
I liked all the progress we had made by then
>>
>>4045162
Oh wait was that a vote or you just listing them out?
>>
>>4045245
I was just listing them out and asking if we still wanted to go back to Save 7 now that they've all been listed out.
Seems like that's the majority, so I'll write it.
>>
>>4045241
Hear me out, I think with Record Seven we are already too far down the BAD END path to change things. I think at record four we still have a chance of changing things enough to save the people we care about and making it out alive.
>>
>>4045263
I see what your talking about but I wanna see a moderately good ending before we even think about going that far back.
>>
>>4045162
>Seventh Record: September 26th, Main Hall, just prior to Thanatos attack in the parking garage
>>
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>>4045278

You look at the seventh record, the one just before the Thanatos returned and attacked the basement. While you won't be able to stop him from breaking into the back, you consider your options and what can be handled differently.

Carlos did not seem like an evil man. He may have worked for Umbrella, but seemed to have no idea about their true intentions. Escaping on their helicopter delivered you right into their hands. But he was only drawn towards your location by taking the Thanatos out into the street and trying to lure him into the sewers. Things could be done even more differently than before.

But what of the original plan, the one to take the armored van out of the city? That one could still work.

You recall everyone's position at the time of this record. Dylan and Jennifer were nearby, as were Martin and Rita. Harry was down with the van; you think Amber and Sky were still within it as well.

In addition to travelling back in time, you have the benefit of coming up with a plan ahead of time. What will you do?

>Fight the Thanatos in the station with the others
>Attempt to lure it into the sewers again
>Take the Thanatos east, towards the bridge, and try to drop him in shark-infested waters
>Bring the Thanatos to the underground and try to find that G-Virus monster
>Other
>>
>>4045340
>>Fight the Thanatos in the station with the others
We just have to destroy it once and for all.
>>
>>4045340
>Fight the Thanatos in the station with the others
If we can make it through this we can eliminate most of the problem.
>>
>>4045340
>>Fight the Thanatos in the station with the others
>>
>>4045340
>>Fight the Thanatos in the station with the others

Thanatos and the tyrant line in general were meant to defeat squads of trained invididuals. This one is almost certaintly going to end in either us or a shitload of other people dying. But maybe that would teach us something?
>>
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Rolled 8, 12, 13, 5, 18 + 50 = 106 (5d20 + 50)

>>4045349

You focus intently on the seventh record. September 26th, very late in the evening, the main hall of the Raccoon Police Station...

Suddenly, you feel air filling your lungs. Your lips part as sensation returns; you are sore and tired after the long day you've had. From the clock tower to the university to the bridge to here, but the day isn't over yet.

You grab your shotgun and shout, "Marvin! Rita! Dylan! We've got a problem downstairs!"

They run over and you quickly explain about the tyrant, showing them on the screen.

"What the hell is that thing?" Marvin asks.

"I thought we killed it," Rita says in disbelief. "How could it...?"

"Ah, hell," Dylan mutters.

"Apparently they're tougher than they look," you reply, approaching the east doors. "We just have to make sure it's dead this time."

Marvin and Rita both grab their shotguns while Dylan readies his SMG. In the east office, a zombie lunges forward that you blast in the face before even looking at it; you knew he would be there. The body falls back without its head In the hallway is the zombie caught with its foot in the window; you take out your pistol and sink a round into that one as well, and then another for good measure.

The four of you move into the basement, with you reloading a single shell along the way, and enter the parking garage. You can hear the Thanatos attacking the van, clawing at its side. "This thing likes to sprint and charge you," you explain. "Spread out and stick to the pillars."

"Watch your fire," Marvin adds.

The four of you move out, and the Thanatos takes notice, stepping away from the van. You pull out your pistol and fire at it a few times just to get its attention first. "Remember me?" you ask it.

The Thanatos widens its stance before bursting forward in a charge.

>Experience: +20
>Fire Support: +30
>>
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Rolled 20, 16, 8, 19, 17 + 40 = 120 (5d20 + 40)

>>4045428

You hide behind a pillar as the Thanatos draws near, allowing it to rake the sides of the concrete column. Nearby, Marvin raises his shotgun and fires, hitting it in the side. The hide of the tyrant is still ultra-resilient and nigh-impervious to small arms fire, but enough dents will ruin the integrity of any armor.

Dylan crouches behind a police car and fires, peppering the tyrant's right side. The Thanatos turns towards him and charges, leaping onto the car itself and creating a massive indentation in its frame. Dylan falls backwards, but Rita appears to the right, raising her own shotgun and blasting twice at the tyrant. You and Marvin then shoot it from behind.

The Thanatos seems to grow irritated. It leaps off the vehicle and makes a bold move, dashing towards both you and Marvin, forcing you apart as it ends up between you. It turns towards Marvin as the lieutenant attempts to get to cover and prepares to charge him. You blast it from behind but this seems only to spur it forwards; it swipes at Marvin, but narrowly misses. Marvin ends up on the ground, and the tyrant brings up its foot and stomps down on him. He shouts in pain as he tries to wrestle the limb off of him to no avail.

"Hey!" you shout at the tyrant, moving up and firing again. Your shots light up the dark skin of the Thanatos as you approach it from behind. "It's me you want, you overgrown freak!"

Turning its head, the Thanatos seems to stare at you for a moment before stepping off of Marvin. Then, just when you think it is going to charge you, it kneels and stabs him through the stomach.

"No!" you shout, and rush forward. You aim and fire one more time, aiming at the metal plating protecting its heart, but your shots seem ineffective, bouncing off its thick, armored hide.

Your bold attack does force it to drop Marvin to the ground, however, in favor of attacking you instead. The Thanatos lunges forward, both of its claws aimed at your chest.

>Experience: +20
>Fire Support: +20
>>
>>4045449
Yes. FUCK YOU
>>
>>4045449
good job guys, REEEEAAAALLLLLYYYY great decision making on all of your parts.MARVIN IS FUCKING DEAD
>>
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>go away for an hour
>come back to this

There's a second phase after this, by the way.
>>
>>4045449
Amazing roll, to bad Marvin’s dead now on this save. If we die to something else we can try this again and hopefully get some better rolls.
>>4045461
Bitch please, Marvin isn’t truly dead until Daisy gives up on him.
>>
>>4045472
Hopefully we get better rolls for that part.
>>
>>4045478
>Amazing roll, to bad Marvin’s dead now on this save. If we die to something else we can try this again and hopefully get some better roles.

we are reloading this save file. why some of you thought it was a good idea to fight this thing was a good Idea is beyond me.
>>
>>4045484
I dont know how hard we are supposed to be metagaming this, but Im the Giga-chad who posted >>4045426

If we are dead set on getting a 100% victory you guys should start reading some RE/Biohazard lore
>>
>>4045449

The Thanatos brings both of its arms forward in wide, sweeping arcs, attempting to both cut you and crush you if you were to be caught in its attack. Boldly, you risk your life and drop straight down, ducking beneath its arms and aiming your shotgun point-blank to its heart container.

When you fire, the Thanatos stumbles backwards, clutching at its chest. You've dislodged the metal plating! Rita, having helped Dylan back up, joins him in shooting at the tyrant from behind while she goes to help Marvin. You roll away from it and get back up on your feet, then look over at the van--and get an idea.

Dylan slowly moves to the left as he fires at the Thanatos. His shots are little more than a distraction, but that's all you really need. As Rita drags Marvin behind a car to help him, you run around the front of the van and bang on the window, telling Harry to unlock it. The Thanatos charges at Dylan, who takes a page out of your book and hides behind a pillar as cover, protecting him from the slash that follows.

You've never driven an armored van before, but thankfully you don't have far to go. Turning on the engine, the Thanatos is suddenly lit up by the lights of the van. It turns towards you as you rev the motor. Harry, in the passenger seat, covers his eyes. In the back, Emma cries as Amber tries to hold her and tell her everything will be alright.

"HOLD ON!" you shout at them.

You smash your foot against the pedal and floor it. The van rushes forward, crashing against the Thanatos. As soon as it hits him, you hit the breaks, not wanting to damage the van. The tyrant falls back, knocked down by the blow, and you waste no time in driving forward and on top of it, pinning it to the floor.

Opening the door, you hop out and look at the Thanatos as it lies stunned, but you know better. Aiming your shotgun right at its now-exposed heart, pressing it against the dark red flesh around the bent metal, you fire three point-blank shots at the tyrant, shredding the organ to pieces. You get covered in its blood as you empty the shells. You would have fired more, but are out and need to reload.

Dylan runs around, seeing you wipe your face clean and then get back in the truck. "Get Amber and Emma out," you tell him, unlocking the back. He opens the doors and quickly ushers them out, allowing you to back up the van.

Then, for good measure, you drive forward again, purposefully aiming the tire to run over its destroyed heart. You feel a satisfying shift in the van as the wheel caves in its breast over the weakened area you created.

You back up again, then get out. You hear Rita nearby. "Come on Marvin, come on! Don't give up on us now!"

Rushing over, you look and see Rita attempting to administer aid to Marvin, whose left side has been pierced all the way through. He is coughing and looks to be in terrible shape. Rita looks up at you, a distressed look on her face. "I, I don't think I can stop the bleeding," she says desperately.
>>
>>4045492

>Search the basement and the van for medical supplies
>Help get Marvin upstairs to the main hall to bandage him up
>Focus on fully destroying the tyrant's body
>Apologize to Marvin
>Other
>>
>>4045494
>>Apologize to Marvin, then reload to an earlier save

>>4045490
you're not wrong, but I still think we should have reloaded to the clock tower and prevented Thanatos from even being released
>>
>>4045494
>Help get Marvin upstairs to the main hall to bandage him up
If someone has a grenade or something now is the time to toss it at the Tyrant.
>>
>>4045503
Forgive me if Im wrong, but doesn't the chief blast the tires right after this?
We shouldnt leave this room yet
>Search the basement and the van for medical supplies
>>
>>4045508
>Forgive me if Im wrong, but doesn't the chief blast the tires right after this?
That occurred (or will occur) tomorrow morning, if nothing changes his behavior.
>>
>>4045494
>>Search the basement and the van for medical supplies
>>
>>4045494
>Search the basement and the van for medical supplies
>>
Rolled 9, 16, 3, 14, 6 + 20 = 68 (5d20 + 20)

>>4045508
>>4045514
>>4045516

"I'll go find first aid," you tell her. "Just... just try and keep him breathing!"

You stand up and desperately begin to think about where to look. Herbs won't help him; they'll help recovery, but not fix him with immediate results. You need first aid spray. "Dylan, help me search the cars!" you say, and he starts doing so. He encounters a locked door and tries to break the window with his SMG, accidentally firing it at the ceiling. Having learned a very valuable lesson about almost shooting himself, he turns it on safety and breaks the window.

Unfortunately, this has the effect of setting off the car alarm. That will draw zombies to the gate, you know, but right now Marvin's life is on the line. Running into the hall, you search the one room in the basement you haven't visited, the morgue. There is a medical cabinet on the other side of the room, and several bodies are placed on stretchers or left on the floor, likely from when the station was dealing with an influx of infected refugees. Knowing that they may be infected, you carefully step past them and up to the cabinet.

It is locked. With a sigh, you hit the glass with the butt of your shotgun, breaking it. This causes several of the corpses to wake up, and others to start trying to break out of the corpse shelves along the far wall. You reach inside and grab the first aid spray and move to leave, but then one of the zomibes grabs your ankle, threatening to trip you.

>Experience: +20
>>
Rolled 9, 14, 7, 4, 7 + 40 = 81 (5d20 + 40)

>>4045543

You rip your foot out of the zombie's grasp and run to the entrance of the morgue, dodging another zombie that falls off of a stretcher and onto the floor. You open the door and slam it behind you as you hear them begin to mobilize and pound on the other side.

Upon returning to the parking garage, you kneel down and shake the can of first aid spray and then use it on Marvin. Rita, whose hands are red with his blood, helps keep him still.

You must use the entire can, covering his wounds completely. Rita helps him onto his side, so you can spray the back as well. All the while his breathing is heavy and labored, but he isn't dead yet.

Pounding starts coming from the hallway door, and you realize the zombies must have broken out of the morgue. You call Dylan over and warn him about the oncoming small horde. He breaks away from Amber and Emma and runs over.

"I'm nearly out of ammo for the SMG," he says, taking out his pistol. "Can we take them?"

"Might just be seven or eight," you reply. "If we are smart, and use our shotguns and aim for their legs, we can stop them before they get too close."

Rita calls Harry over, who helps her drag Marvin to the back of the van for safety. She then grabs her shotgun and joins you both as you reload your own. Dylan takes your pistol and reloads it with some of his own rounds, sliding out the mag efficiently and restocking it. You pay close attention to his movements so that you can replicate them in the future.

The door bursts open, and the zombies emerge, shuffling forward with their arms up and mouths open.

>Experience: +20
>Fire Support: +20
>>
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>>4045555

You three open fire, blasting at the crowd, but they advance. Your advice about aiming for their legs works well, but as the ones in the front fall, they are replaced by the ones from behind. This results in a less-than-efficient expendature of ammunition; you end up emptying your entire shotgun and switching to your pistol. Rita and Dylan each focus on whatever zombie seems the nearest to them, holding them at bay.

Then, one of the crimson heads bursts forth from the group, charging forward with unnusual speed. It must have been in one of the morgue's shelves, for it is older than the others and much more far along in its mutation, with claws at the ends of its fingers and all of its skin peeled off. It threatens to draw near, but thankfully your combined fire puts it down before it gets a chance to bite or scratch anyone.

The other several zombies are mopped up in short order. When the shooting stops, you look over at the shutter, and see zombies starting to gather on the other side, drawn by the sounds of fighting and the car alarm. It won't be difficult for them to get inside through the hole the tyrant made; one of them is already starting to crawl through it. In your previous life, they were able to secure the hole with plywood and chains, but you don't know where they got them from and you're already running low on ammunition.

'Damn, damn, damn,' you think, quickly coming to a decision.

>Fall back and abandon the parking garage for now.
>Fight back the zombies and try to keep the hole clear
>Get everyone into the jail
>Back the van up to the gate to block the hole
>Other
>>
>>4045569
>restore to an earlier save point, this runs fucked
>>
>>4045569
>>Back the van up to the gate to block the hole
>>
>>4045569
>>Back the van up to the gate to block the hole
>>
>>4045569
>Back the van up to the gate to block the hole
>>
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>>4045577
>>4045578
>>4045581

Running back over to the van, you urge Harry to get Marvin out of the back. "Just do it!" you tell him, and the slightly pudgy officer obeys. You then climb into the cab and close the door. Rita looks at you, confused, as you try to get it into reverse. You're glad your father taught you how to drive stick.

You reverse and angle the back of the van so that the flat backside is parallel to the shutter, and slowly back up. When you are near the shutter, you pay careful attention and block the hole, backing up to the fence entirely and pressing against only enough to put pressure on it. The zombies pushing against the outside of the fence will do the rest.

Stepping out of the cab, you suddenly feel another zombie grabbing your ankle; the one who crawled through the hole and ended up beneath the van! You trip as he climbs up your body and you struggle to get him off. When the zombie rears back and attempts to bite you, he suddenly receives a very violent kick to the side of the head, which makes him go stiff and roll off. Dylan is there, and reaches down to pull you up.

"Did he bite you?" he asks, and you shake your head. Looking over, you see the zombie start to pick itself up, and you and Dylan both sink a few rounds, with Dylan hitting its head and causing part of it to burst.

You place your head against his chest as he holds you close. The zombies outside, at least two dozen of them or more, continually bang on the shutter as car alarm continues to blare. That many zombies blocking the van's only way out, and the fact that the van is currently being used to block a hole in the fence to keep the zombies from getting in, is less than ideal. You look around the parking garage; there are several corpses of zombies, the dead body of a tyrant, Rita and Harry are tending to a barely-conscious Marvin, and Amber is in the corner with Emma, who is crying.

'One hell of a difference,' you think to yourself. 'But we're not out of this yet.'

>Get everyone upstairs
>Speak to Ben in the jail
>Look for the way the chief got into the parking garage
>Speak with the others
>Other
>>
>>4045629
>>Look for the way the chief got into the parking garage
>>
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>>4045633

"I'm going to secure the area," you tell Dylan softly. "Search for a way that anything could get inside."

He nods, and turns towards the back of the garage and goes to search it.

You approach the dead body of the Thanatos and look upon it, keeping your distance just in case. You wonder if it will get back up at some point and mutate like it did before, but you destroyed its heart and caved in the right side of its chest with the van, so you hope that will be enough.

There is a door in the northeast corner of the parking garage that is locked. Knowing that your ammunition is precious, you'd rather not blast open the door, but you remember the radio signal that Harry transmitted from your previous life; Carlos and the other mercenaries chased Irons to an elevator. This door must lead to that elevator, and it must connect either to his office or somewhere nearby.

You look at the shutter, beyond the zombies, and wonder about Carlos on his team. They may have been attracted to the sounds of gunfire, but wouldn't approach the station with this many zombies swarming its back entrance. Perhaps they moved on.

"Hey, I found something!" Dylan calls out. Turning, you see that he is on the other side of a car along the southern wall. You lightly jog over.

He's discovered a hole in the wall, with several bricks moved. There is a tunnel beyond it. You would have to crawl on your stomach to fit within. The chief definitely didn't use this; there's no way his large self would have fit.

"I can feel wind coming from it," Dylan says, then looks up at you. "Should we take a look?"

>Crawl through
>Send Dylan through
>Send Rita through
>Ignore it for now
>Other
>>
>>4045691
>>Crawl through
>>
>>4045691
>>Crawl through
>>
>>4045691
>Ignore it
I forgot what this hole is for
>>
>>4045711
It's alright, not many people remember Outbreak.
>>4045696
>>4045708

"I'm going to take a look," you say, holding up your pistol so you can crawl forward with it in hand.

"Are you sure that's a good idea? It might not be safe."

"Technically everything isn't safe in this situation, that's why I have the gun," you playfully chide at him. Your smile fades when you overhear Marvin groaning in pain. "He needs to get upstairs."

"I'll take care of it. Be careful," he says and you nod at him before crawling through the hole.

You can see light on the other end, which is only a few yards. When you emerge, you're in a concrete underpass with stairs on either side. You know you're outside the station, somewhere, but are unsure as to where.

Poking your head up carefully, you soon learn where you are. You're in the courtyard of the police station. There are a few zombies shuffling around, but they haven't seemed to notice you yet. 'So, there's a hole connecting the underpass to the parking garage... that's good to know.'

There is a room in the underpass with a heavy door, but it is unlocked. It seems like a guard station.

>Crawl back
>Attempt to search the courtyard
>Attempt to lock the main gate
>Search the guard room
>Other
>>
>>4045721
>>Crawl back
>>
>>4045721
>>Search the guard room
>>
>>4045721
>>Crawl back
>>
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>>4045726
>>4045735

Secure with this new knowledge, you crawl back into the parking garage. Rita, Harry and Dylan are helping Marvin upstairs, accompanied by Amber and Emma, leaving you alone in the garage.

'The chief shot out the tires in the morning,' you remember. 'I wonder if he is sleeping right now, or slinking around somewhere else.'

You take a moment to place your weapons on the hood of a car and reload them, counting them out as you do. When the stock is fully taken, you only have three shotgun shells left, and a fully-loaded pistol with fifteen rounds and twenty-four loose remaining.

After sliding the pistol into your leg holster, you pause for a moment, then look over at the corpse of the Thanatos. You thought you saw something move for a moment, but it is lying still. Taking your shotgun in hand, you slowly walk over towards the body, keeping a good distance away from it.

The Thanatos opens its eyes and its fingers twitch. "Shit!" you say, aiming your gun at it. The tyrant's mouth opens, letting out a hollow gasp from a collapsed lung. Slowly, its clawed hands flex.

"Why won't you just fucking stay dead?!" you shout, approaching it. You aim at its head and fire, knocking it back, but it is still in one piece. You fire again, tearing off skin and its nose, but it still lives. Having walked fully up to it, you place the barrel against its eye and fire.

This time, the back of its head erupts from within, splattering the wall with tyrant brain matter, grey and dark red mixed together in a nauseating palette. Half of its head is destroyed. The Thanatos goes limp, falling back down and does not move again.

'There go my last three shells,' you think. 'I need to get rid of thing thing once and for all, just to be safe.'

>Get a small amount of gas from the generator and use Dylan's lighter
>Go get the grenade from the records room and shove it into its chest
>Use your knife and start carving out its insides
>Leave it
>Other
>>
>>4045758
>>Use your knife and start carving out its insides
If it reanimates again, it will be as chunks. Nice, more or less harmless chunks
>>
>>4045758
>>Use your knife and start carving out its insides
>>
>>4045758
>>Use your knife and start carving out its insides
If it gets up AGAIN it will be getting up as a tastefully hollow rack of Tyrant Ribs and Steak.
>>
>>4045758
>>Go get the grenade from the records room and shove it into its chest

>>4045783
>>4045776
>>4045765
Do you want to drain her sanity
>>
>>4045804
What sanity?
>>
>>4045765
>>4045776
>>4045783

Withdrawing your knife, you straddle the tyrant and start stabbing into its exposed brain, widening the hole as much as you can.

"Let's see what makes a tyrant tick," you mutter.

You jab again and again, carving out its other eye. With the blade and, at time, your fingers, you scoop out as much material as you can, throwing it all aside. "Reanimate from this you pile of trash."

Holding the knife upside-down, you stab it into the chest of the monster, using your hands to rip out chunks of organs that you cut and carve out with its serrated edge. You grit your teeth as you work into a near-frenzy over its body, doing absolutely everything in your power to ensure that this thing won't come back. Grabbing onto one of the red tubes emerging from its chest, you pull as hard as you can, eventually tearing it out and casting it aside. Soon enough, you are covered in blood.

"Die," you mutter to yourself, stabbing the knife into an exposed point on its neck again and again. "I'll cut your head off and play soccer with it you--"

You hear the hallway door opening and look up in time to see both Dylan and Jennifer emerge. She gasps and puts a hand over her mouth, and Dylan stares at you.

"Jesus Christ, Daisy..." he mutters.

You look down at the mutilated tyrant corpse, then at the blood coating you, then up at them with wide eyes. "I was... working through some aggression," you explain. "You don't understand, it started moving! I had to finish it off and make sure that it couldn't come back again! Do you have any idea how hard these things are to kill?"

"Yeah, I do, but goddamn... What if you get infected from its blood?"

Your face goes blank as you freeze. That hadn't occurred to you.

"I suppose I could use a shower," you say, then you sigh. "Oh. Wait. The water supply is infected."

Jennifer continues to stare, horrified at your appearance. You start to stand up. "Okay... I know things look a little weird, but... I'm under a lot of stress right now, and it felt really good to just..." You stop yourself from digging your hole more deeply. "I'm sorry, guys. I'm just really frustrated."

"It... it's okay," Jennifer says, but keeps her distance. "Maybe we could... get some water bottles, and wash you off that way?"

"That's a lot of drinking water to get all that blood off," Dylan says with a frown. "Maybe a change of clothes is in order."

You wrap your arms around your chest and walk with them upstairs, with Dylan leading the way. In the main hall, you explain to Rita what happened; how the tyrant started to move, and the actions you took afterwards.
>>
>>4045839

"We don't have a lot of bottled water left," Rita says with a frown. "The chief probably got rid of most of the stores of that, too." After thinking for a moment, she points something out: "It's still raining. Maybe you could stand outside that way and wash off. Otherwise, we do have a water tower, but we'd need to switch the building's pipes from public water to that, and secure the locker rooms on the second floor, and... Well, you get my point."

>Use bottled water to wash off
>Go stand out in the rain
>Try to switch the station's water to the reserve
>Just leave the tyrant blood on you
>Other
>>
>>4045840
>>Go stand out in the rain
>>
>>4045840
>>Go stand out in the rain


[Good job you dumb motherfuckers]
>>
>>4045840
>wash out in the rain
>>
>>4045840
>>Go stand out in the rain
>>
>>4045840
>>Try to switch the station's water to the reserve
>>
>>4045840
>>Go stand out in the rain
>>4045850
Eat a dick nigger
>>
>>4045850
At least it feels like proper RE with this cornyness
>>
>>4045857
No, No I don't think I will
>>
>>4045848
>>4045850
>>4045851
>>4045853
>>4045857

"I think the rain is a good idea," you reply, then walk towards the eastern doors. Dylan and Jennifer follow after you, just to make sure nothing happens to you. Passing through the payphone hall and the east office, you step outside to the fire escape and stand in the rain.

In the distance, you can hear the moans of zombies carried on the wind. Occasionally, you can hear a crow cawing in the distance. The soft trickle of the rain does almost nothing to diminish these sounds.

https://www.youtube.com/watch?v=GtGPlxe6XW0

You close your eyes and lean against the railing as you let the blood wash off of your body, and take this moment to think.

'I must be in hell,' you start to convince yourself. 'How else does any of this make sense? When I die, I come back, but for what good? Is there even a way out of here? An end in which I don't die at the hands of some monster, or the company that made them?'

You look down at your hands, rubbing them together and then against your clothes. A rather thick puddle of red is forming at your feet from the tyrant blood running down.

'I wonder if this really will infect me. I suppose then I could just start over again. And again. And again. And again...'

You put your hand over your pistol, and contemplate suicide. 'It would let me go back,' you think, but then you buckle and begin to break down. 'I don't WANT to go back... I want to live. I want to keep going forward. I can't kill myself, I just can't...' Folding your arms, you shake your head and fight back tears. 'Sure, I've been reckless, knowing that I'll come back, but... if I start killing myself, what value do I actually have in my own life? No. No, I can't do it. I'll go and go and keep going until I die, but it won't be by my hand. Everything else in the world is out there right now trying to kill me, even my friends would if they were turned. There has to be at least one thing in the world that won't kill me, and it'll be me.'

Now you find yourself kneeling, hanging your head down low. "Why is this happening to me?" you wonder out loud, whispering as you shiver. "Why am I coming back? I don't want this. I don't want any of this. Why am I suffering through this hell?"

The wind and the moans in the distance offer no answers. When you walk back inside, your two friends are quiet, silently staring at you.

"I might need to hang my clothes up to dry tonight," you tell them softly.

"Here's a towel," Jennifer says, handing it to you. "Well, it's more of a blanket, but..."

"Thanks, Jen." You start to wipe some moisture off. "I think I need to sleep. I'm so tired..."

You're about to stop when you remember that it would be in the morning when the chief will shoot out the tires in the parking garage. What will you do?

>Tell Rita and have her post policemen as guards for the truck
>Sleep down in the parking garage
>Sleep, wake up early and wait down there
>Stay awake and hunt down the chief tonight
>Other
>>
>>4045884
>>Sleep, wake up early and wait down there
>>
>>4045884
>Sleep, wake up early and wait down there
>>
>>4045884
>Tell Rita and have her post policemen as guards for the truck
>Sleep, wake up early and wait down there
>>
>>4045884
>>Tell Rita and have her post policemen as guards for the truck
>>Sleep, wake up early and wait down there
>>
>>4045894
Actually yeah both
>>
I hope Dylan won't see us differently after our little meat cutting frenzy.
>>
>>4045909
He will, I know I would
>>
>>4045909
Probably not as differently as Jennifer, although who knows in what new way they will see us or how quickly both of their new changed perspective will change again.
>>
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>>4045891
>>4045892
>>4045894
>>4045897
>>4045898

In the corner, Jennifer helps you by setting up some cloth particians as you change out of your wet clothing. She hands you a dry blanket, which you wrap around yourself. Before going to bed, you ask to speak with Rita, who walks over to listen while you sit on the edge of a stretcher.

"How is Marvin?"

"Asleep, but not dead," she replies. "He got stuck real bad by that thing. It's a good thing we got the spray on him when we did, and now we've got him cleaned up and bandaged, but he might not be able to walk for a while. We don't exactly have a doctor here with us."

You nod. "Rita... If Marvin isn't able to give orders, who is next in charge?"

"Well, we have a few sergeants... I suppose the oldest one. David, perhaps. He's the oldest."

"I think the chief might try and shoot out the tires on the van," you change the topic.

"How do you know?"

"Just... call it a feeling. Intuition. He'll do everything he can to make sure we don't leave. If he shoots out the tires, we won't be able to change them, and he probably knows it."

"I could post some men," she suggests. You agree with her, and she leaves you alone.

Curling your knees close to your chest, you look out and see Dylan sitting alone, and Jennifer isn't far away. Your eyes drift down to the floor as you think about how they must feel after seeing you like that.

'Fighting these monsters is turning me into one. I wonder if I'm going crazy. The terror, the adrenaline, the mutants I've seen and fought and killed... God, just thinking about what happened to Robert, and those giant spiders, and...'

You close your eyes and try to get some sleep, drifting off into a dark, dreamless quiet.

When you open your eyes, you sit straight up, panting. You're covered in a thin layer of sweat. Looking at a nearby clock, it's early. September 27th. You'd like to go back to sleep, but you know you won't be able to. Part of you wonders if you'll ever be able to sleep again if you get out of this waking nightmare.

'What if I never get out? What if I spend a hundred years trapped here, reliving these events over and over and over?'

A terrifying thought, one you try to push away to avoid an existential crisis. Your clothes are still somewhat damp, but dry enough. You change into them, wondering if you are sick or not. You don't feel sick, just like when those crows attacked you. 'Maybe I'm immune? Or just lucky. Biology isn't always static; sometimes it's a roll of the dice.'

You wonder if you should have gone back in time further, to save Dr. Jenkins. You try to remind yourself that you can't save everyone.

As you prepare to head downstairs to wait for Irons, you look over and see Dylan, asleep. Jennifer isn't too far away, covered beneath a thin sheet. Rita is asleep at the desk, near the unconscious Marvin.

>Steal Marvin's keycard
>Head down to the parking garage
>Wait a little while
>Wake someone up
>Other
>>
>>4045956
>>Head down to the parking garage
As much as Id like to trust Mobbu its just not practical. That and if they are loyal to Irons and kill us when he appears we know to kill them next time or before we evac.

Its a practical choice.
Alternatively, does anyone have any plans that require marvins card?
>>
>>4045956
>>Head down to the parking garage
>>
>>4045956
>Head down to the parking garage
Equip knife. Don't want to wake anyone up. Also I want to enjoy stabbing that fat fuck.
>>
>>4045956
>>Head down to the parking garage
>>
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I'm off to bed for the night. We'll be resuming in the morning!
>>
>>4046023
Thanks for running Ark
>>
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>>4045981
>>4045990
>>4045991
>>4046004

Surprisingly, the eastern hallway is clear of zombies, but you still carefully make your way downstairs regardless. It is a difficult thing, living with this much tension nearly every second of every day, but necessary if you want to survive. What if a zombie left behind in the morgue were to suddenly come around the corner?

Thankfully that does not happen. You walk into the basement, whereupon the two officers posted turn in surprise, their hands on their guns. They relax when they see it is only you.

"Nothing?" you ask them.

They shake their heads. "No sign of the chief yet."

The other officer raises a thermos with coffee in it and drinks. "Those zombies, however, have been a constant sight." The three of you look over at the shutter with the van parked in front of the hole. The number of undead must have grown in the night; now it looks like there are about forty of them, continually pushing and moaning. "The sound of it is fucking nerve racking."

"I'm sorry you had to deal with it all night," you say to them, walking around to sit alongside a car. "I'm Daisy."

"Aaron," the first replies.

The second officer follows. "Fred."

Aaron folds his arms. "We've been hearing a lot about you. Rita told us about your monster slaying."

Your eyes drift over to the corpse of the Thanatos. It hasn't moved.

"What were you before all this?" Fred asks.

"A chef," you reply softly. "Just a chef."

Aaron changes the topic. "So, how are we getting out of here if the van's being used to plug up the hole?"

"Some plywood and chains wrapped around it would stop them," you say. "They might be as strong as people are, but you'd be surprised by what could keep them at bay."

Fred scratches his chin. "Hey, yeah. I think I know where we could get those. Mind watching the door?"

You shake your head, and he and Aaron move off. They return a little bit later with a sheet of plywood taken from the generator room and some chains taken from the kennel. It isn't easy work, but they manage to slide the wood between the van and the shutter, then go around wrapping a chain around it in such a manner that the zombies pushing against it would not dislodge it; this is accomplished by threading two chains around it in a criss-cross manner. The task is made difficult by the fingers and hands of the undead, reaching through the gaps to try and get to them, but the officers manage to accomplish their work in about an hour or so.

When it is done, they pull the van forward. You look towards the door the chief supposedly will emerge from, but he doesn't. 'Maybe he can see that the way is blocked by zombies, so there's no need to shoot out the tires,' you think. 'Or maybe he hasn't appeared yet...'

>Continue to wait
>Let the officers resume
>Shoot out the lock on the door
>Bring Jennifer down to unlock it
>Other
>>
>>4046659
>>Continue to wait
>>
>>4046659
>Continue to wait
>>
Rolled 100 (1d100)

>>4046732
>>4046740
>>
>>4046744
Please tell me that roll wasn't against us.
>>
>>4046746
No, it was for us.
Well, the logic goes like this: all the chief needs to do is unlock the door, aim out, and shoot. That doesn't take long at all, so someone would have to pay attention to the door undividedly in order to catch it happening. Simply looking away, or drifting off, or thinking about other things are all easy excuses for someone to not notice it happening, but Daisy just rolled a nat 100 for her perception check if you will.
Writing now.
>>
>>4046754
Xray vision clearly
>>
>>4046767
No, she has the Sparkle Glasses on- the ones that make key items and such sparkle.
>>
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>>4046744
>>4046740
>>4046732

You wait, sitting alongside a car with a gun in one hand, looking at the door. You do not think about the zombies outside the shutter, the tyrant, Marvin's injury or the other officers, or anyone or anything else. Laser-focused, you intently wait by the door. 'I know he's going to show up. I know it.'

The doorknob turning is almost missed by you, for it is a subtle and slow thing, but suddenly it turns and the door opens a crack. The barrel of a pistol emerges from the doorway.

You raise your gun and fire several times, your bullets piercing the doorway. A shout of pain is heard as the barrel vanishes from sight behind the door. Fred and Aaron, surprised by your sudden barrage, are caught unawares as you hop up to your feet and run up to the door, forcing it wide open.

The chief is on the floor, shot in his left arm in at least two places. He is still armed with his revolver, however, and so you aim your pistol at him and fire two more times, missing the first but hitting his weapon arm with the second. He cries out and drops it, and you kick it away.

Fred and Aaron appear in the doorway, and see what has happened. Their pistols are drawn and the three of you aim down at the chief as he clutches at his wounds.

"ARGH! You fucking bitch! Do you know who I am?! What I'm gonna fucking DO to you?!"

"Always with the big talk," you mutter, considering ending him here and now for his crimes.

>Shoot him in the head.
>Arrest him and throw him in jail.
>Torture him for information.
>Let the officers deal with him.
>Other
>>
>>4046776
>Let the officers deal with him.
I'd rather not give them any more reason to worry about Daisy. And I'm sure the cops want to deal with him personally.
>>
>>4046776
>Let the officers deal with him.
We're not that far gone yet. Make sure they keep him where they can see him, away from any walls, preferably.
>>
>>4046782
>>4046788

You raise your gun, exhaling deeply as you calm yourself down. 'I'm not a murderer,' you say to yourself. You look at Aaron and Fred and nod, allowing them to move up and arrest the chief. He doesn't go down without a fight, being the strong-willed and strong-bodied individual that he is, but he's already been shot three times so his resilience is rapidly dwindling. They manage to hold him down and cuff him.

As they haul him up, he shouts about how he'll have everyone's heads. "None of you know what's going on. None of you!"

You nearly roll your eyes. Rapidly, you spit off several facts. "You've been taking bribes from Umbrella and you would visit their lab underground every month and they're the ones behind the virus and you've been trying to stop people from escaping the station to make sure no proof ever gets out."

The chief, for once, looks stunned as he looks at you with wide eyes and an open mouth beneath his bushy moustache.

"I've always wanted to say this, but... 'Take him away, boys!'" Fred and Aaron begin to haul him off when you suddenly stop them, noticing the chief's belt. You reach down and unhook his keyring from a belt loop. The chief begins ranting and raving about Umbrella, the officers, you, the monsters, taxidermy for some reason, and more as they haul him out of the doors and towards the jail.

You inspect the keyring, seeing a variety of strangely-shaped keys, and realize that you now have the means to every area in the police station. The room you are in right now has an elevator, which requires a small key to call. When you do, the doors slide open and you step inside. It seems it has three levels: the one you're on now, an underground passage, and the second floor.

>Go to the jail
>Go to the underground passage
>Go to the second floor
>Head up to the main hall to talk with Rita
>Other
>>
>>4046850
>Talk with Rita
After this we should go to Irons' office- go rescue the Mayor's Daughter, I forgot her name.
>>
>>4046856
This, we can just say that know that we have him we should check his office for anything important or useful.
>>
>>4046856
>>4046873

Taking the eastern hallway, sneaking so as to not draw more zombies towards its open windows, you go through the eastern office and enter the main hall. You nearly run over to Rita. "We got him," you say excitedly. "The chief! Aaron and Fred are throwing him in a cell as we speak!" As she reacts in surprise, you hold up his keys. "And now we have all the keys to every door in the station!"

"Daisy, that's incredible!" Rita says with a smile. Marvin, still unconscious on a stretcher alongside her, seems to groan for a moment. Rita puts a hand on his arm. "It'll be alright, Marvin. We got him."

You turn as you hear Dylan approaching from the side. He looks at you, then at the keys. "I was... wondering where you were, when I woke up and saw you missing."

Rita takes the keys from you and inspects them. "We can get everywhere with these. Maybe finally secure the lower levels."

"And rescue the mayor's daughter," you add. "We should go upstairs and find her, right now."

"That's not a bad idea." Rita grabs her shotgun from the nearby table and inspects it. "Alright, let's go do that."

"I think I might know where she is," you tell them, taking a moment to reload your gun. When they look at you expectantly, you realize that you don't actually have any reason to know that information yet in this timeline and lie. "The chief mentioned something about an art room on the second floor and her hiding there."

Rita thinks for a moment. "I know where that is. Follow me."

Dylan gives you another look as Rita moves past, one that you cannot quite read. It seems he's still trying to measure you after seeing you cut into the corpse of the tyrant. You feel somewhat awkward under his questioning gaze. "Dylan, I..." You compose yourself and say, "I want to talk with you when this is over."

"Yeah," he replies with a slight nod. "We can do that."

Rita leads the way, bringing you upstairs through the fire escape and into the dim hallway. Up ahead is the art room, and you can hear the mayor's daughter sobbing on the other side. You and Dylan take positions on either side of the door as Rita unlocks it with a key, then opens it.

"Hello? My name is Officer Phillips, and we're here to help you. We've captured the chief."

The mayor's daughter emerges from her hiding place, her face runny with tears. She lets out an immense gasp of relief. "Oh, thank God! I--"

There is a loud crashing noise as the stained glass window on the ceiling smashes as a licker drops down from above, its voice screaming in a high-pitched wail.
>>
Rolled 20, 20, 13, 4, 9 + 40 = 106 (5d20 + 40)

>>4046944
>Experience: +20
>Fire Support: +20
>>
>>4046947
Daisy has crossed into Zen Zombie Slayer Badassery territory.
>>
>>4046947

You reach inside the room and yank on the girl's hand, pulling her out into the hallway. Rita takes point as the licker lunges forward, meeting a round of her shotgun as she fires. The mutant is thrown backwards, whereupon Dylan runs in and blasts it several times with his pistol. The licker twitches, its arms and legs swirling about as it gives its dying wail before lying still.

The girl clutches at you, crying hard. "It's okay, we got you," you tell her, helping her to stand. "You're not hurt, art you? No scratches, bites?"

"No," she says between sobs. "M-my name is K-Katherine. Katherine Warren. I'm--"

"The mayor's daughter, we know," you assure her. "Come on, we'll get you to the main hall. There's food and water. I need some myself."

Leaving the art room behind, you help her down to the first floor, where Rita tends to her, questioning her about the chief. You sit back with Dylan as Jennifer brings them some cans of food and a few bottles of water. Afterwards, she does the same for the two of you, and though she still gives you a wary look, you thank her and sit down. Jennifer goes off to eat by herself.

"Weird," Dylan says. "I thought she was all over you."

"I guess seeing me covered in blood and tearing up a monster's body has a bit of an image-shattering effect," you reply. You take out your multitool to open the cans. After a moment, you look over at him and say, "How about you?"

"I'll admit, I was a little weirded out. I've never, uh, been in this kind of situation."

"What kind of situation is that?"

"Being in love with a monster-killing zombie slayer," he says, then suddenly stops. "Uh, I didn't mean 'love' like, you know, love-love, but I mean--"

You laugh and put a finger up to his lips. "Wow. A little soon, don't you think?" He sheepishly looks off to the side. "I'm just teasing you, Dylan. I was honestly worried you were going to think differently of me."

"I do. Seeing someone carve out a monster's heart tends to do that. But I still want you. I mean, want to be with you. No, wait, I mean, want to be with you when this is all over, not right now, I..." He sighs as he brings a hand up to his face, stopping himself from talking. "I guess I just worry about you a lot. I want to get out of this with you. I don't want something bad to happen to you."

You recall your earlier conversation with him, in your previous life, when he said something similar. He had said something very sweet then, which made you want to kiss him. "Death isn't as important to me as it is to other people," you say, which doesn't make much sense out of context. You elaborate, "What I mean is that I've come to value other people's lives over my own. So, I did what I did down there to make sure it couldn't come back and hurt others."

He reaches for your hand. "Your life is more valuable than you think, Daisy. Especially... you know, to me."
>>
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>>4047004

You smirk. 'Close enough.' You lean up to kiss him, but he suddenly hesitates and pulls back. Opening your eyes, you realize what made him do that. "You think I'm infected, don't you?"

"Well... how do you feel?"

"Fine," you honestly reply. "None of that blood got into my mouth or anything. My skin, sure, but..." You sigh and lean back. "I understand. Until we know for sure, better to be safe than sorry, right?"

"It's not that I don't want to kiss you," he insists.

"I know. It's fine." You resume eating your soup in silence, and he does the same. Things grow awkward between you slowly as the silence drags on.

>Wait in the main hall for a while
>Start exploring the station with the keys
>Brainstorm ideas of escape
>Wonder about developing the cure at the university
>Other
>>
>>4047008
>Start exploring with the keys
I mean, we *could* jump back to the university and set up a cure... but first I want to see if this timeline works out and get some recon done in the RPD.
>>
>>4047008
>>Start exploring the station with the keys
>>
>>4047008
>Brainstorm ideas of escape
Whatever we do, do not accept the help of umbrella dudes.
>>
>>4047014
Save the cure and the best ending for another thread, now I just want to get the moderately good cannon ending.
>>
>>4047014
>>4047018

Now that the keys have made any way forward possible, where to first?

>First Floor West
>First Floor East
>Second Floor West
>Second Floor East
>>
>>4047051
>Second Floor West
Because Why Not?
>>
>>4047051
>>First Floor West
We should probably get some other people involved, like some of the cops. Actually how many people are there in the police station that we know of?
>>
>>4047071
About ten officers, eight or so civilians, and one little blonde girl running around.
>>
>>4047115
Damn that’s a lot less then I thought there was. Maybe we shouldn’t bring any of the cops, if we did though I would say only one.
>>
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>>4047067
>>4047071

After finishing, you stand up and look towards the western wing of the station. "Now that the chief isn't running around, I think we should explore and fix some problems," you tell Dylan.

"Like what?"

"Anything useful that we can find to replace our low stocks of weapons and ammo, for one." You walk with him and approach Rita. "Can I borrow your shotgun ammo?" you ask her.

"Are you sure about this?" Dylan asks. "I mean, what if we don't find anything?"

"The chief had weapons and ammo scattered all over the station. Anything we find we can bring back here. Now that we spent so much of it taking down that tyrant, we need to collect more."

Rita is uncertain, and so she calls over another officer. "Tony, could you go with them? They're going to take the keys and search for supplies."

The officer, who is slightly heavyset and wears a cap, agrees. "Yeah, I got it."

You greet him. "Tony, huh? I knew another Tony. He... didn't make it."

"I'm sorry for your loss," he says. "I took care of the dogs here. You probably know how they turned out."

Rita doesn't have many shells left, enough for just under two reloads. You stock up on them and fully load your pistol as well. Together, the three of you approach the western hallway and open it, entering the reception area before moving into the hall proper.

Here, three zombies have gathered. They turn towards you and begin to approach. Dylan and Tony shoot at their legs, and when they fall, you finish them off with three shotgun blasts. You first enter the records room, securing the items you found previously: two ink ribbons and a hand grenade. You give the grenade to Dylan and keep the ribbons.

>Continue up to the second floor
>Search the evidence room
>Search the west office
>Search the operations room
>Other
>>
>>4047200
>>Search the evidence room
>>
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>>4047215

At the end of the hallway, passing by several boarded up windows, you go through a set of doors into the northwest corridor. This leads to the stairwell, the hall of which is connected to the evidence room. You unlock it using the diamond key and open the door, but then immediately shut it, putting your back up against it as your heart pounds.

"What's going on?" Dylan asks. "Did you see something?"

The pounding on the other side of the door answers his question. "There's like six of them in there!" you say breathlessly. "How'd they all get into that tiny room?"

"Good question," Tony replies. "But they're not getting out. Those doors open inward, and the evidence room has some of the best ones in the station."

"Maybe they ran out of room to stuff dead bodies, so they stacked them up in a corner until they reanimated?" Dylan suggests. "I mean, the path to the morgue downstairs wasn't an option."

>Continue up to the second floor
>Try to clear the evidence room of undead
>Search the operations room
>Return to the photo room
>Other
>>
>>4047380
>>Search the operations room
>>
>>4047380
>>Search the operations room
>>
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>>4047395
>>4047396

The operations room is full of chairs in front of a big chalk board, with papers and maps scattered around. This is where the police were initially trying to coordinate and come up with a plan despite the chief's meddling ultimately resulting in them being unable to do so. You search the room and the supply room in the back, finding a flashbang grenade, some handgun bullets and a green herb.

Looking over some of the maps of the station spread out on a table, the three of you work out where you think you should travel to.

"The S.T.A.R.S. office upstairs might be the only place in the west wing with anything useful in it," Tony says.

"We were there already," Dylan explains. "What about here?" He points at some of the rooms on the eastern side, first floor. "What are these rooms?"

Tony looks where he is pointing. "Press room, some interrogation rooms, break room. What about the chief's office? Maybe we should make our way up there."

"It seems like the third floor is mostly storage areas," you note. "Dylan is right, though. We've hardly explored the eastern wing at all."

"So, what do you think? Go upstairs, or head east?" Tony asks. "Pretty much nobody's been up to the third floor since all this started, I think."

>Go up to the second floor, west wing
>Make your way to the first floor east wing
>Head up to the second floor to take the main hall's walkway to the east
>Travel up to the third floor
>>
>>4047442
>>Head up to the second floor to take the main hall's walkway to the east
>>
>>4047442
>>Head up to the second floor to take the main hall's walkway to the east
>>
>>4047442
>>Head up to the second floor to take the main hall's walkway to the east
>>
>>4047452
>>4047485
>>4047492

You depart the operations room and go up the stairs. From here, you travel down the hallway with the statues, into the southwest corridor past the S.T.A.R.S. office, and then into the library. You stop when you see a zombie on the floor, continually biting into the body of a dead police officer. It takes chunk after chunk out of the man, but doesn't notice you in the slightest.

From here, you travel to the east, into the main hall. Working your way around, you enter the receptionist area and then back into the hallway that connects to the art room and the helipad. The northernmost end of this corridor is where the chief's office is, which you have yet to see.

As Tony enters behind you, followed by Dylan, you suddenly hear a sound, but you cannot pinpoint the direction. "What's that?" Tony asks, and his noise draws in the lickers.

Two, one at each end of the hall, and they are moving fast. They close in on your group in seconds, each one attacking from a different side.

>Experience: +20
>Fire Support: +20
>>
Rolled 20, 16, 9, 7, 1 + 40 = 93 (5d20 + 40)

>>4047502
>>
EH TONE. SHADDAP.
>>
>>4047505

You and Dylan both fire at the licker on the left as it comes crawling around the corner, knocking it off the wall where you finish it off with a shotgun blast, but Tony is not so fortunate. His licker shoots out its tongue, piercing his chest like a spear, with the end sticking out of his back. When the mutant retracts its tongue, he falls backward, hitting the ground with a loud thud as the licker advances, blood dripping from its mouth.

Turning around, you fire one additional time with your shotgun, hitting it in the leg and causing it to fall. Dylan pumps a half-dozen rounds into it until it stops moving. You both then kneel over Tony, who is having difficulty breathing; one of his lungs was punctured all the way through.

"No, oh no," you mutter, trying to help him. He coughs and wheezes as he attempts to breathe, but finds that he cannot. "Come on, come on!"

Dylan starts opening the man's shirt, but Tony suddenly goes stiff, then falls limp, his head falling to one side. Dylan hesitates, but then checks the officer's pulse.

"He's gone," he whispers.

You close your eyes and curse under your breath. Another officer dead. Solemnly, Dylan takes his weapon and ammunition from his body.

>Return to the main hall
>Drag Tony's body to the helipad out back and throw him over
>Explore the chief's office in the north
>Use the northern staircase to travel to another level
>Other
>>
>>4047520
Put a bullet in his head or a knife then explore the chiefa office. Apologetically look to dyllan about being a monster.
>>
>>4047520
>Put a Bullet in his skull, Explore the chief's office in the north
>>
>>4047520
Supporting >>4047523
Damn Daisy now knows of two dead Tonys.
>>
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>>4047523
>>4047526
>>4047529

"I guess I now know two dead Tony's," you deadpan. You take out your pistol and prepare to ensure that he won't come back.

Dylan puts a hand over yours, and looks into your eyes. "You've done enough of that. I'll do this one."

You nod and thank him, walking north to the chief's office. As you walk inside, you pause when you hear a single gunshot, and you wait at the door for Dylan to walk over. Together, you silently enter the lavish office of the police chief. It has a nice, plush carpet, with walls covered in artwork and stuffed animals. The shelves are full of pictures and accolades from various charity works and police academies and other such organizations.

"He must've been good," you say, looking at his newspaper headlines praising him.

"Good?"

"Good at pretending to be good," you explain. In the back of the room, you find a hidden passage that leads to the elevator you saw earlier, left open; likely because the chief had used it when he went down into the basement with the intention to shortly return. Unfortunately, he had you to deal with.

"Look here," Dylan says as he walks around the desk. "He's got a journal here, and some emails."

"Let me see." You approach and start reading. "My god..."

"What is it?"

"This man was sick." The most recent entries in the diary explain him purposefully sabotaging escape attempts, murdering his own men, and his desire to hunt down the mayor's daughter after releasing her in order to turn her into a display item. He notes that if he became infected, he would murder everyone in the city. His ravings on paper are as mad as his ravings in person, you come to discover. Nearby are some emails from William Birkin, one page of which matches the files that Ben possesses.

You gather up this mountain of evidence and put it into your backpack with the others. "We don't need Ben's information anymore," you say with a smile. Dylan smiles back as he opens a few drawers, finding ammunition within, including a box of rounds for his SMG.

>Return to the main hall
>Explore the trophy room
>Go upstairs to the third floor
>Go downstairs to the second floor
>Other
>>
>>4047562

>Return to the main hall
>>
>>4047562
>>Explore the trophy room
>>
>>4047562
>Return to the main hall
>>
Now we just need to live long enough to leak it online.
>>
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>>4047574
>>4047582

Upon returning to the main hall, you tell Rita what happened to Tony. She is upset by this news, but takes it stoically. In contrast to your unfortunate news, she has good news: Marvin is awake again.

You approach him as he breathes softly. "Hey," you say to get his attention.

"Hey," he replies, albeit somewhat haggardly. "How are you doing?"

"Could be worse off, I suppose. We finished off that tyrant and captured Irons."

"Yeah, yeah... Phillips was just telling me that. She also said the way out was blocked."

"There must be another way."

He closes his eyes again and breathes deeply. "I don't know. Not unless we open the gate, let them inside and try to drive through them."

You think about that for a few minutes. "Somebody could do that. Open the gate and lure them away while the van drives forward. If they knew they could escape, say, through the sewers, it wouldn't be difficult."

"They'd be left behind," Marvin points out.

"What about burning them?" Dylan wonders. "I mean, if we got some gas and just poured it on them from the fence, maybe sprayed it at them with a hose or something, and then just lit them up... they're all burn to death, right?"

"That could do it," Rita nods. "But it would be dangerous and risky. If the plywood barrier breaks, we'd have burning zombies getting into the parking garage."

Nearby, Officer Aaron shakes his head. "I don't know... I think we should stay and wait for rescue. The Army or somebody has to come into the city eventually, right?"

"We don't have enough supplies to last more than a few days," Rita says. "Food and fresh water will run out at our current consumption rate."

"We've got wounded," Aaron points out. "Marvin's in no condition to move."

"Well, we need some kind of a plan," Dylan says.

>We should just wait for now; we can gather more supplies from other rooms and give Marvin time to heal.
>Let's set the zombies at the gate on fire.
>Let's lure the zombies away from the gate, into the station's basement somewhere, giving the van time to drive away.
>If someone goes through the sewers and gets out into the streets, they can try to lure the zombies away from the gate from the outside.
>Other
>>
>>4047637
>>Let's set the zombies at the gate on fire.
>>
>>4047637
>We should just wait for now; we can gather more supplies from other rooms and give Marvin time to heal.
>>
>>4047637
>>We should just wait for now; we can gather more supplies from other rooms and give Marvin time to heal.
>>
>>4047637
>Let's set the zombies at the gate on fire.
>>
>>4047646
>>4047655
>>4047672
>>4047681
We're going to need a tie breaker.
>>
>>4047637
>We should just wait for now; we can gather more supplies from other rooms and give Marvin time to heal.
>>
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>>4047655
>>4047672
>>4047717

"For the time being, maybe we should just wait," you suggest, agreeing with Aaron. "I don't think we should wait for rescue, however, but now that we have the keys to the station we might be able to secure more supplies, at the very least ammo. Plus, it'll give Marvin time to heal."

Everyone generally agrees with the notion, and splits up. You and Dylan walk back over to the other civilians, who shy away from you. Looking around, you guess that tales of your exploits and potential infection have spread, so you sit apart from them. Dylan is the only one who sits near you. Jennifer, Amber, Emma and Katherine, along with a few others, keep their distance.

"I don't feel infected," you say to him in a soft voice. "If I did, I would be sick, or something. I feel fine."

"Don't let them get to you. If you're fine, you're fine."

"It's just a strange feeling to go from someone who helped save them to someone who might end up eating them, in their eyes I mean."

He pauses for a moment, then leans down to lift up your chin and kiss you. Butterflies flutter in your stomach when he does, and you inhale sharply through your nostrils. When he breaks away, you look up at him and whisper, "But what about...?"

"I believe you. Even so, it's worth it." He hugs you and holds you close, and you respond in kind, wrapping your arms around his chest.

The next few hours pass rather uneventfully. You nap and eat another can of food, relaxing your muscles and your mind instead of fighting monsters. The officers discuss amongst themselves plans for dealing with the zombies at the garage gate, because for the time being the best chance of escape is still the van.

"Hey, I've got something over here," Fred calls out from the front desk. The others approach, and you wander over out of curiosity. "Movement in the parking garage. Looks like people coming up from the ladder..."

Rita leans in close as he zooms in. "That's... That's Kevin!" she shouts, recognizing one of the men on the screen as a police officer. He has three other people with him, civilians by the looks of things, another man and two women.

One of the officers switches to the east hallway camera. Unfortunately, more zombies have returned, and the hall is thick with them. "We need to go and get them before they wander into those zombies," Aaron says.

>Fight through the hallway.
>Use the Chief's elevator to the garage.
>Use the intercom system to tell them to stay put.
>Observe them and see what they do.
>Other
>>
>>4047753
>>Use the intercom system to tell them to stay put.
>>Use the Chief's elevator to the garage.
>>
>>4047777
>>
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>>4047777
>>4047778

"Doesn't this computer have an intercom?" you ask, and Rita quickly switches it on, standing in front of the main computer. She speaks into the microphone, projecting her voice across the station. "Kevin, this is Rita! Stay put! We have a safe way to get to you."

Rita looks at you and says, "Show me this elevator, please."

You, Dylan, her and Aaron all travel up to the second floor, making your way to the chief's office. You take the elevator down to the basement level and then enter the elevator lobby that connects to the parking garage. Rita runs out the door and stands at the railing, looking down at the four of them as they look up at her.

She smiles when she sees him. "Kevin, you made it!"

"Wasn't easy," he replies with a smirk. "Good to see you, Phillips."

You follow after her as she walks down to greet him, shaking his hand. The other civilians, a waitress, a student and a man in a brown casual business suit stand off to the side. "How's things around here?" Kevin asks.

"Not good. We lost most of the others. Lietenant Branagh is injured, and the chief went insane. The only safe place in the station is the main hall; the halls are swarming with zombies and other things. Are any of you hurt?"

"No, thankfully. We've got a doctor here; George." The man in the brown suit steps forward. "He can take a look at the LT. This is Cindy, and Yoko." The blonde waitress gives a small wave, as does the asian girl in the green jacket.

"How have you been holding up?" Rita asks him.

"Well, we were at the bar when this whole thing started, then we ended up at the zoo fighting zombie lions and an elephant. We tried getting to the hospital but it was taken over by leech monsters, so we escaped into the sewers and fought a giant leech. Then, Yoko here took us to some kind of underground laboratory and we tried to escape in a rail car, but that didn't pan out; we had to fight giant moths and weird reptile-man-looking-things and monster plants, and some kind of giant mutant with eyeballs sticking out of it, and well, now we're here."

Rita looks at him, frankly stunned. "And... that was just over the last few days?"

"Yeah, I mean, you know, more or less." He scratches his rugged chin. "Hey, listen, you guys don't have any food, do you? I'm starving." George clears his throat. "Sorry. I meant, WE'RE starving. Though I could also use a good, hard drink."

Rita sighs, then smiles again. "I'm glad you're alive, Kevin. Let's get you upstairs."

>Talk to Kevin the officer
>Talk to George the doctor
>Talk to Cindy the waitress
>Talk to Yoko the student
>Other
>>
>>4047828
>>Talk to George the doctor, save the LT
>>
>>4047828
>>Talk to Kevin the officer
hes done things... impossible things. lets ask him if he kept a typewritter log.
>>
>>4047828
>>Talk to Kevin the officer
>>
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>>4047846
>>4047856

As you take the group upstairs, you look at Kevin. "Is all that stuff true?"

"Yeah, crazy stuff, huh?" He takes out his pistol and checks it as he speaks. "Should've seen the zoo. Mutant gators and giant bugs and hyenas..."

Cindy shivers. "If I never see another zoo in my life, I won't complain."

"You all survived, without injury?"

"Well, injuries, sure," Kevin says with a shrug. "But I mean, none of us got bit or infected. I mean, we've been together a few days now, I'd like to think we aren't."

George speaks. "It's my current theory that the virus may be able to be fought off in small doses. If it gets into your bloodstream, that can be particularly difficult to determine, but--"

Kevin interrupts him. "Hey Rita, check this out." He shows her his pantleg, which has a large gash in it. "A lizard-monster did this. Looks like a man with claws. Nearly got me!"

Rita nods, but isn't really looking at his non-injury; she's too busy staring at his eyes with a small smile on her face.

You get Kevin's attention again. "Did you happen to use a typewriter at any point?"

He gives you a strange look. "Huh?"

"Nothing... just wondering if a record was kept, that's all." You clear your throat and look away.

Cindy looks at Aaron and asks, "How many others are there?"

"About a dozen and a half or so, civilians and officers," he answers.

George looks back at them and says, "I'll see to any injured that you have."

You make eye contact with Cindy, who smiles at you; you offer her a smile back. She seems very relieved to finally be safe and out of the underground. Kevin is talking to Rita, explaining more about where they have been and what they have seen. You notice that the other girl, Yoko, is in the corner of the elevator and is being exceptionally quiet. When she makes brief eye contact, she averts her eyes and looks down at her shoes.

Once the elevator stops and your group makes its way to the main hall, they all split up. Kevin talks to the other officers while George sees to Marvin. Cindy makes her way around, introducing herself to others and asking if she can help them with anything while Yoko keeps to herself, holding tightly onto her backpack.

>Talk to one of the other survivors
>Get some more rest
>Explore the station some more
>Use a typewriter
>Other
>>
>>4047929
>>Use a typewriter
We’ve made some pretty good progress
>>
>>4047929
>>Use a typewriter
>>
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>>4047948
>>4048029

Taking a moment to yourself, you walk over to the typewriter at the front desk and start using it by loading in one of your two ink ribbons.

>This is the...

You hesitate for a moment. Technically, in this timeline, you only have seven previously existing records. Your eighth was from another entirely. You frown as you consider the implication, but then decide to maintain external consistency rather than internal consistency. It will be your second eighth record, but your ninth in total.

'Weird. That's probably only going to get more confusing.'

>...eighth record of Daisy Dixon. It is the evening of September 27th, 1988.

'Damnit. I meant 98.' You sigh and try to relax some more before re-focusing.

>1998. My nerves are on edge.

>The route out of the police station is currently blocked. The Thanatos tyrant followed us here and we were forced to kill it in the basement. It made a hole that we had to cover, but now there are many zombies trying to get in on the other side.

>Thankfully, things are starting to look up. We have captured the chief of police, who is in a cell. His keys are letting us access the station freely. I also secured more evidence of his collusion with Umbrella and William Birkin. Four other survivors also made their way here, including another officer, and it seems like they've been through a lot. There is a doctor among them and he's helping Marvin, who was hurt by the tyrant.

>We're all trying to figure out what to do next. There doesn't seem to be any easy solutions to this problem. We lost another officer today, Tony. Hopefully we can keep more from dying.

>The van is still our best bet out of the city. I hope it will work.

Content with that letter, you pack it with the rest. You walk around the statue and see George helping Marvin; he has a medical case and is using it to clean his wounds and replace the bandages. The blonde waitress Cindy approaches with some clean cloths and a case of herbs.

>Get some sleep.
>Confer with the officers about clearing the back entrance.
>See if George or Cindy need any assistance.
>Talk with Dylan.
>Other
>>
>>4048104
>>Talk with Dylan.
>>
>>4048104
>>Confer with the officers about clearing the back entrance.
>>
>>4048104
>Confer with the officers about clearing the back entrance.
>>
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>>4048130
>>4048150

As you approach the group of officers, you hear them speaking in a low tone.

"About an hour ago," one of them says. "Just put the shotgun to his head, and then..."

"Damn," Kevin mutters as Rita puts a hand over her mouth. "Never figured David would be one for that, but..."

"We just lost two more in the east wing," Fred reports. "Meyer and Floyd. Now Tony and David, too."

"Morale is low," Aaron says. "People are dying every day. The civilians are getting more and more worried. If we can't get them out of here, they might try and leave on their own."

"Well, we can't all fit in that van," Kevin says dryly. "It could maybe pack in all the civilians, but we'd have to stick back. Plus, Marvin's hurt. He won't be much good to us."

Rita folds her arms. "The problem is that the van is inside, and the only way out with the van is blocked by zombies. Too many to kill with conventional firearms, and even then their corpses would make a barricade we'd have difficulty driving over."

"I've noticed that the zombies tend to be rather forgetful," Kevin says, scratching his chin. "If we kill all the power to the parking garage, turn out the lights, and make no noise, maybe they'll go away. I mean, the only reason they're doing what they're doing is because they think there's a snack inside. Maybe we could chuck grenades from the roof to places up the street and make noise in that direction and they'll go there."

Rita gives him an appreciative look. "I did notice that after the zombies swarmed at the shutter during the station's initial evacuation, they eventually left."

"But who knows how long it could take," Aaron points out. "And in the meantime, we're running out of food and water and now people are killing thems--" He stops when he looks at you, composing himself in front of a civilian. "How much longer until we start seeing monsters getting through the doors of the main hall? Lickers crawling through ceiling vents? How much longer is this place going to be safe?"

"It's all we have," Kevin points out.

>Someone could go outside and lure the zombies away.
>Let's wait for them to leave.
>Maybe we could repair the communications equipment.
>Let's set the zombies on fire.
>Other
>>
>>4048195
>>Someone could go outside and lure the zombies away.
>>
>>4048195
>Someone could go outside and lure the zombies away.
Maybe mix the "Throw Grenades From The Roof" plan and the "Go Outside And Be Bait" plan? Whomever's going outside to be bait has some grenades, and uses the grenades to draw zombie attention away before returning back to the station?
>>
>>4048206
That’s sounds good, but do we have enough grenades for that?
>>
>>4048206
support
>>
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>>4048206
>>4048202
>>4048251
>>4048265

You step forward. "Someone should go outside, act as bait and lure the zombies away, probably with a few grenades. I know the path through the sewers. I'll do it."

The officers all look at you like you're crazy. Kevin, in particular, has one eyebrow cocked halfway to the moon. "Yeah, no offense miss, but this is an officer's job."

Nearby, George and Cindy look over, similarly concerned. Somewhere across the hall, Dylan overhears and jogs up.

"I can handle myself," you insist. "I've done it before."

"When you had a group of people helping you," Rita points out. "Daisy, you can't suggest doing it by yourself. After what we saw in the sewers..."

Kevin looks over. "What'd you see? Another giant leech?"

"More than that," she replies. "That... 'thing' is still down there. Who knows what else."

You hold up your hands. "So, we could send a team again. Take the sewers, get to the streets, lure the zombies away, and then come back. We've done it before."

"Every single time we step outside those doors any number of things could happen," Rita says. "Right now, right here, we are alive and safe for the time being. We can lock the main hall's doors with this keycard," she says, holding up a blue card, "and wait it out, like Kevin suggested. If we stop giving the zombies a reason to want to get into the garage, they'll wander off on their own. There's no need to go outside the building."

Kevin cups his chin. "I must admit, I'm wary about even standing up on the roof. The zombie crows seem to travel in groups. What're they called? Flights? Wings?"

"Murders," Dylan says.

"How appropriate."

Rita, taking charge of the situation, walks to the middle of the group. "I say we turn off the lights in the garage, keep quiet and wait for things to calm down until we can drive the van out the back. Any arguments?"

The other officers don't have any arguments to offer, or are too tired to do so. She looks at Kevin, who says, "After we kill the power, I'll go up on the roof and chuck a few grenades up the street. Who knew high school baseball would pay off, eh?"

Rita, attracted to him as she is, laughs at his joke. She looks over at you and composes herself. "Please understand, Daisy. We only want to protect you and the other civilians. It's our job."

"Look, you're running out of officers," you say in a low voice, flatly laying out the truth. "You need people who can fight and survive. Kevin didn't make it here alone, after all."

She frowns. "Yes, but I'm not about to send them outside, either. Kevin is an officer, and is at least trained."

"Why don't you trust me, Rita? After all we've done and been through?"

"It's not about trust, Daisy! You're a civilian. If something happened to you that we could have prevented, it's on us!"

Dylan puts a hand on your arm, urging you to reconsider your course of action. Looking into his eyes, you know he doesn't want you going through the sewers again.
>>
>>4048309

>Insist on helping Kevin on the roof.
>Help Rita to the basement to kill the power.
>Wait in the main hall for the time being.
>Sneak out of the police station.
>Other
>>
>>4048309
>>Help Rita to the basement to kill the power, give Kevin tips
>>
>>4048311
>>Sneak out of the police station.
>>
>>4048320
Support.
>>
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>>4048320
>>4048379

After taking a deep breath, you nod at Dylan and he lowers his hand. You approach Rita and Kevin, looking up at the male officer. "Want some advice?"

"I think I'll be able to handle it up there, sweetie."

You try to keep from scowling and tell him anyway. "If you do get attacked by crows, keep one of those grenades handy. The noise seems to scare them off."

His brow furrows in thought. "Huh. Never tried that. Thanks."

You then look at Rita and say, "I'll go with you to the basement at the very least. You and I have both made the trip plenty of times."

She doesn't seem to have a problem with that. "Sounds like a plan, then. We'll go to the generator room and kill the power to the parking garage. Then we'll head back up." She hands Kevin a radio. "The range isn't good, but we'll signal you when we're ready."

He gives her a small salute and a confident smile and saunters off. You watch Rita as she sighs, looking at his backside as he walks. Afterwards, you both reload your weapons nearby. Clearing your throat, you speak to her.

"So, that's the guy you were talking about in the tunnels, right?"

"Mmm-hmm."

"He's certainly... well-built. Seems like kind of a meathead, though."

Rita rolls her eyes. "He's stubborn. But he's survived... I can hardly believe it."

"That you finally have your chance? Or that someone that thick actually was able to make it?"

"What? No! That's not what I meant at all. Let's just focus on the job, okay? Besides, I've seen you and Dylan."

"What's wrong with Dylan?"

"Nothing, nothing at all. If you like skinny men, I mean."

You give her a funny look, one she mirrors back at you. It's hard to tell which one of you starts smiling first, but soon enough you are both sharing a silent laugh. Dylan, who is nearby but out of earshot, looks over and is confused at your expressions; you give him a reassuring wave.

"I don't blame you for wanting to keep me inside," you say to her after a moment. "But you have to understand, I'm willing to risk my life to save others too. Marvin once said that I missed my calling in life and could've been a great cop."

"When did he say that?" she asks, trying to remember if she was present.

You blink and then realize that was in another life. "Uh, earlier. I can't remember when. The days are bleeding together."

After ensuring everyone is ready, you, Rita, Dylan, Kevin, Aaron and Fred make your way up to the second floor of the main hall. You, Dylan and Rita will take the chief's elevator down to the basement while they wait outside the doors leading to the helipad. Upon seeing the corpse of Tony, you are reminded to warn them about the lickers.

After taking the lift, you enter the parking garage and hear movement. You raise your weapons, but lower them when you hear voices.

"Gotta be a way to open this thing. You got a knife?"

"Hell no. Why would I have one?"

"You've always got a knife. Come on."
>>
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>>4048442

Your group walks around the van to see the two criminals locked up in the cell adjacent to Ben's attempting to break into the locked vehicle. Rita whistles to get their attention, and they look up in surprise, immediately raising their hands.

"We didn't do nothin', honest," the bald one says. "Just lookin' for food, that's all. Swears."

"How'd you two get out?" Rita asks.

"That reporter guy got tired of listenin' to us," the second one explains. "He let us out with the key and told us to get lost."

"Yeah but look at that," the first one replies, pointing at all the zombies on the other side of the shutter. "How's anyone supposed to get outta this place?"

"I'm putting you two back in there," Rita tells them. "We're trying to pull off a plan of escape and you two are acting counter to it."

"Hey, we're all for escapin'!" the first one says.

"Nothin' was proven about us, anyway," the second one adds on. "It was suspected robbery we was hauled in for. Nothin' proven."

"Yeah, and I don't see no judge around! Look, we ain't gotten no food from you guys in a day and a half, and that reporter jerk won't share none 'a his. C'mon, what's the point in keepin' us locked up?"

"So we know where you are," Rita says.

>I think we should keep them out.
>Let's put them back in.
>We should have a talk with Ben.
>Tell them about the escape route in the sewers
>Other
>>
>>4048460
>I think we should keep them out.
Whats the point of prosecuting armed robbery in a scenario when mass casualties and mass cannibalism are on the table? Honestly, we should be interrogating them to find out how to best put them to use. If they are thieves they might be good guides to stick with officers and help with relooting the station.
>>
>>4048460
>>I think we should keep them out.
>>
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>>4048475
>>4048483

You look at Rita and say, "What good is keeping them locked up? They can't go anywhere. When it's us versus the undead, are we really going to just turn our backs on them and leave them to die, just because they committed a crime?"

"Alledgedly," the second one adds.

"Right, right. We're dealing with mass cannibalism, Rita. At least they're not trying to eat us. Maybe they could even help."

Rita seems unconvinced. "If they were normal citizens, fine. We let you walk around freely, but if they get their hands on weapons, who knows what could happen? I'm not about to be responsible for them hurting others." She looks at them, then considers the options for a minute. "You two are coming with us. You'll be brought up to the main hall, where we have food and water, and watched."

"Thank the lord," the first one says. He then looks at you. "And thank you too, lady."

The five of you proceed to the generator room. Along the way, you pass by the weapons room, which is still locked by keycard. "Does yours work on this?" you ask Rita.

"No, I have the blue card, that door needs the red one. One of the other officers had it, but we don't know what happened to him."

In the generator room, Rita carefully selects the power to the parking garage and turns it off from the main switchboard, killing all lights in the lower levels. Turning on your flashlights, you carefully make your way back to the elevator control room. The elevator itself still has power, and so you use it to travel back up to the second floor.

"Lights are off," Rita says, and Kevin responds with an affirmative. They head out onto the helipad and start chucking grenades; explosions are heard soon afterward.

"I hope they don't use up all of the ones we have left," you say to her.

"We still have some left over," she assures you.

Back in the main hall, Rita takes the prisoners over to the other officers, where they are given food and water and put under watch.

George seems have done all he can for Marvin. He stands in one corner of the room, talking with Cindy. As you return, you look over and see that Yoko is staring at you and Dylan, but then she looks away.

>See how Marvin is doing
>Talk with Yoko
>Talk with George and Cindy
>Talk with Dylan
>Other
>>
>>4048528
>>Talk with Yoko
>>
>>4048528
>>Talk with Yoko
take the bait
>>
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>>4048534
>>4048541

"I'll be right back," you say to Dylan before walking over. Yoko avoids eye contact as you kneel near her. "Hello. I'm Daisy."

"Yoko." Her voice is soft and she seems very timid.

"Is there something I can help you with?"

She looks back at you, staring intently. Her dark brown eyes seem to burn with a strange kind of intensity, like she is studying everything about you. "I do not think you are infected."

"What?"

"I heard some of the others speaking. They think you may be infected, but I do not."

"Oh... why?"

"Because I am."

Your eyes slowly widen. "W... What did you say?"

"It is not just me. I believe both George and Kevin are as well. But not Cindy." She is speaking softly, so only you may hear. "For some reason, the infection is spreading very slowly. I think some people are naturally resistant to it, but..."

"How can you tell for certain?"

"Truthfully, I cannot. But I... feel it." She looks at the palm of her hand. "I do not know if it was the water in the sewers, or contact with infected blood, but I can sometimes feel my heart racing for no reason. I get sweaty, and feel great worry."

"That could mean anything. General... anxiety, even."

She swallows. "I think I am going to die. There is no cure. We came up from the Umbrella lab, and while we were there, I looked. No samples remained." After speaking, she grows quiet.

>Tell her about the cure at the university that was being worked on
>Is there some kind of test we can perform to prove it?
>People don't last days after being infected. You can't be.
>Have you spoken about this with the others? They don't seem like they know.
>Other
>>
>>4048564
>>Have you spoken about this with the others? They don't seem like they know.
>>People don't last days after being infected.
>>Is there some kind of test we can perform to prove it?
>>Tell her about the cure at the university that was being worked on
How about all of the above
>>
>>4048574
support
>>
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>>4048574
>>4048638

"Have you spoken about this with the others? They don't seem like they know."

"No, I haven't..." she admits. "I do not know how they would take this news. It seems like it would hurt them greatly." She looks up, over at Cindy and George. "They seem happy, in spite of all that has happened. I do not want to take that away from them."

"But Yoko, people don't last days after being infected."

"Are you sure about that?"

"Well... From what I've seen and heard, people turn relatively quickly."

"But those were from bites."

"Not necessarily. There was a woman who took a shower, and only a day later she was sick and dying. She was the husband of a gun store owner we met."

She considers this information. "People can react differently to the virus."

"Well, is there some kind of test we can perform to prove it?"

"Not with the kind of equipment in this police station," she says. "I wanted to do it at the hospital, or in the lab, but there wasn't time, and I wasn't as sure back then as I am now."

"But how can you know, other than just a vague feeling? You need proof, don't you?"

She closes her eyes. "If we are allowed to leave, we will infect the outside world. I know it."

You sit back, thinking hard. "You know, at the university, a cure was being worked on by Dr. Jenkins."

Looking up, she blinks a few times. "Say that again?"

"He and another man were working on a cure, but I don't think anything will come of it now. They're both dead. One of them unleashed a tyrant and it chased after us. I don't know if you saw its body down in the basement, but that was it."

"Tyrant..." She holds both sides of her head. "I... feel strange..."

"Are you sick?"

"No, something else." She shakes her head and calms down. "It's nothing. Tell me about this cure."

"They wanted our help to make it, but I don't think it'll happen now. Their notes were in this hidden room you needed two gems to unlock, and they needed samples from dangerous places."

"The doctors at the hospital were trying to make a cure as well," she says. "But... they're all dead now. And the scientists in the lab. Everyone's dead." She buries her head in her arms. "Everyone..."

You hear some noise from above as a door opens on the second level. Kevin emerges with the other two officers, and they head towards the ladder to climb down. You overhear him reporting to Rita that they did all they could to make noise up and down the street, and hopes that the zombies will find their way over. Now all that's left to do is wait.

In the interest in trying to keep the station as quiet as possible, Rita takes Marvin's keycard and locks all entrances in the main hall, and spreads the word for everyone to be as quiet as possible.

>Sleep
>Speak with George, Cindy and Kevin
>Continue to speak with Yoko
>See how Marvin is doing
>Other
>>
>>4048654
>>Continue to speak with Yoko
Try to get her to relax, don’t want her to freak the fuck out and do something rash.
>>
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Off to bed, we'll resume tomorrow. Probably the last day for this thread, since we've dwindled down to so few replies, but we've still got some posts left.
I'll archive it tomorrow as well.
If anyone is at all interested, I usually have a discord chat for my other quests. Since I'll be busy soon with a deployment, I'll be able to put out messages in there when next I'll run. Could be a little while.
Here's a link: https://discord.gg/sJk95rV
>>
>>4048737
Thanks for running, wonder where everyone went
>>
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>>4048670

You sit closer to her and put an arm around her shoulder. "Everything's going to be okay," you assure her. "We're going to make it out of this."

She doesn't reply, but seems to calm down somewhat. You decide to keep talking to her to keep her in a state of relaxation; the last thing anyone wants is for her to have a mental breakdown.

"I've never had to fight for my life before. Pick up a weapon, or reload a gun, or anything like that. Never faced monsters outside of my imagination, but now... I think I've done a lot of things the old me would've thought impossible." Looking down at the side of her face, you continue, "And I'll do one more: escape, and after that, live. It seems impossible now, but so was the idea of dead people coming back to life and eating the living. I'm not going to give up. You shouldn't, either."

After taking in your words, Yoko nods and her breathing becomes more steady.

She seems to fall asleep after a few minutes, likely due to exhaustion. You help her to lie down and get a blanket for her. As you put it over her, Cindy walks over. "Hi," she says cheerfully, holding out a hand which you shake. She looks at Yoko. "Is she going to be okay?"

"I think so. She's just very worried and tired."

"Well, that makes two of us," she replies, kneeling down on her heels and putting her hands on her knees. "It can't be easy for her. She's got nobody, and even in all the time we've spent together, she's hardly said a word." Cindy looks at the young asian woman with concern before standing up. "I'll get her some water for when she wakes up."

As she moves off, you rejoin Dylan. Together, the two of you wait for an update about the plan to clear the back entrance.
>>
Rolled 30 (1d100)

>>4049467
>>
>>4049475
uh-oh
>>
>>4049475

Over the course of the next few hours, you continue to wait. Due to the quiet of the main hall, the only sounds are whispers and footsteps, along with the occasional weapon being reloaded. In spite of this, based on security camera footage, the undead do not disperse, not at the back entrance nor the halls. They continue to swarm around the building and some make it through the windows.

Rita, at the front desk with the computer, bites her nails. "It's like they know we're in here."

"Ah, hell," Kevin mutters. "Maybe we should've waited a while before chucking the grenades or something."

Aaron, off to the side, speaks up. "I wonder if they have like a hive-mind or something, you know? Like a group mentality. Not like a smart thing but a self-reinforcing thing, like... One of them starts pounding on the gate, and then another sees him and does the same, but eventually they both forget why they're doing it, but they see the other one doing it so they keep it up."

"No attention span, right," Kevin says. "I've seen these things bang on vending machines or windows while we ran right by them and they continued to do it."

"They left the back entrance once before, I'm sure they'll do it again," Rita offers. "We just need to give them more time."

"Yeah, or someone really does need to go out and ring the dinner bell from the street," Kevin replies. "I'll do it."

"Kevin, no," Rita implores him, standing up to put a hand on his chest. "Please don't do this. Let's just wait! Surely we can--"

"I got this," he insists. "I'll have the radio. We'll keep in touch."

Rita swallows, unsure of how to talk him down. She likely knows she won't be able to.

>Let Kevin go outside.
>Encourage someone else to go with him.
>Sneak after him.
>Advocate waiting to see if they disperse; it's only been a few hours
>Other
>>
>>4049503
>Sneak after him.
>>
>>4049503
>>Sneak after him.
>>
>>4049503
>>Sneak after him.
>>
>>4049533
>>4049544
>>4049545

As he prepares to leave, so do you. You make a plan in your head to sneak after him. Of course, with so few means to get into the basement, you'll simply have to wait and be patient. Knowing that Dylan will want to come with you, you pull him aside and whisper to him. "I'm going to help guide Kevin out to the street and lure the zombies away."

"I'm going--"

"No," you say, putting a finger on his lips. "We'll make less noise when it's just the two of us. Plus, if there is a chance for you to escape, I want you to take it."

"I'm not getting on that van if you're not with me."

"And I'm telling you that in the event I can't, you need to. I need you to trust that I'll find another way out if we can't make it back. Do you understand me?"

He wants to argue, but quells his argument. "Alright, Daisy. I trust you. Just don't get hurt, alright?"

"You have my word."

Because he cannot fit through the small crawlspace beneath the statue, the plan is for Kevin to take the chief's elevator down to the garage and then access the sewers through one of the tunnels there. When he leaves, Dylan stands guard while you crawl through the small tunnel, into the hidden room. From there, you take the elevator down to the machinery room, cross its many walkways, and wait.

Eventually, Kevin climbs down the ladder from the parking garage. He turns on his flighlight, turns and prepares to walk off.

You carefully get his attention with a low tone, so as to not surprise him too much. "Kevin. Wait."

He looks back, drawing his pistol and squinting in the darkness of the area. Turning on his flashlight, he looks over at you. "Daisy, right? What are you doing here?"

"I'm going with you."

He sighs. "Come on. I'm a cop, I--"

"I know the way to the streets through the sewers better than anyone else here. I can get you where we need to go."

He chews his tongue for a moment, mulling it over. "Alright, fine. Get over here."

You join him as you walk back through the machinery room towards the sewer entrance. "You been down here much?"

"A few times," you reply. "We'll need to be careful. There are a lot of strange things down here..."

>Take the waterways into the giant alligator's territory
>Try another path you haven't taken before
>Work back towards the septic area
>Let Kevin take the lead
>Other
>>
>>4049721
>>Work back towards the septic area
>>
>>4049721
>>Try another path you haven't taken before
>>
>>4049727
>>4049760

Working your way back towards the stairwell into a worker's room, you look for the elevator you didn't take before that will lead down into the sewers. You haven't taken this path before, but you think you know where you are going.

Taking the elevator down, you enter a break room. Kevin sees a locker and opens it, discovering some bullets inside, which he takes. You approach a door and try to open it, finding that it is locked from your side. You unlock it and step out onto a waterway. Looking around, you realize that you've never been here before.

There is a dead body of what looks like an Umbrella soldier nearby. He is clutching a weapon and what looks to be a videotape. There are also some undead wandering around, who quickly take notice and begin to approach.

Kevin leaves the room and looks left and right, seeing two paths to take; there is also another room across the way which seems to have a different elevator.

"Which way, kid?" he asks, aiming his gun at the nearest zombie. "Well?"

>Left, down the stairs
>Right, across the bridge and down the stairs
>Into the next room with the elevator
>>
>>4049813
>>Into the next room with the elevator
>>
>>4049813
>>Into the next room with the elevator
>>
>>4049813
>Into the next room with the elevator
>>
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>>4049818
>>4049827
>>4049857

"This way!" you tell him, and run across the path into the next room. He follows after you and slams the door.

As he does so, a zombie wakes up in the center of the room and starts moaning, picking itself up. Kevin turns around and puts an arm up in front of you, then approaches it. You watch as he brings up his leg, kicking the zombie in the chest and knocking it back. He then charges forward and shoulder-tackles it up against a table, then grabs it by the neck and holds it down while he puts his gun against its temple and fires, blasting its brains out.

He drops the corpse and dusts himself off, then looks back at you and smiles. "Not bad, right?"

"I've never seen anyone handle one of those things like that," you say, honestly impressed. The four zombies outside start banging on the door.

"I think we should go," Kevin suggests, calling up the elevator. The two of you ride it downwards, into a very low level of the sewers. The lights here are extremely dark and the smell is exceptionally foul, but you press onwards.

Past the lift is a concrete platform and then a river of raw sewage. "Nowhere else to go," Kevin sighs, hopping into it. He helps you in.

As you turn around, you react in surprise as you behold a mound of strange biological material. It looks like a massive mound of flesh, like a cancerous growth emerging from the water and growing up the wall. As you and Kevin turn your lights all around, you see that there are many such piles of filth up and down the tunnel.

"What is all of this?" you ask, poking the bulbous mound with your gun. "It looks like organs..."

Kevin holds up his hand. "Wait. Did you hear that?" You try to listen over the sound of running water. He turns around slowly, and takes a few steps down the tunnel.

The water in front of him erupts as a large mutant emerges. You can't get a good look at it, but it is grossly deformed, with only the vaguest hint of humanoid-like features. Parts of its body are grown beyond normal proportions; the entirety of its left side has enough mass to hold a person's body, and its head contains stretched-out features that can barely be called a face.

"Not another one!" Kevin shouts, blasting at it as he backs up. "Move, move, move!"

You watch as the bulging neck of the monster seems to expand before it vomits forth some kind of wriggling, multi-legged mass down into the water that begins rapidly swimming towards you.
>>
Rolled 15, 18, 7, 12, 12 + 40 = 104 (5d20 + 40)

>>4049897
>Fire Support: +10
>Kevin's Experience: +10
>Experience: +20
>>
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>>4049902

Running up the hallway through the waist-deep sewage, Kevin pauses briefly to fire at the mutants in pursuit. There are two tunnels up ahead, but one of them is blocked by bars of iron. As you approach the one on the right, another mutant emerges from the water, spewing some kind of vile filth in your direction; it's mouth opens and some kind of prehensile tentacle-like mouth emerges from within, snapping at you while it leaks yellow bile.

You dodge to the side narrowly as Kevin nears it. The monster tries to attack him with its second mouth, but he brings up his fist and smashes it into the worm-like appendage, sending the creature reeling backwards. It reaches forward with its massive left arm to try and grab him, but Kevin hops back and waits for the lumbering limb to miss before charging forwards and up to you.

As you look back, you see a massive eyeball open up on the creature's back, and it stares directly at you. It glows orange, just like the eyeball you saw on the mutant that killed Robert Kendo.

You find a concrete path and Kevin climbs up onto it, grabbing your hand and pulling you up after. The two of you find a staircase and run up it, ending up in a hallway.

"Wait, I recognize this place," you say.

"What? I thought you knew where we were going!"

"We got sidetracked, but I know this place." You walk up a stairwell and enter the sewer management office and control room. It was here earlier that you found a letter to the sewer manager from the Umbrella security office detailing visitors and procedures for them.

You look at Kevin. "What are those things?"

"No idea. We saw one down in the lab, and had to kill it. Took a hell of a lot of firepower, but it was blocking the only way out." He reloads his gun. "Didn't think the sewers would be their breeding ground. Wonder how many of them are down there..."

When you last left this control room, you encountered that mutant with the eyeball-arm. You'll need to choose carefully where to go from here...

>Follow the sewers into the alligator's territory; try to reach the elevator behind Kendo's shop
>Enter the construction area to see if there is a way up to the street
>Enter the septic area and work your way around to the police station's exterior
>Take a different path and see where it leads
>Other
>>
>>4049935
>>Enter the construction area to see if there is a way up to the street
>>
>>4049935
>>Enter the construction area to see if there is a way up to the street
>>
>>4049935
>Enter the construction area to see if there is a way up to the street
>>
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>>4049945
>>4049951

"This way," you tell him, taking him down the same route you took before with the others. You hope that the mutant has left the area by now, but you also don't hear him yelling like before. That gives you some hope that you won't run into him. As you enter the septic area and cross over to the hallway leading to the construction area, you find yourself outside in the heart of a large contstruction area which you recognize to be the one near Kendo's shop. "There must be a way to get up to the street from here," you tell him.

He steps in front of you as he notices a threat. Four zombies are approaching from a bridge crossing over a cesspool. "There's a ladder over there," he spies. You look past the zombies and see a ladder on the other side of a fence. "Alright, I'll distract them while you make a break for it."

"Are you sure? Maybe we can--"

He suddenly charges forward with a loud yell, shoulder-checking one of the zombies into another, knocking them both down. Another one of them lunges for him, but he leans down and grabs it by the legs, standing up and flipping it over his back and over the railing into the cesspool water. The fourth zombie grabs at him and he holds it at bay, struggling against it. "GO!"

Amazed by his boldness, you run past him as the other two zombies recover; they reach for you from the ground, but you hop over their hands. Looking for a door, you finally find one on further up the side of the fence, only to discover that it is locked with a chain and a padlock. You point your pistol at it and prepare to fire when you hear a low growling sound.

Turning around, you see a zombie dog emerge from underneath a pipe and then dash towards you with all the speed expected of an undead canine.
>>
Rolled 1, 15, 14, 4, 10 + 30 = 74 (5d20 + 30)

>>4049995
Experience: +20
Narrow Hallway: +10
>>
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>>4049997

You shoot at the dog, clipping the side of its head and causing it to lose balance and fall down. Before it can get back up, you shoot at it two more times until you hear it yelp and then grow still. Turning, you shoot at the lock twice, breaking it the second time. Once the door is open, you look back at Kevin. "This way!"

Now holding one zombie at bay against the other two, the athletic officer angles his gun beneath the chin of the first zombie and fires. It collapses and he lets go, stepping backwards as the zombie falls. One of the others falls with it, but the other merely stumbles slightly and continues shuffling towards him. Aiming carefully, Kevin fires again, blasting out its neck. Not a fatal blow, but enough to get it to stumble again. He pushes past the three zombies and runs up to the fence to join you.

The two of you start climbing the ladder, which leads to an upper area. Almost immediately, a large group of zombified construction workers turns towards you, at least ten or a dozen or more.

The problem is, the only way out of the pit is through them, as there is a series of scaffolding platforms leading up to the street level on the gravel path beyond them.

"Here!" Kevin shouts, running up to a large construction vehicle. "We'll drive right through those sons-of-bitches!"

Seeing little alternative, you climb into the cab with him and sit behind him as he rubs his hands together. "Now then... how the hell do you work these things?"

"You don't know?!" you ask as the zombie horde grows closer.

"Hey, I could've gone into construction but I became a cop instead," he says. He starts pressing buttons and turning keys and cranking on levers. The engine roars to life and the lights come on, illuminating the oncoming crowd. "Haha! There we go! Let's do it, baby!"

He steps on the gas, but nothing happens.

"Oh, wait, I think the brake might be on..."

He pulls back a crank and suddenly the vehicle lurches forwards, plowing through the zombies. Its massive shovel-like attachment slices at least one of them in half while the thousands of pounds of truck rolls through the rest of them in a slightly-bumpy ride. Once clear of the group, you both get out of the cab as it rolls to a stop and make for the path up to the street.

You find yourself once more on Flower Street, about half a block up from the back of the station. Kevin smiles and slaps you on the shoulder. "Great work getting us out here."

"Now what?"

He pauses for a moment. "Hadn't really thought that far ahead yet."

>Shoot at the back of the crowd at the shutter
>Break into a store and set off an alarm
>Shoot at some cars to set them off
>Find a place to hide, then radio the inside
>Other
>>
>>4050033
>>Shoot at the back of the crowd at the shutter
>>
>>4050033
>>Shoot at the back of the crowd at the shutter
>>
>>4050033
>Find a place to hide, then radio the inside
We should probably coordinate
>>
>>4050035
>>4050041

"Let's just shoot at them," you say.

Kevin thinks for a moment. "I like your style."

The two of you jog up the street, avoiding zombies wandering around and broken cars.

"We'll need to be quick about this," Kevin says. "And we'll need a plan of where to go after. We can't very well lead them back down there."

You think hard about what to do before pausing at the top of the ramp leading down into the garage where the large horde remains. You and Kevin both draw your weapons and aim at the moaning mass of bodies.

"HEY!" Kevin shouts at them at the top of his lungs. "DINNER'S ON! RING-A-DING-DING!"

You both start firing indiscriminately at the zombies, emptying your clips. You shoot at backs, legs, arms, heads on one or two occasions, all the while screaming and making noise.

The horde takes notice, and begins to turn and shuffle up the ramp. Empty, you both start to back up. "Got a plan?" Kevin asks.

>The secret crawl path into the garage from the underpass in front of the station
>Run north, towards the tram station
>Run east, towards the bridge
>Run back to the construction site
>Other
>>
>>4050063
>>The secret crawl path into the garage from the underpass in front of the station, make him go first
>>
>>4050063
>The secret crawl path into the garage from the underpass in front of the station

>>4050073
Don't be a dick.
>>
>>4050086
You have miss interpreted what I meant, I want us to be the last one to safety as we can respawn
>>
>>4050063
>>The secret crawl path into the garage from the underpass in front of the station
>>
Rolled 86 (1d100)

>>4050073
>>4050086
>>4050124
>>4050152
>>
>>4050199

Suddenly, your brain is alight with a memory. "The crawlspace!"

Kevin looks over as you both back up. "What?"

"I know a way into the garage from the front of the station!" you say. "Run, this way!"

You both take off down the street, far outpacing any of the zombies. Taking the first right after the station, you work around burnt cars and a crashed bus to get to the front of the station. The area is littered with zombies, but you spy an entrance near the front gate that is clear.

"Hurry!" you shout over your shoulder as you run up to it. You open it, wait for Kevin to run through, and then slam it behind you before locking it from your side by sliding a metal bar into the stone wall.

There are zombies in the courtyard, and weaving around them is difficult. You make it to the underpass beneath the main entrance to the station and find the hole. "Right here," you tell him.

"That'll be a tight fit," he mutters, getting on all fours and then his stomach to crawl. You look up and see zombies starting to make their way down the stairs.

"Hurry, Kevin!" you urge him.

Once he is in all the way, you follow after him. His progress is somewhat slow, so a zombie is able to grab your foot on the other side. You kick violently and tell him to hurry some more, managing to escape the zombie's grip as you crawl forward.

Kevin reaches the other side and then reaches inside to grab you and pull you out. The two of you work together to cover up the hole with the loose bricks, and then drag a box over to place in front of it.

You both sigh as you lean back against a car. The garage is quiet; you can't hear any zombies banging on the shutter. The escape route is now clear. Kevin radios to Rita that the two of you are back in the basement, safe and sound, and that the mission was successful.

>Return to the main hall
>Clear out the eastern first floor hall of enemies
>Attempt to hotwire the other vehicles in the garage
>Wait for the others to come down to the garage
>Other
>>
>>4050273
>Return to the main hall
>>
>>4050273
>Return to the main hall
>>
>>4050273
>>Return to the main hall
>>
>>4050293
>>4050307
>>4050366

The two of you take the elevator up to the chief's office, walk through the corridor to the reception lobby, then enter the main hall. Kevin can't resist standing at the railing and speaking to the room. "We've got our path out of here! The back entrance is clear!"

Several people cheer in joy; others hug and cry. You accompany Kevin over to the ladder where Rita waits with the other officers, as well as George, Cindy, Dylan and, surprisingly, Jennifer. You give her an uncertain look, and she offers one that seems apologetic.

Marvin is awake, though he isn't doing much better. Everyone gathers around as Rita lays out a map of the city. "Now, we know the route we want to take, out of the northern city. The problem is space. We only have the one armored van. Every other useful vehicle was sent out of the station when the chief ordered the rest of the force out into the streets; we think he sabotaged the rest or hid their keys. He won't tell us anything."

Aaron looks at the others. "We've got nearly twelve civilians. That'd be a very tight fit for them. One officer would need to be a driver. Everyone we can't make fit would be forced to remain behind."

"And then what?" Kevin asks. "This might be the only way out. With no other working vehicles, we've got no options left."

"We can't expect the driver to return after reaching the city outskirts," Rita says. "The most we can hope for is that they can send a helicopter to rescue the people left behind."

You step forward. "And even then, they might not. If Umbrella is part of whatever perimeter operation is going on, they might try to stop people from getting out of the city. After all, we have proof that they were behind all of this, or at least corrupt with bribing the chief. If we make it out, we have to talk only to the Army or the Government. Not Umbrella."

"I think we're getting away from the point," Kevin says. "We need to determine right now who stays and who goes, because we don't have enough room for everybody. Naturally, everyone wants to get out of here... but I think we officers are all in agreement that civilians go first."

Everyone looks around, waiting for someone else to speak up.

>Volunteer to stay.
>You want to leave with the van.
>Remain silent.
>Maybe we can get another vehicle somehow.
>Other
>>
>>4050388
>Maybe we can get another vehicle somehow
Or is it possible to have people riding on the roof?
>>
>>4050388
>Maybe we can get another vehicle somehow.
>>
>>4050388
>>Maybe we can get another vehicle somehow.
>>
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>>4050392
>>4050394
>>4050425

"What about another vehicle?" you ask. "What would it take to get another one?"

Fred speaks up. "We could try replacing broken parts in vehicles downstairs with parts from other vehicles in the garage. Why not try that?"

"The less time we spend in the garage, the better," Rita explains. "We don't want another mob forming up outside the entrance. Then we'd be back to square one."

Aaron suggests, "Perhaps we can go outside and get another one. There's plenty of cars lying around."

"No, they're not going to be able to match the armored van," Rita replies. "Harry was able to survive in one for more than two days. Zombies or other monsters will break through a regular car. Short of a tank, we won't be able to secure its safety."

You then ask, "Could people ride on the roof?"

Kevin cocks a brow. "What happens if we need to speed up or turn fast? Or crows attack, or something else? Nah. We need everyone safe, that's the point."

You nod and agree with his point.

"Outside of searching the city, I doubt we're going to get another armored van in here," Kevin says.

"What about where Irons ordered the rest of the force? They must've used at least one armored van there," Fred points out.

"It's a good few blocks from the station, and the area is probably crawling with zombies," Rita says softly. "Can we really afford to keep taking risks and sending people outside?" She then looks over at you and Dylan with a difficult to read expression. You know she must be disappointed in your disregard of her request to not go outside, but you have nothing but success to show for it. She knows this too; it's part of what is frustrating. She doesn't want people to get too confident in going outside.

"What we have right now is a van that can transport at least the civilains, if they all pack inside," Kevin says, putting his hands on his hips. "We might not be able to get another armored vehicle. I say we take the shot we have and get them out. Then, we can worry about getting ourselves out." He looks over at Rita and says, "One officer will have to go with them to drive. Half the food and water we have right now can be split up; half goes in the van. Same goes for weapons and ammo, just in case."

Rita nods in agreement. "Alright. Sounds like a plan."

"What about Marvin?" George asks. "He may be stable now, but he needs medical attention."

"No," a raspy voice says, and everyone turns to the lieutenant on the stretcher. "I won't take... a civilian's place. I won't... do it." Rita places a supportive hand on his shoulder, assuring him that he'll be okay. He closes his eyes again and resumes his quiet breathing.

>You'll stay as well.
>You'll go with this van as it leaves.
>Let's try and repair a car in the garage.
>Let's secure a regular car from the street.
>Let's go out into the city and look for another armored van.
>Other
>>
>>4050497
>Let's try and repair a car in the garage.
We can try modifying and armoring a large car here, glue some metal sheets over the windows etc
>>
>>4050497
>>Let's try and repair a car in the garage.
>>
>>4050497
>Let's try and repair a car in the garage
Next run, we'll just do this before going out and distracting the zombies.
>>
>>4050519
>>4050536
>>4050556

"Well, can we at least try to repair another car?" you ask.

"Might take some time," Kevin says. "How many tools do we have?"

"Very few," Fred replies. "We never did repairs in-station. We always went to the car shop down the street. You know, Wheatley's?"

Kevin sighs. "Damn. Wish David were here."

"David? Did he have tools?" Rita asks.

"No, not David Ford, a different David. Mechanic. He was in the bar with us, but we got separated. Don't know where he or the others are now."

"Could we strip another car and use it to, like, armor a vehicle?" Dylan asks.

Fred rubs the side of his head. "We don't... have... tools! We've got MAYBE a few wrenches and other things scattered around and even then we'd have to look for them. We have nothing to weld with, or measure power output, or..." He takes a deep breath and sighs heavily. "We were completely unprepared for this. We have almost nothing."

"The chief is to blame for a lot of that," Rita points out.

"Well then, let's go down the street and get tools," you say. "We can carry them back in toolboxes, or--"

Suddenly, there is a scream as Katherine, the mayor's daughter, points up to the ceiling. Everyone looks up and sees a licker crawling around, having just emerged from a panel along the ceiling. The monster opens its mouth and its long tongue emerges, whipping about as it senses all the noise in the main hall. Then it takes off, crawling with incredible speed, leaping like a jumping spider from point to point.

The officers draw guns and start shooting, peppering the walls with rounds. Screams echo throughout the room, from both civilians and the licker itself.

Kevin aims his pistol, then readjusts, focusing intently before firing. His shot hits the licker, who falls down the wall and onto the second floor walkway's railing, its spine bent in the opposite direction. The licker twitches, and several more bullets are pumped into it before it dies. Its long tongue hangs from its mouth, nearly reaching the ground. Blood runs freely from its corpse and starts to pool down below.

As the civilians all gather near the other side of the room, Rita slowly lowers her weapon. "We're getting the civies out of here, right now," she says. "No more arguing. They're starting to figure out how to get into the main hall."

You look at the licker and gulp. It looks like time's up when it comes to finding another solution.

>You'll go with the van.
>You'll stay back at the police station.
>Other
>>
>>4050616
>>You'll go with the van.
We have done all we can with this timeline.
>>
>>4050616
>You'll go with the van.
Drive shotgun so we can keep an eyeout for any other armored cars we might pass.
>>
>>4050616
>You'll go with the van.
>>
>>4050616
>You'll go with the van.
If anything, we can fight to protect non-combatants. We came far for a cook. I'm hoping we'll see Daisy in a biologist roll later in the RE timeline.
>>
>>4050616
>>You'll go with the van
>>
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>>4050627
>>4050628
>>4050633
>>4050638
>>4050642

"I guess that's it, then," you whisper to yourself, still staring at the licker.

Dylan puts a hand on your shoulder and squeezes. "We need to get ready, Daisy."

You nod and start gathering your things. Jennifer approaches you. "Daisy?" This is the first time she's approached you since your incident with the tyrant. She seems to have calmed down somewhat, and is more warm to you. "I wanted... That is, I wanted to just say that I'm sorry."

"Nothing for you to apologize for," you insist.

"No, I should've been more supportive. I was talking to the others, spreading rumors about you being infected... I'm sorry. You saved my life. And if we get out of this, you'll have been responsible for that, too."

Kevin walks by. "Hey, I helped too." Rita grabs his arm and hauls him off, scolding him for those words, saying that an officer doesn't protect and serve for the credit.

You give Jennifer a smile. "We're almost out of here, Jen. Let's focus on getting out alive."

She nods, and moves in for a hug. You return it gratefully. She moves off to gather her things and the supplies she'll help carry.

"Harry is going to be the driver," Rita says. "We're going to keep the chief locked up for now; we can't transport him with the rest of the civilians."

"What about Ben?" you ask her.

"Depends on whether or not he wants to come, I suppose."

As the others all gather around, you hand Rita the chief's keys. Weapons, ammunition, food and water are dispersed, but as you'll be riding shotgun, most of the ammo is given to you. The group travels down into the basement and starts carefully loading all of the supplies into the van, then begins the complicated process of shoving everyone into the back. With people standing, and fitting two more up front, it is an incredibly tight fit.

Surprisingly, the two prisoners, Nathan and Samuel, stay back to give more room to the others. When given the offer, Ben declines transport, citing that he doesn't think they'll make it by vehicle and to let him know when a helicopter is coming.

You reflect for a moment on the little girl with blonde hair in the school uniform. You never found her...

>Board the vehicle and leave
>Use your final ink ribbon
>On second thought, remain behind
>Other
>>
>>4050696
>>Use your final ink ribbon
>>
>>4050696
>>Use your final ink ribbon
>>
>>4050696
>Use your final ink ribbon
Just in case things get fucked
>>
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>>4050705
>>4050708
>>4050730

Before leaving the main hall for the final time, you approach its typewriter and run your hands along its surface. "I'd like to take you with me, if you weren't so damn heavy and we weren't so strapped for room." You sigh, load in your final ink ribbon, and prepare to write.

>This is the ninth record of Daisy Dixon. Near midnight, September 27th, 1998.

>We cleared the back entrance. Now, we're about to leave that station. We only have one van, and no way to repair the other vehicles. A licker got into the main hall, and we killed it before it could hurt anyone, but now it is no longer safe to be here. The decision was made to load up all of the civilians and head out.

>I hope I can make it out of here, and that everyone else can, too. That's why I'm writing this final record, just in case. Just in case something bad happens.

>I just want to leave this nightmare.

You finish typing, and take the note and place it with the others. Dylan arrives then, and walks with you downstairs, holding your hand. The two of you share a kiss in the elevator, but exchange no words. You press your forehead against his, and when the time comes, you and he climb into the cab together, sitting to Harry and George's right.

When everyone is ready, Rita and Kevin stand by the garage exit with the parking pass in hand. Fred and Aaron work quickly to remove the plywood and the chains, so that nothing gets caught when the shutter is raised. Harry turns the vehicle on and they raise the shutter, sliding the card through the reader and stepping back while it lifts.

You give one final wave to Rita and Kevin, who wave back. Kevin puts his hand on Rita's shoulder, and she puts on a brave face, but a lone tear betrays her worry. You don't blame her--you're worried too.

The van is driven out into the street, and everyone holds on tightly. The vehicle cannot move too fast, due in part to all of the people on board, but also due to the numerous obstacles in the road. There are occasional stretches of road that are clear, and some ways that are completely blocked off. Dylan and George have the map, and are helping guide Harry every step of the way, using a marker to denote paths that are blocked off and guiding him to avenues that haven't been taken yet.

The more you stare out the window at the destruction, the more you think about everything you've done and what could've been different. You try and push those difficult thoughts from your mind and focus on the end goal of escaping and surviving. There must be some road out of the city that will work. There must be.
>>
Rolled 84, 33, 54 = 171 (3d100)

>>4050761
>>
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>>4050762

Although the path you are forced to take is long, you are able to make it to the northern section of the city. Through the use of various roads, you are able to travel to Mission Street and from there get onto the bypass leading out of the city. The number of abandonned cars you pass becomes less and less until, finally and at long last, you are clear of the city and open road stretches on ahead.

For the first time, you feel yourself relaxing, and the relief amongst the people in the van is palpable. You rest your head on Dylan's shoulder and sigh as he kisses the top of your head.

You've made it.

Assured in your safety, you feel yourself drifting off into sleep.

At least until Harry stops driving. "Look," he says, and you open your eyes. You, Dylan and George all look at what appears to be a military checkpoint up ahead, but there are no people. There are vehicles, but no lights, or guards, or anything.

"What happened here?" George wonders aloud, and whispers from nervous people in the back begin to grow in intensity.

You squeeze your weapon as Harry creeps the van forwards. A fenceline with stone blockades and other obstacles has been erected around the perimeter, and it has only one entrance along the road, which is currently down. Your vehicle will not be able to cross so long as it is. When Harry can go no further, he stops and looks over.

"I'll get out and take a look," you say, and Dylan goes with you. He's about to close the door when George decides that he, too, will get out. The three of you keep close as you approach the checkpoint.

"This looks like an Army checkpoint," George notes. "It had to have been raised since the outbreak. But where is everyone?"

Dylan looks over at you. "You don't think... I mean... It couldn't be everywhere, could it?"

A very worrisome thought indeed, but you need to hold out hope that you can keep going. You approach the checkpoint control station and open the door, discovering a floor covered with blood. Nearby, George looks in a military humvee, finding its interior completely caked with blood, as though a man popped within it. He takes out a cloth from his pocket and holds it up his mouth.

You take a step further into the control room, and look up. The entire ceiling is covered with human viscera, which drips wetly. You step back, nearly vomiting at the sight. Dylan looks around the corner of the building, and sees what is left of a man's legs; his entire upper torso appears to have somehow imploded and covers a blast radius of several meters in all directions.

"What could have done this?" you whisper, staring up at the ceiling and at bits of organ, bone and hair stuck there. A chill grows up your spine. No zombie could have accomplished this kind of feat...

>Search the area
>Raise the barricade and leave immediately
>Drive back the way you came
>Attempt to find a radio
>Other
>>
>>4050818
>>Search the area
>>Attempt to find a radio
Wonder what did this
>>
>>4050818
>Raise the barricade and leave immediately
>>
When we start over from the beginning, we should do the Jennifer & Dylan route, then talk to Kendo first & warn him about the water to save his wife, then arm up from there including grabbing the multitool & lockpick set.

Then head to the station & immediately talk to the S.T.A.R.S. agent so we can depose the chief. As soon as he's taken care of, have the officers board up everything & fix the broadcast antenna (bring boomy boys for the birbs). Let everyone in the station & city-wide know that bites, scratches, & the city's water cause infection. Recall all officers not in armored vehicles to the station, then have all the armored vehicles sent out to search for survivors. Quarantine all the infected within the unused jail cells. Burn all the corpses. Make sure all the shutters are operational & all gates sealed as well as manned. Wipe out the dogs.

Then we rescue the two girls. After the station is 100% secure & all resources are gathered in the main hall, lead an operation to seal the main gate & any other entrances, securing the grounds in the process.

Plan out an evac route using all the remaining non-armored vehicles, fixing up any that have been sabotaged, & start sending survivors out of the city with a cop accompanying them. Once all the armored vans have returned with the survivors they can find, start sending out the rest via said transports. If there aren't enough, arm everyone left & call for helicopter evac. Arm up with all the boomy boys, herbs, & shells we can, plus the launcher & a knoife.

Take the last transport with the 2 prisoners, Ben, etc., & stop to pickup the rest of the evidence. Make copies of everything to be sent with Ben & kept with us, then stop at the University & let the students take our place in the transport. Once they've left us behind, do all the bullshit necessary to create the anti-virus. Get it out of the city somehow & eggsecute the 2 mad scientists.
>>
>>4050859
Some very good ideas, but we're not quite done yet.
>>4050836
>>4050856
I'll need a tie breaker.
>>
>>4050859
I like this plan. What do we do about the various cure attempts?

>>4050874
>Search the area
>Find a radio
Recon!
>>
>>4050818
>Search the area
>Attempt to find a radio
>>
If we can do all that without having tactikool Umbrella deathsquads or a Tyrant or 8 chasing us, we could then checkout the fire department or find out what happened to our friends & family.

As for right now, since we saved before we left, I'll go with the interesting/foolish option of search & radio.
>>
How many endings do you guys think we should aim for?
>>
>>4050818
>>Search the area
>>Find a radio
this is a bad plan, but fuck it
>>
>>4050884
Go for Best Ending, with Bad Ends in the middle of the search for reconnaissance purposes.
>>
>>4050887
Yes this
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>>4050879
>>4050836
>>4050880
>>4050881
>>4050885

You step out of the area and look around, spotting Dylan as he inspects the torso. George approaches, out a strange-looking pistol and holding it up as he scans the area.

"Look," he says, seeing something behind you. You turn around and see a shadow moving along a wall nearby. The light being projected is from a military vehicle.

Dylan leans down and picks up a bullet casing. "These are everywhere," he says, scanning his flashlight around the ground. Its light reflects on the goldish-brass of the all the discarded shells. "They were all shooting at something."

You raise your shotgun and slowly step forward. "This way," you whisper to them. "See if you can find an intact body with a radio or something..."

As you cautiously approach the area you saw the shadow in, you keep your weapon pointed straight forward. Walking around a large military vehicle, whose side is splattered with blood, you discover a lone figure, walking in a strange, stilted manner. You all shine your lights upon the vaguely-feminine being and it stops walking.

You look at its skin. It seems almost translucent in areas, horribly pale like waxy chalk, but with a wet shine to it. Red veins can be glimpsed beneath the skin, which seem to be moving like threads, never staying in one place. The figure is nude, and the only thing that isn't pale and waxlike is its hair; black, short and wild with many frayed ends.

The figure turns, but only its torso; her legs stay where they are as the waist twists impossibly at the hip. It, or she, looks upon you three with white eyes, and opens her lips, which seem to be connected until she speaks; then her lips separate like skin being stretched too far apart and splitting open.

"Only... a few... more..." she gasps in a watery voice.

"Her hands," Dylan says, his eyes wide with fear.

You look down and see her fingers start to elongate, turning pinkish and then flesh-like as they transform into worm-like apendages that wriggle and writhe before splitting and multiplying; five on each hand becomes ten for twenty in total, and then they begin to grow even longer.

Caught between wanting to run back to the van and open fire, she suddenly raises her hands and shoots the tentacles out at you.
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Rolled 15, 14, 20, 12, 19 + 40 = 120 (5d20 + 40)

>>4050912
>Fire Support: +20
>Experience: +20
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>>4050913

With your shotgun ready, you blast at the tentacles, sending them flying apart as they fall upon the ground and wriggle. Dylan begins to fire, as does George; the three of you don't stop, even as the main body of the creature begins to change. More tentacles emerge from its back as it grows, its muscles enlarging and turning red, its teeth sharpening and elongating, its tongue splitting several times into a root-like appendage. Its eyes melt away as its skull splits open, revealing a pulsing brain beneath.

"Fall back!" you tell them, even as you continue to fire away at it. Your bullets seem to be hurting it, but but it keeps getting bigger. The three of you back up and eventually break out into a run as the mutation howls in pain and some other sound you can't place on the human spectrum.

You hear it coming up from behind you; it appears to have grown another leg or two to assist in its locomotion. Thinking quickly, you take out the flash grenade you found earlier and pull the pin, throwing it behind. It goes off with a brilliant white burst of light. The echoing howl is heard once more as the thing, whatever it is, falls down, blinded by the light.

As they run towards the van, you run into the control station and throw the lever to raise the barricade. You make it back and Dylan pulls you inside the cab. The barricade lifts slowly, and as it does, the mutant drags itself up to your vehicle and latches onto the side of it. Harry attempts to floor it, but the monster is digging multiple appendages into the ground and attempting to keep the truck from moving. Multiple tendrils begin to grow from its body as it seems to start encompassing the right side of the van with them.
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Rolled 11, 19, 9, 9, 5 + 40 = 93 (5d20 + 40)

>>4050931
>Fire Support: +20
>Experience: +20
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>>4050937

The monster tears off the passenger side door of the van and sticks its head forward. You shove your shotgun into its mouth and pull the trigger, even as it wraps its many-flanged tongue around the barrel. Dylan and George both fire around your head as the monster falls back, letting go of the van, which lurches forward. You nearly fall out, but Dylan grabs you by the back of your shirt and keeps you from falling out.

The monster, somewhere left behind, cries out after you, but you are gone. Dylan and George work to pull you into the van and Dylan holds you tightly to ensure that you do not fall out.

You hold onto him just as tightly as the van drives off, leaving Raccoon City and all of its nightmares far, far behind.

There is another military checkpoint up ahead, this one manned by actual people. Army and government personnel, with no Umbrella to be seen. Your vehicle is stopped and you are escorted to tents for treatment and evaluation. You're prepared to explain everything to them; the truth behind Umbrella, the conspiracy with the chief of police, everything. But that can wait until you can leak it to a higher source than emergency relief personnel.

For the time being, you hold Dylan's hand and know that you've made it.

As you close your eyes, everything begins to fade to black...
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>>4050953

You find yourself walking forward through a place of absolute darkness. You feel strange... like you are out of your body, such as when you return to a previous point. But you haven't died...

Up ahead, there is a light, shining down from somewhere above. There is a chair beneath it, and a woman standing next to it. It is a high-backed chair, leather and spotless.

Confusion fills you. You were just at the military checkpoint. You had made it. Everything is supposed to have been fine from this point on...

You feel compelled to stop a few meters from the chair and the woman. The chair turns, revealing a man whose face you cannot make out. He seems like an older gentleman, dressed finely and with well-groomed grey hair, and his figure seems well-built. But his face is completely obscured by the light overhead... Try as you may to make it out, you cannot.

"So, you made it. Congratulations are in order." He takes out a piece of paper and reads over it. "Ah, yes, I see... Not very impressive, I must say. I do like some of the details here, though. Managing to save little Emma, that's rather unique. Katherine as well, how daring. The files you collected were quite extensive, though you did miss quite a few... Unfortunately, nothing too significant seems to have happened; everything's mostly the same. Points for how unique some of your actions were, but overall a very unsatisfying conclusion. Your final rank is D."

"I... don't understand," you say. "What are you talking about? Where am I? Rank?"

He gestures in your direction with the paper. "Give the girl her reward."

The woman approaches you holding a metal briefcase with the Umbrella logo on it. She opens it up, revealing a single item: a key. It is rather unnusually shaped, ornate and golden.

"You'll have that for your next run," the shadow man explains. "It'll come in quite handy."

"Run? What are you talking about? Where are Dylan and the others? Who are you?! Answer me!"

He ignores your questions. "I'm wiping out your previously existing saves and starting a new file. Do try and do better than a mere D this time, won't you? After all, better rewards, and your freedom, are on the line."

"My freedom...?" You try to move, but find that you cannot. "Wait! Why can I save? What is the meaning of all this? What do you want from me?!"

"Good luck," is all the answer you receive as the woman walks back to his side. "Give us a good show."

Everything goes dark, and then your eyes open.

You're in the kitchen at Tony's Diner, standing at your prep station, holding your kitchen knife. The lights are on, you're standing over a pot of spaghetti, and you can hear Tony working to your left. You slowly turn your head and look at him as if you are seeing a ghost.

Outside the kitchen, in the dining area, you hear Jennifer drop her plates and then, a moment later, scream.

Your eyes become very wide as you realize that the nightmare isn't over.

It's only just beginning.
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>>4050988
The ending was a lie
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>>4050988
I was hoping for something like this. Good way to explain her save states and it's more interesting than just blowing up RE canon with our mere presence. Nice job, Ark. You said you're deploying, any idea when you'll be able to run again?
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Congrats boys, we made it.

Thanks for running Ark, good quest.

A bit more detail for my plan: find a sick motorcycle or something to tye onto the back of the last transport and use that to get away after we're done at the University. Before that, cut off the lights to non-vital areas once the police station is 100% secure, and have the cars sound their horns on the way out of the station to draw away the horde for the next transport.

"Jackie, one more thing!" Ark, you should really start a new thread around 800 posts. Older devices can't handle it very well.
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>>4050988
Tony is the source, Tony must survive to end the endless loops.
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There we have it, folks. End of part 1.

Run #2 will officially begin at the start of the next thread.

Did you like this thread? Please let me know. I've never done a quest/story with meta elements such as these incorporated into the narrative itself, acknowledged by the protagonist themselves.

I'll be archiving the thread now, and we'll be continuing at a later date. Unfortunately I'll be very busy for a little while with my deployment coming up; I can't quite say when I'll be able to run again, maybe anywhere from a few weeks to a month.

If you want to know when I'll be running next time, or just chat at any time, I made a discord for the thread which can be joined here: https://discord.gg/sJk95rV

I'll also post in the quest general and the /qtg/ discord as well when I make a new thread.

My official twitter is https://twitter.com/DamashiKonquest (I run the Mortal Kombat quest and the Evil Sorceress quest. At some point in the future, I'll do a Star Wars one as well, but that's for later.)

Thank you very much for playing! I sincerely hope you enjoyed participating in it all up until now; I had a lot of fun writing it and liked the experience a lot.

I'll see you next time!
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>>4050988
You absolute magnificent bastard, this was one hell of a ride, thank you for running and I look forward to questing with you again some day.
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>>4050996
>any idea when you'll be able to run again?
Hopefully sooner rather than later, but we'll see.
>>4051000
>Thanks for running Ark, good quest.
>>4051009
>thank you for running and I look forward to questing with you again some day.
Thank you, anons, I look forward to playing with you as well.

I've been your guide, Ark Thompson, the guy nobody remembers from the game everyone wants to forget, and I'll see you next time.
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YOU'RE DAMASHI? Check your fanfiction.net already! Also, RIP Tortek.
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>>4051004
don't forget the sweatshop. It ain't gonna write itself ya know.
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I missed the last few days of this, my apologies. Hell of a ride and Im glad more is coming eventually, thanks for running.
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>>4051020
Aw shit, it's been a minute, hasn't it? Well, I guess I gotta check it.
>>4051024
I will, I will. We'll get there.
>>4051029
Thanks for playing!
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>That ending
Absolutely beautiful! I wasn’t expecting the Executer Virus to show up there nor for our rolls to be so good but hot damn this quest has been pretty damn fun, good job QM.
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>>4051032
Thank you.
>I wasn’t expecting the Executer Virus to show up there
I like to mix and match from all sources of Resident Evil, except for the live-action films (Alice won't be showing up here, as you can imagine). Resident Evil canon is very loose as it is, but I'll try my best to stay true to events as I can.

Fun fact: Did you know we were one day away from meeting Jill at the station? Why, tomorrow evening and Brad, Jill and Nemesis were going to show up. And the day right after day, Claire and Leon!
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>>4051020
What's his handle on fanfiction,net?
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>>4051042
I know. I was reluctant to fuck with cannon that much. I thought that after we escaped we would be an umbrella hunter or something. Guess it doesn't matter now.
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>>4051051
Whatever has us in its Grasp seems to want us to fuck with the timeline
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Oh, and I archived the thread.
http://suptg.thisisnotatrueending.com/qstarchive.html?searchall=resident+evil+quest
>>4051043
I really don't use fanfiction.net anymore, I've gotten into collaborative writing quests here, but at some point I'll be continuing a Fallout story I'm long overdue for on there. If you'd like to know, you can DM me on discord, I'd prefer it.
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>>4051042
So was Irons in constant contact with Umbrella?
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>>4051840
>So was Irons in constant contact with Umbrella?
There doesn't seem to be any indication of this, no. It seems almost all of Irons' contact was through William Birkin.
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Shame there is no thread 2, especially with the new "pandemic" going on.....
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>>4056487
Hey QM got deployed, can't be helped I'm afraid. join the QMs discord



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