Go for the shotgun

You rush back to the car and lean in through your window. Roxy is groaning, but she’s in rough shape. You reach extra far and grab the shotgun by the barrel, expecting to feel Mavis grab you from behind, but she doesn’t. The shotgun is heavy, but you drag it out of the car and raise it ready to fire, turning around with your finger on the trigger.

The moon is out, but it’s still dark. All you see are the trees.

“Shit,” you mutter, looking left, then right. You take a few steps forward, but what are you going to do? Hunt her somehow? Maybe in the house, sure. Out here? You know nothing about the outdoors.

Back at the car, you find Roxy painfully getting out of her seat. Kris is out cold in the back, and Lisey is still doggedly trying to keep pressure on Karen’s wound, even covered in glass. Roxy’s head is bleeding, but Lisey appears to be OK.

You help them out of the car, and it takes you and Lisey to drag Karen out without hurting her. She’s now in such bad shape that she’s not even making noises of pain, but she’s still breathing.

“There’s something over there,” Lisey says, pointing. You turn to look. Indeed, there is a shape in the gloom. It’s not Mavis, it’s too big. It’s some kind of building. The driveway between the road and CCL House is almost half a mile. Nobody lives on the property except for the sorority, but it wouldn’t surprise you if there were some old buildings out here in the woods. Nobody is ever out here.

“Roxy,” you say, tossing her the shotgun. Together, you and Lisey lift Karen. You can’t realistically carry her into town… not with Mavis out there. You think fast as you and Lisey begin to carry her toward the building. Roxy is at the car, rousing Kris and helping her climb out.

Someone is going to have to get help. This building isn’t far from the road. An ambulance can get here. You can… barricade Karen in this building and send someone. You can’t go yourself; you have to stay and protect Karen. You can’t even think about leaving her like this.

Maybe Mavis is running for it. She probably is. Tonight didn’t go the way that she thought, but you can’t take any chances.

The building is a cabin. As you get closer, it’s clear that it’s abandoned, but it still has a door. You and Lisey carry Karen past a stump in the yard with an old, rusty axe sticking out of it. Roxy hurries ahead to get the door, and you get Karen into the cold, dusty interior. It’s dark, but Roxy has a cigarette lighter.

Groaning, Kris is the last one in. She shuts the door and bolts it.

The cabin creaks and you look down the dark hallway, then down at Karen.

Lisey knows where your keys are. You can send her back to CCL House to grab a car and run into town.

Or Roxy could try to run to Gurlberg. It’s only a mile or so to the houses just outside town. She could get to a phone there. You shouldn’t send them both; if there’s trouble here, you will need all hands on deck.

Send Lisey to CCL House?

Or send Roxy to town?