File: Daisy Dixon.jpg (15 KB, 300x300)

15 KB JPG

You stand at your prep station, utterly still, your eyes wide in horror. You are frozen, unable to move, to breathe, to think. You were out of the city. You had made it, escaped, survived. And now...

Big Tony, alive and well, looks over to his right as he finishes washing his hands. "What was that?" he asks, and you hardly register the fact that he's referring to the plate Jennifer just dropped outside. He walks up to you, staring into your blank eyes. "Daisy? You look like you've seen a ghost or something!"

Your lips slightly part, but words do not come out. Tony moves to get past you, saying, "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!"

As he pushes past, walking out the kitchen door, you realize your hands are shaking. You look at the knife in your hand, the very same one you gave to Dylan, who stabbed a zombie in an alleyway after you smacked its head with a pipe. A mind-numbing stream of consciousness seems to flow through you as the full weight of what is happening falls upon your shoulders, causing your legs to buckle; you drop the knife in front of you and catch yourself on the prep station, suddenly finding it very difficult to breathe and stand.

'Oh no, please, God, no,' are the first rational words that enter your mind. 'No, no, no...'

You look down at the spaghetti you were preparing, and smell it. It smells wonderful, but that fact doesn't seem to register in your brain. Outside, you know the entire city is about to go to hell; most of it is already in the process of being overrun by the infected. But that doesn't seem to quite register either.

You were free. Alive. Out of the city... How? How can this be? How can any of this be happening?!

From the window to the eating area, you hear Jennifer scream again, and it jolts you back to the present. You take a deep breath, your eyes dart around the room, and you grab your knife again. Your heart is racing in your chest, your mind is whirring with questions that have no answers, and you realize that you have moments to act.

>Run to the front to help Big Tony and Jennifer
>Run out the back door to your car
>Take stock of your inventory and try to get a grip
>Search the kitchen for anything useful
>Other

File: 25f.gif (3.98 MB, 480x270)

3.98 MB GIF

Oh yeah, link to the first thread:
http://suptg.thisisnotatrueending.com/qstarchive/4022961/

>>4647754
>Run to the front to help Big Tony and Jennifer

>>4647754
>>Run to the front to help Big Tony and Jennifer

File: grip.jpg (161 KB, 549x549)

161 KB JPG

>>4647754
>>Take stock of your inventory and try to get a grip
GOTTA GET A GRIP

>>4647754
>>Run to the front to help Big Tony and Jennifer
I'm gonna be more YOLO this run and test the limits of what we can do

>>4647754
>>Run to the front to help Big Tony and Jennifer

File: WHUH.png (62 KB, 218x386)

62 KB PNG

>first the Halo Quest
>now this
HOLY SHIT

>>4647754
>Take stock of your inventory and try to get a grip

>>4647754
>>Run to the front to help Big Tony and Jennifer


You can save Tony this time!

File: 0EAB399000000578-0-image-(...).jpg (44 KB, 634x423)

44 KB JPG

>>4647761
>>4647764
>>4647771
>>4647780
>>4647786

Snapping out of your stupor, you run to the kitchen door and slam it open. To your utter dismay, you realize that the state of shock from being sent back to this moment kept you from saving Big Tony from his unfortunate fate. It all happened too fast. In his attempt to help up the customer who had fallen unconscious face-first in his meal, he left himself open to being bitten in the neck---just like before. As you enter the room, he's knocked over the man who bit him, pushing him into a chair and knocking him over. The familiar sound of Jennifer's screaming fills your ears as your boss reaches for a cloth to hold against his neck, even though you know the wound is utterly fatal and he has moments to live.

In front of you, a customer has slid out of his booth, writhing on the ground, undergoing what you now know to be the transformation from living to living dead.

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.

'It's all happening again,' you think as your breath catches in your throat. 'Everything...'

You were utterly unprepared for being sent back to this moment. The disorientation it brought, coupled with the confusion of that man in the shadows, and the woman with the Umbrella briefcase, and the terrifying realization of it all, kept you from reacting. Even now, you find yourself stalling as you try to remember events that took place previously. You took Tony and Jennifer into the back, where Tony died. You got into your car, but didn't get too far, before heading out on foot. You took Jennifer underground, and---

Your train of thought is derailed as the zombie that took a chunk out of Tony's neck rises to his feet, issuing forth a chillingly familiar wet moan, the very first zombie moan you heard the first time around.

>Grab Jennifer and get to the back
>Attack the zombie that bit Tony with your knife
>Abandon Tony and Jennifer; you need to get out
>Pick up a chair and throw it at the zombie
>Other

>>4647799
>Grab Jennifer and get to the back

>>4647799
>>Grab Jennifer and get to the back
Welp we tried. Take the suitcase and go.

>>4647799
>>Grab Jennifer and get to the back

>>4647799
>...No, not this time, you have the power, you don't understand it, you don't really need to, but we have it, reset and save tony, every second it critical every life precious and only you can save them.

[reload and don't let the shock stop us from saving tony]

so for those who were not in the OG quest we have the ability to come back from the dead and load save points.

>>4647810
I'll support if its possible

and it seems as though we have learned that if we have no save point we start from the beginning of the nightmare(meaning the beginning of the timeline, or the dinner a couple of minutes before the man turns and bites tony.)

File: 0 Inventory 1.png (870 KB, 1500x1126)

870 KB PNG

>>4647803
>>4647804
>>4647805

You leap over the convulsing man in front of you, heading towards Jennifer. You reach out and grab her by the wrist, pulling her towards you, and you both step over Tony. As you make it back to the kitchen door, you spare a look backwards, seeing Tony reach up to try to stop the zombie before it falls atop him. You shudder and avert your eyes and pull her into the kitchen with you.

'I'm sorry, Tony... Next time.' You blink as you realize what you just thought. 'Next time...'

Jennifer is freaking out. "Oh my god, what's happening?!" she cries.

You pause. You have your knife in one hand, and with your free hand, you search your pockets. You have your keyring, with your car keys on it, and in another pocket...

You pull out a golden key. The same one from the mysterious woman's briefcase. Your eyes widen as you think about the implications of it all. Your restore ability, returning to previous moments, that man in the shadows, it must all be connected. Someone is... watching you. Judging you. "Grading" your progress... When you escaped, you were given a "D". What does that mean? How did you do so badly? What were his words again?

Your thoughts are interrupted by the kitchen door being banged on. Jennifer screams and you snap out of your thoughts once more and slam against the door to block it. You press against the swinging door as a zombie on the other side continues to attempt to get within.

>Hold the door, have Jennifer search the kitchen for the medkit
>Tell her to open the back door and give both of you a clear exit to run out of
>Let the door open and attack the zombie
>Push back and try to knock the zombie on the other side of the door down
>Other

>>4647840
>Hold the door, have Jennifer search the kitchen for the medkit

then

>Tell her to open the back door and give both of you a clear exit to run out of

>>4647840
>>Let the door open and attack the zombie

>>4647842
support, we need to pick up our friend from last run he was on the roof

>>4647850
A little more than just friend. I wonder if we will get bonuses from sex. Not trying to make this a lewd quest, just trying to explore all paths.

>>4647870
>A little more than just friend
true that what's really going to suck, he won't remember a damn thing, we are a stranger to him again, or maybe he will because of the intimate time, who knows, either way, it will be interesting

>>4647842
+1

File: 1998-toyota-corolla-front(...).jpg (34 KB, 505x359)

34 KB JPG

>>4647842
>>4647850
>>4647885

Gritting your teeth, you look at Jennifer and get her attention. She's near incoherent in her babbling, but you manage to snap her out of it. "Jennifer! Get the medkit, and hold open the back door! We'll run for my car!"

She takes a moment to think about your words, then nods, riffling through the kitchen. "Oh god, oh god, oh god..." she mutters desperately. You dig your shoes into the tiles and push as hard as you can against the door as the zombie on the other side relentless pounds upon it, moaning all the while.

"Under the sink!" you call to her, and she looks and finds it quickly. She is about to run back to you, but remembers your instructions and goes to the backdoor instead, opening it up.

"Come on!" she says through tear-soaked cheeks.

You brace yourself for action and leap forward, rushing towards the back door. The zombie bursts through, the door slamming against the wall as he stumbles into the kitchen, ending up running into the stove. You dash through the exit and make your way to your car, unlocking it and helping Jennifer inside. Already you can hear the awful noise of the city going to hell around you; sirens, screams, fires. As you get behind the wheel of the car, you look out into the street. You behold a man getting hit by a runaway car, only for him to moments later crawl away, dragging his shattered legs behind him.

As Jennifer continues to freak out in the passenger seat, you think about what to do next.

"Dylan," you whisper to yourself; Jennifer does not hear. You went underground with Jennifer, then entered the subway tunnels, then made it to a park. From there, you scaled a fire escape, and Dylan was there. You remember that he was about to shoot himself.

"Daisy!" Jennifer says in a loud voice, getting your attention. "What do we do?!"

"I'm thinking," you reply. "Please, calm down, let's just try and think about what to do."

She tries to calm down, but it is difficult.

You think, hard.

'I can't remember the building Dylan was on... And the path we took wasn't exactly the most straight and narrow...' You find yourself suddenly overwhelmed by possibilities. All the people you met, the ones you tried to save. The mayor's daughter Katherine, Kendo's daughter Emma, Officer Phillips and Marvin and all of the others...

And then there are the ones you never learned the fates of. Your friends, whom you were going to celebrate your birthday with. Your parents...

You think about Dylan, and the first kiss you shared in the clock tower, and how happy you thought you were to have escaped with him...

>I have to save Dylan first; I must find him before he kills himself.
>My friends. We were going to meet at the mall...
>My parents. They live in the suburbs.
>Maybe, if I focus hard enough... I can go back to the beginning, like before, and save Tony.
>Other

>>4647939
New timeline, new you

>>4647945
Fucked that up beyond belief

>>4647939
>My parents. They live in the suburbs.

>>4647939
>Maybe, if I focus hard enough... I can go back to the beginning, like before, and save Tony.

save tony then we go for Dylan, can't leave our boy to die like that not after all we share, and we woe it to tony to at least try

>>4647939
>>Maybe, if I focus hard enough... I can go back to the beginning, like before, and save Tony.

File: s rank.png (214 KB, 420x420)

214 KB PNG

>>4647939
>>Maybe, if I focus hard enough... I can go back to the beginning, like before, and save Tony.

A RANK!?
NO
WE S RANK!

>>4647966
>>4647948
Actually we can go back for Tony right?

Information about areas we didn't hit is useful now. The city is basically gonna be locked down in several hours...

So
>My parents. They live in the suburbs.

>>4647976
we can we have a time loop ability, OP would not have offered if we couldn't

>>4647939
>>Maybe, if I focus hard enough... I can go back to the beginning, like before, and save Tony.

File: alternate timelines.png (308 KB, 524x274)

308 KB PNG

>>4647955
>>4647958
>>4647966
>>4647993

'I can't decide,' you think to yourself. 'There are too many options, too many choices. I must be able to go back... like before, with the typewriters...'

You close your eyes. Focus, like before. You try to return to that place, that ethereal plane where you could access 'save states'... but find yourself unable to do so. Try as you might, you are unable to access the starting point, the "restart"... But why? None of this makes any sense!

"I don't understand," you say to yourself. "Why?"

"I know," Jennifer says, quietly sobbing. "Why is this happening? Is it the end of the world?"

You look at her, and then resume staring at the wheel. 'I can't go back to the beginning by my own free choice. Does that mean... only that man can send me back? And why to this moment? I don't understand...'

You try and remember the man's words.

>"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."

>"Good luck. Give us a good show."

'Rewards... my freedom... There is a chance to get out! There must be!'

"What now, Daisy?" Jennifer asks. "I'm so scared. Where do we go? What do we do?"

>We have to get to the police station.
>We need to get out of town.
>We need to get underground.
>We need to get to the suburbs.
>Other

>>4648013
>We need to get to the suburbs.

Rip Tony

>>4648013
Save Dylan first. Shouldn't take long.

>>4648013
>>We have to get to the police station.
We need to recreate our path from the first run to save dylan, we started by trying for the police station so we need to do that again

>>4648013
>>We have to get to the police station.


>>4648023
anon has a good point

>>4648013
>We have to get to the police station.

File: dsc_9995-1366x905.jpg (249 KB, 1366x905)

249 KB JPG

>>4648018
>>4648023
>>4648027
>>4648103

Once again, Dylan flashes through your mind. You're here, wasting time thinking, and he's on a ticking clock.

But how to reach him? You have to recreate your path, but can you remember which way it was? For you, it was days ago...

"The police station," you tell Jennifer in a soft voice, then once again only firmer. "The police station! It'll be safe there."

You kick your car into gear and take off, speeding around the corner, passing a group of zombies that suddenly lunge outwards. Jennifer gasps and tightens her seat belt.

'I have to remember the roads I turned on... Just drive to the police station like before, you know the roads...'

Soon enough, you come upon an impassable road, just like before. It is filled with abandoned cars, one of which features a zombie snacking on a trapped driver. You stop the car and leap out. "Come on!" you tell her, opening her door.

"What? We're going on foot?!"

"No other way," you tell her. "Stay close, stay calm! Trust me! I know what I'm doing!"

Jennifer goes with you with little resistance as you find your way through the streets. You see a mob of people up ahead, all trying to get to the center of town in a panic, some trampling each other. Just like before, you think it would be a very bad idea to get into that throng, and look around.

"There!" you say, pointing at the subway entrance you know you've been down before---you recognize it. Nearly pulling Jennifer behind you, dragging almost, you head down the stairs and onto the platform. The train has come and gone already.

"W-what are we doing down here?" Jennifer asks.

"Shortcut," you reply. "Trust me." You begin to climb down onto the tracks, following in your footsteps.

"Daisy! Are you nuts?"

"The train has already gone, and this is a shortcut to the police station. I know the way." She hesitates, and so you look up at her. "Jennifer, please, I know what I'm doing." You stop just short of saying, 'I've done it before.'

After a moment, she nervously climbs down with your help. You move quickly and with purpose, surprising her with how readily you plunge into the dark of the subway tunnels. "Daisy, w-wait!"

You follow the hazy trail of your memory down the tunnels, passing by dim lights and stepping as carefully as you can over the old railway boards. As you go, Jennifer sniffles. "I'm so scared."

"Me too," you say, though your voice is distant.

Pausing after a moment, you come to a junction, one that you recall from before. Up ahead is the old station with the locked gate, and to your right is the old tunnel you never traveled down before. As Jennifer clings tightly to your hand, you wonder if perhaps there may be another way forward, or if you should stick strictly to the path you know.

>Continue down the path you were traveling.
>Search this old tunnel.
>Wait for a moment to calm Jennifer down.
>Search the area for anything useful.
>Other

>>4648135
>Continue down the path you were traveling.

Need to grab the pipe. Should we ask Jennifer if she ever watched Groundhog Day?

>>4648135
>>Continue down the path you were traveling.

>>4648135
>>Continue down the path you were traveling.

>>4648135
>>4648138
>Wait for a moment to calm Jennifer down.

Changing my vote to this, by virtue of knowing where we're going we're already moving faster, we surely have enough time to see to the mental well being of Jennifer.

>>4648172
>Calm Jennifer down, "look at me Jen, look at me, I promise everything will be ok, but you have to trust me, please trust me, we don't have time so I need you to be strong and listen to me, can you do that for me?".

>then Continue down the path you were traveling.

it's risky, damn risky, but your point is valid if she snaps before we make it by pushing too hard then we lose both people

>>4648186
support

File: giphy4.gif (1.09 MB, 480x270)

1.09 MB GIF

>>4648140
>>4648142
>>4648172
>>4648186
>>4648249

"Come on, this way," you tell Jennifer, heading down the path you traveled before.

"You know these tunnels well?" she asks with a sniffle.

"I, uh, read a map once," you say. "As a hobby."

Eventually you come upon the old, unused platform that has the locked gate. You look for the pipe, and find it, right where it was the first time. You pick it up and feel its weight and heft, remembering using it to crack a zombie's head before.

'This is so surreal... Following in my own footsteps...' You think about Dylan, and Jennifer as well. You look over at her, remembering that while she is rattled and shaken now, she did come in handy in the police station---her ability to pick locks was very useful, and could be again, in a tight pinch. But first, she needs to be steadied.

You face her squarely. "Jen, look at me." She does so, slightly confused. You put your hands on her shoulders and look into her eyes. "I know things are really terrible. You're scared, I'm scared, I know. But I promise you that everything will be okay, and I need you to trust me, okay? We don't have a lot of time, so I need you to be strong and listen to what I say. Can you do that for me?"

After a moment, she nods, your words clearly having a calming effect on her. Her face twists into a grimace as she hugs you, burying her face in your shoulder. She has a good cry for a moment as you pat her shoulder.

The moment is interrupted by a roar echoing throughout the tunnel. You both turn and look in the direction you came from. You remember there being a roar the first time you were here... and now, you know what that roar sounds like.

Your eyes widen as the dots get connected in your head. The monster that killed Robert Kendo, the freak with the giant eyeball on its arm.

"What was that?!" Jennifer says, clinging tightly to you.

"Trouble," you say, picking up the pipe and heading towards the locked gate. "Lots of it."

File: 1578980582691.gif (1018 KB, 260x195)

1018 KB GIF

>>4648369

You swing the pipe at the gate several times, each time aiming for the old lock, knowing you broke it before. Another roar is heard after the fourth swing, and when the lock breaks and the gate swings open, you and Jennifer both rush through it. You turn around, looking back at the old station platform below, and see a large shadow on the wall, that of a malformed man with a large arm lumbering into the light. Not wanting to stick around to give it something to chase, you grab Jennifer and run off into the fenced-off park.

'Think, think, think,' you say to yourself. 'You were here before. You know what to do. Dylan is on one of these rooftops... Remember!'

You look in the direction of the police station, and remember that you scaled a building to get a better view. It had a fire escape on the side.

Looking now, you see two buildings that match that description. "Shit," you mutter. "C'mon, think..."

You put all your energy into picturing the building you climbed to the top of the first time, and remember that the fire escape was on the left-hand side.

"This way," you say, pulling her towards the crate you moved to climb the fence. Together, the two of you are able to push the box up to the wall and scale it. One at a time, the two of you make your way over the fence and down the other side, carefully helping each other so as to avoid injury. Once again you take the lead, heading towards the fire escape.

"What are we doing? Where are we going?" Jennifer asks, and you are reminded again that she does not have the knowledge that you do.

"I need a better look," you tell her. "Come on. Let's get up on the roof."

Working together, you reach the fire escape and quickly reach up to it. Jennifer, moving more slowly, is left behind as you rush up its metal stairs, your heart pounding in your chest.

'Please be alive, Dylan, please,' you silently beg.

When you reach the rooftop, you desperately look across its surface until you see him. You can't help but smile as you see him standing, alone, his attention now turning towards you. He looks tired, disheveled and defeated, just as you remember him looking before you stopped him. You look down at the gun in his hand, then back up to him.

Jennifer catches up to you at the top, panting slightly.

"Hey," Dylan calls out to you, and his distant voice nearly causes you to shake. But when you look into his eyes, you see no familiarity, no comfort or warmth---he doesn't know you at all. The realization hurts, though you do not blame him. How could you? How could he know what you know?

"I'm... Daisy," you say, putting a hand on your chest.

"Dylan," he introduces himself to you for the second time. He looks over the edge of the building at the chaos down below. "Not pretty, huh?"

Rather than follow his gaze, like Jennifer does, you keep looking at him. You can't help but notice he casts a glance down at the gun in his hands.

File: Dylan as portrayed by Jus(...).png (614 KB, 540x540)

614 KB PNG

>>4648371

>Wait for him to make the first move
>Approach him and speak to him calmly
>Tell him you know about the safety of the police station
>Ask him for his gun
>Other

>>4648376
>Approach him and speak to him calmly

>>4648376
>give yourself a moment, a single moment feel the weight of the fact he doesn't remember you, the hurt, the loss, and the knowledge that if you want him back you will need to do it all over again, but only for a moment, then move forward, he needs you now, everyone still breathing in that police station needs you as well. then say

>"No, no it's not, but it's not over, we are going to the police station, it's our best bet, Dylen was it, I know things look bleak right now, but whatever your thinking, please listen to me when I say, it's worth fighting through. Come with us together we can make it" stretch out your hand "what do you say" offer him a reassuring smile

>>4648380
support, I do worry for daisy

File: jl2.png (351 KB, 704x349)

351 KB PNG

>>4648380
>>4648395
>>4648379

For a moment, you simply stare at him. You feel your heart tighten in your chest slightly as you remember all the time you spent with him over the last few days. Seeing him sleep, smile, fighting alongside him, even dying alongside him... and he knows none of it. The kiss you shared, the hope for escape and freedom from this nightmare you mutually grew through your connection, all gone.

In a way, it makes your heart break. You want to be happy that he is here and alive, but what do you do from here? How can you recreate such a thing a second time?

"It really isn't," you whisper, slowly drawing near him while Jennifer lingers behind. "Are you alright?"

"Not exactly," he says, his voice on the verge of cracking. He rubs his mouth and looks back at you. "Things are really bad. I'm sure you know that. But you probably haven't had to... shoot a little girl, even if she was already dead. Oh, god." He sits down on the nearby cement block. "I came up here because I thought I could signal a helicopter or something. Stupid me, I didn't even think that I had no flares or anything"

These words are familiar, even if they are packaged slightly differently.

You motion to your companion. "This is Jennifer. We're going to the police station."

"Don't suppose you have wings, do you? Look at the streets."

You look down at the gun in his hands, then back up into his eyes. "Dylan... I know you don't know me, but you should come with us."

"I don't think that's a very good idea," he says in a faraway tone.

"Well, whatever you are thinking is a good idea right now probably isn't," you carefully reply, trying to sound as soothing as possible. "I know things look bleak right now, but please listen to me when I say that it's worth fighting through. If you come with us... we can make it."

His face is suddenly colored by surprise, and he looks at you as though you are reading his mind. In a way, you are; knowledge of the future is a strange thing indeed.

"That's... I didn't exactly, ah, come up here with the intent to come back down."

With a nod, you say, "I can tell." You kneel slightly, getting more on his level. "Please. Don't. Trust me, if we stick together, we can all make it."

He stares at you for a moment, his breathing light and sparse. He blinks a few times and you watch as his demeanor changes. Then, you see it: a spark in his eyes, something you may have seen the first time around but neglected to truly notice. He's looking at you differently than he did a moment ago, and you cannot help but smile, knowing you've broken through to him.

You stretch your hand out towards him. "What do you say?"

After a moment, he slowly nods and takes your hand. "...Okay."

You grip his hand warmly and pull him up to stand. There is an urge to hug him, to kiss him---but you quell it. You remind yourself that he doesn't truly know you yet, as paradoxical as it may feel with how well you know him.

File: shutterstock_75943963.jpg (59 KB, 1241x1052)

59 KB JPG

>>4648430

"You made the right choice," you tell him. You look back at Jennifer and give her a smile too, although the subtleties of your conversation with Dylan just now seem to have gone over her head slightly.

"You can shoot, right?" Jennifer asks, and he nods.

>Attempt the same path to the police station as before
>Attempt to reach the police station through the underground
>Now that you have Dylan, go to a new destination
>Go into this apartment building and wait
>Other

>>4648433
>>Attempt the same path to the police station as before
>>be mindful of the dangers from the first time pep talk everyone before making the run

File: 0 REQ bubble 3.png (56 KB, 204x204)

56 KB PNG

I'm off to bed for the evening, but we'll be back tomorrow with more, so stay tuned!
Good to be back and running.

>>4648433
>Attempt to reach the police station through the underground

IIRC the last time we went on that path it was fraught with perils, seeing as we're looping we might as well try to see if there's a safe way underground, even if Birkin is roaming down there.

>>4648450
Glad you made it back safe and sound, Ark.

>>4648433
>>Now that you have Dylan, go to a new destination
Mall. Police station can wait. We could use more friends.

What's our main goal this time around? Complete a cure with Dr. Jenkins, or grab all the Umbrella info from the police station/kill irons?

>>4648433
>>>Attempt the same path to the police station as before
>>>be mindful of the dangers from the first time pep talk everyone before making the run

File: arkeyes.jpg (61 KB, 803x1006)

61 KB JPG

Good morning. We'll be resuming shortly.

>>4648786
alright, lets do this!

File: cover-zombie-city.jpg (46 KB, 600x431)

46 KB JPG

>>4648441
>>4648638

You approach the edge of the rooftop, peering over at the chaos below. The many raging fires line the city's horizon like beacons of damnation, foretelling its doom. Even the city itself is a victim of this plague.

As Dylan and Jennifer speak behind you, introducing themselves more properly, you consider the options laid out before you. The path you took before to reach the police station was dangerous, but successful. If you can take it again, only this time while being more prepared, it should be easier, since you know what to expect.

And then... Your mind swirls with possibilities. The corrupt police chief, Brian Irons, is still lurking within the station, doing everything in his power to make escape more difficult. He's also holding the mayor's daughter hostage. Ben Bertolucci's evidence is still in his hotel, and he's down in a cell at the moment. Officers Rita and Marvin are there, too, trying to keep people calm and evacuate them. Robert Kendo is at his gun shop with his wife and daughter. Your biology professor, Peter Jenkins, is still trying to research a cure for the virus at your university---and then there is that maniac he is working with, Dr. Mueller, and his Tyrant monster you fought.

You could go underground... but then again, there is that giant alligator, and that freak with the eyeball on his arm... Probably not the best idea.

"I know the way to the station," you say, turning around to properly address them. "It won't be easy, but I know the shortcut. It's very, very important that we stick together and do NOT hesitate, understood?"

They look at each other, then back to you and nod. You continue, "I'm serious. A moment's hesitation could cost us our lives. So stay together and stay alert and stick to the plan."

"What is the plan, exactly?" Jennifer asks.

You point towards the alleyway you ran into before, across the street that zombies are shambling around on. "We take the alleyways."

"If we get caught in that place, we're as good as dead," Dylan says.

"I know, but it is a choke point, which means there are fewer paths for them to attack us from."

You check your equipment. You have your knife, the pipe, your keyring... and the strange, golden key. You pause as you look at it, then put it back into your pocket. 'Whatever that opens, I won't find out up here on this roof.' You look at Dylan and Jennifer; he has his pistol, and she is still carrying the medkit from the diner.

>Give Dylan your knife.
>Give Jennifer your knife.
>Give Jennifer your pipe.
>Ask for Dylan's gun; give him one of your weapons.
>Other

>>4648822
>>Give Jennifer your pipe.

Im thinking it would be easier using a blunt weapon on a zombie than a knife for a newbie

>>4648822
>>Give Jennifer your pipe.
easest for her to use

when we get to the station we need to work to stop brains as fast as possible

File: resident-evil-2-zombies-a(...).jpg (303 KB, 1600x1600)

303 KB JPG

>>4648844
>>4648867

You look at Jennifer and hand her the pipe, taking the medkit from her while you do so. She looks at the pipe in her hands, then back up to you, her mouth slightly ajar.

"It's easy to use," you tell her, taking out your knife. "It's like a baseball bat. You played softball, right?"

"N-no," she admits.

You blink. "What, really? Well... if you get cornered, just swing it as hard as you can at their head, okay?"

She nods. You then look at Dylan and ask, "You've got five shots left in that thing, right?"

He blinks. "Yeah, how did you know?"

'Shit.' You clear your throat. "Well, you said you, uh, shot a little gir---I mean, zombie, right? I assumed. I'm a good guesser." You quickly turn away and head towards the fire escape. "Now then, uh... Just follow me, close and quick."

As you descend the fire escape, your mind whirs. 'I need to be careful. They'd think I'm crazy if I told them I've done all of this before... Nobody would understand.'

You make it down to the street and carefully make your way to the end of the alleyway with your companions. Jennifer grips her pipe tightly and Dylan has his gun at the ready. The three of you hide behind a dumpster and when you see your chance, you take it.

With how fast you are going, the zombies in the street have barely a moment to react before you zip past them. They raise their arms and moan and begin shuffling after you, but the three of you are already in the opposite alleyway.

Just as before, a single lone zombie appears, turning his milky eyes towards you three and advancing with bloody arms outstretched. Nearby, there is a door that is slightly open, but you ignore it, just like before.

Rolled 11, 3, 9, 4, 12 + 30 = 69 (5d20 + 30)

>>4648881
>Experience: +20
>Fire Support: +10

File: photo-1494122412770-c4f61(...).jpg (201 KB, 1000x667)

201 KB JPG

>>4648884

Lunging with your knife, you bury it into the zombie's neck from a lower angle, simultaneously using the weight of the monster's forward momentum to push him to the left. Stunned from your attack, the zombie attempts to grasp at you but is unable to do so before it falls. Keeping a tight grip on the handle of your knife, you withdraw it as it does, now slick with the dark blood of the walking corpse.

Then, Jennifer is there, letting out a shout as she brings down the pipe and bashes the zombie once on the head with a desperate swing. The creature isn't dead, but is kept from getting back up immediately.

"Come on!" you shout urgently as the three of you continue running. You come to the locked fence and waste no time in climbing over it; they get the idea and follow. Remembering how difficult it was for Jennifer the first time, you tell her to throw the pipe over and guide her in scaling the fence. She grabs the pipe once more and follows along.

The mass of zombies that followed you from the street reaches the fence only after the three of you are well past it. You come upon the locked fence gate with barbed wire at the top, adjacent to the apartment complex with the door you know is locked, and look for the open window.

"Give me a boost!" you say to them. "I can unlock the door from within."

"Is it locked?" Dylan asks, trying it. "Yup. Locked." He turns and moves to give you a boost. You make it into the bedroom. From below, Jennifer tells you to be careful, and you give her a thumbs-up.

"I'll be right down!" you promise them.

"Hurry!" Dylan shouts, looking back at the fence with the zombies pressing against it. "We might not have long!"

But you're already on the move, rushing down the hall, pausing only to take a pillow from the man's bedroom. You encounter the zombified little girl again. As she snarls and advances, you shove the pillow in her face and push her out of the way; she's much smaller and lighter than you, making this task trivial.

You run downstairs and open the back door at the end of the maintenance hall. Preoccupied with the sight of the zombies at the nearby fence, they turn around in surprise when you open the door and urge them to get inside.

"That was fast," Dylan compliments you.

'Almost like I've done it before,' you keep from saying.

From the front entrance, you make your way onto Ennerdale, and just a few buildings down is the police station. Holding Jennifer's hand, you take her and Dylan and run, weaving between cars, until you reach the police barricade. An officer aims his gun at you, then stops when he sees you are not zombies, and urges you to get inside. There is a large group of people struggling to get into the station.

But here, you hesitate, and wonder what to do next.

File: 9bd09631325b8f68062152816(...).jpg (151 KB, 1260x800)

151 KB JPG

>>4648900

>Go in through the front doors of the station, to the Main Hall.
>Use the crawlspace under the main entrance to access the police garage.
>Attempt to make your way around the station to another entrance.
>Wait outside for a moment.
>Other

>>4648902
While I want to run back getting Ben's documents, I think we should try to stop the police chief.
>Tell Jennifer to try and get in through the front door while we do something else real quick.
>Use the crawlspace under the main entrance to access the police garage to get in more quickly maybe
>Leave Dylan to decide either way.

>>4648906
When we get in the garage what will we do? Gank Irons?

>>4648912
the answer's only no because it would make us look like a maniac.
preferably we get to confront him with another police officer, we know he is on umbrellas pay roll, he has been (or is) running around the police station doing "god knows what" he won't tell anyone about we can frame as destroying evidence

>>4648902
>>Go in through the front doors of the station, to the Main Hall.
Now that we've got our little group back together we need to use the rest of this run as an information-gathering text we've also got to use a safe point we know that irons he's going to try and stop us so we got to figure out the most efficient way to stop him from f****** at the police station and making this a safe base of operations

>>4648902
>>Go in through the front doors of the station, to the Main Hall.

File: Resident-Evil-2-Original-(...).png (1.44 MB, 1280x960)

1.44 MB PNG

>>4648906
>>4648924
>>4648946

You follow the mass of people as they flood into the main hall of the police station. As you pass through the front doors, you are once again faced with the magnificently grand view of the former-museum-turned-police-station's main hall, with its statues and columns and wide, spacious ceiling and windows. You look around, trying to see through the horde of panicked civilians, managing to spy some people you know: Rita Phillips and Marvin Branagh. They are near the front desk, trying to keep people calm.

You feel Dylan tug on your arm as he brings you and Jennifer over to the southwest corner of the room to get out of the way of people still entering the station. You and he make brief eye contact as he pats his left pocket, telling you where it is, and you acknowledge him with a single nod. Jennifer clings tightly to your arm, still frightened but somewhat relieved to finally be here. All around you people are shouting, crying, screaming, arguing---the chaos won't die down for some time, not until most have been evacuated on the shuttles down below, and even then not everyone will be able to get out. Then there are the windows that will be broken, and those long-tongued lickers will start showing up eventually...

As you huddle near an impromptu aid station, watching the stretched thin police force try to deal with the situation that they are wildly unprepared for, you consider what else you should do.

'A typewriter...' you think. 'I should get to the typewriter in that photo room! Then I can save...' You try to think hard about the events and how they played out previously. 'They're about to start moving people down into the shuttle area... I didn't save the first time until after we failed to get on a shuttle. If we get in front of the crowd, we can get on a shuttle and have a way out of town!'

But suddenly you are hit with another thought. 'Out of town... but won't that mean I'll just fade to black, and get graded again? And sent back to the beginning? Maybe that's not such a bad thing... I could save Tony, now that I know what will happen. But will it? I never did learn if the people on the shuttles made it out of the city...'

You look around at the many people and officers, and wonder what your next move should be.

>You, Dylan and Jennifer will be near first in line to get onto a shuttle and get out of town
>Ensure that Dylan and Jennifer get on a shuttle; you will remain behind
>Let things play out like they did before; the three of you will remain here
>Break away from Dylan and Jennifer and get to the photo dark room earlier to save at the typewriter
>Other

>>4648967
>>Break away from Dylan and Jennifer and get to the photo dark room earlier to save at the typewriter
>tell them to hold up we will be right back
it's worth the shake up

>>4648967
Typewriter then shuttle?

Rush it even if shit happens?

It's very possible there's information the shuttle way we could use.

>>4648967
>>Break away from Dylan and Jennifer and get to the photo dark room earlier to save at the typewriter

>>4648967
>>Break away from Dylan and Jennifer and get to the photo dark room earlier to save at the typewriter
>>tell them to hold up we will be right back

>>4648967
>Break away from Dylan and Jennifer and get to the photo dark room earlier to save at the typewriter
>tell them to hold up we will be right back

No idea if the shuttles actually got out of the city, we should investigate whether they escaped later so that if we do get sent back in a loop we can send them on it.

File: RE2_remake_Reception.png (1.17 MB, 1920x1080)

1.17 MB PNG

>>4648972
>>4648973
>>4648974
>>4648986
>>4648998

'No matter what, I should save, as soon as possible,' you decide. 'The dark room.'

You move to stand, and Dylan and Jennifer look at you in confusion. "I'll be right back," you assure them.

"Daisy!" Jennifer says, grabbing your hand. "What are you doing?"

"I just need to speak to someone, trust me," you say, gently coaxing her into letting go. You proceed towards the western hall, where there is a lobby. The lobby is filled with people as well, talking through a glass window to officers on the other side. You catch snippets of conversation---phones are down, no word from outside the city, the situation is happening everywhere---nothing you don't already know.

At the far end of the waiting room is the door to the west hallway. From your time at the station previously, you know that you have to get by a few rooms; file storage, the operations room, and then the dark room is underneath a staircase. Officers are still all over the place, so if you are caught, you'll likely be taken back to the main hall.

Still, it's worth a shot.

Rolled 3, 15, 6, 17, 18 + 20 = 79 (5d20 + 20)

>>4649019

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

File: jpg.jpg (28 KB, 690x389)

28 KB JPG

>>4649021

Though the hallways are relatively narrow, there are a few small alcoves, columns and hallway connections you can hide in. You narrowly avoid two police officers who are rushing to the main hall, and quickly make your way to the northwest corner of the station, not bothering to stop once at any of the other doors. Your heart races but you keep yourself calm and collected.

Once you are in the western stairway hall, you quickly duck underneath the staircase and open the door to the dark room, turning on the light. There, you see the cabinets, table with the typewriter, and the back area where photos are developed. You quickly sit in front of the typewriter and crank it into its starting position, checking to ensure that the ink ribbon is good.

You begin.

>To whoever...

You pause. Wouldn't 'whomever' be more appropriate? You shake your head. 'What the hell does it matter? Just write!'

>...may find this, my name is Daisy Dixon. It is September 24th, 1998. Today is my birthday, and this is my first record of survival against the zombies that have taken over the city.

>We have made it to the police station. Many people are here, and things are looking very bad. Part of me knows that things will only get worse before they get better... but I know that no matter what I must endure. With all these strange things happening at once, I'm surprised I haven't lost my mind... I have to hold on.

>I have to earn my freedom.

You stop writing and look at the letter. You read over its words, and then close your eyes and focus. You begin to feel a light, strange sensation; an odd, out-of-body sort of experience. You open your eyes and smile to yourself as you realize you just created a save state.

You fold it neatly and put it into your pocket, then take a moment to breathe and collect your thoughts, idly tapping your fingers on the table surface.

'Chief Irons will come down here in a while,' you realize suddenly. 'He's going to burn some evidence that links him to Umbrella. Umbrella... the bastards that did all of this.' You remember when you almost escaped on a helicopter after facing the Thanatos on the roof of the police station. Umbrella found your evidence and had you killed.

'Umbrella are the real monsters,' you remind yourself. 'They did all of this. All of it is their fault. I can't simply escape, I have to escape with evidence of their misdeeds... and not get caught by them. That's what happened the first time, but the second time, on the truck, when everything faded to black...'

You sit in contemplation. 'What if they never let me go? The man in the shadows, and that woman with him. But he said I could earn my freedom... I have to believe there is a way out. I have to.'

Standing up, you consider what happens next. 'The shuttles will depart, but not all of them will make it. Then, Irons comes down here to burn his evidence. This is the only place I know for absolute certain he will be, so perhaps I can ambush him...'

File: BH_2_PART1_393.jpg (46 KB, 320x240)

46 KB JPG

>>4649044

>Return to Dylan and Jennifer
>Wait here for Irons
>Explore more of the station
>Search this room for items
>Other

>>4649046
>>Search this room for items

>>4649046
>Search this room for items
>Wait here for Irons

When he comes down to burn evidence we'll apprehend him and show the officers all of umbrella's misdeeds

>Search this room for items

As much as I want Irons to get screwed over, we would need to find other cops that would actually be on our side first. If Irons has already given the ridiculous orders, cops like Marvin would be far more willing to hear us out. Can't just knock him out and drag his body out front while yelling about what many would consider to be a ridiculous conspiracy theory, zombie apocalypse aside.

>>4649046
>>Search this room for items
Oh man, actually caught this live.

File: 0 Inventory 3.png (941 KB, 1500x1126)

941 KB PNG

>>4649058
>>4649059
>>4649064
>>4649067

In a cabinet next to a large, orange box, you discover a few handgun bullets in a red cardboard sleeve. "I remember these," you think to yourself, and put them into your pocket. On the shelf with chemicals and various bottles, you discover one that seems out of place, and discover it to be gunpowder.

"Could come in handy," you decide, and take it with you as well.

Within the darkroom itself, you discover a red herb growing in a pot, and pick it up. One of the nearby storage cabinets has, on top of it, a file describing herbs. You briefly look it over; it's mostly things you already knew. Green herbs can treat injuries, blue herbs can treat poisons, and red herbs can enhance the others for a small variety of effects.

You decide to take the herb, knowing from your time experimenting with them in your diner meals how to use and mix them.

The darkroom itself has nothing else in it, but this is where you developed some photographs before, so you know you can utilize it again for that purpose in the future. All that remains is a locker which is locked.

Pausing for a moment, you hold up the golden key, and experimentally place it up to the lock on the locker. Nothing happens. "Don't know why I thought that would do it," you say aloud with a sigh. "It's a combination lock anyway."

You look at the ornate key, and wonder what its purpose is. You remember the shadowy man's words.

>"You'll have that for your next run. It'll come in quite handy."

'It'll come in handy, yet I don't even know what it opens. Great.'

You sigh and think about what comes next.

>Return to the Main Hall
>Head to the evidence room
>Speak to an officer
>Wait here for Irons
>Other

>>4649090
>>Return to the Main Hall

>>4649090
>and experimentally place it up to the lock on the locker. Nothing happens
Aw, I was hoping for costume locker.

>>4649090
>Return to the Main Hall

>>4649090
>>Return to the Main Hall

>>4649090
>>Return to the Main Hall

>>4649090
>try to find the chief and memorize where he is at what time for the next time around to catch him quicker,

To be fair we JUST saved, we can go do whatever the hell we want to test things out, though that's surely a terrible mindset in regards to our own sanity

File: Sherry-sherry-birkin-3118(...).jpg (322 KB, 548x777)

322 KB JPG

>>4649092
>>4649096
>>4649101

When you leave the photo room, you see a few officers heading southwards through the western hall. You follow behind them, just out of view, until they reach the waiting room and from there the main hall. Nearby, some kind of fight has broken out, and the officers are rushing to subdue it.

You reunite with Dylan and Jennifer in the corner. Dylan stands up and asks, "Did you talk to who you needed to talk to?"

"Not exactly," you admit, turning to look out at the crowd. "There's a lot going on around h..." Your voice trails off as you see something familiar.

The little girl. The blonde one in the white and blue schoolgirl outfit with the red band in her hair. She's alone, afraid, and looking throughout the crowd. You're about to move after her when Dylan puts a hand on your shoulder. "What? What is it?" he asks.

You look away for a moment to placate him, but when you look back, she's gone. "But she was just..."

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."

Just like before, people begin to crowd in the east of the room, putting you three on the outside. You know what this means: the three of you will not make it onto a shuttle, and the people are too thick and panicked to push through.

'Trapped here again,' you think to yourself. 'But maybe we can make things better this time.'

You scan the crowd again, searching for the little blonde girl, but to no avail. She's gone.

"You see someone you know?" Dylan asks. "You keep looking around."

"I thought I did," you reply.

"We should probably keep moving," he advises. You look and see Officer Rita Phillips behind the front desk.

>Keep Dylan and Jennifer in the main hall
>Go with them and fail to get on a shuttle, like before
>Talk to Officer Phillips
>Break away and search the Main Hall for the little girl
>Other

>>4649135
>talk with Dlyan and jennifer, "do you see that crowd no way we make it into one of the vans with all those people, our best bet is to wait for some other opportunity to present itself."
>suggest talking with the cops then talk with Officer Phillips

>>4649135
>>Talk to Officer Phillips

>>4649135
>Talk to Officer Phillips

File: Rita.png (238 KB, 411x651)

238 KB PNG

>>4649146
>>4649148
>>4649154

You slowly shake your head. "They won't have enough vans for everyone, and we're at the back of the line. We won't make it."

"Are you sure?" Dylan asks, and Jennifer looks greatly concerned by your words.

"We need to wait for another opportunity," you explain to them. You look back at the front desk and begin to approach Rita. Dylan and Jennifer, confused, tag along, with Dylan stymieing any further protest.

Rita looks up from her desk as you grow near. "I'm sorry, miss, there's a lot going on right now, please follow the people to the---"

There is a violent rocking sensation; the entire police station shakes and vibrates for a moment and lights flicker, accompanied by a far-off sound, like a massive explosion. The people begin to scream and panic again, most taking cover where they were standing, but some others begin pushing and shoving to get to the basement garage even faster. You duck near the desk and Jennifer hugs you tightly; Dylan grabs a wooden column for support as Rita holds tightly onto the desk.

After a moment, the shaking stops, though the lights continue to flicker for another few seconds.

Nearby, an officer speaks to Marvin. "What was that?"

"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.

You remember Main Street from when you went to get the armored van with Harry in it. It is completely destroyed; they must have just blown it up. Rita told you that it was in accordance with the Chief's orders.

Rita stands straighter and looks at you. "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 don't understand," you plead with her. "There aren't enough shuttles."

Rita chews her lip for a moment. "We are going to get as many people out as we can. I'm sorry but we're doing all that we can possibly do."

You want to argue some more, but you know it is pointless, as is trying to go downstairs; in a few moments, you'll be proven right as zombies swarm down the garage's exit ramp and force them to close the gate.

"Daisy?" Jennifer gets your attention. "Aren't we going?"

>Go through the motions and head down to the garage
>Attempt to speak with the officers about the chief's corruption
>Wait here until things settle down somewhat
>Try to explain to Dylan and Jennifer that you know the future
>Other

>>4649185
>>Attempt to speak with the officers about the chief's corruption

>>4649185
>>Go through the motions and head down to the garage


we don't really have a choice here, we have no evidence about the chief being corrupt, we will be able to gather it, but will need time, the future option is a no go, and waiting loses us time, better to go through the motions for a bit and wait for an opportunity to present itself

>>4649185
>Attempt to speak with the officers about the chief's corruption

File: marvin-branagh-resident-e(...).jpg (12 KB, 210x240)

12 KB JPG

>>4649186
>>4649191

You put your hand on Rita's and look her square in the eyes. "Listen to me. I know how this is going to sound but there is something bigger going on. The chief of police is corrupt and he's involved in all of this, he's working with Umbrella and they're the ones who made all of this happen: the virus, the zombies, everything."

"What?" Rita and Dylan both ask near-simultaneously.

"The chief is giving all kinds of weird orders, right? Like barricades all over the city that don't make sense and blowing up Main Street and spreading ammo and weapons all over the station and keeping you from blocking windows and exits?"

Rita is at a loss for words. "I... I don't... I mean, that's..."

You feel a hand on your shoulder then, and a much taller officer steps over. It's Marvin. "Ma'am, I'm going to have to ask you to remain calm and evacuate with the other civilians."

"You don't understand!" you say as Dylan tries to lightly grab your arm, but you shrug him off. "The chief is doing everything in his power to sabotage our escape because of his connections to Umbrella! They're behind all of this!" You try to continue arguing, but they won't hear any of it. With a firm hand, Marvin guides you to another officer, and instructs him to take you down to the shuttle area.

"What's going on?" Dylan tries to ask you as the officer pulls you along. "What's all that stuff you're talking about?"

You feel immense frustration; nobody else knows what you know, and without any way to prove it, you're stuck looking like a loon, ranting and raving about a conspiracy. Only the conspiracy is true!

Down in the garage, just like before, the last of the shuttles cannot make it because of the horde of undead. The officer who was escorting you rushes ahead to help his peers get the gate shut and hold back the zombies as the remaining civilians panic. One man is shot by a nervous officer as he leaps on top of a car, and another shoves you to the side. Dylan and Jennifer manage to grab you and pull you back as you are nearly trampled by the panicking people; you three take shelter near a wall.

You close your eyes and pound on the sides of your head. 'This is all happening just like before,' you think. 'I can't stand this, going through and doing the same things over and over when I already know what will happen.'

When you open your eyes, you see Dylan giving you a strange look. He doesn't speak, mostly due to the chaos and the noise around you as gunshots ring out, people scream and officers try to get the area under control once more, but you know he's brewing some questions for you.

>Go with them back up to the Main Hall
>Head over to the cells and speak with Ben
>Take the crawlspace and head out into the main courtyard
>Remain here in the garage for the time being
>Other

>>4649208
uuugh, I told you guys

we need to salvage this,

>Go with them back up to the Main Hall
>I know you have questions shoot

>>4649208
>>Go with them back up to the Main Hall
>>I know you have questions shoot

>>4649211
but we know where to find it

>>4649208
>>Head over to the cells and speak with Ben

>>4649214
Supporting

>>4649230
yeah, but think of it like this, we know that, but the people we need to trust us do not, and by pulling that stunt we have harmed our credibility and trust with them for this run

File: 1579124718385.jpg (32 KB, 800x535)

32 KB JPG

>>4649211
>>4649214
>>4649231

Many people make their way back upstairs. You pass through the east halls, ignoring the other survivors as they shout and argue. Some are trying to get the phones at the payphone booths to work, to no avail. Once back in the Main Hall, you three find your corner again and sit down.

Jennifer clings to your arm and sobs on your shoulder. "We couldn't make it out. We're going to die here, aren't we? I can't! There's so much I didn't get to do!"

Dylan has a strange expression on his face. He shares Jennifer's worries, but now he regards you with an odd look as well. "You were right about the vans," he says in a low voice. His eyes narrow slightly, and you can't help but read his expression as him being suspicious of you.

You try to calm Jennifer down by rubbing her arm, but you speak to him. "I know you have questions. Shoot."

"What was all that you were saying before we went downstairs? About the chief, and Umbrella? What do you know?"

"I..." You think for a moment. You hate lying to him, but you feel like you must. "I'm a conspiracy hound. I've been... looking into all the strange stuff that's been happening around town lately. You know, the murders in the woods... I discovered a, a connection between the police chief and Umbrella. I think they are behind all of this."

"Do you have any proof?"

"Well... no."

He draws his eyes down and thinks. "Huh."

"But think about it: who else could make a zombie virus? They're the biggest pharmaceutical giant around, they practically own this entire town, I heard they have underground labs and they're involved in weird research at my university and---"

"Just, hold on," he says, interrupting you with his hand held up. "That's... a lot to process. Right now I'm more worried about getting out of here. Maybe they can send for a helicopter or something... I saw some military choppers flying around. Maybe the government will come rescue us. Send the Army in 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. You know why; this is where she confesses to you. You hold her close and brush a hand down her hair. "There, there." You pull back to look into her teary eyes. "Listen to me, Jennifer: whatever you're sorry for, I forgive you."

"R-really? But I---"

"Shh. I don't need to know what it is." You know that she's about to confess her having stolen money from the register and blaming it on you to Tony, but that couldn't matter less at the moment. "What matters is that we are alive. That's what's important. So stop feeling sorry, especially for me. Trust me, we have much bigger problems to deal with."

File: salsalhair-cutting-bobs-f(...).jpg (35 KB, 600x600)

35 KB JPG

>>4649259

You seem to have calmed her down, and she continues to hold you and cry on your shoulder. "Thank you Daisy. You're so strong..."

You look at Dylan, and he seems slightly disarmed. "You know, she's right. You do seem rather remarkable... In how well you're dealing with this, I mean. Did you know it was coming?"

"No, not at all," you're quick to answer. "I never thought my conspiracies would ever actually come true. Never on a scale like this..." You stare hard into his eyes and speak honestly now. "Please, you must believe me. What I'm saying is true. There's more going on here than just zombies. The Umbrella Corporation is behind all of this, I know it. I don't have proof, yet... but I will."

He sits quietly, considering your words. "Well... you talked me down from something pretty horrible. So, I guess I at least owe you the benefit of a doubt. But even if what you say is true, where do we go from here? How do we get out of here now that the back exit is blocked?"

>Take Dylan to the photo room
>Go to the photo room and wait for Chief Irons
>Speak to Officer Rita again
>Wait in the Main Hall for the time being
>Other

>>4649260
>>recall didn't a zombie dog get in last time after the vans left, some guy tried to open the doors to make a run for it and let them in, you need to talk with the officers and make sure the front doors are secured

>>4649260
>>Take Dylan to the photo room
>>Go to the photo room and wait for Chief Irons


"well if my conspiracy is correct... Irons will continue to destroy evidence here and still think he has a way out. So we... need to ambush the chief of police. Dear God, what am I saying?"

>>4649260
>Take Dylan to the photo room
>Go to the photo room and wait for Chief Irons

>>4649269
Supporting

>>4649260
>>>recall didn't a zombie dog get in last time after the vans left, some guy tried to open the doors to make a run for it and let them in, you need to talk with the officers and make sure the front doors are secured
>Take Dylan to the photo room
>Go to the photo room and wait for Chief Irons

Just taking a break for dinner, be right back.

>>4649260
We could rewind to the last save in the near future. Instead of trying to pefect right now, we can use this time to collect info and do what we can.

>>4649269
Can definitely play around with how breaches and shit happen if we try to stop them. Stopping the dogs from the front door may not help with other things

>>4649370
true, but given we are in zombie groundhog day we will learn with every attempt, and I feel that the sooner we stop Irons the better our chances of survival and that of everyone else will be

>>4649260
>>Take Dylan to the photo room
>>Go to the photo room and wait for Chief Irons
Are we going to try to murder Irons here?

Back, writing now.

File: photo room.png (119 KB, 360x360)

119 KB PNG

>>4649276
>>4649269
>>4649293
>>4649318
>>4649327

Over at the front desk, Rita is speaking to several officers. You look down at Jennifer and gently coax her to let go as you stand up.

"Where are you going?" Jennifer asks.

"Just to speak with that officer over there," you reply, and Dylan stands up as well.

"Mind if I go too?"

You shake your head and together you approach Officer Phillips. When she finishes speaking to the other officers, she regards you. "Oh, you," she says. "May I... speak privately with you?"

You look at Dylan and then back to her, and the three of you step away from the desk. Rita speaks in a hushed tone. "You surprised me with your words earlier. But... I believe you."

"You do?"

"Yes. Chief Irons has been giving strange orders and the other officers are all starting to get very concerned. How did you know about them?"

"I overheard the others talking about it," you lie. "And I've been doing some... research into the connection between Irons and Umbrella. He's on their payroll."

"I'll have to speak with Marvin about this," Rita says softly. "But, do you have any proof?"

"Not yet. But... give me some time. I'm glad you believe me." It occurs to you that while you know her, she doesn't know you---you'll have to get used to re-introducing yourself, it seems. "My name is Daisy, and this is Dylan."

"Rita Phillips," she replies. "Just whatever you do, don't make any trouble, okay?"

You look towards the front entrance. "We should barricade the entrance," you tell her. "In case something else gets in. People could get hurt."

"We can try, but," Rita looks around, "people are a little nervous. We don't want them to feel trapped in here. We're having a hard enough time keeping everyone calm as it is... People are getting hurt."

"Just please try," you insist. "Maybe something heavy we can move if we need to. That way, people won't feel like they're being caged in."

As Rita moves off, you take Dylan off to the side and whisper to him. "I think we should try and get some evidence. When I left you guys earlier, I... kind of lied. I was snooping around the station."

"You what?"

"Shhh!" You look over your shoulder. "There's an evidence room. We should go check it out."

"Are you nuts?" he whispers back. "What if we get caught? I don't want to get thrown in a cell!"

"Trust me," you say, lightly touching his arm. "Please."

He seems uncomfortable, but nods. "Alright. If you know what you're doing..."

With all the activity in the station, you are able to slip past the officers as they struggle to contain the civilians. In a few moments more, you're in the photo room again.

"What now?" Dylan asks. "Is there... evidence in this room?" He looks into the back, in the darkroom. "Looks like they process pictures here."

>Wait for Irons to show up
>Talk to Dylan about the Umbrella conspiracy
>Search the nearby evidence lockers in the other room
>Give Dylan your bullets, as an act of good faith
>Other

>>4649569
>>Give Dylan your bullets, as an act of good faith
>>Search the nearby evidence lockers in the other room

>>4649569
>Search the nearby evidence lockers in the other room
>Give Dylan your bullets, as an act of good faith

Not like we can use the bullets right now anyway

>>4649569
>>Search the nearby evidence lockers in the other room
>>Give Dylan your bullets, as an act of good faith

File: filma.jpg (33 KB, 150x169)

33 KB JPG

>>4649584
>>4649599
>>4649672

"Here," you say, taking out the bullets you found in this room. "Take these."

His eyes widen. "Wow. You found these?"

"The police chief has been ordering his officers to spread out weapons and ammo throughout the station."

"That's crazy," Dylan says, blinking. "If it isn't centralized, it could be lost if those zombies get into a room and they lose ground."

"That's not all. We need to prove that he's connected to Umbrella. It won't be easy with officers everywhere, but you can help me."

"How?"

"The evidence room is nearby. If we're about to be caught, you can distract the officers and give me enough time to find the proof I need."

"But are you sure you'll find anything?"

"I have a feeling. Trust me."

He looks at the bullets and then nods. "Alright. I'll try it your way."

Together, the two of you leave the photo room, looking down the hall. Seeing no officers, you make your way into the evidence room, which is currently empty. "Keep a look out," you tell him as you begin rifling through drawers. Dylan waits near the door, nervously glancing around as you try to find something useful, though most of the cabinets are locked.

"I think I hear someone coming," Dylan says, urging you to hurry up.

You open a drawer and find a roll of film that looks familiar and grab it. "Let's go!" You and he run back to the photo room, closing the door behind you.

"Find anything useful?" he asks.

"Just let me develop this," you say to him, moving into the darkroom. Remembering the steps you took the first time, you develop the film and hang it up to dry, watching it carefully in the red light of the darkroom. "Dylan, come look at this," you say to him, and he approaches.

"Code G Human Body Experiment 9/15 15:24," he reads. "I don't... know what I'm looking at."

"I do. One of Umbrella's experiments." You stare at the mass of flesh in the tank, the strange appendage with a giant eyeball growing out of it. "And I think they've perfected it. I know there's something like this, only bigger, roaming underground the city."

"You've seen it?" Dylan asks.

'Not in this life,' you think, but technically the answer is the same. "Yes, I have. I saw it kill a man once." You look at him. "This doesn't link Irons to Umbrella, but it's a start."

"Okay... let's say I keep believing you. What now?"

You think, hard. Down in the basement, in the maintenance area, you remember discovering a file that contained a record of deposits into Chief Irons' bank account. And then there is the fact that he is going to come here to burn evidence... perhaps you could stop him. But would Dylan go along with you that far?

>Send Dylan back to the Main hall, you'll wait here
>Go back to the Main Hall with Dylan
>Wait here with Dylan for Irons to show up
>Explain that you need to get back to the basement of the station
>Other

I'm new here and the premise of this quest interests me.

Is there anything stopping us from dying and trying to make our way to the nearest police station or gun store?

>>4649836
>>Wait here with Dylan for Irons to show up
Hide in the development section, hiding from plain view when he enters.

>>4649836
>>Send Dylan back to the Main hall, you'll wait here

>>4649839
well, there seems to be an eldritch being that wants us to perform for it's amusement. I don't think it would be very amused if we don't give it our best every time.
Or at the very least, it would be bad to just off ourselves to hope to respawn if that's what you mean.

>>4649873
Supporting

>>4649873
support

File: 1118full-live-free-or-die(...).jpg (37 KB, 1118x466)

37 KB JPG

>>4649839
Well, if you are referring to suicide, the MC has an aversion to it out of interest in keeping her sanity. So far, anyway.

>>4649873
>>4649947
>>4649954
>>4649972

"I think we should wait here for the time being," you tell him. "There's a lot of activity in the station, but... it should quiet down in the evening, hopefully. Once all the other people have lost their energy and aren't panicking anymore."

He folds his arms and leans against a cabinet. "So, we just wait?"

"Back here," you tell him, leading him back into the darkroom. Dylan follows somewhat awkwardly as you sit against the wall. "You should keep your gun out and ready, just in case."

"In case an officer comes in?" he asks with absolute incredulity.

"Not just officers," you remind him. "The police chief is keeping his subordinates from boarding up the windows. Sooner or later, those things will get in here."

His brow furrows. "So, this place is just one big deathtrap?"

"It doesn't have to be, but right now, there isn't much we can do about it." You pat the floor next to yourself. "Here. Sit."

After a moment, he walks over, puts his back to the wall and slides down. You look at him, studying his face, and he notices. "You're kind of strange, you know that?"

"Sorry. I don't mean to stare."

"It's not just that. When you look at me, I get this weird feeling, like, you expect me to do something, or that you know something about me that I don't."

"I get that sometimes," you deflect. "Why don't you... tell me about yourself?"

He averts his eyes. "I didn't live at that apartment you found me on. I was visiting a friend because he felt a little sick. A little too sick, as it turns out."

"Where do you live? Or, did you live?"

"Another, just as shitty apartment," he chuckles. "I wouldn't exactly call it living. I've been..." His voice trails off and he grows still, staring off into the distance.

"Dylan?"

"Sorry. I just thought that maybe I shouldn't get so personal, but you... talked me out of making a very, very big mistake, so I suppose I kind of owe it to you." He swallows as he continues. "I'd been thinking about it for a while, you know. I guess the zombie apocalypse seemed like a convenient excuse."

"But you want to live, don't you?" you ask him, reaching over and gently turning his face, perhaps a bit too familiarly. "You don't want to die. I can feel it."

He looks into your eyes, and you see the spark that made you want to kiss him the first time around. "I'm here, aren't I? I guess that speaks for itself. But I've been wondering if I would have actually done it if you hadn't been there."

"Please don't dwell on it. We're here, we're alive. That's what's important."

He manages a smile and nods. "You make a good point. Thanks."

File: ryan-palacios-resident-ev(...).jpg (92 KB, 960x540)

92 KB JPG

>>4650187

You return his smile and make some more conversation with him, learning more about his office job and other things. He still carries his regret over having contemplated suicide, but he's lightening up. You even get a few more laughs from him.

But then, something strange happens, which is to say: nothing happens. You begin to grow concerned; Irons hasn't arrived.

'Is my internal clock off? Did we miss him? No, no, I'm sure he was supposed to be here... it's been more than long enough. Has something changed?'

Dylan notices your concern. "What's wrong?"

"I don't know," you admit. "But... I think something may be wrong."

>Wait longer
>Return to the Main Hall
>Explore more of the station
>Seek out an officer
>Other

>>4650189
>>Return to the Main Hall


he did fucking here us, fuck

>>4650189
>Return to the Main Hall

>>4650189
>Return to the Main Hall

>>4650189
>>Wait longer

Updates will be slightly slower today, I'm hosting a Star Wars tabletop session. We'll be resuming the thread tonight.

>>4650189
>>Return to the Main Hall

Holy shit you’re back, damn I should’ve checked the catalog earlier. I’ma catch up now, good to have you back qm

File: 460226453.jpg (25 KB, 720x400)

25 KB JPG

>>4651014
Glad to be back.
>>4650192
>>4650226
>>4650297
>>4650853

"Come on," you tell him, pulling him up to his feet as you stand up. "We need to get back to the main hall."

"Oh, okay," Dylan replies in confusion.

As you leave the photo room, you hear gunshots from elsewhere in the station and hurry. In the west hall, you are both startled as a zombie thrusts up against the window and pounds on it.

"Can he get in?" Dylan asks.

"He will eventually," you tell him. You look to your left and see another window with a zombie at it, and beyond that, another. "Oh, this is going to get bad..."

Back in the main hall, you see officers attempting to keep people calm, but things are escalating. Several people are getting upset at the lack of progress on a confirmed escape route, arguing that they should try to leave. The officers are doing their best, but lack cohesion. Rita is here, trying to maintain order, but as you and Dylan walk through the lobby you see a man attack an officer. Two more men pile on, then three officers break away from one group to help the first officer, but then the people they were holding back storm the front desk.

Then, a gunshot rings out throughout the hall: one of the officers near Rita has fired at the ceiling. The crowd calms down as the officer aims his gun at them now. "We are working on a new evacuation plan!" he shouts at them. "Remain calm, or we'll start throwing people in cells!"

Rita puts a hand on his arm, but he shrugs her off. People are arguing back and he won't put down his gun; the entire room is a boiling pot of emotions threatening to spill over. You suddenly feel a hand squeezing your arm; it's Jennifer. "There you two are! Things have only gotten worse out here!"

"It's much worse than before," you say to yourself. For some reason, the rioting in here is getting worse than your first run. Why? You look around and notice that Marvin is gone; he always did a good job keeping a cool head and keeping the people under control.

Jennifer tugs you and Dylan into the corner where the only other people around are the injured and those less inclined to riot. "Some people want to go outside, ever since they blocked the front door," she explains. "They think that since we couldn't get out on shuttles, we should be allowed to leave."

"Crazy morons," Dylan says. "They'll get eaten alive out there."

You're hardly listening to them. Your mind is preoccupied; why is Marvin gone? Why didn't Irons come to the photo room? Are these things connected somehow?

>Speak to Rita
>Search the station
>Wait here for a while
>Advocate for people to leave if they want to
>Other

>>4651125
>help, the cops regain control give a small speech pointing out that charging into the streets infested with man-eating undead will only get them kill and opening those doors will likely get us all killed, we need to rally together rather than allow fear to divide us
>realize that by altering your steps once you made it to the station you have started a new branch, this are off the rails from your first "run"

>>4651133
Support

>>4651125
>Speak to Rita
>Search the station

we already have evidence on us, use this to get support from her to keep searching

>>4649044
This might be too meta, but wouldn't she see her previous save files or "sheets of paper"?

Did she literally type over her previous typing?

Would be a bit of a meta mindfuck for her if she could read or see her previously typed saves from the last game.

File: brian-irons.png (103 KB, 400x320)

103 KB PNG

>>4651200
One of the lines the shadow man said was, "I'm wiping out your previously existing saves and starting a new file."
>>4651133
>>4651140

Looking near the front desk, you see the megaphone the earlier officer was using. You are overcome with a strong desire to do something wild, but it just may work. At least, you hope it will. Gritting your teeth, you break away from Dylan and Jennifer and jump up onto the front desk, standing in front of the statue of the woman with the jug. You grab the megaphone and hold it up to your mouth. "EVERYONE, LISTEN TO ME!" you scream at the top of your lungs. Eyes from all over the room look up at you and the noise dies down somewhat. Balling your hands into fists, you continue to shout at them. "You can't come to pieces, at now of all times! The streets are infested with zombies, and going out there will only get yourselves killed! Opening those doors will only get us all eaten alive!"

"What are we supposed to do?" "Who the hell are you, anyway?" "The whole city's gone to hell!" "We're all going to die if we stay here!"

"WE NEED TO WORK TOGETHER!" you shout back at them. "If we fight and argue with the officers trying to help us, what good does that do? They're stuck in this situation too and they're doing their best!"

Someone throws a cup at you, but you keep powering through. "IT'S US AGAINST THE UNDEAD! WE DON'T NEED TO KILL EACH OTHER, BUT THOSE THINGS OUT THERE WILL, IF WE GIVE THEM THE CHANCE! WE NEED TO WORK TOGETHER! If we reinforce this area, we can make things safe until helicopters arrive to rescue us!"

"There are helicopters?" one of the civilians asks. "How does she know?" asks another. "I saw helicopters! I've been saying it all along! We should be on the roof!"

Rita puts a hand on your leg and pulls you down. "What are you doing?" she asks, taking the megaphone from you.

"I'm trying to help," you explain. "Where is Marvin? People would listen to him."

"I don't know. He went to speak to the chief earlier after we sent people down to the garage to get on the shuttles and I haven't seen him since."

You're about to ask her a question when you look up at the second floor, having caught something out of the corner of your eye. You see him: Police Chief Brian Irons. The heavyset man is lurking on the other side of the balcony, his sweaty and bulbous face staring down into the main hall---specifically at you. Your eyes meet and he turns around, lurching through a doorway into the reception area for his office.

"The chief," you say to Rita, and she turns just in time to see him vanish through the door. "Can't we go and speak with him?"

"I don't know, maybe," Rita replies. "He's restricting movement to the second floor. Trying to keep all the officers here on the first floor to fight off the zombies breaking in and keep the people under control."

>Go with Rita to speak to the chief
>Try to organize barricade creation
>Speak with Dylan and Jennifer
>Wait for a little while
>Other

>>4651201
>>Go with Rita to speak to the chief
>>have Jennifer organize the barricade creation
>>have dylen follow along with us to provide cover

>>4651207
support

>>4651201
Supporting >>4651207

>>4651207
Supporting

>>4651201
That should remove previous game save data too. No new game+
Derp I missed reading that.

>>4651201
This can't be good, Marvin may be dead or in a jail cell. The shooting earlier might have been from upstairs.

We are also wasting time diddling around the police station, when we should be speed running this thing like this guy.
https://www.youtube.com/watch?v=KJpfjtmy-e8

>>Go with Rita to speak to the chief
>>have Jennifer organize the barricade creation
>>have dylen follow along with us to provide cover

>>4651239
Issue is Daisy isn't on this mans level yet, we have several runs to go before that

>>4651239
>>4651241
The run where Daisy can perfectly speed run her living hell is the run in where Daisy can faze through sold matter, time travel, irl sequence break into the shadow room, and run like the damn Flash

>>4651252
straight up we are in the most nightmarish version of groundhog day, the loop starts too late to prevent it from going to shit, and everything we might need for a "god" run is spread out over the city

>>4651241
>>4651252
Trial and error, shes gotta experiment and run to other places to find the most optimal choices.

File: il_570xN.1527388896_891k.jpg (40 KB, 570x489)

40 KB JPG

>>4651207
>>4651210
>>4651218
>>4651235
>>4651239
>>4651358

Your brow furrows. "We should speak with him."

"The chief?" Rita chews on her lip for a moment. "We could, but... he might react badly. He's said he doesn't want to talk to any civilians; I'd be violating an order."

"We need to find out where Marvin has gone to," you insist. "If he's been sent off, we need to know where. There must be something we can do."

"I'll talk to some of the others," Rita finally agrees. "We'll try to make a reasonable demand of the chief."

"Give me a moment," you say, moving back to speak with Dylan and Jennifer. "Dylan, I want you to come with us. We're going to speak with the chief."

He frowns. "Is that a good idea?"

"What about me?" Jennifer says. "Please don't leave me here again."

"I need you to help organize the people into building barricades," you tell her. You take both of Jennifer's hands in your own. "Remember what I told you before, about being strong? I need you to be strong. I know you can."

Jennifer is uncertain, but she nods. "O-okay. I'll try."

"Work with the other officers and try to get people to do something; make them feel like they're contributing. We're going to try and find Marvin, the tall policeman. He's more of a leader than we are, and the other cops need him."

You go with Dylan and see Rita; she's gathered two other officers whose names you do not know. Together, the five of you head into the eastern hall of the police station, passing by grieving and wounded refugees on stretchers or on the ground. You look at some of them and see bite marks on their arms and legs.

'They'll turn eventually,' you realize grimly. 'Even if we barricade this place from the infected outside, there are still plenty inside...'

You know this situation could be bad. In your previous life, the chief was crazy. He likely still is. But with the other officers, you think you can safely approach him to at least get an idea of where Marvin is. Some other officers are shouting in the east hall; the zombies are starting to break windows and the emergency shutters are all de-activated.

"It's like that in the west hall, too," one of two two cops with Rita says. "I saw the junction box; the wires were pulled out."

Upstairs, Rita approaches the chief's office and knocks on the door. From within there is a fierce bellow. "WHAT?!"

"Chief, this is Officer Phillips," Rita says, trying to keep a firm voice. "We need to talk."

You hear some rustling around; something being moved, a door slamming, and heavy footsteps. The door to his office opens and the red-faced portly chief appears, his neck nearly bulging and his eyes wide. "What do you---" He stops when he sees you. He points at you and suddenly shouts, "DETAIN THIS WOMAN!"

You blink and look around, and the chief shouts his orders again. "I am your goddamned chief and you will listen to me! DETAIN HER! THAT IS A DIRECT ORDER!"

>>4651262
>>4651358
I worry for the sanity of an S ranked final run Daisy, just how screwed up will she end up being I wonder

File: Chief_Irons.jpg (46 KB, 654x678)

46 KB JPG

>>4651368

Before you can attempt diplomacy or even defending yourself, one of the male officers grabs your shoulders and you bring to struggle. Dylan moves up, but the other officer holds him back. Rita tries to intervene. "Sir, this woman is not a suspect!"

"Bullshit," he says, shoving Rita out of the way. He's suddenly in your face as you struggle in the other man's grip. "She was inciting a riot downstairs."

"She was trying to calm a riot!" Dylan says, also trying to fight off the other officer.

You twist violently as the man holds you tightly as per the chief's orders. "Let me go!"

"Let's just see what you're hiding," Irons says as he rifles through your pockets. He pulls out your knife. "Carrying a concealed weapon!" He pulls out your typewriter note and unfolds it, realizes it is nothing, then crumbles it up and throws it over his shoulder into a corner near a potted plant.

"STOP!" you say, nearly kicking at him. The officer holding you back employs greater force as Rita tries to pull the chief back. Nearby, Dylan struggles as well.

Irons then pulls out the photo you developed. His eyes widen when he sees it, then he looks at you and grabs you by the neck and squeezes. "WHO ARE YOU WORKING FOR?!"

You choke around his thick hand. Rita protests. "Chief, stop!"

"STAND DOWN, PHILLIPS!" he barks in her face, then sets his beady eyes back on you. "This woman is a criminal, she's stolen evidence! I WANT HER IN A CELL, NOW!"

"I've got a weapon on this one!" the other officer says, having discovered Dylan's gun whilst patting him down.

Breath returns to your lungs as Irons lets go of your throat. "Cuff her!" he orders his subordinate. You are forced, violently, up against the wall. The officer is larger and stronger than you, and he goes for his cuffs.

Rita, conflicted, continues to protest. "Chief, this is over the line and completely unnecessary!"

He gives her another haunting look. "If you don't shut your mouth, I'll have your badge and you thrown out on the street. Return to the main hall. NOW!" He looks at the other two officers. "Get both of these two in a cell."

You feel the officer behind you move to pin your arms behind your back in preparation for cuffing. Your mind whirs---this all happened so fast. Irons still has authority over these men, and enough to pacify Rita, even as he has you and Dylan detained!

>Try to go for a gun and shoot the chief
>Kick the officer behind you in the balls and make a run for it
>Do not resist arrest; be taken down to the cells
>See if you can get Dylan free by acting up and give him a chance to run
>Other

>>4651370
>>Try to go for a gun and shoot yourself
We fucked this up too quickly, I think we need to go back to the last save

>>4651370
>>Do not resist arrest; be taken down to the cells
>>This timeline is fucked, see if you can't reload once you are in the cell

>>4651370
>>Try to go for a gun and shoot the chief
Basically suicide

Off to bed. We'll be resuming in the morning.

>>4651370
>>>Try to go for a gun and shoot the chief

>>4651370
>>Try to go for a gun and shoot the chief

Rolled 3, 4, 12, 12, 19 + 10 = 60 (5d20 + 10)

>>4651373
>>4651377
>>4651481
>>4651500

>Pinned: -10

>>4651731
That bring up something I wanted to ask. Does our experience bonus travel through New Game+ with us?

File: Resident-Evil-2-Wooden-Bo(...).png (2.47 MB, 1750x984)

2.47 MB PNG

>>4651763
For situations we've been in and benefit from having gone through at least once, we get experience bonuses. The same applies to enemy types regardless of context.
>>4651731

When you feel an opportunity, you bring your foot up to the wall and push off, kicking out as hard as you can. You manage to wrench yourself free from the man's grip for a fraction of a second, enough to spring to your right and go for the gun the officer had taken off Dylan, still in the other man's grip. You grab the end of the barrel and try to wrestle it out of his grip.

Irons backs away into his office, taking out his own pistol as he does. The gun in your hand fires, the trigger accidentally squeezed by the man holding it. Thankfully you were not pointing it at yourself, but in the direction of the chief. Unfortunately it misses, striking the side of his door.

"ARREST THAT BITCH!" the chief shouts, hiding behind his door in case more errant bullets fly in his direction.

You're tackled from behind, hard, by the officer who was just holding you a moment ago. The wind is knocked from your lungs as you crash upon the ground with the heavy man on top of you. He pins you, forces your arms behind your back and cuffs them. You feel pain shoot through your limbs as he forcefully arrests you on the spot, successfully detaining you. Nearby, Dylan is similarly subdued.

The two officers begin to drag you down the stairs and into the eastern hall. Rita follows. "Stop this!" she insists, but they aren't listening to her, electing to instead continue following the chief's orders---your resistance and assassination attempt on the chief doesn't exactly help their attitude.

"You don't understand!" you say as the man tightly holds your arms, forcefully guiding you through the halls. "Please, don't do this! Come on!"

As you enter the east hall, you hear banging on the windows. You catch sight of a zombie just outside of one that you are passing, when suddenly, the window smashes! The zombie behind it lurches forwards, grabbing the officer holding you!

You find yourself free and falling to the floor as the officer screams, the zombie falling on top of him and snacking away. You look back in time to see the zombie bite into the man's throat.

You're at the northern end of the eastern hall. Behind the officer with the zombie on top of him are Dylan, the officer holding him, and behind them is Rita. Your arms are still handcuffed behind your back. You look up at the open window and see another zombie moaning and preparing to climb through. Your heart races as you consider your next move in the span of a heartbeat.

>Attempt to run past the zombie coming through the window
>Run north, to the break room
>Run north to the stairway leading to the garage
>Shout at the others to fight the zombies
>Other

>>4651786
>>Attempt to run past the zombie coming through the window

>>4651786
>>Attempt to run past the zombie coming through the window

Rolled 3, 6, 1, 7, 3 + 10 = 30 (5d20 + 10)

>>4651793
>>4651796

>Experience: +20
>Handcuffed: -10

File: vlcsnap-1054569.jpg (28 KB, 704x528)

28 KB JPG

>>4651843

You struggle to get up to your feet, finding it difficult with your arms behind your back. Blood rushes through your body as you desperately attempt to leap over the zombie feasting upon the officer who moments ago was detaining you. As you rush past, the zombie from the window lunges in with sudden, blood-lust-driven ferocity, his arm shooting out to grab at your handcuffed arm. You feel the dead man's grip and panic as you realize that is about to happen, and attempt to violently tear yourself free---to no avail. Your forward momentum combined with the zombie's iron grip only pull him further into the room and cause you to fall forward, especially when the officer's flailing limbs from writhing in pain result in you tripping over his arm.

The floor is met by your face, hard, as you struggle to free yourself. You look up at the officer holding Dylan, who is stunned into inaction by the display in front of him, and Dylan trying to break from his grip to come and help you. Rita pushes past them both, gun in hand, ready to free you.

Then, you feel it. Horrible pain shooting through every fiber of your being as a zombie's jaws sink into the flesh of your leg, tearing out a big, wet chunk. You scream in miserable terror as you feel your flesh bit into and torn, a searing, blinding sensation that overwhelms your senses.

Rita aims and fires, though you do not see where she hits the zombie that bit you. You only realize that she is pulling you away, grabbing you by the arm. She's shouting orders, and you're being pulled up to your feet, supported by Rita as she puts your arm over her shoulder.

Somewhere nearby, another window breaks, and the moans of the undead can be heard. More gunshots ring out. Chaos.

The next few moments are very fuzzy, but when things start to become clear again, you realize you are back in the main hall. You're on a stretcher, lying on your side. The warm, dim lights of the hall slowly come into focus and you look around. There are people, civilians and officers, moving to and fro, conversing, shouting, carrying things. You wince as you feel pain from your leg, and look down.

Rita and Jennifer are attempting to apply a bandage to your wounded leg. They've constructed a crude tourniquet out of some shredded fabric, and it is wrapped around your injured leg just below the knee. You try to move, but then realize that you are still handcuffed.

"What..." you mutter, and then suddenly Dylan is by your side. He's kneeling alongside the stretcher you are lying on.

"Daisy, are you alright?" he asks breathlessly. "They brought us to the main hall. We're handcuffed still; that cop that had you and got eaten was the one with the keys."

You close your eyes and grimace. The pain in your leg is terrible; your muscles feel like they are on fire.

"I'm hurt," you whisper to him. "I'm... bit."

"Yeah," he says with a grim nod. "You are. They used a spray on the wound, and they've stopped the bleeding."

>>4651872

>Ask if there is any other way to get out of the cuffs
>Rest; you are so very tired
>Speak with Dylan
>Attempt to go back to your earlier save
>Other

>>4651876
>Speak with Dylan
We're gonna have to ask him to kill us, huh?

Wait,

>>4651876
>Ask if there is any other way to get out of the cuffs
We would need a knife or gym for that.

>>4651876
>>Ask if there is any other way to get out of the cuffs
Can't Jennifer pick locks?

>>4651876
>>Ask if there is any other way to get out of the cuffs


well this is a dead run anyway, but we might as well use it for more info gathering

>>4651895
>well this is a dead run anyway
I mean, maybe we're one of the 10% that's immune. We know where a cure is too, so it's not all bad.
If we're lucky, Irons will hide in his office due to the attempted assassination, though the mayor's daughter is fucked.

>>4651876
>>Attempt to go back to your earlier save

File: hqdefault.jpg (18 KB, 480x360)

18 KB JPG

>>4651887
>>4651891
>>4651895

You open your eyes and look down. "Jennifer..."

She quickly moves up to you, brushing your hair out of your face. "I'm here, Daisy." Her eyes are teary and her lips are trembling.

"You can... pick the lock on these... right? These cuffs?"

She hesitates. "I don't... I mean, I could... try..."

"Please," you whisper. After a moment, she nods.

Moving behind you while taking out a bobby pin, she kneels and gets to work. You look up at Dylan, who stares down at you with concerned eyes. He speaks as you wait for Jennifer to do her work, feeling her fiddling with the cuffs behind you.

"The east hall is fucked," he says to you. "They just lost three officers trying to close it off. People are getting scared. Well, more scared."

"It'll get worse before it gets better," you sigh. "The chief won't come out of his office now, I bet. And Marvin? He's still gone?" Dylan nods in response. "Great... just great..."

You don't tell him about your other fear: that you may now be infected. You swallow. Will you slowly die? Succumb to the infection, and become one of those things? What will happen?

You hear a click and then feel your wrist being free. You hear Jennifer from over your shoulder. "I got one," she says, her tone lighter. "But... my pin broke."

Wincing as you turn onto your back, you hold up your hands. Your left wrist still has a cuff around it.

"I'm sorry, Daisy."

"You just need better tools," you say. "You did good." You close your eyes and rest your head back. You feel so very tired and sore. But you've been bitten... if you rest, what if you don't wake up? You don't know how long infection takes. Despite your knowledge of biology, you have absolutely no basis for a theory. It could matter based on individual constitution, the concentration of infecting material, the manner of infection... too many variables and no lab to test them in.

'Lab...' you think to yourself. 'Dr. Jenkins at the university. He's working on a cure with that psycho, Mueller. Could it be possible? Could a cure be found? Could I even make it there in time? I'm already so tired and weak...'

>What's the point in even trying? You're doomed. Go back to your earlier save.
>I have to try. Even if I die, I may learn something.
>Perhaps I should just have one of the others shoot me...
>That son of a bitch Irons must pay, no matter what.
>Other

>>4651910
>>I have to try. Even if I die, I may learn something.
I’m thinking about it and using this failed run as a test run doesn’t sound to bad but what should we be keeping an eye out for?

>>4651910
>>I have to try. Even if I die, I may learn something.
>> as long as you draw that breath you're still alive and if you're still alive you can still fight these people are counting on you and they don't even know it. you're the only one with this power damn the unknown being that put you in this situation but you have the power to save them you can't save all of them but you have the power to save some because of that power you have a responsibility to try you will fight you will die you will return because that is the responsibility that comes with this power

>>4651910

>>4651955
support

>>4651910
>>I have to try. Even if I die, I may learn something.

>>4651955
Supoort, we are fucked, but that doesn't mean we don't try

>>4651977
being on a bite death clock actually might let us get away with more in terms of doing suicidal things others would normally stop us from.

IE: we can blow Irons brain out and see the consequences of that action

File: r0_175_5616_3332_w1200_h6(...).jpg (37 KB, 1200x675)

37 KB JPG

>>4651920
>>4651955
>>4651977
>>4651971
>>4651982

In the midst of your doubt and despair, you come to a realization: that no matter what, no matter the situation, if you can breathe, you will fight to live. You do not know why you are in the situation you are in, no who is behind it, but at the moment it doesn't matter. When faced with the choice to give up, you will refuse. You will not go quietly, you will not give death an easy win, and even if you die you will continue living after.

Once, you told Dylan that you had come to view your life as less valuable than those around you, but now you know better: your life may be the most valuable of all. With this chance you have been given, to die and live and die and live again, you can save the others, as many as you can. It gives you purpose, focus and responsibility. Whether this is a gift or a curse, be there a dream at the end or merely another nightmare, you will keep going. You must.

You reach out and grab Dylan's arm. "I'm not going to give up," you tell him. He doesn't quite understand at first, but after a moment he seems to. "I'm going to keep fighting."

"I wouldn't recommend that," Rita says, walking up alongside Dylan. Her face is full of worry. "I think you should take it easy for a while."

"I can't. I've been infected. If I don't do something, I'll die. I can't wait around for that to happen."

"There's not much we can do at this point," Rita replies. "Supplies are scattered all over the station, doors are locked left and right with the keys missing, all we have for barricades is furniture and we've got officers all over the city trying to contain these things and failing." That last part she says very quietly, so nobody else can hear. "We've also been moving dead bodies down into the morgue, but the last team we sent to move them never returned, and now the east hall is compromised."

"I'm on a ticking clock," you tell Rita. "There's no one better to try and clear the path than me."

Rita shakes her head. "I'm sorry. I already put you in harm's way once. I can't do it again."

"So either I die slowly here in the entryway, or risk it to help others. The choice is clear for me."

Rita is conflicted. Your logic is sound, but it involves her allowing a civilian to put themselves in danger, which runs counter to all of her training.

Dylan frowns. "We don't know that you'll turn into one of those things."

"And I don't want to wait around to find out," you reply firmly.

>First, I'll need some weapons.
>I need to leave the station.
>We need to secure the wood from the upstairs.
>I'm going to clear out the east hallway.
>Other

>>4652020
>>I'm going to clear out the east hallway.
as a sign of good faith

>>4652020
>>First, I'll need some weapons.

>>4652020
>test the mystery key on one of the locked doors

>>4652020
>>First, I'll need some weapons.

>>4652020
>>I'm going to clear out the east hallway.

File: depositphotos_7674416-sto(...).jpg (47 KB, 1023x682)

47 KB JPG

>>4652026
>>4652080
>>4652027

Reaching into your pocket, you take out the key and consider it.

>"You'll have that for your next run. It'll come in quite handy."

"I have an idea," you say to them, closing your hand tightly around the ornate object. You slide off the stretcher, wincing in pain when you put pressure on your injured leg, but you can walk. It is with a slight limp, but you can manage.

"Woah, where are you going?" Rita asks.

"Just upstairs," you reply, moving by her.

"H-hey! Wait!" She follows after you. "You can't go anywhere just by yourself!"

You evade her hand as she tries to stop you and make it to the waiting room alongside the main hall. Dylan and Jennifer try to go after you, but Dylan is stopped by an officer; Jennifer, however, makes it past.

"I'm ordering you to stop," Rita says as you enter the west hall. No zombies have gotten in here yet, but it won't be long.

"I just need to test a theory!" you tell her over your shoulder as you walk up to the records room. The door is locked.

Rita approaches as you slide in your ornate key and puts a hand on your shoulder. "Alright, miss, I'm going to have to ask you to---"

The door clicks and you swing it wide open. Rita stops as she realizes what just happened.

"You knew this door was locked, right?" you ask, holding up the strange key. "Well, now it isn't."

"But that's not the key that opens this door," Rita says, slightly dumbfounded. "It doesn't even look like it."

Jennifer runs up behind you, clutching the pipe you gave her. "What's going on?" she asks, nervously looking outside a nearby window.

You face Rita. "The S.T.A.R.S. office on the second floor is locked, right? They've got weapons in there. We might be able to get in with this. And even if we can't, Jennifer can pick the lock on the door." You hold the key up to show her. "Those weapons can make a big difference."

Rita is considering your words. You look her in the eyes and say, "Officer Phillips, I know you don't know me well, but I'm on your side. I want to help. Please let me."

She relents. "Alright, but I'm leading the way." She takes out her gun. "This way."

You look down at the strange key and cannot help but smile. You wonder if it works on every door in the police station. You tried it on a locker earlier and it didn't work; tapping it against the keyhole of your cuffed hand also does nothing. Doors only, then?

>Wait a moment; I think there might be evidence in this records room.
>Bring Jennifer to the photo room and have her unlock the locker there.
>Head up to the S.T.A.R.S. office and unlock the door with the strange key.
>Return to the Main Hall first before doing anything else
>Other

>>4652129
>>Head up to the S.T.A.R.S. office and unlock the door with the strange key.
worth a try

>>4652129
If the key opens this area only, there's probably a speed strat we can pull

>>4652129
>>Head up to the S.T.A.R.S. office and unlock the door with the strange key.

>>4652129
>>Head up to the S.T.A.R.S. office and unlock the door with the strange key.
we are on borrowed time anyway, this is an information run now

>>4652129
>>Head up to the S.T.A.R.S. office and unlock the door with the strange key.

>>4652129
>>Head up to the S.T.A.R.S. office and unlock the door with the strange key.

>>4652129
>>Head up to the S.T.A.R.S. office and unlock the door with the strange key.

File: BH_2_PART1_229.jpg (59 KB, 320x240)

59 KB JPG

>>4652169
>>4652175
>>4652198
>>4652200
>>4652206

You follow Rita around the hall. An officer with blood on his face appears at corner, heading in the opposite direction; Rita initially points her gun at him but she's only jumpy, not trigger-happy. You hide your cuffed hand as the other officer nods at Rita and makes his way past you and Jennifer.

In the northwest corner of the building, a window shatters. Jennifer screams and you yank her out of the way as a zombie crawls inside behind you. Another appears behind him. "Come on!" Rita shouts, picking up the pace.

The stairs are up ahead. The three of you quickly rush up them, then head back west, into the second floor western hallway. It is barren, save for a few benches with handcuffs on rails above them. You make it to the S.T.A.R.S. office, key in hand, and try it on the door.

To your bewilderment and joy, it works. The door opens and you enter the office, seeing the various desks of the S.T.A.R.S. members and the many decorations on the walls, each unique to the areas of their owners.

"Over here," Rita says, approaching a weapons locker alongside a communications console. You watch as she opens it up, and your eyes brighten. It's full of weapons, just like before when you were here originally with Marvin. A few pistols, a shotgun, two grenade launchers, a magnum, the bow gun you once used as well as various types of ammunition.

"This is amazing," Rita says with a smile. "I never knew the station had a master key! Where did you get it from?"

"I found it," you lie, helping her place the weapons on a nearby desk. You look over and see the unicorn medal that works to open a passage in the main hall underneath one of the statues. You took that very same underground passage with Rita before. You decide to grab the medal, sliding it into a pocket. You look at Jennifer and tell her to search the room for useful supplies while you handle the weapons.

>Take a pistol
>Take the shotgun
>Take a grenade launcher
>Take the magnum
>Take the bow gun
>Other

>>4652292
>>Take the shotgun
and blow our head with it

>>4651369
Its about the same as our player sanity after trying to and failing about 50 freaking times.

>>4651370
>"Let's just see what you're hiding," Irons says as he rifles through your pockets. He pulls out your knife. "Carrying a concealed weapon!" He pulls out your typewriter note and unfolds it, realizes it is nothing, then crumbles it up and throws it over his shoulder into a corner near a potted plant.

Looks like we lost our save state... This might mean we'd get a game restart or just dead for good.

>>4652292
>>Take the shotgun
easy to use as a beginner

>>4652306
No I think we can still load our save, I hope, either way we can't save now we are infected

>>4652292
>>Take the magnum
We should find our save paper

>>4652292
Take shotgun
Jen takes pistol
Dylan takes magnum
Rita takes grenade launcher.
Leave the other launcher for someone else.....
Imagine Jill Leon or whoever comes in after not having anything to take because we took everything here.

>>4652331
This sounds good.

>>4652292
Seconding here >>4652331

File: 0 Inventory 4.png (951 KB, 1500x1126)

951 KB PNG

>>4652298
>>4652322
>>4652331
>>4652360
>>4652364

You take the shotgun, and check to see that it is loaded. You don't have much experience with this kind of weapon, but you've used it before, enough to be familiar with it. This one in particular has no stock, so you'll have to be careful with it. There are five shells inside and two others which you take with you.

"Here," Jennifer says, handing you a first aid spray. "Also, I found this!" She shows you a small metal pick of some kind. "It's a lockpick. I found it on that desk over there."

Rita looks up. "Valentine? She had a reputation for lockpicking. Burton always called her the 'Master of Unlocking.' Nice guy. All the S.T.A.R.S. were, really."

"Do you know where any of them are?" you ask her.

"Vickers was here at the station earlier, talking to Marvin. But ever since the chief disbanded the S.T.A.R.S. a little while back, they've been like ghosts."

"They were super cops, weren't they?"

"The best. Wish we had them around right about now." Rita takes one grenade launcher and leaves the other one inside the locker with the bow gun. You give Jennifer a pistol.

"I don't know how to use this," she says nervously.

"Just point and shoot," you say with a shrug. "It isn't hard. Just watch where you're pointing it, that's all." She gulps and takes hold of it, her hand shaking slightly. You put your hand over hers. "Trust me. You can do it."

She calms down visibly as you gather your things. You look at Rita and say, "That guy with us, Dylan? He knows how to shoot. We should give him that revolver."

"I suppose we need everyone who can fight," she says, sliding the magnum into a holster. "The west hall is compromised, but with your key, we can go through the library to the second floor balcony and lower the ladder. Then we can start securing more rooms."

>We should get wood and supplies first to make better barricades and block windows.
>Search the S.T.A.R.S. office for additional supplies and files.
>Go through the library and lower the ladder in the main hall.
>Tell Rita about the passageway underneath the statue you can access with the Unicorn Medal.
>Other

>>4652384
>>Go through the library and lower the ladder in the main hall.

>>4652384
>>We should get wood and supplies first to make better barricades and block windows.

>>4652384
>>Search the S.T.A.R.S. office for additional supplies and files.

>Search the S.T.A.R.S. office for additional supplies and files.

While we are here might as well.

>>4652384
>Other
Fix the electrical box that close the shutters.
Then rip out the entire box.

>>4652384
>>Search the S.T.A.R.S. office for additional supplies and files.

>>4652538
Support if possible

>>4647750
has it really been a year?

>>4652384
>>Search the S.T.A.R.S. office for additional supplies and files.

>Other
Fix the electrical box that close the shutters.
Then rip out the entire box.

If we can then I'll support this.

>>4652579
support

File: samuel-lafrance-stars-office2.jpg (295 KB, 1920x1080)

295 KB JPG

>>4652411
>>4652498
>>4652549
>>4652542

"Let's search the office some more," you suggest, going from desk to desk. You approach a desk with the name "Redfield" on a plate; hanging on the wall alongside it is a leather jacket with an angel on the back. Below it is a guitar. This was the desk the unicorn medal was on, underneath a memo. You pick up the journal and open it.

>August 8th
>I talked to the chief today once again, but he refused to listen to me. I know for certain that Umbrella conducted T-virus research in that mansion.
>Anyone infected turns into a zombie.
>But the entire mansion went up in that explosion; along with any incriminating evidence. Since Umbrella employs so many people in this town, no one is willing to talk about the incident.
>It looks like I'm running out of options.

>August 17th
>We've been receiving a lot of local reports about strange monsters appearing at random throughout the city. This must be the work of Umbrella.

>August 24th
>With the help of Jill and Barry, I finally obtained information vital to this case. Umbrella has begun research on the new G-virus, a variation of the original T-virus. Haven't they done enough damage already?!
>We talked it over, and have decided to fly to the main Umbrella HQ in Europe. I won't tell my sister about this trip because doing so could put her in danger.
>Please forgive me Claire.

Your eyes narrow. 'So, the S.T.A.R.S. new what was going on...' You look over at Rita. "What happened to S.T.A.R.S. again?"

"The chief disbanded them. They were trying to convince everyone that monsters killed their teammates and that Umbrella was involved. Nobody believed them... I guess we've all got egg on our face now."

"More like the chief covered it up and discredited them," you reply. "They were trying to prove it all along---the virus, Umbrella, everything---and Irons strung them up and left them out to dry."

In searching more, you find a flash grenade and put it into your pocket. In the back of the room you see another armory, but this one is locked with an electrical lock. A nearby computer controls it.

"Anybody know how to hack?" you ask, and they both shake their heads. "Yeah. Me neither." You tap a few keys, hoping to guess at the password, but to no avail. You look through the glass of the armory door and see more weapons inside; a submachine gun and some kind of Desert Eagle-looking gun, for starters. There is a slot in the computer for some kind of plugin, perhaps a USB key of some variety, or a keycard.

"Daisy," Jennifer calls from a nearby office, a room secluded from the others. There is a desk here, with the name 'Wesker' on a plate that's been scratched out. Jennifer is looking on a shelf behind the desk. "Look at this photo."

You approach her and look, seeing a lineup of about a dozen people posing with various weapons in front of a helicopter. Interestingly enough, you spy a woman in the lineup---she wears a blue vest and beret.

File: STARS photo.jpg (75 KB, 600x447)

75 KB JPG

>>4652992

"Anything in this desk?" you ask Jennifer.

"I searched it up and down and found this," Jennifer says, putting a wooden box on the table. "And this," she says, holding up a roll of film.

You take the roll of film and put it away for later; perhaps it can be developed. Then you open up the box, finding a laser sight within. Unfortunately it doesn't seem to fit any of your guns; perhaps it is used on one of the guns in the armory you cannot access?

>>4652538
>>4652542
>>4652579
>>4652587

Stepping back out into the room, you look at Rita, who is ready to leave. "We should go through the library."

"I want to try to close the shutters," you tell her. "If we were to rip out the box where the wires are, would that work?"

"I honestly have no idea," Rita admits. "But either way, that box is in the west hall. There's another in the east hall. There might be replacements somewhere in the station, but I have no idea where they are."

"So, if we can find replacement wires, we can close the shutters, yeah?"

"Definitely. If we can search the station, we may find the replacements. Perhaps in the basement, or in one of the maintenance areas."

You frown. Destroying the box may work, or it may not---and then you'll have ruined the chance to close the shutters at all. You might take that chance, but for now, it would be best to get back to the main hall and arm the others.

Your 'skeleton key' works on the library doors, allowing you access to the main hall's second story balcony. From here, you lower the ladder in the back of the hall and climb down. As Rita speaks to some of the other officers, you and Jennifer hurry over.

"Nice shotgun," he compliments. Jennifer gets behind him and sets to work with her new lockpick. "Don't suppose you have one for me?"

"Better."

When Jennifer makes quick work of the cuffs, you smile and give her a hug, then the three of you go over to Rita and she hands Dylan the revolver. His eyes widen in pleasant surprise as he looks at it.

As Rita begins to gather the other officers and formulate a plan to get the station under control now that access to the second floor has been restored, you lean up against a nearby column. Your leg is aching greatly and your head is throbbing.

"Daisy? Are you alright?" Jennifer asks, gently squeezing your shoulder.

"You look pale," Dylan says.

"I'm fine," you insist.

"You should rest," Dylan advises. "It's nearly 2 in the morning. I'm tired myself." Looking back, many of the civilians are sleeping too.

>I can't sleep. I have to keep going.
>Sleep for a little while; regain your strength.
>Talk to Dylan about a cure for the virus at the university.
>Now that we have weapons, we should take care of the chief.
>Other