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>The nightmare isn't over...

>It's only just beginning.

Hello and welcome BACK to Resident Evil Quest! After a year of hiatus, I have returned from my deployment. We now continue the story of Daisy Dixon, a young chef trapped in Raccoon City on the 24th of September, 1998, her 21st birthday and, coincidentally, the beginning of the Raccoon City Outbreak.

During the course of her adventure, Daisy learned she had the power to access "save points" through the use of typewriters, and evaded death (and experienced it) using this ability several times. However, upon escaping from Raccoon City at last, she found herself subjected to the whims of a mysterious figure, who deemed her "run" a grade of D and sent her back to the beginning, wiping away her progress.

Now, Daisy finds herself back in her diner, where her nightmare began, beset with the horrible realization that she has to go through it all over once more...

Our story continues now!

Discord, where I've been : https://discord.gg/sJk95rV
>>
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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
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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
>>
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>>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
>>
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>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!
>>
>>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.)
>>
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>>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
>>
>>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
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>>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.
>>
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>>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.
>>
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>>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
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>>4648013
>We need to get to the suburbs.

Rip Tony
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>>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.
>>
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>>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
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>>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
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>>4648186
support
>>
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>>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."
>>
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>>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.
>>
>>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
>>
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>>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.
>>
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>>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
>>
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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
>>
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Good morning. We'll be resuming shortly.
>>
>>4648786
alright, lets do this!
>>
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>>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
>>
>>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
>>
>>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.
>>
>>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.
>>
>>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.
>>
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>>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
>>
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>>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...'
>>
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>>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.
>>
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>>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
>>
>>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
>>
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>>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
>>
>>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
>>
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>>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."
>>
>>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.
>>
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>>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
>>
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>>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
>>
>>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."
>>
>>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
>>
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>>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.
>>
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>>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.
>>
>>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
>>
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>>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?
>>
>>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
>>
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>>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
>>
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>>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
>>
>>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.
>>
>>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.
>>
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>>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
>>
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>>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
>>
>>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.
>>
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>>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
>>
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Current inventory.
>>
>>4652993
>>I can't sleep. I have to keep going.
>>Now that we have weapons, we should take care of the chief.
We’re not done with this run yet
>>
>>4652993
>>I can't sleep. I have to keep going.
>>Now that we have weapons, we should take care of the chief.
>>
>>4652993

>>catch your breath talk with dylen a bit, see about getting that connection you shared going a gain, then
>>Now that we have weapons, we should take care of the chief.
>>
>Talk to Dylan about a cure for the virus at the University

Were running out of time, maybe we should attempt it.
>>
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>>4652999
>>4653001
>>4653013

"No, I can't sleep, I must keep going," you insist. Quietly, you whisper to them both, "Now that we have weapons, we can take care of the chief."

Dylan runs a hand through his hair. "Are you nuts? You want another crack at that psychopath?" He looks around to ensure nobody is listening. "I mean, look, I'm not a fan of the guy myself, but you don't get to be chief of police without some skills."

"We can get the drop on him," you insist. "I've got a key that will open his office."

"What are we talking about?" Jennifer asks, confused. "You don't mean... we kill him?"

"He'll kill us all if given the chance," you reply.

Dylan scratches the back of his neck. "How do you know that? How can you be so sure?"

"You saw him. The only reason I got bit is because of him insisting we need to be arrested. Think about it: if I was wrong about his connections to Umbrella and all that's going on, why would he be so insistent on trying to get me out of the picture?"

"So we just roll up in his office and gun him down?" Dylan folds his arms. "Can't we capture him? Or throw him in a cell?"

"He's too dangerous to be left alive," you mutter. "He knows something about what is going down, and he'll do anything in his power to keep from facing the consequences." You take out the memo you found in the S.T.A.R.S. office and show it to Dylan. "See this? When the S.T.A.R.S. found out about what was going to happen, he shut them down, disbanded and discredited them. They were trying to stop all of this from happening."

He reads over it. "Even so... I'm not sure I'm ready to gun a man down."

You look into his eyes. "You're not going to make me do this alone, are you?"

"No, of course not," he replies quickly. "I..." He closes his eyes and lets out a pained sigh. "I just didn't think you would ask me to do something like this."

"Dylan, the chief is evil. When the time comes, I'll do it. You won't have to."

Jennifer taps your shoulder to alert you that Rita is coming over. You face the blonde officer and listen to what she has to say. "We're going to start moving people up to the library; it'll be safer in there for now."

You nod and say that you'll go along with the others, knowing it will be a lie. When Rita isn't looking, you, Dylan and Jennifer slip away and head into the eastern half of the station. Taking a shortcut through the press release room, you bypass a small barricade and make it to the stairwell leading to the second floor, right to Irons' office.

"I'm scared," Jennifer says.

"Stay behind us," you reply, moving up to the chief's door and taking out your key. You unlock it, open the door to the room filled with taxidermy animals and aim through the doorway.

Chief Irons is behind his desk, furiously sorting through papers. He looks up at you, right before you fire.
>>
Rolled 3, 9, 5, 6, 9 + 10 = 42 (5d20 + 10)

>>4653027
Experience: +20
Surprise: +10
Tired: -10
Hungry: -10
>>
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>>4653028

"Shit!" He dives behind his desk as you fire, blowing the back of his chair to pieces. You eject a shell as you advance into his office, preparing to fire again.

He pops up, aiming a revolver and fires at you several times. You dive to the right, but take a bullet to the shoulder and let out a painful cry.

>Status: Caution

You try to one-hand your shotgun as Irons flips a switch on the wall, revealing a secret passage, but you are far from strong or skilled enough to reliably aim a shotgun with only one hand. Your shot goes wide, blasting a stuffed animal head, sending dust and hair in all directions.

Dylan runs into the room, drops down to a knee and fires. He hits the chief in the back as he vanishes through his passageway. You hear the chief cry out in pain, but he keeps moving.

"After him!" you cry, ignoring the pain from your gunshot as best you can.

You, Dylan and Jennifer chase him to an outside balcony that runs behind the main hall, where he is getting into an elevator. He aims and shoots, but his shot misses, peppering the wall behind you as you turn the corner.

Jennifer lingers behind as you and Dylan both fire at the old-timey elevator doors; they are not solid, more like grated, and you hear the chief grunt in pain as he is hit again. The elevator lowers as you run up to it.

"Now what?" Dylan asks as he slams against the metal grate. "Did we get him or what?!"

"Daisy, you're hurt," Jennifer says, clasping a hand over her mouth as she sees your blood.

"I can take it," you mutter. You hit the nearby button on the panel, but the elevator does not come back up. "Damnit all! He must have disabled it from downstairs! It leads to the garage. But maybe we can get this open..."

Dylan puts a hand up, stopping you from trying to pry open the bars. "Daisy, we lost him. It's over."

"It's not over!" you insist. "It won't be over until I see that bastard's corpse!"

"Even if you pried these doors open, what are you going to do? Climb down the elevator shaft? We can't chase him this way!"

You begin to calm down somewhat and think. 'Damn, almost had him,' you inwardly groan.

>Pry open these doors and attempt to get down the elevator shaft
>We need to clear out the east halls and fight our way back to the garage stairway
>Use the crawlspace from the tunnel beneath the main entrance to get into the garage
>Stop and rest; Irons has gotten away for now
>Other
>>
>>4653042
>>We need to clear out the east halls and fight our way back to the garage stairway
>Stop and rest; Irons has gotten away for now
>>
>>4653042
I’ll support >>4653044
>>
>>4653044
Supporting
>>
>>4653044
support
>>
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>>4653044
>>4653050
>>4653052
>>4653057

"Fine... we need to rest, anyway," you say. "When we get up, we'll clear the east hall and get to the basement... If his body is down there, I want to see it."

You leave the hidden balcony and return to the chief's office to investigate it. There is an open document here, and you pick it up.

>September 23rd
>It's all over. Those imbeciles from Umbrella have finally done it... Despite all their promises, they've ruined my town. Soon the streets will be infested with zombies. I'm beginning to think that I may be infected myself. I'll kill everyone in town if this turns out to be true!!!

>September 24th
>I was successful in spreading confusion among the police as planned. I've made sure that no one from the outside will come to help.
>With the delays in police actions, no one will have the chance to escape my city alive. I've seen to it personally that all escape routes from inside the precinct have been cut off as well.
>There are several survivors still attempting to escape through the lower levels, but I'll make sure no one gets out.

You smile. You've read this before, and it's just as incriminating as the first time, though he had more entries when you last read it. You hand it off to Dylan and tell him to take a look at it.

"Wow... I never thought it would be like this, but here we are. This guy really IS crazy."

"Daisy, look at this," Jennifer says, picking up a piece of paper on the floor. She hands it to you.

>To: Mr. Brian Irons, Chief of the Raccoon City Police Dept.
>As thanks for your unwavering support, I have deposited a small sum into your account, to use as you see fit. I hope I can count on you to maintain surveillance over your subordinates, especially the ones who survived that mansion. Get rid of them if you must.
>William Birkin

>To: Mr. Brian Irons, Chief of the Raccoon City Police Dept.
>We have lost the mansion lab facility due to the renegade operative, Albert Wesker.
>Fortunately, his interference will have no lasting effects upon our continued virus research.
>Our only present concern is the presence of the remaining S.T.A.R.S. members: Redfield, Valentine, Burton, Chambers and Vickers.
>If it comes to light that S.T.A.R.S. have any evidence as to the activities of our research, dispose of them in a way that would appear to be purely accidental. Continue to monitor their progress and make certain their knowledge does not go public.
>Annette will continue to be your contact throughout this affair.
>William Birkin

>To: Mr. Brian Irons, Chief of the Raccoon City Police Dept.
>I ran into some trouble with Umbrella headquarters. The suits want to take the fruit of my research away. But don't worry, this will all blow over soon. You just keep doing what I tell you to and everything will be all right.
>William Birkin
>>
>>4653134

>To: Mr. Brian Irons, Chief of the Raccoon City Police Dept.
>I have deposited the amount of US $10,000 to the account for your services this term as per our agreement.
>The development of the G-virus scheduled to replace the T-virus, is near completion. Once completed, I am certain that I will be appointed to be a member of the executive board for Umbrella Inc.
>It is imperative that we proceed with extreme caution. Redfield and the remaining S.T.A.R.S. members are still attempting to uncover information on the project. Continue to monitor their activities and block all attempts to investigate the underground research facilities.
>William Birkin

>To: Mr. Brian Irons, Chief of the Raccoon City Police Dept.
>You are to up the security around my lab. Your muscleheads are to shoot any suspicious person on sight. Doesn't matter if they kill them, or even if they're Umbrella employees. I'm so close to completing G, and no asshole is going to get in my way.
>William Birkin

>To: Mr. Brian Irons, Chief of the Raccoon City Police Dept.
>We have a problem. I have received information informing me that Umbrella HQ has sent spies to recover my research on the G-virus. There are an unknown number of agents involved. They must not be allowed to take this project away from me as it represents my entire life's work.
>Search the city thoroughly for any suspicious persons. Detain any such individuals by whatever means deemed necessary and contact me immediately through Annette. With these precautions, any possible threat should be eliminated.
>I will not allow anyone to steal my work on the G-virus. Not even Umbrella...
>William Birkin

>To: Mr. Brian Irons, Chief of the Raccoon City Police Dept.
>Get your shit together and do your fucking job! I TOLD YOU I need more security in the sewers! Don't you know how critical of a time this is for me!? As for the money, I can pay you whatever once I take over, but not before. Why don't you get that!? Never forget how expendable you are.
>William Birkin

"Here's the proof we needed to convince everyone of what's going on," you mutter. "Come on. Let's get back to the Main Hall."

Suddenly you hear a sound from the nearby trophy room. Jennifer moves back as you and Dylan take up position on either side of the door, then open it.

You lower your weapon when you see that it is only the mayor's daughter Katherine, hiding fearfully behind a large stuffed tiger. "Oh, thank God!" she says, running out to greet you. "I was terrified Irons was going to do something terrible to me..."

"He was, but not anymore," you say, glad to see her alive.

You look back and notice a typewriter in the chief's room, but decide not to use it. After all, you're still infected.

Once out in the corridor, you look for the note you typed up earlier and find it near the potted plant. You inspect it, seeing that it is not damaged, and fold it neatly back into your pocket.
>>
>>4653136

Back in the main hall, you inform Rita of everything that happened. She is understandably upset at first, but then you show her the chief's journal and emails. She's stunned, to say the least, and the very convincing testimony of the mayor's daughter is more than enough to sway the opinion of her and every other officer against the chief.

Not long afterwards, you, Dylan and Jennifer are in the library with other civilians, resting. Having gotten medical attention and bandaged your shoulder, you sit with your back against the wall. Jennifer, wrapped up in a blanket, slumbers nearby. Dylan is sitting next to you, offering his shoulder for you to lie your head on.

"Hey," he says, getting your attention.

"Mmhm?" you grumble, trying to fall asleep.

"I just wanted to say that I'm sorry I doubted you. I was getting tired of being strung along with no proof. I should've had more faith in you, you were more right about the chief than anything. I didn't want to believe there was a conspiracy, but all of this stuff with Umbrella is true."

"As long as we get this proof to the outside world, we can make sure everyone knows Umbrella were the ones responsible for all of this," you tell him. "That's what's most important."

"You mean other than getting out of here alive, right?"

"Alive together," you whisper, and go back to sleeping on his shoulder.

>Sleep...

You awake, coughing hard. You're not the only one. Your eyes open as you realize that everyone in the library is coughing! You grasp your throat and desperately try to crawl on the ground, rapidly running out of air. You look up through teary eyes and see some kind of gas coming through the vents in the room.

Then, a memory comes to you: nerve gas canisters in the basement. Rita told you they could be used to flood the station, and you disconnected them.

Irons! In the basement...

Every single civilian around you is choking, some of them violently writing on the floor. You turn around and look at Dylan, seeing him desperately claw at his throat as his windpipe closes. Terrifying, desperate realization rushes through you as you try to reach for him, but you find that you are too weak to do so. Jennifer is hacking and wheezing, gasping for a breath of clean air that will not come.

The gas does not relent. It does not stop. This is no mere riot control gas---this is lethal. Within moments, you find yourself unable to breathe at all.

Lying on your back, your hand mere inches away from Dylan's, you feel the life slip out of your body. You are drawn into an ethereal state, a place of observation: you see through your eyes again. You don't know how long it has been since death found your body, but now you can see it twitch and slowly get up. Your movement is jerky and unnatural, and you let out a low moan. Just as you are about to despair, fearing that you may be trapped within your own zombified body, you wake up.
>>
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>>4653138

It's much earlier in the evening. The shuttles haven't left from the garage yet. You're in the photo room, holding your typed note in your hands. Breath comes to you in short, stilted bursts. After a moment, you calm down and reason out what just happened.

"Irons," you say in a loud gasp. "He killed us all... All of us in the library... Somehow, he got to the controls for the gas, and must have used it..."

You look down at your leg: it's fine. No bite, no injury. You look at your belongings: the kitchen knife and medkit from Tony's Diner and, of course, your skeleton key.

You feel anger well up within you, a great and terrible fury.

"That son of a bitch will pay for this," you swear aloud. "I am sick and tired of dealing with that fat bastard. No more."

>Go to the S.T.A.R.S. office and arm yourself
>Search this room for supplies
>Wait for Irons to come here and ambush him
>Head outside to the Main Hall; go through the motions some more
>Other
>>
We'll be resuming in the morning.
>>
>>4653146
Well shit guess we’ll have to make sure to double tap his ass next time. Does “go through the motions some more“ mean we repeat that run again and try and perfect it?
>>
>>4653146
>>Search this room for supplies
>>
>>4653146
>Head outside to the Main Hall; go through the motions some more
>>
>>4653146
>>Search this room for supplies
We already know where the supplies are, so they should be a pretty much instant grab, shouldn't they?

>>Get Dylan and Rita, and go to the S.T.A.R.S. office and arm yourself
>>
>>4653146
>Search this room for supplies
>>
>>4653146
>get the Evidence, get to Marven, and then get the weapons from the STARS office then confront the chief with him and off him
>>
>>4653397
let's begin the formal impeachment process of one B. Irons
first get the notes from the STARS office to get Redfield's Journal
this should at least throw some serious doubt on him and make some of the officers believe us and basically allow a raid on Iron's office for the actually damning evidence
>>
>>4653397
Supporting
>>
Shouldn't have gone to sleep.
>>
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>>4653171
>Does “go through the motions some more“ mean we repeat that run again and try and perfect it?
Generally I mean it to mean that we do what we did before while not arousing suspicion in anyone else until a new choice can be made (which usually isn't too long)
>>4653198
>>4653270
>>4653342

You make short work of searching this room for supplies; you grab the handgun bullets, the gunpowder and the red herb. The locker here is still locked, so there isn't much you can do about that. After securing these items, you peek your head out of the door and listen intently. The station still has a lot of activity, but most of the officers are trying to herd the other civilians into the garage.

This gives you a perfect opportunity to get up to the S.T.A.R.S. office.

>>4653270
>>4653397
>>4653418
>>4653468

You slip into the western second floor hallway and unlock the door to the S.T.A.R.S. office with your skeleton key. From here, you go about collecting some weaponry; you take the shotgun and the extra ammo for it, as well as a handgun, some more bullets, and the magnum revolver. For the time being, you leave your knife, gunpowder and herb here, along with the unicorn medal, and pick up a first aid spray from a white and green medpack on the wall that seems full of them. You collect the files in the office, including one you missed before: a report on the mansion incident, with a big red "REJECTED" stamp in the middle. You read it.

>This bizarre incident occurred in a mansion owned by the Umbrella Corporation located in the Arklay Mountains.
>On July 23, S.T.A.R.S. Bravo Team was dispatched to the Arklay Mountains to investigate a series of mysterious and grisly murders, and went unexpectedly radio silent.
>On July 24, Alpha Team was dispatched as well, and became entangled in the events at the nearby mansion.
>The incident culminated in the destruction of the mansion. Casualties were numerous. The only survivors were five members of S.T.A.R.S. The cause of the incident was the illegal bioweapon experiments being carried out in a secret Umbrella lab beneath the mansion. The T-Virus being used in these experiments escaped the facility, and is presumed to be the root cause of all that occurred.
>However, all evidence was destroyed along with the mansion, so further investigation has proven to be extremely difficult.

Taking that, along with the journal of Chris Redfield, you proceed into the nearby office and search for the roll of film. It feels like you look the desk over at least fifty times before you find it.

Downstairs, in the western hallway, you pass by zombies banging on the windows and head to the records room, where you once met a grisly end alongside Dylan. He found some useful evidence in here once before, and after a bit of searching, you find it as well; a report by Jill Valentine about what they found at the mansion owned by Umbrella:
>>
>>4653665

>July 24th, 1998
>Raccoon Forest:
>The following documents were obtained at a sanitarium owned by Umbrella Corp.:
>"Umbrella Bio Organic Weapon Publicity Material"
>Dev. Code: MA-39 Cerberus
>Dev. Code: MA-121 Hunter
>Dev. Code: Fi-3 Neptune
>Dev. Code: T-002 Tyrant
>In addition to the above, it is believed that several other B.O.W. were created by means of accidental infection.
>During the course of the tests, it was discovered that the contagion is not limited to human beings, and may pose a hazardous risk to plant and animal lifeforms.
>Effective means of controlling this contagion have yet to be found.
>Raccoon City Police Department
>S.T.A.R.S. Alpha Team
>Jill Valentine

You note that this was filed in a burn pile; thankfully it hasn't been destroyed yet. You take it with you as well.

Out in the main hall, people are starting to get funneled into the eastern half of the station, heading down into the basement. You see Marvin talking to some other officers, coordinating them up until the point when he sees you approach with your armaments. "Officer Branagh, I need to speak to you."

"Woah, woah, where'd you get all that," he says warily, his first instinct from seeing a civilian approach with firearms to put his hand on his holstered gun.

"The S.T.A.R.S. office, and there are more weapons up there, but this comes first. You need to see these."

Cautiously, he follows you over to a nearby desk where you lay out the files and reports. He looks over them, and as he does, you speak.

"The S.T.A.R.S. were investigating this plague before it got here, an the chief suppressed their efforts, because he's involved with Umbrella and they're the ones responsible for it all. I know there isn't much here to implicate the chief, but what if I told you he has absolutely incriminating evidence in his office right now, along with a hostage?"

Marvin's eyes narrow. "What hostage? What are you talking about?"

"The mayor's daughter, Katherine. She's being held against her will in his trophy room. What's more, the chief is trying to get rid of any evidence linking him to Umbrella, but he hasn't gotten it all."

Marvin regards you with another strange look. "How do you know all of this?"

"Let's just say I've been working this case for a little while now. And... snooping around the station."

He rolls his tongue in his cheek for a moment in thought. "Give me your weapons. I can't have a civilian armed to the teeth like you are."

"But we need to confront the chief!"

"That's not the job of a civilian. I'll go talk to him."

You reach out and grab his arm. "No! Marvin, please, listen to me. The chief is unstable. You know he's been giving strange orders. If you go in there, alone, he'll try to get rid of you. At least take someone else with you, or two other officers, if not me as well. Please, I'm begging you."

Your genuine tone seems to strike a cord within him, but he still demands you to relinquish your weapons. Sheepishly, you lay them all out.
>>
>>4653667

"I thought that office was locked," Marvin says, whistling as you lay down the shotgun, revolver and pistol. "How'd you get in?"

"I found the key, but lost it," you quickly lie, fearing that he may try and take that from you as well.

Marvin seems to accept this explanation. "If everything you've said is true, I'll forgive sneaking around the station. Go with the other civilians and get on the shuttles."

>Go and reunite with Dylan and Jennifer
>Insist on staying with Marvin when he sees the chief
>Head back to the photo room
>Return to the S.T.A.R.S. office
>Other
>>
>>4653671
>>Insist on staying with Marvin when he sees the chief
inform other officers as well
>>
>>4653671
>Insist on staying with Marvin when he sees the chief
>Other
Bring Rita, and bring her up to date.
>>
>>4653671
>>I will on the condition you take someone armed with you
>>
>>4653671
>>Insist on staying with Marvin when he sees the chief
>>
>>I will on the condition you take someone armed with you
>>
>>4653678
>>4653686
>>4653707

"No," you say firmly. "I have to be there with you when you go and speak to the chief."

Marvin's brow furrows in frustration. "You aren't used to things not going your way, are you?"

"Actually I've been going through a lot of that lately." You stand your ground. "Listen to me. I know about a man down in the cells who was arrested before this infection spread. The chief arrested him on false pretenses, right?"

His expression softens. "Yeah..."

"Well, I'm a... reporter. Kind of just starting out. He's my partner. We've been working this Umbrella case for a while now. If you're going to confront the chief, I need to be there, to ensure the truth makes it out. Just think of me as a... neutral third party, or something."

He still doesn't seem fully convinced.

"Please, you have to believe me. I know you want to. You've been suspecting the chief too, right? Well, we can get proof, right here, right now, and get this situation under control."

Rita walks up, alongside another officer you recognize, Aaron. "What's going on?" she asks.

Marvin is passive for a moment, but then says, "We're going to talk to the chief. We're taking this girl with us." He turns and looks at them both. "The chief has been acting strange. We need to assess his condition."

They nod and fall in behind him as the four of you head towards the east hall. Near the back of the line of civilians, you see Dylan and Jennifer; they see you as well. "Daisy!" Jennifer calls out. "Where were you? They're evacuating us!"

"I need a moment here longer. I probably won't be getting on a shuttle," you whisper to her as the three officers move on.

"What? Why?" she asks, and Dylan looks on, concerned. He looks back and forth between you both and the line of people.

"I have something I need to do with these officers," you reply.

"What's going on?" Dylan finally asks.

>Take Dylan with you
>Ask for Dylan's gun
>Tell them you'll catch up and follow the other officers
>Take them both with you
>Other
>>
>>4653734
>>Take them both with you
>> sell the idea by laying out the facts that with all these people here is a very strong chance we won't make it into that shuttle more than think about it this place is surrounded by the undead and the moment they open the garage shutters those things are going to come pouring in being down there's a death sentence
>>
>>4653741
support
>>
>>4653734
>Tell them you'll catch up and follow the other officers
>>
>Tell them you'll catch up and follow the other officers

There is a possibility they can get on if they leave now. Also don't want the other girl destroying our cover story.
>>
>>4653734
>>Tell them you'll catch up and follow the other officers
>>
>>4653741
Supporting
>>
>>4653741
>>4653749
>>4653750
>>4653751
>>4653769
>>4653770
I'll need a tie breaker; taking them with us or leaving them with the shuttle group (knowing that they won't get on) are too disparate to compromise between.
>>
>>4653769
Letting them get onto those shuttles takes them out of our protection and we have no idea what happened to those shuttles we could very well be sentencing them to death keeping them with us is safer for everyone
>>
>>4653792
Thing is, we've never taken an action to get Dylan and Jennifer to the front of the line of people getting ferried onto the shuttles, so with them being at the back, they will not get on the shuttles, as has happened every single time.
The only reason I need a tie breaker now is because taking them up to the chief's office could result in different things from happening.
>>
>>4653734
>>Take them both with you

>>4653801
>could result in different things from happening
different things happening? In a branching story? what a concept!
>>
>>4653734
>Take them both with you
No point in sending them to the shuttle if we tell them to wait for us, or don't convince them to make it on there first without us.
>>
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>>4653741
>>4653749
>>4653770
>>4653861

"I think you should both come with me."

"But the shuttles!" Dylan protests.

"We're at the back of the line, we're not getting on them. They have too few and too many people. When they open the gate down there, the undead will swarm in."

"But you don't know that," he points out. "You're just guessing!"

"I'm not," you insist sternly. "The officers know it too." You look and see Marvin, Rita and Aaron going around the corner. "Come on! We don't have all day."

Putting them on the spot, they hesitate but then elect to follow you. The more times you run this scenario, the harder you find it to be to convince them that you know what you're doing. After all, you have knowledge of the future, and they don't, and your credibility with them is important. You know that actions and results speak louder than words, so if they are along to see the evidence of the chief's misgivings, all the better.

After climbing the stairs to the second level, you get in front of the three officers. "What are you doing?" Marvin asks.

"If we knock on his door, he won't let us in," you reason. "Just let me do this." You turn and use your skeleton key to unlock the door. As Marvin walks up, you put a hand on his arm and warn him, "Don't let him get out his gun, or go for the panel on his back wall."

He doesn't fully know what you're describing, but he nods, opens the door and walks in.

The chief is behind his desk, furiously scrawling on a piece of paper. He looks up, surprised, and shouts, "My door was locked! BRANAGH! What is the MEANING of this?!"

"We need to talk, chief," Marvin says as he, Rita and Aaron stop in front of his desk. You slip in behind them while Dylan and Jennifer linger at the doorway, confused as to what is really going on.

"This insubordination will not stand," Irons says, shoving papers on his desk underneath it and out of view. "You want to lose your badges over this?! I ordered you to get as many civilians out of my goddamned station as possible!"

As he shouts, not giving Marvin a chance to get a word in edgewise, you dart for his trophy room door. Irons sees you, stands up and shouts, but Marvin gets between you and him. You open the door and shout, "Katherine!"

The mayor's daughter comes running into your arms. "Help! He's not letting me go!" she cries, and she couldn't play her part better.

"See? He's kidnapped her!" you add.

Upon hearing this, Marvin takes out his gun and aims it at the chief. "Hold it right there!" he orders.

Irons goes white in the face. "This is AN OUTRAGE! She's confused---she's being kept hear for her own good! The mayor ordered me personally to oversee the safety of his daughter!"

"Sir, I need you to relinquish your weapon," Marvin says calmly.
>>
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>>4653904

You look up at Marvin. "There's a secret elevator in the back that leads down to the garage. You can get him into a jail cell from there." To demonstrate, you activate the panel nearby and open the secret door. The chief continues to rave madly as Rita and Aaron drag him to the balcony.

Marvin looks over the files again. "All this about Umbrella. I can hardly believe it..." He gives you an appreciative look. "You did damn good, kid. You said you're just starting out with this stuff?"

Irons stares him down. "Branagh, you son of a bitch, you don't know what you're getting yourself into. Do you even have a fraction of an idea in that head of yours what's really going on in this city!? I'm the one in charge here! This is my station, my office, my police force! You listen to me you filthy rat, and put that gun down!"

"Sir! I will not ask again! You are not yourself. Either stand down or we will make you stand down!" Alongside him, Rita and Aaron take out their sidearms and aim at him.

"You treasonous fucking rats," Irons says, going for his gun.

"Look out!" you cry.

A single gunshot rings out, and the chief falls, grasping at his leg. Marvin's gun is smoking---neither Rita nor Aaron had the will to act first, but Marvin did. The chief wails in pain. The three officers move in quickly to further subdue and disarm the chief, also taking his key ring.
You tell Katherine to stand with Dylan and Jennifer and rush over to his desk, hopping over it while the chief rants and raves. You quickly collect the papers he tried to hide, look for the good ones and say, "Marvin! Look!"

He stands up and regards the files you hand him with widening eyes. "I'll be damned," he mutters. "This sick son of a bitch..."

"I'm being FRAMED!" the chief shouts from below. "You can't DO THIS TO ME! I'M IN CHARGE HERE! I OWN YOU! I OWN THIS STATION! YOU'D ALL BE DEAD RIGHT NOW IF I HAD WANTED IT!"

"Yeah, you could say that," you reply with a smile.

"We'll throw this bastard in a cell. We'll free your partner, too, since this is proof that he's innocent. It's clear to me that the chief was just trying to cover his ass."

As Marvin moves into the back passage, Dylan walks up to you. "What was all this about?" he asks. You show him some of the chief's files, and explain about his corruption and collusion with Umbrella. Jennifer and Katherine listen in as you explain about the chief's attempts to sabotage everyone's escape from the station, showing Dylan the passage from his journal that spells it all out.

"I'm guessing he's the reason why there aren't enough cars to get everyone out?" Dylan asks.

"Precisely."

Jennifer walks up. "What was that officer saying to you a moment ago? Something about your partner?"
>>
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>>4653905

You bite your tongue; your earlier lie about being a reporter was a spur of the moment thing, but now you'll have to cover yourself again to justify all that you know. "I've been working on this case for a while. I'm a conspiracy hound; I knew there was something big going on, some kind of connection between the police and Umbrella. I just never knew it was this terrible; zombies, viruses... I'm not the only one who knew. The S.T.A.R.S. tried to expose the chief, but he buried their evidence and discredited them. I picked up the pieces and now we have what we need."

"Need for what?" she asks.

"To reveal the truth of Umbrella to the world," you explain. "When we get out of here, they need to pay for what they've done. They created a virus that turns people into monsters and it leaked out. They need to be held accountable and taken down."

Dylan folds his arms. "This is heavy stuff," he admits. "What do we do next?"

>Head down to the cells as they release Ben and imprison the chief
>With the chief out of the way, we can get wood from upstairs and build proper barricades
>We need to gather the weapons, armor and supplies that were spread out
>Use the chief's typewriter and save your progress here
>Other
>>
>>4653907
>>Use the chief's typewriter and save your progress here
>>With the chief out of the way, we can get wood from upstairs and build proper barricades
>>
>>4653907
>>Use the chief's typewriter and save your progress here
>>If it isn't to late have the cops call off the main street destruction all the remaining cops in the city should also probably fall back to the station and fortify it.
>>Head down to the cells as they release Ben and imprison the chief, we will need to talk with Marvin and come clean about the lie, as Ben will likely not cover for us
>>
>>4653925
>>>If it isn't to late have the cops call off the main street destruction all the remaining cops in the city should also probably fall back to the station and fortify it.
Oh yeah, I forgot to write in the explosion going off as people start moving down to the garage; my bad. No real way to stop that with our choices.
>>
>>4653933
[No problem]

>>4653925
>>Use the chief's typewriter and save your progress here

>>Talk with the remaining cops in the station, warn them that the documents lead us to Believe that a bite is enough to infect and that anyone who dies needs to have there brain destroyed or they risk returning as a zombie,
[so that we can avoid being overrun from within, due to the morgue zombies]

>Moreover, while your no tactician the officers scattered through the city should also probably fall back to the station while we fortify it. or they risk being overrun

>>Head down to the cells as they release Ben and imprison the chief, we will need to talk with Marvin and come clean about the lie, as Ben will likely not cover for us
>>
When they tell Ben why he was released, he's going to be so confused.
>>
>>4653998
We need to come up with a plausible explanation.
Say we just kinda stalked him, but knew we wouldn't in any way be considered serious had we said that, we kinda had to lie. it lead to the truth after all!
>>
>>4653942
Supporting
>>
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>>4653917
>>4653925
>>4653942
>>4654073

"Give me a moment," you tell them as you get behind the typewriter in the chief's office. "Jennifer, why don't you take Katherine down to the main hall? Get her some water."

Jennifer nods and takes Katherine by the hand, leading her downstairs. Dylan remains as you type.

>September 24th, 1998

>The police chief, Brian Irons, has been exposed. His partnership with Umbrella through William Birkin has been proven to the other officers, and now he's being thrown in a cell. His efforts to destroy evidence linking him to this disaster were thwarted.

>Maybe now we can try to control this situation some more. We need to get the station under control and stop more infected from getting inside. With the help of Marvin and Rita, we should be able to rally the officers now that the chief isn't giving his crazy orders anymore.

>If we can barricade the police station and hold out, we may be able to figure out a new escape plan, or perhaps help will come to us. I can only hope, but until then, I have to keep going.

>Daisy Dixon

You finish writing and take the note to inspect it. You fold it up and place it into a pocket alongside your first note, satisfied at how well things have gone.

"Keeping a record?" Dylan asks.

"For when we get out of here. It's important that we document what's happened so that people will know." You face him fully. "I don't want there to be any bad blood between us, Dylan. I'm sorry I pulled you away from the shuttles, but I knew the chief wasn't going to let that plan work. If you have anything you want to say to me, please say it. Let's clear the air."

He coughs into his hand. "Well... I was pretty confused at first, but after seeing all of this, I guess you were right to act the way you did. I thought it was pretty strange at first, you seemed... Well, competent."

You cock a brow. "For a girl?"

"That's not what I meant!" he insists and you playfully roll your eyes. "I meant, you seemed like you knew what you were doing at every second. You've got it way more together than I do."

'Only because I've been through it before,' you think. 'But he's not wrong... all these experiences have changed me.'

He runs his hand through his hair and sighs. "When I was up on that roof, I was lost. Defeated. I was about to throw it all away, but then... Well, I met you. I really don't know how else to put it, but you kick ass. The way you stabbed that zombie in the alley, it was like you were fearless. I've never met anyone nearly as competent as you."

You can't help but blush somewhat. "Thanks."

He smiles and looks away. "I should be the one thanking you. You talked me down. I didn't think there was hope."

"There is," you promise him, reaching for his hands. "I swear, we'll get out of here. We're going to survive. We'll earn our freedom."

Those words... they come so quickly to you. 'Earn my freedom...' That's what the man in the shadows said. 'Greater rewards and freedom are on the line...'
>>
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>>4654106

You look up at Dylan and tell him that there is work to do. Together, the two of you find some more officers downstairs and inform them of the situation. With a path to the upstairs clear and the chief out of the picture, wood and other supplies from the old storage areas can be used to reinforce doors, windows and more. After giving Dylan explicit instructions to find tools and wood from upstairs, you use the chief's elevator to travel down into the basement level and enter the jail cells.

There, you see them opening Ben Bertolucci's cell, just in time as you round the corner. Marvin looks at you. "Ah, here's your partner now," he says.

The reporter looks at you with suspicious eyes. "Yes... my partner. I hear you're the reason I'm out, eh?"

'He's playing along,' you think to yourself. 'Ben is rather fast on his feet...' You clear your throat. "That's right. We've got evidence that links Umbrella with Irons."

"Fantastic! Let me see it." Marvin hands him the emails. Ben quickly reads them. "This is great. This is GREAT! Look at this stuff. This is the scoop of the century. 'Police Chief Underneath 'Umbrella' of Monster-Making Corporation.' I can see it now..."

Marvin takes the file from Ben. "Yeah, well, from where I'm standing, your partner did the hard work." He hands you the files.

Ben blinks. "Well, I mean, of course. We're in this together." He slips an arm around your shoulder and gives you a wink. "I mean, I've got recordings and files myself. These are all just pieces of the bigger picture. Isn't that right... partner?"

"That's... right," you say, playing along yourself.

Marvin shrugs. "So long as you two know what you're doing. I need to get back upstairs. This station isn't secure yet." He moves off, and Rita pauses you thank you for your work in getting rid of the chief.

Once the officers are gone, Ben takes his hand off your shoulder and looks at you. "So... mystery girl. I don't know who you are, but I could just about kiss you right now. Do you have any idea how big of a story this is going to be?"

"I do," you nod.

"So, you know me, but I don't know you. Who are you working with? Which paper? Are you independent? Or federal?"

"I'm neither," you insist. "All I care about is taking down Umbrella."

"Ah, noble, very nice. That's a good angle. Makes for good press. But c'mon, let me in on the inside story: how did you know what's really going on?"

"I have my sources," you reply.

He smiles. "You're a girl after my own heart, you know that? I never give up a source either. But what I have are the connections to get this story on the front page of every paper in the world, and what you have is the evidence that can make it happen. So what's your price?"

>We work together to get this story out.
>I'm on my own, Ben. I just didn't want you rotting down here.
>You can have whatever I find, if you help us get out of town.
>Tell me what you know, and I'll tell you what I know.
>Other
>>
>>4654111
>>Tell me what you know, and I'll tell you what I know.
>>also a mutual agreement that we work to get these people to safety
>>Also, thanks, for playing along
>>
>>4654111
>>4654134
+1
plus something like:
>"My price? You need to promise me that when it comes to saving this evidence and saving someone... someone innocent, you will save that someone. Otherwise I will not help you get any more evidence, and yes, I know where to get more."

The University for example
>>
>>4654111
I’ll support >>4654134 & >>4654165
>>
>>4654111
I'll support >>4654134 & >>4654165
>>
>>4654134
>>4654165
Supporting this better than what would ive put out
>>
>>4654134
>>4654165
>>4654174
>>4654186
>>4654196

"Firstly, thanks for playing along back there."

"I figured something good must have been up when that tall cop said something about my partner absolving me of any suspicious activity. I must say, I wasn't expecting someone so sharp... and lovely."

You shift in place and clear your throat. "As for my price... My price is that we work together to get these people out of the city. I have people I care about here, and they're important to me. Help us, and I'll tell you what you want to know."

He smirks. "Done and done."

"Something else, and listen closely to this, Ben: You need to promise me that when it comes to saving this evidence and saving someone.... someone innocent I mean, you will save that someone. Otherwise I will not help you get any more evidence, and yes, I know where to get more."

"What greater evidence is there? C'mon, give me a taste."

"How about a cure to the virus?"

"Now I'm all ears," he says, taking out a notepad and jotting that down. "Where is it?"

"Not just yet. Do we have an understanding?"

He slides his pen behind his ear and holds out his palm for you to shake. "Crystal clear, partner. People before evidence." You shake his hand, having achieved mutual understanding.

"Looking forward to the big story," you tell him. "Once we get out of here."

"Right. Now, I'm going to see what I can get out of the chief. He's in another cell and I cannot pass up the opportunity to see that fat S.O.B. behind bars. Excuse me." He slips by and you watch him head towards the other end of the cells.

With that business done, you walk out of the prison area and back to the garage, wondering what to do next.

>Disconnect the nerve gas canisters
>Head back up to the main hall to help Dylan
>Use the crawlspace to access the front yard of the station
>Return to the dark room to develop more film
>Other
>>
>>4654313
>>Disconnect the nerve gas canisters
>>
>>4654313
>>Disconnect the nerve gas canisters
>take back up
>>
>>4654313
>Disconnect the nerve gas canisters
Can't have that, now can we.
>>
>>4654313
>>Disconnect the nerve gas canisters
>Return to the dark room to develop more film
>>
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>>4654318
>>4654321
>>4654335
>>4654443

After leaving the cells, you walk across the garage until you reach the lower basement area. You pass some officers who are carrying boxes of tools from one of the maintenance areas to the northern stairwell. Through another door, you walk down the hallway and hear barking, which makes you pause. You're near the kennels, and you remember the dogs being infected. You and Rita were trapped by them in the substation room at one point. With that in mind, you hurry onwards.

Once within the generator room, you search for the nerve canisters and quickly disconnect them. From here, you briefly search the substation room, finding a green herb, some handgun bullets and shotgun shells. There are a few other assorted items, such as a car battery, but nothing too useful. You pause and look at a desk in the corner and remember something from when you and Rita were in here. You search the desk and find a file, an invoice of various transactions in relation to the chief's bank account, and smile.

'More evidence,' you think to yourself, putting this file with the others.

After walking out, you take a moment to look around. You can hear the barking from the nearby kennel, and decide to not stick around too long. You head upstairs through the stairway, into the east hall. Zombies are banging on the windows still, and it won't be long before they get in.

The main hall is bustling with activity. Marvin is here, and he's using his authority as a natural leader to keep people in line. You reunite with Dylan and Jennifer, who has been with the mayor's daughter. Like before, you find Rita and warn her of the front entrance, recommending that it be blockaded as well. She takes you over to Marvin and you lay out a few things.

"People who are bitten are infected," you explain to him. "They'll turn eventually. We need to separate the wounded from the non-wounded."

"There's no way to stop it?" Rita asks.

"We have no cure," you reply. "What's more, it's not just people. The dogs down in the kennels are turning as well."

"How?" Marvin asks.

"It's the drinking water. I don't know how it got there, but that's one way for it to spread. People taking showers, drinking from public fountains, they all got exposed."

"That explains how so much of the city went to hell so fast," Marvin notes, nodding in agreement. "I'll put together a team to go put down the dogs. Rita, you organize people who have been injured. We need to get them separated from the rest of the civilians, quarantine them somewhere, and if necessary, be prepared to take extreme measures." Rita nods and moves off.

"The hallways on the western and eastern first floor are a priority," you inform him. "They've got the most windows."
>>
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>>4654607

"We're working on getting wood from upstairs in the old art gallery and storage areas," Marvin explains. "With the chief's keys, we're able to open all the locked doors around the station. But let me ask you; how did you have a key to his office?"

"I found it when I was snooping around the station earlier," you quickly reply. Explaining how you got this skeleton key isn't something you're up to doing, not when Marvin is busy coordinating the remaining police.

He nods, but you can tell he hasn't fully bought it. "I 'spose it doesn't matter much. Anyway, you've been a big help. I've got someone trying to recall other officers in the city back to the station. Hopefully, soon, we can have this place fully under control."

You smile and nod back at him, moving away with Dylan. You yawn; you're rather beat, you must admit, and now that the chief is behind bars and the nerve gas is disconnected, you feel a lot safer falling asleep in the station now.

>Rest for the evening
>Search more of the station
>Return to the photo room
>Talk to Dylan and Jennifer
>Other
>>
>>4654609
>>Rest for the evening
>>
>>4654609
>>Talk to Dylan and Jennifer while resting, working to reconnect, or from their perspective get to know one another and connect
>>
>>4654609
>>Talk to Dylan and Jennifer
>>Return to the photo room
We’ll talk with them then go to the photo room with them
>>
>>4654609
>>>Talk to Dylan and Jennifer
>>>Return to the photo room
>>
>>4654609
>Other
Ask around the officers or other people in the station who have electrical wiring experience to fix the wire box for the shutters.
Ask for the chief to be watched by two trustworthy guards.
We can get the wire out of anything that has electricity running through it, break it open and strip out the wires, then splice em.

Its like that minigame.....
>>
>>4654609
This is actually turning out a pretty good run, outside the bite.
>>
>>4654620
>>4654625
>>4654627
>>4654668

You sit with Dylan, Jennifer and Katherine. The mayor's daughter relates how awful the chief was; he was creepy and handsy and kept her locked in his trophy room while talking about how beautiful she was, comparing her to his taxidermy projects. You comfort her as she cries, but it isn't long before she falls asleep.

There isn't much food in the station, and too many mouths. Water bottles are passed out, which helps somewhat. Apparently a storage room on the third floor had some food and water in it, but it won't last very long.

You talk with the others. Jennifer does her confession and you forgive her, and Dylan talks about how much he hated his job and how hopeless it all seemed. You mostly listen, using it all as a reminder of why you want to save them. You regret not ever getting to really know Jennifer before this situation; she always seemed somewhat airheaded to you, but she's actually quite clever once she's calm and collected.

As they talk and lighten the mood, actually managing to smile and share some fonder memories, you remember your friends you were supposed to meet at the mall for your birthday party earlier today: Charlotte, Lora, Lynette and Pamela, all university mates of yours. You hope they're alright, they've been your best friends for a while now, always helpful and studying with you. What if they're all dead? The thought makes your stomach turn.

"You know, today is my birthday," you tell them. "I'm 21."

"That's right," Jennifer says. "I remember... Tony was going to give you the night off early."

"Happy birthday," Dylan says dryly. "Hell of a day..."

After a while, you look through your pockets and find the roll of film you took from the S.T.A.R.S. office earlier. "I know a safe room we can spend the night in," you tell them. "Come with me."

Earlier, Marvin had the ladder in the main hall lowered. You climb it and take the others with you to the library, then past the S.T.A.R.S. office and down the western staircase. You enter the photo room and let Dylan and Jennifer in behind you.

"Cozy," Dylan says, walking back into the darkroom. "I thought about getting into photography once."

You enter the darkroom and take out the film as Jennifer looks on. You begin the process of developing the film; there are several photos.

"What's this?" Dylan asks as you place the white photos in the liquid trays.

"I found it in a desk upstairs in one of the offices. I'm hoping it's some kind of evidence."

After about eleven minutes, the photos begin to appear as they are hung up to dry. When they do, it becomes painfully clear that this is far from the kind of evidence you were looking for.

"Oh," you say, your cheeks beginning to blush.

"Wow," Dylan says with a low whistle. "That's, uh..."

Jennifer pokes her head into the darkroom. "What is it?"
>>
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>>4654745

The photos are evidently from some kind of photoshoot. A young woman in green sportswear with "RPD" emblazoned on the chest is posing with a basketball in various shots. She's rather limber, if you say so yourself, and very pretty, with short hair and a red headband. One of the pictures has the words "Rising Rookie" written on it. Across the several photos she's posed, stretching, showing off her nubile body in her tight-fitting sportswear, and in at least two shots, without it.

Jennifer looks at the photos and puts a hand over her mouth. "Oh. Daisy, are you...?"

"No! No, I just found the film! I didn't know this was what was on it. I was hoping it would be evidence!"

"Evidence of something alright," Dylan replies, turning one of the pictures on its side. "Man, she's really making good use of that basketball..."

"Alright," you say, grabbing up all the photos and shoving them in a drawer. "We're going to forget this ever happened."

Dylan chuckles as you, he and Jennifer settle up against the wall for the night. You rest with your head on Dylan's shoulder with him on your right and Jennifer sleeps with her her on your left shoulder. She hugs your arm and snoozes soundly. You feel comfortable here, safe. You don't know if it is the room, or the people you're with, but so far this run has gone wonderfully. You fall asleep hopeful of your chances to escape, for good this time.

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

You think about the shadow man's words. What does he mean by a good show? Have you done enough? Too little? Is it about the people you save, the things you accomplish, the monsters you fight?

You spend some time thinking about it. If you're being watched and judged, what if sitting around and waiting isn't good enough? What if they want you to be more dynamic? You've already taken down the chief of police; what's next? The crocodile in the sewers? The Thanatos again? That freak with the eyeball on his arm?

You don't want to fight those, or any other monsters for that matter, but what if you get to the end of this run and you get a bad grade again, forcing you to do all of this over and over and over again? You can die as many times as you like, but in order to truly live, you must escape this city. So how can it be done? What do they want to see? Is this all some sick, twisted game to them? Are you just an unwitting pawn in some cosmic television program?

You close your eyes and try to push such thoughts from your mind. Worry about them tomorrow. You hold Dylan and Jennifer's hands and sigh. The distant sounds of gunshots that occasionally echo from the station as officers battle the monsters trying to get in fade as you drift off to sleep.

>Sleep...

When you awaken, it is early in the morning. You feel sore from sleeping in a sitting position, but you'll deal with it; it's better than having no energy from lack of sleep. Your stirring awakens Dylan and Jennifer, who yawn and stretch.
>>
>>4654747

>Search the station for supplies
>Assist in reinforcing barricades
>Talk to someone (Marvin, Ben, etc.)
>Make plans to leave the station
>Other

We'll be resuming tomorrow.

I couldn't stop myself from making the Rebecca joke.
>>
>>4654748
>talk with marvin to get an idea of what the situation is like now
>>
>Make plans to leave the station

Let's plan to get that cure.
>>
>>4654748
Supporting >>4654779
>>
>>4654748
>Make plans to leave the station
We'll never get a good grade if we stay here.
>Other
Get someone on that box to fix the darn wires!
>>
>>4654794
we need a firm base to return to with the cure man
>>
>>4654794
>>4654779
Supporting
>>
>>4654747

supporting >>4654790 & >>4654794
W'hats our current loadout?
>>
There's been an unexpected power outage at my location due to heavy snow; we'll be delayed for a little bit.
>>4655097
I'll post an inventory when I can, but we currently have no firearms and left our knife in the S.T.A.R.S. office. Dylan still has his gun.
>>
>>4655120
You're the second QM I follow today with outages. Something going on out there in Yankeeland?
>>
>>4655120
What about the stuff that got taken off of us?
>>
>>4655132
Power outages are hitting the US pretty hard due to snowstorm
>>
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>>4654779
>>4654792
>>4655088
>>4654794
>>4654790
>>4655097

The three of you stand up, with Dylan offering a hand and you pulling Jennifer up along with you. The three of you poke your heads out of the photo room, then make your way to the evidence room. You pause for a moment and open a drawer with the 'Code G' film roll in it and pocket it. From there you enter the west office. A small number of officers are here, either sleeping or utterly exhausted from working all night on either fighting the undead or barricading windows.

Marvin is here, and he has a map of the station. He's outlined several areas in red that are known to contain various amounts of undead; in particular, the first floor's eastern half is particularly dangerous.

"What's the situation?" you ask him as you walk around the desk. You look up briefly, seeing decorations for some kind of welcoming party strung about that haven't been taken down. One of them in particular spells out 'Welcome Leon' in colorful and cartoony letters.

"You three shouldn't be wandering around over here," Marvin says. "But... I suppose we're all in this together. I won't lie to you, the situation isn't good. I don't know if these things can smell us in here, but more and more keep showing up. The western office is gone. We can still get to the garage with the elevator in the chief's office, but the team I sent downstairs to take care of the dogs never showed back up. I'm worried the whole basement might be compromised. I sent an officer up to the roof but he was attacked by goddamned crows. Crows, can you believe it?"

With a grim nod, you reaffirm, "It can affect animals as well. Crows pick up dead flesh from people, get infected, then spread the infection themselves by attacking the living."

"My god," Dylan mutters. "If those things flew off, they could infect another city, start the whole process over again."

"Something else," Marvin says in a low tone. "One of the officers upstairs says he lost his partner to some kind of monster. It wasn't a zombie. Says it was crawling on the ceiling and leapt down and gutted his partner right in front of him with claws. I don't know if he's crazy or not, but at this point, it's hard to not believe him."

You swallow. "He wasn't lying. There are more than just zombies. This virus... it's the most powerful, horrible thing I've ever seen. Its power to mutate man and animal is unparalleled by anything mankind has ever made before. I don't know how, exactly, but it can twist people into unnatural things, things that crawl on walls and grow claws."

Marvin rubs his chin. "Damn. Shit..."

"You said it," you reply. "If it's what I think it is, it's blind. It can only hunt by listening. Tell your officers that if they encounter something strange, stranger than zombies I mean, to remain still."

"Can it be killed?" he asks.

"Bullets still work," you reply with a nod.
>>
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>>4655343

"At least we have that going for us. We've been collecting things around the station, centralizing weapons and ammo, but we keep losing people and ground. Completely securing the building is a nightmare and may be impossible. The chief crippled us in a number of ways."

"Have we found a replacement wire for the shutter controls?"

"No." Marvin looks over as Rita enters the room. "Situation report?"

"Some people turned in the night," she replies grimly. "They snacked on some other civilians, and now we've got more infected. The quarantine area is filling up. Any word on the crew you sent down to the kennels and the morgue?"

He shakes his head. "They never came back. None of the other teams from around the city have reported in either."

Rita's shoulders slump. "There isn't much food left, either. We found an old box of MRE's and passed those out. Here." She places a few packages on the table; Marvin hands one to you, Dylan and Jennifer, and declines to take one for himself. Rita frowns. "You gotta eat, lieutenant."

"Give it to someone else who needs it more," he orders her. "I'm fine."

You speak up. "The more people who turn, the more people will get infected. Without a cure, the only solution is to isolate or kill them. But... I think I know where we can get a cure."

Everyone looks at you in surprise. "Go on," Marvin says.

"Raccoon University. My professor, Peter Jenkins, is working on a cure there. If we can get there and assist him, we may be able to fight the infection off."

"RU is a ways away," Marvin points out. "It's across the river on the east half of town."

"I know. It's not an easy journey, but it's one that I'm willing to make."

Dylan puts a hand on your arm. "You're talking about going back out there? It's suicide."

Jennifer similarly reaches for your hand. "Please, Daisy, don't."

"I'm telling you, it might be the only way."

"I can't exactly approve of a civilian going out on her own," Marvin says, folding his arms. "We can at least control the situation in here to a certain extent, but outside, it's a madhouse. Anything could happen."

"I know, but you have to trust that I know what I'm doing. What are we going to do when the food and water run out, or the power goes out, or the ammunition dries up? What are we going to do about the infected? We need supplies and a cure if we're going to make it out of here."

Marvin, still standing tall and passive, concedes that you may have a point. "If you've got a plan, I'm willing to hear it."

>Explain about the unicorn medal and the underground access
>Explain about the crawlspace from the garage to the front courtyard's tunnel
>Talk about the nearby Gun Shop Kendo and its potential supplies
>You don't plan on leaving until you can secure more of the station safely
>Other
>>
>>4655345
>>Talk about the nearby Gun Shop Kendo and its potential supplies
>>You don't plan on leaving until you can secure more of the station safely
>>
>>4655345
>Talk about the nearby Gun Shop Kendo and its potential supplies
>Other
Offer Kendo a possible cure for his help and supplies. Namely his arsenal.
>>
>>4655345

Support >>4655350
>>
>>4655345
Supporting >>4655350
>>
>>4655350
Supporting
>>
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>>4655350
>>4655354
>>4655378
>>4655385

"There is a gun shop nearby, owned by a man named Robert Kendo," you begin.

"Sure, I know him," Marvin says. "He's the biggest gun store in downtown, plus he's known for making specialty guns for the guys in S.T.A.R.S. and anyone else who ordered from him. He might be dead, though."

You know he isn't, but you can't reliably prove to them that you know that, so you say, "Even if he is, his store has tons of valuable equipment in it and it isn't far from the station. We can loot it and arm ourselves with enough firepower to blow anything that crawls into this station away."

"It's not a bad idea, I admit," Marvin says. "Other than the fact that it relies on us leaving the station, and we already have so few supplies as it is."

"There are more weapons in the S.T.A.R.S. office. I just need to find some kind of key for its armory. Did the chief have one?"

"'Fraid not. S.T.A.R.S. was kind of its own thing; they had a lot of operational independence, and that extended to their office. I think they carried around special badges or keycards that gave them access to certain things."

Your brow furrows as you lean over the map of the station and look at it. "Either way, I don't want to leave until more of the station is secure. Do we have any idea at all where a replacement wire for the shutters could be found?"

"Best guess, somewhere in the eastern half of the station," Marvin replies. "But that's just a guess. And it's the half of the station we have the least amount of control over currently. There could possibly be replacements in the basement, but the situation there is unknown."

"What about the prison? Did Ben ever make it back upstairs?"

"He did, last night," Marvin confirms. "He spent a few hours trying to question Irons. I guess he got tired of it."

"Something else," Rita says, walking around the desk. "Aaron says he saw a little girl running around one of the hallways. He tried to chase after her, but she went into a vent."

Your eyes narrow. "A schoolgirl? Blonde?" Rita nods both times. "I've seen her as well. No idea who she is, but if she's running around alone, she's in danger."

"This place has pretty big vents. She could be anywhere," Marvin says with a sigh. He looks at Rita and says, "Start breaking open the vending machines. Get food and drinks to the people." Rita salutes and moves out. He then turns his attention back to you. "I'm sorry, but I can't have you leaving the station on a whim and a prayer. It wouldn't be responsible of me. So long as we can continue to hold out here, it's my job to ensure that as many civilians as possible are safe. That includes you."

You want to fight him, but you know he's in a difficult position; he doesn't want to feel responsible for sending someone out to their potential death. He leads you back over to the eastern office door which leads out into the main hall. He steps back into the west office.
>>
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>>4655453

"What are you thinking?" Dylan asks. "How can you want to go back out there?"

"Because things will only get worse in here unless we improve them," you reply. "Zombies are only the beginning. Worse things will start to show up..."

Jennifer's expression falls. "What are we going to do?"

"Nothing we can do," Dylan mutters. "That lieutenant doesn't want us to leave."

"That doesn't mean we just sit around and wait to die," you tell them. "We need to make things better before they get worse. I'm going to need your help, both of you. You're two of the only people I can trust and rely on."

Jennifer sniffles a little. "Really?"

"I mean it. I care about you guys and don't want you to get hurt, but I also can't do this alone. I'm going to rely on you."

They look at each other, then back at you. Dylan asks, "What do we do first?"

>Head up to the S.T.A.R.S. office
>Return to the photo room
>Look for Ben
>Ask Rita for a firearm
>Other
>>
>>4655454
>>Ask Rita for a firearm
>>
>>4655454
>Ask Rita for a firearm
>Head up to the S.T.A.R.S. office
>>
>>4655541
Supporting
>>
>>4655454
>If we can get the shutters online we buy ourselves and everyone else more time let's swing back by the star's office then see about locating those replacement wires
>>
>>4655454
>Ask Rita for a firearm
>Head up to the S.T.A.R.S. office

>>4655567
Support
>>
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>>4655464
>>4655541
>>4655547
>>4655567
>>4655642

"We'll need more than just your gun, that's for sure," you tell him.

You find Rita nearby, tapping away at a computer in the rear of the main hall. You approach her openly and say, "Rita, I have to ask you for a favor."

"What?"

"I need a gun."

"W-what?"

"If I'm going to help out around the station, I need a weapon I can defend myself with. I want to look for more supplies that can help us out."

"We have officers---"

"I'm going to do it regardless. Haven't I proven myself by helping out with the police chief?"

"Well, yes, but..."

"I want to get those shutters closed. If I can just learn where the wires are, half of our problems will be solved." She still doesn't seem fully convinced. "I'll take a fallen officer's weapon. It will be more useful in my hands than theirs. Please, we're all working together."

Rita sighs. "Alright, alright... here, take mine." She hands you her pistol. "I'll get another one. Please don't make me regret this."

"You won't. I promise."

Having secured a weapon, you climb up the ladder to the second floor. After helping Dylan up, he remarks, "I can't believe that worked. The last time I asked a cop for a gun, they laughed in my face."

From there, you go through the library and enter the S.T.A.R.S. office in the western second floor hallway. Even though you've taken them here before, this is their first time being here in this life.

"The famous S.T.A.R.S., eh?" Dylan says, walking up to the jacket near Redfield's desk. "You think this would look good on me?"

You smirk and search Valentine's desk for the lockpick. "Here, Jennifer, take this," you say, handing it to her. "Can you use it?"

"Yes, I can," she says after inspecting it.

"There's a goddamned grenade launcher in here," Dylan says as he opens the weapons locker near the comm station. "Two! And some kind of crossbow..."

You pick up your kitchen knife from Tony's Diner and slide it into a pocket. The unicorn medal is here as well, but you don't pick it up yet. You walk past Dylan and pick up the bow gun. "I've used one of these before," you tell him.

"You're just full of surprises," he says as you load the weapon.

"What about me?" Jennifer asks.

>Give Jennifer your pistol
>Give Jennifer the bow gun
>Keep both weapons for now
>On second thought, leave the bow gun
>Other
>>
>>4655670
>>Keep both weapons for now
>>
>>4655670
>>Give Jennifer the bow gun
It will have a smaller kick and offer her better aim and accuracy
>>
>>4655670
>>Give Jennifer the bow gun
>>
>>4655670
>>Give Jennifer the bow gun
>>
>>4655685
>>4655692
>>4655713

"Here," you say, handing her the bow gun. At first she looks at you like you are crazy, but then you get behind her. "Hold it like this," you say as you position her arms. "This weapon doesn't have a lot of recoil, so it's good for a beginner. Just make sure you know what you're shooting at. Breathe easy, squeeze between breaths." You help her aim and go through the motions, explaining everything along the way.

Dylan walks up to a desk labeled "Burton" and inspects it. "Hey, jackpot," he says upon opening a drawer and discovering some additional handgun bullets. He quickly loads his revolver.

"I don't know how good I'll be in a fight," Jennifer admits.

"Just don't stick any of us in the back with crossbow bolts and you'll do just fine," you say, giving her an encouraging smile. She blushes and averts her gaze.

"Man, there's a lot of junk in here," he says, rifling through another desk. He holds up a flashbang grenade. "Is this what I think it is?"

"I'll take that," you say, swiping it from his hand. "Wouldn't want you to hurt yourself."

He scoffs, then jokes, "Yeah, I'll wait for you to hurt me instead. Just let me know when you pop that thing, alright? I don't want to get blinded."

You walk around the desk and pause at Valentine's work station. You look at her various belongings; a photo of a dog, some scattered papers, and what appears to be a personal address book. Opening it, you see a few things listed; a pizza place, a friend's address, and one marked 'New Apartment', with a move-in date listed from not too long ago. You know that street, it's uptown.

To the left of her desk are a few pictures pinned to a cork board. One of them is of a man and a woman, and you can see the S.T.A.R.S. emblem on their uniform sleeves. He wears a green vest with a white shirt beneath it, and has closely-cut brown hair. His features are stoic and strong, but he's in a light mood, managing a half-smile. He's being photographed with a strikingly lovely young woman with auburn hair mostly hidden underneath a blue beret, which matches her uniform: a light blue shirt with darker shoulder pads. They're closely positioned, with her hands around him in a friendly and familiar manner; it looks like they're in a helicopter.

There's some writing underneath it: "First Mission," and it is dated from about a year and a half ago.

"I wonder if any of the S.T.A.R.S. are still in town," you say aloud, mostly to yourself.

"I think I saw one last evening leaving the station," Dylan remarks from behind.

You take the picture off the wall and show it to him. "This one?"

"No, he looked different. He wore a yellow vest." You take Dylan into the secluded office and show him the other photo you've seen, the one of the team all lined up. You point to a man in a yellow vest in the photo's far right. "That's the guy," he confirms.
>>
>>4655764

"Maybe they are still around, then. They were trying to prove Umbrella's corruption before all of this happened. Nobody listened to them."

"I heard some of them died," Dylan says, walking around the office's large desk and sitting in its leather chair.

"I've read reports that they were investigating some kind of mansion owned by Umbrella. They must've lost their teammates there. When they came back, the chief threw them under the bus to cover his ass. Umbrella knew they were working against them, and they practically own Raccoon City, so of course nobody trusted their word. Now look at things."

"If they're around, you think there might be a way to contact them?"

"All I've got is an address on one of their desks, and the phones are out. The only way we could reach anyone is---" You pause for a moment, then quickly leave the office.

"What? What is it?" Dylan asks, standing up from the chair and following after.

You approach the communications station in the south of the room and inspect it. It's all in working order, but you don't know where to begin; there are buttons, knobs, dials and all manner of things you've never dealt with in your life.

"What can we do with this?" Dylan asks as you sit down in front of it and try flipping a few switches. Jennifer walks up on your left, curiously peeking over your shoulder.

"Maybe call for someone, call for help, I don't know." You try a few different channels but only get static. You press some more buttons and hear some odd wobbly noises from the speaker, but nothing distinct.

"I think you have to adjust it," Dylan says, twisting a knob and flipping a switch. "Maybe, uh, there's interference?"

You pull up a microphone and speak into it. "Hello? Can anyone hear me?"

"Try holding down this button," he says, pointing at the base of the microphone.

You depress it. "Hello? Can anyone hear me?"

"Try saying 'read me' instead of hear me. Isn't that a military thing? And don't you have to say 'over' when you're done speaking?"

"I don't know Dylan, give me a break," you say. You try a different channel. "Hello? Anyone? Do you read me? Over?"

Static is all you get in response.

>Keep trying on different channels
>Forget this; we need to start searching the station
>Search the room for some kind of manual on this thing
>Keep flipping random buttons and turning knobs until something happens
>Other
>>
>>4655767
>>Search the room for some kind of manual on this thing
Well that’s useful
>>
>>4655767
>Search the room for some kind of manual on this thing
>Keep trying on different channels
>>
>>4655778
Support even if we lose time this run it will help in future runs
>>
>>4655767
transmission =/= reception.

Could try giving a time and place for meetup in such a case. The previous ribbon can account for messups.
>>
Rolled 83 (1d100)

>>4655774
>>4655778
>>4655784
>>
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>>4655888

"Is there a manual for this thing in here? Can we look?" you ask them, and they start looking around. Dylan approaches a shelf and pours through it while Jennifer searches the desks. In the meantime, you continue to flip switches, turn knobs and speak into the microphone.

"Found something," Dylan says, walking over with a book. He sits down next to you and opens it. You are both immediately taken aback by its complexity. It's written not unlike a military technical manual, with parts lists and maintenance, but eventually you find the startup procedures.

"Okay, step by step," Dylan says as you follow his finger down the page. "Okay, so flip this here, and adjust this..."

"I think I found something too," Jennifer says, emerging from the nearby captain's office with a sheet of paper. "At the top it says 'radio frequencies', is that helpful?"

"Very," you say, taking it from her as she hands it over. "Good work, Jen."

She beams as you and Dylan properly start it up and begin to cycle through frequencies, stopping at each one to speak.

After the fourth or fifth in which no response is heard, you feel like it is hopeless, but you try the sixth anyway.

Then, to your amazement, someone answers!

"Hello? Who is this? Over." The voice is male and somewhat gruff.

"Hello! Uh, this is Daisy Dixon at the police station! Do you copy us? Over."

"I read you loud and clear. This is officer Kevin Ryman of the Raccoon City Police Department. Is this an officer I'm speaking with? Over."

Your eyes widen. Kevin? You've met him before! The brazen officer who you once saw charge headfirst into a group of four zombies and start kicking and brawling them!

"Uh, no, we're civilians, but we're working with the police. We're in the station, trying to hold out. Where are you---uh, I mean, what is your current position? Over."

"We're in the northern part of town, hiding out in an old train station," he explains. "There's three people with me---a doctor, a waitress and a student. We're trying to make our way to the hospital. There's a dead officer here with a radio; we heard you and I picked it up. Over."

Your mind strains to remember the things Kevin told you from before he made it to the station in your previous run. He said something about a zoo? An elephant? Leeches? You've had so much on your mind and he glossed over it to begin with; you can't remember.

"What is your current condition?" You pause for a moment, then realize you forgot to add, 'Over,' but he responds anyway.

"We're banged up but holding steady. It's good to hear another voice out there. How are things in the station?"

"Low on food, water and weapons," you reply. "Lieutenant Branagh is in charge; we're trying to barricade the windows and doors but it isn't easy. The chief of police went crazy and sabotaged things around the station; we can't close the shutters."
>>
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>>4656003

"Sounds like things have gone to hell in a handbasket alright. The whole city is a mess. We've got a bunch of these things outside the station but we're safe for now. We figured that once they move on, we would make a break for the hospital."

Your mind whirs. Kevin and his group made it to the station before; you think it was on the 27th, but now you've made contact with them even earlier. You could change the timeline again!

>Tell him to try and make it to the police station instead.
>Tell him that you'll meet him at the hospital.
>Tell him that he should head to the university.
>Tell him to keep going with their plans.
>Other
>>
>>4656011
>>Tell him to keep going with their plans.
Does anyone remember what happens in Outbreak?
>>
>>4656011
>>Tell him to keep going with their plans.
>>warn them of the special infected
>>
>>4656046
>Does anyone remember what happens in Outbreak?
It's different depending on if you play File #1 or File 2.
In File #1 it's: J's Bar -> Birkin's Lab -> Raccoon Hospital -> Apple Inn -> Raccoon University.
The best ending is them making the Daylight Vaccine, curing themselves and taking an extra sample out of the city when they escape.

However based on him mentioning the Zoo last time, I'm assuming Kevin's team is doing the File #2 route, which is:
J's Bar -> Zoo -> Subway -> Raccoon Forest -> Police Station -> Umbrella Lab -> Water Treatment -> Highway.
They can either commandeer a Chinook and escape by helicopter, or if they miss it fight an additional boss on the highway and grab a working truck there and escape.

I'd assume if we tell him about the vaccine at the University, we'd re-route him onto File #1's route.
>>
>>4656046
>>4656068
We should avoid metagaming beyond what our character knows.
>>
>>4656081
we know in character about the cure, so it wouldn't be meta gaming to send him to the uni
>>
>>4656081
Please read the archive so you actually know what we know, instead of whining about metagaming.
>>
>>4656081
I’m still keeping my vote the same, since I don’t when we’ll be able to get out of the station, so having them meet us at the university when we don’t know when we’ll get to the university might be useless
>>
>>4656110
something to consider for the next run
>>
>>4656110
>>4656116
If we meet up with Kevin at the station again, we should consider heading to the University. Kevin has George and Yoko with him, who would both be an amazing help in creating it.
>>
>>4656085
I'm more referring to mentioning routes and the like.

>>4656097
Our first "clear" was getting heli'd by Carlos, after killing Thanatos, who mutated from his fight with the croc. We got euthanized. Our first clear was killing Thanatos (again) and fighting that overpowered BOW (that QM thankfully nerfed) from the animated movie.

That being said, we should always have a knife on hand, we're an absolute monster with them.
>>
>Tell him that he should head to the university.

The cure is very important and having a secondary team even if we decide not to go is important. The police officer is low on everything and can't take in more people. The other route leads then through a zoo with a bunch of mirages animals. Granted I never played daybreak so I don't know if the University is any better.
>>
>>4656132
The university was clear the last time we ran there, not sure if it'll be the case by the time he gets there. Maybe we can stop Thanatos from activating this time.
>>
>>4656132
>I don't know if the University is any better.
University has a bunch of zombies and BOW and Thanatos chasing you around while you try and put together the cure.

>>4656134
>Maybe we can stop Thanatos from activating this time.
Hahahahahahah.
>>
>>4656143
Idunno, maybe we could knock the good doctor out and hogtie him this time.
>>
>>4656143
>Hahahahahahah.
You laugh but we almost did it last thread
>>
>>4656132
Supporting
>>
>>4656132
support, still warn them about the special infected
>>
>>4656011
>>>Tell him to keep going with their plans.
>>>warn them of the special infected
>>
>>4656011
>>warn them of the special infected

>Tell him that he should head to the university.

Adding this to my vote along with the University.
>>
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>>4656046
>>4656047
>>4656181
>>4656132
>>4656151
>>4656155
>>4656193

You think for a moment, assessing your options. Finally, you respond. "Kevin, listen to me very carefully: soon, I'll be making my way to Raccoon University. They're working on a cure for the virus there. It could be safer for you at the station, but if you can make it... I would appreciate the help."

Dylan and Jennifer look on as you finish your sentence, slightly crestfallen at your words; perhaps they had hoped you would have given up on your idea to make it to the university.

"A cure? You serious?"

You look away from them and press the button again. "Yes. Dr. Jenkins is working on it."

For a moment, there is no response. Then another voice comes on, smoother and more professional. "Dr. Peter Jenkins?" he asks.

"Yes, do you know him?"

"He is a colleague of mine. My name is George Hamilton and I am a doctor. If what you are saying is true, we will attempt to make our way to the university. Dr. Jenkins could use all the assistance he can get."

"That's great!" you say. "When do you think you can be there?"

Kevin comes back on the radio. "Hard to say... We needed to go to the hospital for medical supplies. Then there's the trouble in making it across town to the campus... The police station is closer. We might need to go there first. We'll talk about it amongst ourselves. Daisy, was it? Try not to get killed out there, kid. Kevin out."

You turn off the station and look back at Dylan and Jennifer. She speaks up first. "You're going to the college?"

"I feel like I have to," you reply, meeting their gazes one after the other. "If there's a chance, even the most remote chance that we can create a cure and stop this infection from taking any more lives or---God forbid---taking over the entire world, I have to." You stand up and straighten your apron. "And I don't expect you guys to come with me, but damnit, I will go alone if I have to."

Slowly, Dylan stands up from his chair. "You can't just say that and think that I would be willing to let you do that." He pauses for a moment. "Go alone, I mean. What I'm TRYING to say is that I'm with you."

Jennifer's hands clench at her sides as she works up the courage to say, "I am too! I don't want to... but if you're going, then I'll go with you!"

You can't help but smile and bring up your hands, bringing them in for a hug. "Thank you guys. You don't know what it means to me to know that I won't be facing this alone." You pull away and look at them. "But listen to me... it's going to be dangerous. There's much, much more than zombies out there. This virus affects much more than just man... So, I need you to be ready for anything."

"When do we leave?" Dylan asks.

"I haven't quite figured that out yet," you admit. "I still want to help reinforce the police station so we have a stronger base to return to."

"What can we do?" Jennifer asks.
>>
>>4656325

>Let's take the day to prepare and search the station, then we head out tomorrow.
>We need to recruit more help for our trek.
>We're going to keep trying to reach people through this radio console.
>Save your progress here.
>Other
>>
>>4656326
>>Save your progress here.
>Let's take the day to prepare and search the station, then we head out tomorrow. by locating those damn wires
>>
>>4656326
>>Save your progress here.
>>Let's take the day to prepare and search the station, then we head out tomorrow.
>>
>>4656326
should NOT waste a ribbon here. We have a ribbon RIGHT before taking out the police chief and setting things up here.

How much longer from that would getting to this point be?

>We're going to keep trying to reach people through this radio console.

We can make notes of valid signals at this point in time.

Or even task someone else on it while we direct fortification efforts. Get notes on which ones on the list are valid for the future.

Or have others work on fortification while we cycle? Send those people places and check results?
>>
>>4656326
>We need to recruit more help for our trek.
>We're going to keep trying to reach people through this radio console.
Yeah don't save yet.
>>
>>4656336
Supporting
>>
>>4656326
>We need to recruit more help for our trek.
>We're going to keep trying to reach people through this radio console.

No save yet since we didn't have to face a difficult fight or anything and we might be able to streamline things for the next run if we do die.
>>
Maybe ask Marvin to have someone stationed to listen to the radio. Also to keep in contact with the mc and other teams. Marvin is going to be a hard sell to leave let alone with more civilians.
>>
>>4656326
>>We need to recruit more help for our trek.
>>We're going to keep trying to reach people through this radio console.
>>
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>>4656333
>>4656336
>>4656342
>>4656394
>>4656417
>>4656465
>>4656587
>>4656675

"We should take the day to prepare, gather supplies and such, and set off tomorrow. But we also need as clear a picture as we can get of the situation outside. Dylan, I want you to stay here in the office and work the radio console. This is very important: I need you to note which frequencies you can make contact on at which time." You grab a nearby notepad from a desk and place it in front of him; as an example, you write the frequency you were able to reach Kevin on and the time you made contact.

"Seems easy enough," he says. "But what about you?"

"I'll go with Jennifer. She can help me around the station with her lockpick. I'm going to talk to Marvin and see if he can post someone here to relieve you, but if he needs all of his officers to assist, then you might be the best man for the job."

He nods. "Alright. I'll keep reading this manual. And who knows? Maybe I can make contact with the Army or something. The government has to be aware of what's going on in the city by now, right?"

You hesitate. You know that Umbrella is in charge of at least some of the outside rescue efforts; when you escaped on an Umbrella helicopter with all of your evidence, it got you killed when they searched your belongings. But that's not important at the moment---Dylan needs to focus on using the radio.

"I hope they are," you reply. "Keep trying different stations, channels, frequencies, whatever---even ones that you don't get a response on might just be because nobody is listening at the time. Keep trying, no matter what."

"I got you," he says, turning fully to the console and devoting his attention to it.

A thought occurs to you, and you head downstairs into the photo room, taking Jennifer with you. There, you show Jennifer the locker with the combination lock on it. "Can you try this?" you ask her.

"Let me give it a shot," she says, kneeling in front of it and taking out the lockpick you got from Valentine's desk. As she works, you head into the darkroom to develop the Code G photo. You've become quite practiced at developing photos by now, and as the photo dries, you look at the image as it slowly appears. The strange, mutant arm with the giant eyeball on it floating in a tank of liquid is paradoxical to you; you've seen it before, on that thing stalking the underground that killed Robert Kendo. 'Code G' must relate to the G-Virus that you've seen in the memos to Chief Irons from William Birkin. From the journal you recovered on Redfield's desk, you know that it is a variant of the t-Virus.

"I got it!" Jennifer says, interrupting your train of thought. You walk back out into the photo room and see Jenifer opening the previously-locked locker. "Look, Daisy, there's a gun in here!"
>>
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>>4657318

You approach and pick it up. It's a six-shooter, old west style. It doesn't seem as strong as that magnum revolver you picked up in the S.T.A.R.S. office the evening prior, but a gun is a gun nonetheless.

"Here," you say, handing it to Jennifer. "Just in case."

"I hardly even know how to use this one," she says, holding up the bow gun.

"Like I said, just in case," you tell her. You approach the typewriter on the table, and note that there is only one ink ribbon alongside it. You pick it up and inspect it. 'These typewriters seem to eat these things. I don't think I need to save just yet... better to preserve this for now.'

From here, you think about where to search the station first.

>Second floor, west side
>First floor, east side
>Second floor, east side
>Third floor, west side
>Third floor, east side
>Basement
>Other
>>
>>4657319
>Second floor, west side
Dont really know the layout of the station. If someone has a better post I'll support it.
>>
>>4657319
Does anyone remember what we were able to explore last time?
>>
>>4657319
Remember we got told there is a licker on the second floor

I say we hit the west hall and look for the wires

>First floor, west side
>>
>>4657340
>>4657388

Let's narrow down to places Daisy hasn't spent much time in the western bottom two floors.

>Safety Deposit Room
>Library
>Supply Room
>Men's Locker Room
>Women's Locker Room
>Lounge
>Linen Room
>>
>>4657455
>>Supply Room
>>
Rolled 2 (1d3)

>>4657455
>>Supply Room
>>Men's Locker Room
>>Women's Locker Room
I’ll role for my choice
>>
>>4657455
>>4657476
Men's Locker Room it is
>>
>>4657455
I doubt Irons would put it there, but
>Supply Room
>>
>>4657476
Supporting
>>
>>4657476
Support
>>
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>>4657469
>>4657476
>>4657479
>>4657484
>>4657496
>>4657529

"Let's check out the upstairs locker rooms," you suggest, heading upstairs. Jennifer follows along closely behind. You round the corner and brazenly prepare to enter the men's locker room.

"Wait! Daisy, we can't go in there!" she protests.

You cock your brow. "Are you serious?" You grab her wrist and pull her inside.

The locker room is empty and quiet, save for a single leaky faucet. "Is anyone in here?" Jennifer asks to no response.

"Nobody's taking any showers in contaminated water," you explain. "Help me search these lockers."

In one, you find three shotgun shells and in another a second flashbang grenade, which you take with you. You find a locker that has a lock on it and ask Jennifer to handle it. She gets cracking. Nearby, you find a green herb growing in a small pot, which you pick up and offer to her, briefly explaining its medicinal benefits.

After a moment, she picks the lock and opens it; there are three more shotgun shells inside which you gratefully take.

"There's something else here," Jennifer says before you leave the room, picking up a small black remote-control-looking object. It's a portable safe with something rattling around inside of it. The surface has buttons and an LED display. You press it a few times, discovering that it requires a pattern; the display shows your progress and pressing the wrong button starts it over. You fiddle with it for several minutes before discovering the code and opening it up.

"What's inside?" Jen asks.

You hold up a single keyboard key that is blank. "The hell?" You inspect it, but it is nothing more than that. 'A replacement? Why would this be in a small safebox?' You set it aside and leave the room.

Asking Jennifer to search the women's locker room, you head downstairs into the supply room, which connects to the operations room and the inner portion of the western first floor hall, as well as the records room through a door which you now unlock. 'Wish I had this skeleton key the first time around. I wouldn't have died in that room with Dylan,' you think to yourself.

The supply room is more like a storage room; there is furniture, most of which has been taken to be used as barricades, and several shelves and cabinets which don't hold anything too interesting. You do find another flashbang grenade, giving you three, but now that pocket is filled to capacity. You also pick up a second green herb and hold it in one hand; you're fast running out of places to keep things. You walk over to a workbench, seeing various tools used for electrical work like a soldering iron and fragments of a circuit board. Opening up the bench's drawer, you find several other small tools, like a jeweler's screwdriver and such, but nothing that could be used in barricade construction. There are a few batteries and wires, but you doubt you could make much use of them; you're not an electrician.
>>
>>4657716

Unfortunately nothing in this room looks like a replacement cable for a power box to close the shutters. 'I wonder if we could make a solution if we had an engineer here,' you muse.

You do find something interesting on the workbench, a kind of gadget with a timer, a wire and a fuse, like some kind of homemade bomb. You wonder if one of the officers was putting it together for potential use.

On the stairwell, you meet back up with Jennifer. "Find anything?" you ask her.

"Just this," she says, holding up a first aid spray. You nod and hand her the other green herb, offering to teach her how to mix them.

Suddenly, there is a strange noise. Just up the stairwell from where you are standing, about halfway up to the third floor, there is a window. Dim, pale sunlight bleeds through, but for a moment there is a shadow as something dashes across the outside, crawling on the exterior of the building, accompanied by a strange guttural hiss. Jennifer nearly screams and clutches onto you.

"What was that?!" she asks.

You only caught a glimpse of the humanoid figure crawling past, but you know what it was. Your heart beats in your chest as you put a finger to your lips, telling her to be very quiet. Slowly, creeping down the hall, you make it to just outside the S.T.A.R.S. office before you speak, and still in a hushed tone. "That was another mutant," you explain to her. "It doesn't have eyes... but it listens."

"Can it get into the station?" she whispers fearfully. "Is it alone?"

"I think it can, and it won't be," you reply, giving her an unfortunate look. "No more going anywhere alone. I shouldn't have left you to search the locker room by yourself. I'm sorry."

She hugs you. "Daisy, I'm so scared."

You gently brush her hair. "It's okay. I think it's gone now. Let's just get back to work..."

>Go back into the S.T.A.R.S. office
>Search the library, linen room and lounge
>Begin searching the eastern second floor
>Head up to the third floor
>Other
>>
>>4657722
>>Search the library, linen room and lounge
>>be on guard for lickers
>>
>>4657722
>Search the library, linen room and lounge

Wish we had a radio/walkie-talkie to let people downstairs know we might have a licker problem soon.
>>
>>4657722
>>Search the library, linen room and lounge
>>
>>4657722
>>Search the library, linen room and lounge
>>Begin searching the eastern second floor
>>
>>4657722
>>>Search the library, linen room and lounge
>>>Begin searching the eastern second floor
>>
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>>4657749
>>4657751
>>4657752
>>4658019
>>4658058

With full pockets, you enter the S.T.A.R.S. office to drop things off. Dylan startles from his position in front of the console, but relaxes upon seeing you. "Christ, Daisy, you nearly gave me a heart attack," he says, taking off a pair of headphones.

"Sorry. Any luck?"

"Yeah, actually. I got in touch with a guy in a police van somewhere in the city; name's Harry."

Your eyes widen in recognition. Harry, the portly officer with glasses! You remember him! With his armored van, you made it clear across the city, not to mention running over the Thanatos tyrant at the campus. "What did he say?"

"That he's surrounded by a bunch of zombies constantly banging on his van and that he can't get out of there. He's somewhere near Main Street; he's a little too out of it to give a specific location." Dylan holds up his pad. "I noted the frequency and time like you said, but I don't think he's going anywhere anytime soon."

"Can you keep him on one channel, and search with another?"

Dylan nods. "Yeah, this station's actually pretty neat. Complicated, but neat."

"We'll keep looking around for supplies," you tell him. "Keep up the good work."

He gives you a thumbs-up as you drop off your equipment with Jennifer, collecting it on one of the empty tables. You take out your car keys and decide you no longer need them; you instead slip the skeleton key into that pocket.

From here, you inspect the second floor's linen room, a small and somewhat cramped room that has a washer, dryer and a few small surfaces. You find a small bottle of gunpowder, similar to the one you've left in the office, and pocket it.

"Daisy, look, another one," Jennifer says, holding up not a bottle of gunpowder but rather a small portable safe. You take it and jiggle it around; you hear something rattling inside.

"Something tells me I'm going to regret this," you mutter, and begin plugging away at the pattern. After a few minutes and some advice from Jennifer as she notices the pattern before you do, you open it up. "Another one?" you ask with an exasperated sigh, holding up a blank keyboard key. "What would we use this for?" You set both down and shrug.

Next up is the lounge, an area that overlooks the first floor lobby. You approach the railing and look over; you see a few officers checking on civilians in the chairs. Turning away, you begin to search the area with Jennifer. The first thing you find is a map, hanging on a wall! It is of the police station's top two floors, as well as a brief floor plan of the fourth floor, the entirety of which is the old clock tower. You fold up the map and take it with you.

A small table nearby with some flowers on it has another small jar of gunpowder standing alongside them. "Lot of this stuff lying around," you say, turning it over and looking at it. "I wonder if we can use it? Maybe for an explosive, or some kind of bullets?"
>>
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>>4659153

"Don't we need some kind of machine to pack gunpowder into bullets?" Jennifer asks.

"I... have no idea. Maybe someone else knows," you reply with a shrug. "A cop, maybe?"

At the end of a hallway in the lounge is a locker, and upon opening it you are greeted with the lovely sight of seven shotgun shells in a small pack alongside a tiny carton of handgun bullets. You take them and add them to your collection.

Just past a large statue of a unicorn with unique insignias upon its base, you find a locked drawer. You motion for Jennifer to take over from here, and she kneels in front of it and gets to work.

"I never thought I would do this kind of thing so often," Jennifer admits as she works on the drawer.

"I'm glad you know how. Is it a feeling? How can you tell, exactly?"

"It's just practice mostly," she replies, talking as she works. "My dad was a locksmith. He was the one who actually taught me. Said it might be useful one day if I ever locked myself out of my apartment or something... He knew I would keep forgetting my keys and, well, he was right."

A few minutes pass. You clear your throat awkwardly and ask, "So... you live with your folks? They from around here?"

"No... they live on the other side of town. I've been living in a small apartment closer to the diner."

"Why were you working there, anyway?"

Jennifer grins. "I was saving up to move. To Europe, or someplace. Anywhere but here really. Hell, I'd take living one town over. I wish I had left sooner... and now..."

Her shoulders slump and she lays her head on the small shelf's surface. You quickly kneel alongside her and put your hands on her shoulders as she begins to cry.

"Hey, hey, it's alright," you whisper, gently rubbing her back to comfort her.

"I'm just so scared," she says through the tears. "Those things are dead and they're trying to eat us and there's so many of them... Oh, God, the whole town is probably gone by now."

"Not all of it," you insist. "There are survivors, like us. And we're going to make it, I promise you."

Jennifer looks at you and drops her hands. "I can't do it."

"Yes, you can. You'll make it. You'll---"

"No, I mean this lock, it's too strong," she says, wiping her cheeks with the back of one arm.

At first you are crestfallen, but then you give her shoulder a light squeeze and say, "Don't give up. I believe in you."

Your resolve seems to have a positive effect on her and she nods, getting back to it. After a few more minutes of gentle encouragement, you hear a satisfying click and the drawer opens! You give her a hug and she holds you tightly, thanking you for your belief in her skills when she did not.

"You're amazing," she tells you. "Thank you so much for being there for me, Daisy. It means everything to me."
>>
>>4659163

The contents of the drawer prove worth the time spent, as there are handgun bullets, some kind of attachments for a handgun, and some strange rounds with a red cap that look explosive with a fire hazard warning label. You take everything in the drawer and head to the library for the last room to search on this level. Unfortunately, other than many books covering a variety of subjects, you find nothing too useful. There are some other civilians here as well, huddled in fear and waiting for news of rescue or escape attempts; you don't really stop to make conversation.

From here you return to the office and start taking serious inventory of what you have collected. From the captain's desk you retrieve the wooden box with the weapons parts, even though none of them currently fit anything you possess. Jennifer finds some stuff on other desks; additional bottles of gunpowder and the like, and brings them over to the collection. In addition, you grab the spare grenade launchers from the weapons locker just to count them up.

You take a blank memo and start tallying.

>First Aid Kit
>Green Herb x2
>Red Herb x2
>First Aid Spray x2
>Regular Gunpowder x3
>High-Grade Gunpowder (Yellow)
>High-Grade Gunpowder (White)
>Unicorn Medal
>M79 Grenade Launcher
>Hk-p Grenade Launcher
>Flame Rounds x8
>Shotgun Shells x13
>Dylan's Snubnose Revolver (Loaded w/ 6 Bullets)
>Colt S.A.A. (Loaded w/ 6 Bullets)
>RPD 9mm Standard Issue Handgun (Loaded w/ 15 Bullets)
>Handgun Bullets x59
>Bow Gun (Loaded w/ 18 Bolts)
>Bow Gun Bolts x3
>Daisy's Kitchen Knife
>Flashbang Grenade x3
>H&K VP70 Handgun Modification Parts
>MQ 11 High-Capacity Mag
>Lightning Hawk Red Dot Sight

"This is quite a lot of stuff," Jennifer says after you finish counting.

"Always room for more," you reply, setting the pen and pad down. You lay out the map of the second and third floors and clock tower, studying the room layout intently.

>Spend some time here; mix herbs, attempt to modify weapons
>Search the library for useful reading materials (mixing gunpowder, making homemade weaponry, etc)
>Head to the western half of the second floor
>Speak to one of the officers
>Other
>>
>>4659167
>>Search the library for useful reading materials (mixing gunpowder, making homemade weaponry, etc)
>>
>>4659167
>Spend some time here; mix herbs, attempt to modify weapons
>Search the library for useful reading materials (mixing gunpowder, making homemade weaponry, etc)

Have Jen search while we experiment.
>>
>>4659167
>>Spend some time here; mix herbs, attempt to modify weapons
>>Search the library for useful reading materials (mixing gunpowder, making homemade weaponry, etc)
>>
>>4659341
We shouldn't split up, Lickers are loose.
>>
>>4659167
>>Search the library for useful reading materials (mixing gunpowder, making homemade weaponry, etc)
>>
>>4659167
>>Search the library for useful reading materials (mixing gunpowder, making homemade weaponry, etc)
>>
Rolled 52, 10, 16 = 78 (3d100)

Just making some rolls to see what we dig up in the library
>>
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>>4659798

Having taken a tally of your equipment, you arm yourself for safety and head to the library. Once inside, you begin to search the shelves more dedicatedly.

"What are we looking for?" Jennifer asks.

"Anything that seems like it might be useful," you reply. "Firearms training, medical books, diseases, records of maps... I don't know off the top of my head, just something. Anything."

Jennifer nods and moves off to search another shelf.

As you run your fingers across the spines of several books, a thought crosses your mind: 'If only I had time to read all of them and learn everything I can.'

You pause for a moment as you realize that, potentially, you have that exact power. Time is, conceivably, the one thing you have an unlimited amount of. Now that you pause to consider all the potentialities, you are suddenly overwhelmed with a flood of ideas. What if you saved, then practiced firing a gun until you were out of ammo, then reloaded and did it again? And again, and again, and again? You could read a chapter of a book, reload, get the book again and pick off from where you left off, all without having to leave the station or wasting time.

What about martial arts? You could find someone to train you about things like grappling or escaping grabs, reload and try to learn again, and again, and again, getting more and more proficient over time, becoming completely competent at a subject without having lost any time at all. You stand still in front of a shelf as you think about how you always wished you had more time to study before a quiz; now that power may very well be yours.

You look over at Jennifer as she reaches up to grab a book and wonder if she could teach you how to pick locks. Perhaps someone else could teach you how to be an electrician, allowing you to repair the damaged electrical systems at the station. Maybe someone knows how to make bullets? A doctor could teach you everything you need to know about treating injuries.

'If I applied myself, I mean truly applied myself, I could become a savant,' you realize. 'A master of every field... Biology, chemistry, math, weaponry, martial arts, navigation, engineering... The list is limitless. The potential is limitless. But am I?'

You put a hand on your forehead and lean against the sturdy bookshelf to steady yourself. Suddenly Jennifer puts a hand on your arm and you nearly jump. "Daisy? Is something wrong?"

"No, I'm fine," you reply with a weak smile. "Find something good?"

She takes you over to a specific section and shows you some books on weapons maintenance, calibur ratings, technical manuals for weapons, a field survival guide and several other texts that seem useful. Techniques on knife fighting, an old wrestling instruction manual, as well as several magazines on weapons and other things that were once clearly light reading material in the lobby and placed here to collect dust.
>>
>>4660071

"Good work," you compliment her. "I'm going to check the upstairs section and then we'll take some back to the office."

As you walk along the upper section of the library, idly searching for books but actually ruminating on the possibilities of your ability to save and reload, you hear a small creaking noise that suddenly twists into a snap as the board beneath you give way. You let out a scream and fall to the floor below, ending up on your bottom somewhere behind several shelves on the first floor of the library.

"Daisy?!" Jennifer calls from the other side of the shelves. "Are you alright?! Daisy!"

"I'm okay!" you reply loudly, taking a moment to collect yourself and ensure that you are unharmed. "I just fell a little... but I'm okay."

You stand up and dust yourself off, mostly glad to not have gotten a splinter or something worse from the old wood. You look up and see the hole you just made, nice and person-sized, impassable without a good jump or a platform underneath to walk on. You turn around and see that you're trapped by shelves.

"I might have an issue getting out of here," you say to her. "I don't exactly see a door."

"Hold on, I'll go get one of the officers!" Jennifer says.

"Wait," you tell her as you inspect the nearby wall. "I see something..."

There is a button here on the wall, beneath a large mural. You press it. A low scraping noise is heard and you turn around and a shelf moves. A few other panels on the wall then light up, alongside some kind of sliding mechanism. As soon as a space opens, Jennifer runs inside.

"I was worried," she says, quickly looking you up and down for damage. "That fall was so loud!"

"Sounded worse than it was, I suppose," you say. "But I'm fine, really." You now regard the strange mechanism and experimentally touch it. Nearby, one of the bookshelves moves in response to the specific button you pressed. "Curious..."

"It must be some kind of puzzle," Jennifer offers. "Why else would this place be designed like this?"

"I've seen some funny stuff in this station," you reply. "I guess it was a museum once, but even so..."

Jennifer walks up and inspects the mural. "Look." You follow her finger to the relief. "See how it corresponds to four pillars, and the lights under each one need to match?"

"I guess I do," you reply as she takes over.

Jennifer presses the buttons a few times, and the bookshelves all slide into place, each one lighting up green on their respective panels when they are in the correct order and distance from one another.
>>
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>>4660082

A stone panel on the wall slides open as all the lights turn green. You walk over and look inside the hidden compartment, discovering some strange items; a stone tablet inscribed with the image of a twisting serpent and an odd plug with a black bishop chess piece on the top. You pick up both and look them over. The tablet is clearly some kind of art item; perhaps it is worth money and was kept hidden for this reason. The bishop plug is electrial in nature, clearly designed to be inserted into some kind of slot on a machine or panel, but you've not seen anything like it.

"What do we do?" Jennifer asks.

"I think for now we should leave them here until their purpose, if any, becomes clear," you reply. Your brow is furrowed; the strange mysteries of this police station and the seemingly random things you find within it just keep getting more and more obtuse. If there is some grand design here, you're only looking at a very small picture of it.

You notice a few other survivors in the room regarding you curiously due to your fall but you pay them little mind. You help Jennifer collect up the useful books and other texts you've discovered and head back to the S.T.A.R.S office to drop them off. As you enter, Dylan looks up from his station and nods at you, but has no further updates.

As Jennifer sorts through the books, you sit in a chair and continue to think. 'What if I were to save right now, and spent hours upon hours learning new skills? Could I really do it?' You look at a clock on the wall. 'September 25th, 11:35 A.M., 1998... How long could I go before I stopped and chose to keep going forward? What if I spent days studying? Weeks? Months? Years? Where would it end? Would it even work? Would I remember everything? Do I even have the mental faculty to take on so much and retain it?'

You put your chin in your hand. 'But then again, that comes down to intelligence versus wisdom... Knowing is one thing, but experience is another. Maybe the best way to learn things is through doing them. I could read every book on building trains, but until I've actually built one, can I really say that I know how? Then again, I have plenty of time for learning through experience, too.'

Then another thought occurs to you. 'Give us a good show.' The words of the shadow man. 'If I'm being watched... I can't imagine it would be terribly entertaining to spend seven weeks reading every book in the library. What if it gives me a bad grade? But then again, what if it doesn't matter?' Your forehead scrunches in frustration and you put your hands over your temples as you think about all the potential consequences of your actions. Ultimately, you're most frustrated by the fact that you still don't know what's going on or why you are in the situation you are in.

'Why me?' you find yourself wondering. 'Why? What do they want? What even IS a 'good show' anyway?'

"Daisy?" Jennifer asks, gently putting a hand on your shoulder. "Is something the matter?"
>>
>>4660085

"Just... thinking," you reply. "A lot."

>Spend some time reading
>Search the second floor of the eastern station
>Head up to the third floor of the western station
>Speak to an officer
>Make a save
>Other
>>
>>4660087
>>Make a save
>>Spend some time reading
Fuck it, I’m willing to start the ‘low san meta gaming Daisy’ run
>>
>>4660127
Supporting
>>
>>4660127
We have to secure the shutters, it's the whole reason we haven't left the station yet.
>>
>>4660206
Don’t tell me, make that your vote. Also it’s looking like it’s gonna be a slow day today
>>
>>4660087
>Search the second floor of the eastern station
Here's to hoping.
>>
>>4660087
>Make a save
>Spend some time reading

>Other
Secure the shutters
>>
>>4660087
>Speak to an officer
Marvin or Rita, let them know about the lickers and see if we can get an officer to help us...
>Search the second floor of the eastern station

I am ambivalent about saving right now.
>>
>>4660085
>Search the second floor of the eastern station

Hopefully this has the wires we seek.
>>
>>4660127
>Fuck it, I’m willing to start the ‘low san meta gaming Daisy’ run
I have issue with it

>>4660626
support
>>
There seems to be some contention for the moment, so for the time being, we won't experiment with with the save. Perhaps later.
>>4660946
>>4660629
>>4660626
>>4660328

Part of you doesn't feel ready to commit to reliving the same few hours over and over for potentially days at a time. The monotony might just kill you as surely as any zombie would. Perhaps you will try something else, at some point, but for the time being you think you will stick to what has been working: learning as you go, fixing what mistakes you can. Committing to such an undertaking as learning so many skills, even if you theoretically have all the time in the world in which to do so, will take absolute certainty on your part. No doubt can be involved.

So, for now, time to resume the work.

You look at Jennifer and say, "We still haven't found anything that can fix the shutters. We're going to keep looking."

She nods in understanding. "We should also find some food," she says. "I'm hungry."

You put a hand over your stomach and realize that you're rather hungry at the moment as well. "Let's go down to the main hall and grab some rations," you suggest. "Dylan, we'll bring you back some."

He nods and gives another thumbs-up. You proceed downstairs with Jennifer into the western hall and enter the offices that connect to the main hall. One of the officers, the one you recognize as Aaron, turns and sees you. "You still wandering around? You should really stay in either the main hall or the library, you know."

"We can't help much from there," you tell him.

"That may be, and you may have helped take down the chief---don't get me wrong, we're all appreciative---but you're still just a civilian. It's bad enough your partner is snooping around."

You blink a few times. "Ben? He's been searching the station?"

"He's been digging through the records room all morning. Normally that's the kind of thing we'd stop, but... well, none of that really seems to matter at the moment. So long as nobody's getting hurt."

Rita enters the west office and sees you three and quickly approaches. "Something the matter?" she asks.

"Something you should know," you begin, changing the subject. "We saw one of those 'licker' things crawling around the outside of the station's window between the third and fourth floors."

"It's true," Jennifer confirms.

"Licker?" Aaron asks. "Why that name?"

"They have long tongues," you explain. "One of them is probably already crawling around somewhere on the third floor. Others will eventually get in, too." Jennifer grabs your hand and shakes. "Dark hallways and rooms are where they are at their most dangerous... Tighter rooms are safer."

"We'll have to keep that in mind," Rita says, turning to speak with Aaron about potential countermeasures for these new mutants.

As you and Jennifer enter the main hall, getting into line for some cold food, she whispers, "How many of those things do you think will get in here?"
>>
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>>4661197

"I don't know," you reply honestly. Wanting to keep her from fearing too much, you add, "Not very many, I hope."

After securing food for yourself and Dylan, you and Jennifer make your way upstairs to the office. The three of you eat in relative silence; the rations aren't very good, and the bottled water is of little comfort but both are welcome in the face of nothing else being available.

Once you and Jennifer are prepared, you study the map you found in the lounge area of the station's upper eastern half. You then head out onto the main hall's second story balcony and from there enter the chief's secretary's office. Underneath her desk is a safe you do not know the combination to, but her desk has some bullets on it you graciously take. More than a few, in fact---a full sleeve of thirty. Jennifer picks up a green herb and you notice a lighter. Taking it, you experimentally spark it into activity, pleased to discover that it still works. You pocket it as well.

But perhaps most pleasing is the presence of a typewriter in this room. You make a mental note of it, and pick up two ink ribbons. From here you must decide which rooms to investigate next.

>Search the Art Room
>Head out onto the helipad
>Down the fire escape
>Search the chief's office
>Other
>>
>>4661198
>Search the chief's office
imagine the nice backups he held there

As for saving, it's entirely possible the disaster is being simulated to create a super agent ( a la MGS 2). May want to be careful in such a case we don't lose too much san but still max a run.
>>
>>4661198
>Search the Art Room

I don't think we ever searched this place.

How would the skill learning using saves work? Would she lower san from living the same few hours for days? Forget stuff that happened a few hrs ago? Etc.
>>
>>4661205
See Phil (Bill Murray) from Groundhog day.

The shit surrounding our "ability" should mess with you as much as the situation itself.

The possibility still exists of finding 'errors' in reality if we push hard enough.

Let alone what "perfection" may result in.
>>
Aren’t we taking weapons ammo and herbs that Leon/Claire/Jill could use
>>
>>4661243
Shhhh.
If we bring this up to much we may cause a glaring paradox that will affect our game! I should have never mentioned anything about leaving stuff for Jill or the others.
>>
>>4661243
>>4661363
the only real question is... are they groundhogday'd too?
>>
>>4661205
support
>>
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okay I just stumbled upon this quest, should I go back and see what mistakes we made and be meta or should I just experience the thrill of a new "playthrough" with no spoiler knowledge
>>
>>4661508
our character HAS meta knowledge of her previous runs so the stuff our character actually experienced... is actually our characters experience, nothing meta about this

player meta would be knowing Leon/Claire/Jill are around
>>
>>4661198
>>Search the chief's office
>>
>>4661198
>>Search the chief's office
>>
>>4661205
>How would the skill learning using saves work?
As Daisy’s thoughts went, she’d essentially have better knowledge on the handling of weapons, some knowledge on CQC, would be able to finish books by reading as much as she could after one save then she’d reload and pick up from where she left off, and other things like that
>Would she lower san from living the same few hours for days?
She’s already taking san damage this run by having to redo her escape from Raccoon City, dealing with not having the same relationships she had on the D Run, thoughts on the people from the Ranking Room. She’s also always been taking san damage this whole quest since zombies are now a thing and she can save and respawn. Seeing that she even had thoughts on trying to ‘meta game’ through abusing the save system on such somewhat small stuff like reading, practicing using weapons, or learning CQC, I’d say her san is already pretty low.
>Forget stuff that happened a few hrs ago? Etc.
That depends on Ark and how he wants to handle Daisy’s sanity
>>4661508
You should read the first thread, everything Daisy has been doing this time is backed by her experiences from her Rank D Run
>>
>>4661390
Double SHUSH!
Was thinking about asking or alluding to it if we bump into any of them
>>
>>4661848
I remember that we tried to subtlety ask the Outbreak survivors if they were Groundhog Daying as well but they more or less said no
>>
Just caught up on this thread, long plan anon from the original reporting in.

I was hoping for a different path in the beginning, maybe hitting the mall and going full Dawn of the Dead. Also that we could make contact with the STARS agent.

At this point though, I think finding a duffle bag, briefcase, or backpack should be one of our minor objectives so we can carry more equipment. No idea how to rescue the girl that's hiding other than if the police station has an intercom. I take it wearing something soaked in zombie gore wouldn't work like in The Walking Dead to let us roam the city looking for more supplies.
>>
>>4661935
>wearing something soaked in zombie gore

Feel like that is a good way to accidentally get infected, make a save, and turn this into a Dead Run.
>>
>>4661198
>Search the Art Room
>>
>>4662158
Rereading the 1st run to refresh my memory and the art room should have some extra wood at least to help reinforce the station.
>>
Evening, folks, I'm back from running my Star Wars tabletop game and we'll be resuming shortly.
>>
>>4662158
Supporting
>>
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I'm sorry, I got pulled away again. I've been terribly busy these last few days; sorry for the slow pace of things.
>>4661204
>>4661205
>>4661684
>>4661769
>>4662158
>>4662812

You walk into the eastern hall and approach the art room. At one point in a past life the mayor's daughter was hiding in here from the chief. As you slowly open the door now, however, it is silent. Some old furniture, like a couch covered in cloth and old desks can be seen, as well as old pieces of art: paintings, tapestries, statues. The ceiling is a strange work of art in of itself, an odd skylight through which light bleeds through in various colors.

"This place is kind of spooky," Jennifer says. You walk into the room and look around, finding some old planks of wood. Alongside some wooden boxes you find several shotgun shells which you pocket. There is a vase nearby, and upon inspecting the inside of it, you find two ink ribbons! Who would have thought? You pocket them as well.

'Strange that these things would be hidden,' you remark inwardly.

From here, you look through several documents; they seem to all describe different pieces of art. You know the chief liked art from the things you've read, and the station being an old museum means that much of it is left over from its former purpose, but you cannot help but feel like things are just a little bit too strange. Upon inspecting some of the statues in this room, it becomes clear that they are incomplete; things are meant to be placed upon them, inserted into slots in their chests or elsewhere.

"What do you see?" Jennifer asks, walking up as you inspect a statue that is missing its left arm. The arm itself is nearby, and you attempt to insert it back into its socket, but nothing happens. Upon looking at the palm, as well as the shape of the fingers, it seems like something is meant to belong in its grasp, but you cannot fathom what.

"I found something," Jennifer says as you stop messing with the statue. She hands you a key card she picked up from a nearby desk. It is simply labeled "Weapons Locker Key Card" which leaves little question to its purpose. "Do you think it opens that room in the office we left Dylan in?" she asks.

"Maybe," you reply, taking it and sliding it away. "I'd like to check out the chief's office first."

"Now THAT place gives me the creeps," Jennifer says as the two of you walk down the hall towards his office. "All those dead animals, the chief himself was such a creep..."

You enter his office and begin to look around. There are some bullets for a gun you do not recognize on a table; they appear to be for some kind of submachine gun. You take them just in case. Inside the chief's desk are some additional handgun bullets.

There is a file here, a record of taxidermy projects. You flip through it, but quickly find that you wish you had not. Each entry grows more grotesque and perverse until you come upon the final one, at which point you almost feel the need to puke.
>>
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>>4663006

>White-Tailed Deer (Male, approx. 6 years old)
>Place of Capture: Arklay Mountains
>Length: 6'1" Weight: 353 lbs.
>Pleased with how it turned out, but I'm getting tired of working on these puny things. May be time to move on to more challenging animals.

>Siberian Tiger (Male, approx. 4 years old)
>Place of Capture: Khabarovsk Krai
>Length: 9'6" Weight: 529 lbs.
>I nearly came when I sliced its yellow belly open and its warm guts spilled out. I still smell of wild beast. This is the life.

>Pig (Female, 22 years old)
>Place of Capture: Raccoon City
>Length: 5'3" Weight: 110 lbs.
>The specimen's body is soft, sweet, and white all over. And it's all mine. Forever.

How could someone this vile exist? Hiding in plain sight, as the chief of police? You remind yourself that he was involved with Umbrella, and their functional ownership of the town meant they could get away with anything. With all the money funneled into his account, both he and they operated with complete impunity...

Jennifer notices your expression. You close the log and toss it behind a shelf, not wanting to bother her with the details of it. Together, the two of you enter his trophy room, although now you are terrified of seeing that 'pig' he stuffed...

Thankfully it is not here. There is a rather impressive and ferocious-looking tiger, and several other animals in this storage area as well. You find some handgun bullets, a first aid spray and an additional ink ribbon, giving you five in total. There is also some gunpowder here, the kind that comes in a white bottle. There is another room here, one that is locked by an electric door. The panel that opens it is broken and missing pieces. You can see through a barred window that there are some items within, as well as a parking garage pass, the kind that can open the lower gate. Good to know, but you remember that Ben has one, as do some of the officers, and so you leave.

Your pockets are full again. You begin to wish you had a backpack, or a fanny pack or something. While you have been amassing a good amount of healing items and ammunition, you are frustrated that you haven't found anything to help reinforce the lower hallways. There are some old planks, boxes and paintings in the art room that could be used, but those wouldn't be as effective as, say, closing the shutters.

'There must be some way. I just have to keep looking,' you reason.

Somewhere in the station, in the floors underneath you, you hear gunfire. Several shots reach your ears as dull thuds. Looking down at the floor, you wonder what's happening down there; another push from the undead to reach the main hall? Something worse, perhaps?

Several more shots ring out, and you hear some dull noises that sound like shouting. It all stops after a moment and quiet returns.

Jennifer stands uncertainly nearby, waiting for you to take the lead.
>>
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>>4663007

>Go down the stairs outside the chief's office to the first floor east hall
>Go to the chief's elevator and use it
>Search the lower portions of the second floor east hall
>Head up to the eastern third floor
>Return to the S.T.A.R.S. office and drop off your gear
>Other
>>
>>4663008
>>Return to the S.T.A.R.S. office and drop off your gear
>>
Experimenting with an extended inventory display with party members
What do you think
>>
>>4663018
I like it, also
>that Jennifer
Nice
>>
>>4663008
>Go to the chief's elevator and use it
>>
>>4663018
Looks good! Do the other characters have key items like last run?
>>
>>4663018
https://youtu.be/vMz6bhXyNZc
>>
>>4663008
>>Return to the S.T.A.R.S. office and drop off your gear
>>
>>4663008
>>Return to the S.T.A.R.S. office and drop off your gear
>>
>>4663008
>>Return to the S.T.A.R.S. office and drop off your gear
>>
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>>4663106
I forgot key items.
>>4663009
>>4663348
>>4663364
>>4663432

"Let's drop our stuff off," you suggest, and the two of you head back towards the S.T.A.R.S. office. Once you are on the second story balcony that runs along the main hall, you hear some commotion from down below. Evidently some more zombies made it into the western all, and there were some injuries; at least one officer was lost. It seems that the barricades on the western side are holding for the time being, but the first floor on the eastern side is significantly dangerous, potentially completely overrun. They've closed the doors leading to the eastern offices completely. You hurry back to the S.T.A.R.S. office.

Once inside, you empty your pockets and place your equipment down. Dylan looks over his shoulder. "No new word yet," he says, still cycling through channels and frequencies. "I did learn how to get cameras working, though. Here, look at this."

You walk over and look at one of the screens. Dylan continues, "Check it out. This thing must be hooked up to the station's interior security." He shows you a few rooms.

"Can you see the eastern hall from here?" you ask.

He flips through a few screens. There are several zombies wandering about the east hall and a few banging on doors. Nearly each window in the easternmost hallway is broken, and as you look, another zombie crawls through it. You watch as one zombie breaks down the door into an empty closet and wanders inside while another smashes against a vending machine.

"I wonder how much they remember," Dylan muses. "How smart or dumb are they? Is it all instinct? Is there any memory or trace of humanity left in there?"

You briefly think back to when you died to the nerve gas and then got back up; for a moment, you felt what it was like to be trapped in a dead body, unable to do anything---but you keep quiet, not wanting to disturb them. You don't want to disturb yourself, either.

"Things are getting worse down there," Dylan says, cycling through a few cameras back to the main hall. "They're running out of places to quarantine the infected and more people are getting bit." He brings up a basement camera and you catch a glimpse of two dogs running around the parking garage. "What were those?" he asks.

"Zombie dogs," you reply. "They must've gotten out and killed the people who came to put them down."

Jennifer hugs herself closely as she looks down. "Those poor people... mauled to death by those things... And those poor dogs, too. I always loved dogs. To think that they're monsters now is just awful."

Taking the weapons locker key card, you try to use it on the armory door in the back of the room, but it does not work; nor does it interface with the nearby computer. It must open something else.

As you study the cameras, you wonder about your next move.
>>
>>4663591

>Attempt to search the first floor of the eastern hallway
>Attempt to search the basement
>Let's stop searching for now, we have enough supplies.
>Bring the weapons locker key card to one of the officers.
>Other
>>
>>4663593
>>Bring the weapons locker key card to one of the officers.
>>ask if any progress has been made on finding the wires
>>
>>4663637
+1
>>
>>4663593
>>Attempt to search the basement
>>Bring the weapons locker key card to one of the officers.
>>
>>4663593
>Bring the weapons locker key card to one of the officers.

>Attempt to search the first floor of the eastern hallway

Goddamn it where are those wires.
>>
>>4663593
>>Bring the weapons locker key card to one of the officers.
>>ask if any progress has been made on finding the wires
>>
>>4663637
>>4663678
>>4663775
>>4663804
>>4664054

"This key won't work. Maybe the cops can get more use out of it," you suggest. "Come on, Jen."

You take her downstairs and find Rita. "Has there been any progress on finding wires for the shutters?" you ask her.

She shakes her head. "Marvin's focusing on reinforcing our current barricades before we make another push on the east hall to try and regain it," she explains.

Disappointing, but you can't say you expected much that was different. You take out and show her the card. "The weapons locker card! We've been looking for this!" Rita says, taking it. "Follow me."

She takes you to a room with a metal door and she unlocks it. It is a safety deposit room, similar to the evidence room but with lockers that hold equipment. "We've been trying to get equipment out of here for a while now," she explains. "Here in the back is the weapons locker."

She slides the card into a panel and the door unlocks; there is a grenade launcher and a shotgun in here, as well as some ammo for both.

"Awful lot of grenade launchers in here," you note. "There are two upstairs."

"The S.T.A.R.S. really got away with a lot of crazy stuff, yeah," Rita replies. "At least up until they were disbanded."

"What about the rest of these lockers?" you ask, seeing some bullets and a grenade in one of them.

"The keypad that unlocks them is missing some keys," Rita explains. "We think someone took them as a practical joke before all of this began."

You pause. "Did you say keyboard keys?" Rita nods. You nearly slap yourself. "Hang on, wait here," you say, leaving Jennifer with Rita. You nearly run up the stairs to the locker room and then to the linen room, grabbing the keyboard keys you found in the personal safes there. 'I can't believe these are actually going to be useful.'

As you rush down the hallway, you suddenly hear a scraping and cracking noise. You come to a halt as a licker crawls across the window, its claws nearly breaking the glass. Standing frozen, you watch as the skinless mutant moves on the outside of the window, its elongated claws finding purchase on its perimeter. The licker's long tongue emerges as it hisses, and you cannot help but feel as though it is staring at you, despite its lack of eyes---and then it moves on, vanishing from the window.

You realize your hand was on your pistol, but you don't know how well it would have worked on it. Shotguns work well enough, but they have stopping power. You swallow and slowly---VERY slowly---make your way back downstairs.

Jennifer and Rita are talking as you walk in, and they see how white you are. "Almost attracted a licker," you tell them, to their shock. "But I got these."
>>
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>>4664085

With the added keys, you are able to use the keyboard panel to open up several lockers that previously required numbers that could not be entered, giving you access to some additional ammunition, a grenade and a few other items.

"This will all greatly help the effort to clear out the first floor," Rita says excitedly.

You notice a roll of film and snag it. Of note to you as well is a hip pouch---you could carry more items with something like that.

>Let Rita give all of these items to the officers to arm them
>Ask to take some of it
>Try to talk Rita into letting you have all of the weapons and ammo
>Speak with Marvin about the effort to take back the first floor on the east side
>Other
>>
>>4664089
>>Let Rita give all of these items to the officers to arm them
>>Speak with Marvin about the effort to take back the first floor on the east side
>>
>>4664089
>Let Rita give all of these items to the officers to arm them
>Speak with Marvin about the effort to take back the first floor on the east side

How many grenades would it take to kill Mr. X? A rocket launcher could do it after all.
>>
Supporting both^, but take the pouch.
>>
>>4664089
>>4664190
>>4664326
I seem to be blind and hadn’t noticed the pouch, I’ll add
>>Ask to keep the pouch
to my vote
>>
Oh jeez, also add the pouch to my vote
>>
>>4664427
Supporting
>>
>>4664089
>>Let Rita give all of these items to the officers to arm them
>>Speak with Marvin about the effort to take back the first floor on the east side
>>Ask to keep the pouch
>>
>>4664190
>>4664197
>>4664326
>>4664427
>>4664475
>>4664528
>>4664616

"Can I have this?" you ask, reaching for the hip pouch.

At first, Rita hesitates, but almost immediately relents. "Sure, that's no big deal."

You take it and strap it onto your right side. With this, you'll be able to carry some additional equipment. You look at Rita and ask, "May I speak with Marvin, please?"

"Help me carry these," she asks, loading you and Jennifer up with equipment. The three of you proceed to the western office and begin to lay it out on the table. Rita finds Marvin, both so he can oversee the distribution of the gear but also at your request.

"I heard we have you to thank for finding the weapons locker card," he says. "I can't quite condone---"

You hold up a hand. "I know what you're going to say: you don't approve of me searching the station with all these dangerous things around. But you need to understand that I cannot just sit around and do nothing while others die on my behalf, not when I can help them or prevent it from happening. It's not in my nature. So, respectfully, I don't need your approval and will take on the risk regardless. Uh, sir."

You maintain a strong front, but inwardly your stomach twists in nervousness. You've never been quite so assertive---if there's one byproduct of this outbreak and dying and resurrecting, it's that your confidence has skyrocketed. After dying several different awful ways and coming back, what's the worst that standing your ground and being assertive can get you?

Marvin, however, seems impressed. "I think you missed your calling, if I do say so myself. You should've been a cop."

You cannot help but smile at his compliment. "Thank you."

He folds his arms. "Look, I know the situation we're in is extraordinary. Most of the civilians are terrified into passivity, and I don't blame them. But, and I am asking you to keep this to yourself, the situation is deteriorating. I'm losing officers to bites. Given that, I'm willing to make an exception in your case. I'm assuming you have some skills to back up that talk and watch out for yourself?"

"I can take care of myself, yes. I've been searching the second floor for a way to close the shutters. So far I haven't had any luck. Do you have any idea where a replacement wire might be?"

He shakes his head. "Haven't a clue. That's partially why I'm abandoning the first floor on the east side. We can't take the risk any more of trying to take it back."
>>
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>>4665213

"But what about these weapons?" you ask.

"Helpful, yes. But I've decided to fortify what areas we can and minimize the risk to more officers. Once those things wander up the stairs to the second floor, we'll lose that, too. Right now the elevator in the chief's office is the only thing that allows us access to the garage so long as the east hall is lost."

"What are you going to do?" you ask.

"I've been having my men collect furniture that can be used as barricades. My intention is to block off the stairwell access to the eastern second floor in front of the chief's office and then block off the southern second floor hall. The helipad and the fire escape stairs are compromised."

"How long until you do this?" you ask.

"Won't be long," he replies. "Even if we made a push to kill those things, it would be a waste of ammo so long as more can get it behind them. All we'd be doing is leaving around a lot of corpses that could get back up."

>Insist that you can find the wires if you are given more time
>Agree with his plan and offer to help
>Advocate taking back the eastern first floor with force
>Change the subject; tell Marvin and Rita about the communications station in the S.T.A.R.S. office
>Other
>>
>>4665217
>>Insist that you can find the wires if you are given more time
>>
>>4665217
>agree to his plan but still go for the wires solo tell him if we aren't back before X time go ahead and block things up
>>
>>4665217
I’ll support >>4665293
with
>>Tell Marvin and Rita about the communications station in the S.T.A.R.S. office
added
>>
>>4665217
>>Insist that you can find the wires if you are given more time
>>
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>>4665272
>>4665293
>>4665342
>>4665399

"But maybe I can still find the wires," you insist. "Then, we can close the shutters and secure the eastern half of the station. Think of all the supplies that are still scattered around over there! I just need more time."

"Time is something that is working against us," Marvin replies. "From where I'm standing, it isn't even much of a choice."

Your brow furrows. "I'll take the risk and search the eastern first floor before you barricade it, but don't wait on me. And if I don't make it out in time, I'll think of something else." You look at Jennifer and say, "I'll do it alone. I can be faster that way, and I'm the only one who will be in harm's way."

"Daisy, no," Jennifer says, lightly grabbing your arm. "Please, don't do that! There's no sense!"

"I have to agree," Marvin replies. "You're gambling on the potential to secure the entire station, whereas we can definitely strenghthen our current position with much more certainty."

"That's a risk I'm willing to take," you say firmly. "Give me the chance and I'll either find the wires and get those shutters closed or at least rule out that floor."

Marvin folds his arms. "I can't just send you into a death trap alone." He is quiet for a moment, then speaks, and his words are shocking. "I'll go with you."

Rita and several other officers grow quiet. "What?" she says, walking up to his side. "Lieutenant, what if something happens? We need your leadership."

"I can't ask anyone else to go," he replies in a stern tone.

"I will," Aaron volunteers.

"That's a negative. I said I can't, because I won't put anyone else underneath me in harm's way," Marvin shoots back. "You have my orders to reinforce the barricades we already have in place; we'll just have to make it back before you do. If something else should happen, those orders still stand." He reaches onto the table and picks up the shotgun, then looks at you. "You've got guts, girl, but you're not in this alone."

"Daisy, please," Jennifer says, starting to tear up. "I don't want to lose you. We can just do what he said and hold out."

"If we do this, it has to be now," Marvin says. "I want those barricades up before the hour is out."

"But what if what you're looking for isn't even there?" Jennifer asks. "What then?"

"We can always fight our way into the basement from the eastern hall, then take the elevator up to the chief's office," you say, looking from her to Marvin. "It would be a fight, but at least there is a backup plan."

>Go with Marvin into the eastern first floor
>Take Dylan with you alongside Marvin
>Take both Jennifer and Dylan with you and Marvin
>Call it off; this won't be worth putting their lives on the line
>Other
>>
>>4665480
>>Take Dylan with you alongside Marvin
>>
>>4665480
>Go with Marvin into the eastern first floor

Time for an ink ribbon?
>>
>>4665480
>>Go with Marvin into the eastern first floor
>>
>>4665480
>Go with Marvin into the eastern first floor

Let's not get Dyln too attached like the first playthrough.
>>
>>4665480
>>Go with Marvin into the eastern first floor
>>share a moment with Dylen get him to promise that if the worst happens to look out for jennifer
>>
>>4665647
>Let's not get Dyln too attached like the first playthrough.

he is good for daisy's sanity and if/when we break the loop I want her to get the guy so to speak
>>
Some quick additional points

>Save here?
>Give Marvin shotgun rounds from your stash of supplies
>Go as you are; do not save/share
>>
>>4665700
>>Save here?
Yes
>>Give Marvin shotgun rounds from your stash of supplies
and yes
>>
>>4665700
>>Save here?
>>Give Marvin shotgun rounds from your stash of supplies

This is definitely the moment
>>
>>4665700
>Save here?
>Give Marvin shotgun rounds from your stash of supplies
>>
We shouldn't save here, it'll look suspicious. Last playthrough it was seen as a mistake in judgement when we did it during time limited situations.
>>
>>4665829
We can keep it short and just say it’s incase we don’t come back, also Daisy’s been extremely sketchy this entire run, so saving won’t really change everyone’s view of Daisy by much
>>
>>4665700
>>>Save here?
>>>Give Marvin shotgun rounds from your stash of supplie
>>
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Alright, we'll be resuming tomorrow. Sorry for the slow pace, I'm in the work week and such; the Army takes a lot out of you in the day. Here's an inventory screen; figured we'd want to take the knife, a first aid spray and the flashbangs. If you have any other suggestions, feel free to let me know.
>>
>>4665927
Grab a shot gun for us and a pistol and knife for Marvin. Let him know about the technique we ques last time, pistol to the knees for zombies followed by shotgun to the head. Lickers get shotgun followed by a pistol mag dump, Red head get the zombie treatment x2.
>>
>>4665927
>>4665991
Also grab that green herb from the lockers. If Marv cant carry the pistole and the ammo for it, lets just help him our and let him relooad from our stash as needed.

Ask it he has any nifty skills like lock picking? Maybe let him know privately we have a skeleton key for the station so he can leave his keys behind and take an additional item?
>>
What's the point of the healing items if we become infected through a single bite same as all the others? Healing them just prolongs the inevitable as it does for us.

As for my vote, grab a shotgun and some extra shells for ourself and Marvin.
>>
"I'll meet you at the ladder in the main hall," you say to him before turning to leave. "I'll need a few minutes to prepare."

Marvin nods and continues to defend his choice to his subordinates as you leave through the back entrance in the office, through the evidence room. But it is here that Jennifer grabs your hand and forces you to stop so she may speak with you privately.

"Daisy, wait, please," she pleads. "I know Dylan and I promised to go with you when you leave the station, but... this is different! That's outside, where there is room to run, like we did earlier. What if you get caught in a corner, or stuck in a room with no exit and those things breaking down the door?"

"Then I'm hoping I have enough bullets to shoot my way out," you reply. "I must have just over a hundred, I think."

"Please, I'm begging you to reconsider." She wipes a hand under her eye as she sniffles and looks away. "I don't know what I would have done in the diner. I was frozen. I felt so... I don't know, weak. I just couldn't do anything. But you saved me! I... I owe you my life!"

'Familiar tune,' you think to yourself somewhat callously. You shake your head; you shouldn't treat such a thing so flippantly. "Jennifer, I just did what felt was the right thing to do. I acted, that's all."

"But that's not all," she insists. "You're the most confident and amazing person I've ever met. You didn't show any fear out there, any at all, and you still aren't. I don't know if you're crazy or brave but you make me want to be near you. It makes me feel... safe, and warm. And... you saved me," she says, suddenly growing very close. She brings your hand up to her lips and kisses it gingerly, familiarly, not unlike a lover would. Your eyes widen and you can't help but blush. Before you can speak, she says, "I'm so sorry I never got to know you before all of this, or tried to be your friend. I wish I had. But the fact that you did this, even though I didn't, I can't imagine someone being so selfless but here you are, right in front of me."

"I... Jen, I---"

"Please, Daisy, don't do this. For me?"

You blink a few times and swallow the lump in your throat. "I'm already doing it for you," you tell her, and she lights up. "But not JUST for you. For Dylan, too, and everyone else in this station."

"But what about me?" she asks, putting the back of your hand against her cheek. "About us?"
>>
>>4666462

You're at a loss for words. You knew that Jennifer was clinging to you during your first run, but never imagined she honestly felt this way. But does she, truly? Or is this some kind of coping mechanism? Are her feelings towards you genuine, or the result of survivor's guilt or something else? What's more, you feel a great attachment towards Dylan. But as you think about him, you realize that the situations are remarkably similar: you've saved both of their lives. He may very well be feeling the same thing, just like he grew to care about you in your first run. Could you care about Jennifer the same way? Could she? It isn't something you ever actually considered up until now. Then there is the fact that you are re-living your lives to consider; what if you make the wrong choice? Do you go back and undo it, like nothing ever happened? Is that not just playing with people's lives, like they mean nothing to you? Would it be selfish or damaging to grow romantically attached to someone only to then pursue someone else once they can't remember what you previously shared?

But then again... if there is one person in a position to have her cake AND eat it too, it is you...

She's looking at you expectantly, her eyes bright and dancing.

>Let her down easy.
>Ask to postpone this conversation.
>Return her feelings.
>Pursue both Jennifer and Dylan.
>Other
>>
>>4666466
>>Let her down easy.
>she will be a life long friend from this
We don't have the right to play games like that, I want to stay on the Dylan train, best to let her down easy
>>
>>4666466
>Ask to postpone this conversation.
>Other
Ask her whether she in love with us or the idea of us
>>
Should I go back and read the earlier entries or will I get bummed out
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>>4666551
Bummed out by what, anon? Nothing wrong with catching up on the story.
>>
>>4666466
>>Pursue both Jennifer and Dylan.
>>
>>4666466
Well, do we not also have to put on a good show? Maybe sex also sells to our eldritch overlords forcing us to relive this. Maybe this way we can get away with boringly stay at the station and study more, while also finding some physical and psychological comfort? Not going all the way, of course, but at least cuddling.

Hmm...

>"But if wouldn't go out there again, would I still be that... amazing person you describe? That person you lo-... feel infatuated by? I have to keep moving or I'll die, or everyone dies. But for, like, the times that I do have to slow down to sleep and the like- If I go out there and know there'll be someone whom I can return to, that'd be what I need the most right now, okay?"
>Return her feelings.
>>
>>4666466
nigga we straight
tho technically, as most of the players are men... we gai.
gonna snuggle struggle dat dicc

>Ask to postpone this conversation.
This ain't the time for fucc
>>
>>4666466
>>4666609
You know what fuck it I’ll change my vote to
>>Return her feelings.
The D run was pretty dedicated to Daisy and Dylan because they became so close but this run hasn’t had Daisy really talking that much with Dylan like before, I want to learn more about Jennifer this run anyways
>>
>>4666466
Ask to postpone this conversation
>>
>>4666466
>Return her feelings.
Huh, lets see where this takes us. Either way by the end of it we're appearing back at the start
>>
>>4666477
changing to postpone the convo

I don't want to go yuri seems out of nowhere and I don't want it
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>>4666466
>>Ask to postpone this conversation.
>>
>>4666696
Support
>>
>>4666693
I actually saw it coming, not sure what exactly tipped me of tho,
quickly flying over the story so far:
>>4665480
>"Daisy, please," Jennifer says, starting to tear up. "I don't want to lose you. We can just do what he said and hold out."
>>
>>4666466
>>Pursue both Jennifer and Dylan.
Maybe the gods that be would give us a better score giving them such a show
>>
I'll call it at "postpone the conversation", I'll be writing the next update when I get home from work.
>>
I was going to say "Que no los dos?"

Although hopefully that doesn't draw the coombrains to this qst.
>>
>>4666155
Because we end up injured by other stuff, falls, scrapes, cuts, ect. Plenty of non bit injuries. Last run we fell and damn near broke our leg for example. Plus we can extend out time before reloading if we are bitten so we are better prepared for next time.
>>
>>4666466
>>4666509
Sure lets talk about this after the mission.
>>
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>>4666466

Things seem almost surreal, in a way. You can feel your heartbeat and become aware of how long it has been since you have responded.

Clearing your throat, you finally speak up with a neutral, "Can we... talk about this later?"

Jennifer's expression deflates somewhat before suddenly looking afraid. "Oh no, did I do it wrong? Was I too forward?"

"It's nothing like that," you assure her. "I just... I have a lot on my plate at the moment and I would very much appreciate it if we could just move this conversation to the right a little, please."

Jennifer looks slightly confused. "You're still going into the hallway, aren't you?" she asks, and after a moment you nod. Her shoulders slump. "It's not because of me, is it?"

"Of course not," you quickly snap, then soften your tone. "I'm doing it for everyone. For you, for Dylan, for Marvin and Rita and all of the others."

She puts a hand over her mouth. "Please don't die, Daisy. Please."

"I won't. Trust me."

You part ways with her in the stairwell, explaining that you need a moment to yourself, promising to be right upstairs to the S.T.A.R.S. office. When she goes upstairs ahead of you, you lean against the wall and let out a deep breath that you feel like you've been holding ever since she professed her feelings. You had thought that you would outright say no, but for some reason, you didn't. Perhaps you couldn't.

Your treacherous thoughts don't help. 'But I've never felt like that for another girl. I mean, she's pretty, but can I? Should I? I thought I loved Dylan. Do I? Does he? Or, maybe it is better to ask will he? Then again, does she or will she?'

It's almost enough to make you pound your head against the wall. You enter the photo room, take out one of the ink ribbons you have collected, and sit in front of the typewriter.

>September 25th, 1998

>This is my third record. I have to confess, I am in a strange place.

>What do you do if you have feelings for someone, but they hardly know you? What do you do if someone has feelings for you, but you hardly know them? And what do you do if you could change it all on a whim?

>I suppose I should keep focused on the mission. I'm about to accompany Lieutenant Branagh to the first floor on the east side. It will be dangerous, as it is the most non-secure area in the station. I've seen at least a dozen zombies on the cameras. But if what we're looking for is in that area, we can turn this situation around.

>Supplies and other useful things were ordered scattered around the station by Brian Irons. That means that each place we can permanently reclaim will yield us something useful in return. The real problem are the windows in the hallway: without a way to shut them, the whole attempt seems pointless.

>Dylan and Jennifer will be left behind for this one. It's for their own good.

>Daisy Dixon
>>
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