INHBITANCE By Sean McAllister

Third Draft 2/5/13

INT. OFFICE COMPLEX ELEVATOR A young woman, in her early twenties dressed primarily in thick black, waits by an elevator. A button lights up, a bell sounds. She steps in and descends. Reaching the bottom floor, the door opens with a man behind. In a hooded sweatshirt, wielding a weapon; a makeshift pickaxe made of rusty pipe pieces. He exits and heads for two doors with covered windows. He reaches them without slowing. CUT TO: BALLROOM He appears on the other side. He looks around at home and as he walks we are treated to his view, a vaguely lit and cluttered expansion. An abandoned dance studio/ballroom that has been turned into a storage area. We follow him through several narrow passage ways, up stairs, past empty rooms and through a balcony overlooking the dance floor; mirrors make up one of its walls. The entirety is littered with blood red and bodies. Our view glides with him through the grotesque. Our tour ends with this KILLER entering an empty room and stopping confidently. He drops his weapon with an echoing metallic THUD. CUT TO BLACK TITLE CARD: INHABITANTS EXT. THEATER-NIGHT Two theater employees, MARK and ERIC, exit from a door in a blank corridor, each carrying a flashlight. They walk with a conversation. MARK Its either the slut or the token black dude. ERIC What if the slut is the black dude? MARK You mean like a transvestite prostitute? Like that Eddie Murphy incident?

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ERIC Why does he have to be a transvestite prostitute? He could just be a really, easy, African American fellow. MARK (chuckles) African American fellow? ERIC You know what I mean. MARK Yeah, but you sound so politically correct. ERIC Fine, he could be a slutty negro. MARK (laughs but ignores it) Anyways, arent all guys easy? I dont think the stereotype is gender transferable. ERIC Sure it is. Not all dudes are that fuck hungry. MARK Maybe not hungry, but still, its kind of an expectation of our gender. ERIC But its only expected of our gender. MARK True. ERIC So that just makes it a double standard. MARK I guess so, but thats Hollywood. ERIC Same reason a male virgin doesnt make the cast list?

3. MARK Yeah, and if they do, theyre the most annoying character. ERIC Maybe they should be the first to go. MARK Nah man, spare the innocent. Or at least save them for last. ERIC Always save the best for last. Mark opens a door and holds it for his opposite. MARK And personally, I think a black transvestite prostitute should get the first kill. They enter the theater. THEATER BATHROOMS-MOMENTS LATER They stand outside the Womens restroom. Mark knocks on the door. MARK (O.S.) Maintenance, anybody in there? The door shuts. ERIC What are you doing? Go in there. MARK Its the Womens rest room. ERIC So? MARK What if someones in there? ERIC Thats the point dude. Besides, you just asked and no one answered. MARK They dont have to answer to be present. They could be a serial killer for all I know.

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ERIC Again, thats the point. Its a security check. They enter the restroom and look around. Eric genuinely checks each stall as Mark plays with his flashlight in the mirror. MARK Hey, lets play some bloody Mary. ERIC No fucking way. MARK Come on. Ill get the lights. ERIC Seriously dude, I wanna get outta here early. MARK Fine. Eric heads back to exit. MARK (as they leave) You know, it really isnt much nicer than the Mens. ERIC Another stereotype. After they leave, a shadow moves. A dark figure steps into view. That of a young woman. EXT. THEATER-NIGHT MARK and ERIC, out of uniform, say goodbye and part ways. Eric heads out towards the parking garage. As he makes his way up the stairs someone descends at the same time, passing him. An unfamiliar face to him, but recognizable to us; our Killer. He moves casually back towards the ballroom. He subtly carries his weapon by his side, it drips red and leaves a slight trail on the white tile floor beneath him. CUT TO: THE PARKING GARAGE

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A car sits with its door open, beeping. Someone sits in the drivers seat, bloodied, a man in a nice suit. In the passenger seat sits the body of an African American fellow in a pair of high heels, fishnets, a leather skirt and a feather boa. Another car drives past but stops suddenly, the brakes give a bit of a squeal. FADE OUT INT. BALLROOM FADE IN on a familiar young woman, dressed primarily in thick black. She sits in the middle of the clutter. She notices a small box near her. She picks it up and opens it. It is a musical jewelery box with a little ballerina twirling to the small musical hits. It plays a crude version of Swan Lake. It ECHOES through the space. A memory comes to mind and she indulges. INSERT CUT: She sits on a curb near a busy street. Bundled up in the wind. She sticks a thumb out. INSERT CUT: She stands behind a running water fountain, looking at the Park Place complex. She notices the statue of mother and child. INSERT CUT: A man, resembling our Killer, stands atop the complex roof. A cigarette in his hand. He takes a seat. He takes a drag and thinks. He exhales white smoke and breathe. After these memories pass, she closes the jewelery box and lays back. FADE OUT EXT. OFFICE COURTYARD-DAY A couple of coworkers, NATALIE and HANNAH, sit in casual clothing outside of their local offices on a smoke break. NATALIE Damn. I didnt know Bob was into that kind of stuff. HANNAH Mustve been lonely. NATALIE What do you think Diane will say?

6. HANNAH I think Diane is the reason he was lonely. NATALIE You think there was trouble in paradise? HANNAH I doubt it was paradise. Shes kind of an active alcoholic. NATALIE The other version of AA? HANNAH Exactly. NATALIE Well, she has been under a lot of stress lately. HANNAH Yeah, but with her best friend by her side, she wont even notice her husbands disappearance. NATALIE Thats probably cheaper than renting a hooker. HANNAH Yeah, maybe Bob shouldve taken that route too. Wine doesnt come with an hourly rate. NATALIE And then theyd finally have something in common. HANNAH Yeah, alcoholism. Natalie gives an admitting nod. NATALIE Now I really just want to know who did it. HANNAH Yeah, and that poor boy. Nineteen, just trying to pay his way through college.

7. NATALIE It is pretty unnerving. I dont know if I feel comfortable around here anymore. HANNAH Dont worry, maybe the killer is just out to get sinners or something. NATALIE Yeah, maybe Kevin Spacey is roaming the grounds. HANNAH Or Jack the Ripper. NATALIE Yeah, he killed prostitutes didnt he? HANNAH Yup. A Jack the Ripper for the modern age. Killing transvestite college kids. NATALIE (chuckles) Thats terrible. HANNAH Hey, as long as he doesnt start mailing parts of his victims to people. NATALIE Either way, I dont like it. Im going to start parking in the other lot. HANNAH I dont think serial killers have boundaries. Hes probably not targeting one specific area. NATALIE Still, its pretty creepy in there, in the middle of the night. Alone. HANNAH Arent there security cameras in there? Isnt that the only place with security cameras around here?

8. NATALIE Yeah but that doesnt make it any safer. Cameras just capture your death, not prevent it. HANNAH Exactly, thats evidence. NATALIE Oh, so you dont care if I die? Just as long as theres evidence. HANNAH Not you. Bob. NATALIE Oh, thats a good point. HANNAH Yes it is. NATALIE We should ask Maintenance about that. HANNAH As long as he shows up on camera, it should be an open and close case. NATALIE Yeah, lets do it. Hannah stamps out her cigarette. NATALIE (contd) Also, looks like its time to ask corporate for a new manager. HANNAH Poor Bob. INT. BREAK ROOM Mark and Eric relax on a lunch break. Eric has just mentioned what he found the night before. MARK (with a look of curious surprise) Really? Eric just nods with a smirk.

9. MARK And youre just telling me this now? ERIC You had already left when I ran back. And if you had a phone that actually worked, I would have told you. MARK Still, this is the kind of thing that warrants running after a car and flagging it down. This is something to share. Did you at least get a picture? ERIC No. I think that wouldve been a little insensitive, or at least in poor taste. MARK Fine, whatever. Mark focuses back on his lunch. MARK (contd) (under his breathe) Couldve at least taken a picture. Eric fakes a laugh. ERIC (jokingly) I hope you know youre going to hell. MARK What? Why? ERIC The conversation. You practically wished for this to happen. MARK Bull, shit. And what about you? Half of that conversation was yours. ERIC Yeah but youre the one that brought it up.

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MARK Fine, but its not like were responsible. ERIC Youre not responsible, Im outta this. MARK Youre not outta this. Youre a witness. ERIC Yeah, but at least I didnt provoke it. MARK It was a joke. I didnt think itd actually fuckin happen. ERIC Just like you thought the kettle in the popper wasnt going to be hot when you touched it? MARK HeyERIC What was it, second degree burns? No use of your left hand for a month? MARK Fuck you. ERIC Relax, Im kidding. MARK (a bit agitated) Whatever. Regardless, its not like theyre going to come looking for me. ERIC Who? The killer or the cops? MARK The cops. What would the killer want with me?

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ERIC Maybe hes stalking you. Listening to you. Worshiping you. MARK Yeah, right. ERIC Doing everything you say. You better be careful what you wish for. MARK Thanks for the support buddy. Eric just shrugs with a smirk. The mood seems to lighten. ERIC Dont worry about it, no ones gonna know. And the police wont give a shit. Its just a coincidence. MARK Pretty fucking eerie though. ERIC Yeah. Itd make a good movie though. MARK Nah, I dont wanna see the crap Hollywood would make out of this. Especially when they try a shitty remake, twenty years down the line. ERIC Good thing you work at a movie theater, dude. Otherwise all this trivia would be useless. MARK Its the only interesting thing this area has to offer. ERIC Not anymore.

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INT. BALLROOM Our Antagonist sits in the middle of the ballroom, playing with a makeshift pickaxe. She looks over to someone standing in the room with her. A man, a Killer. Pacing, wandering aimlessly and mindlessly; waiting. His appearance flickers like a light willing to go out. She tosses him the pickaxe and he catches it without looking. She gets up and walks off. Her reflection in the mirrors is not hers, it is the mans. CUT TO: THEATER EMERGENCY EXITS The Killer comes out of the ballroom and confidently moves towards two emergency exit doors with no exterior handles. He makes it to the other side of the doors, no stall in his motion as he continues through the hallway. He continues this way through two more sets of doors, passing like smoke through his obstacles. At the last set of doors he slows just as someone enters from the other side. A laughing young couple, the teenage boy adjusting his belt. They see him but politely make their way around. He stops and looks back at them as they continue through the exits. He takes a moment and then turns to trail them. Just before they make it outside, our Killer gives a spin of his weapon, grips it and throws it with causal skill and force, planting it in the young girls back. CUT TO BLACK BALLROOM-EMPTY ROOM FADE IN on the young girl lying in a pool of blood. She comes to and looks around at the sparse void. She hears nothing except a faint TUNE from a jewelery box. Swan Lake. She struggles with movement. Her posture is awkward and even the slightest move causes a wince. The weapon is still lodged in her spine. Her panic starts to show and she sees the only other person in her company; the body of her boyfriend lying in his own pool. She starts to breathe heavily in pain and panic as she closes her eyes. Swan Lake gets louder and she looks to the doorway. Our Antagonist enters the room with a rusted machete and stands over her. She sets down the jewelery box next to the girl and sits cross-legged. She rests the tip of the blade on the girls throat. She goes to work on her capture. She is in concentrated apathy as she works.

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FADE OUT INT. OFFICE A member of the Maintenance crew enters the room with a package. LOGAN Got a package. NATALIE Thanks Logan. Hannah enters the room. HANNAH (seeing Logan) Hey, just who we were looking for. NATALIE Yeah, we actually wanted to ask you something. LOGAN Shoot. HANNAH Well, we heard about what happened in the garageLOGAN -rightHANNAH -and just wanted to know if we still have security cameras in there. NATALIE And if they caught anything from that night? LOGAN We already checked it out. Nothing. HANNAH Nothing? LOGAN Yeah, neither the police nor us saw anything suspicious on that tape.

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NATALIE Wasnt Bob in view of the cameras? You mustve at least seen him and his car. LOGAN We did, but thats it. Natalie and Hannah seem genuinely confused. INSERT CUT: Security camera footage. LOGAN (contd) Bob and the hooker enter from one side of the garage and get into his car. The car starts but shortly after the doors open and they both slouch in their seats, to the position they were found in. Not a single soul is caught on camera, other than the theater employee that found them a few minutes later. Natalie gives Hannah a look. LOGAN (contd) We just assume it was some kind of double assisted suicide. HANNAH A what?NATALIE -No one was seen on any of the cameras? Not at all? LOGAN Nope. HANNAH And the theater employee didnt see anyone either? LOGAN I dont know, I havent heard from him. I dont assume so. NATALIE Strange.

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LOGAN It happens. Natalie and Hannah nod, but arent completely understanding. LOGAN But before this it was nice having that stretch of peace around here. We havent had an incident since Ian. HANNAH What incident was that? NATALIE Yeah, whos Ian? LOGAN He was a security guard. It was just after I got hired, so I didnt know him that well, but... he put a gun to his head, one night... on the roof. NATALIE Oh, wow. HANNAH Thats depressing. LOGAN Again, it happens. INT. OFFICE COMPLEX ELEVATOR Mark stops by the office elevators, on his phone as he waits. Our Antagonist sits nearby. ANTAGONIST Hey, can I borrow your phone? MARK Um, sure. He hands her his phone. She dials a number and talks briefly, Mark politely avoids listening. She hangs up. ANTAGONIST (handing back the phone) Thanks.

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MARK No problem. ANTAGONIST You werent listening in on my conversation, were you? MARK No, I promise. ANTAGONIST Good. She turns and leaves. The elevator reaches his floor and he gets in. INT. OFFICES Eric stands in an office with a manager, waiting for something. Mark comes down the hallway and stops outside, waiting for him. He notices Logan in the neighboring office and pops his head inside just as Eric comes out carrying a paycheck. He stops inside as well. LOGAN Hey, we were just talking about you guys. Mark and Eric look at each other for a moment. LOGAN (contd) About the incident in the parking garage. ERIC Ah. NATALIE Were you the witness? ERIC Yes I was. LOGAN Sorry, Mark and Eric this is Natalie and Hannah. They worked with Bob. A couple of nods go around.

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ERIC Sorry for your loss. NATALIE Thanks. Weve actually been trying to solve this thing. HANNAH You didnt see anyone else in the garage the night of the incident did you? ERIC Um, not really. There was one other guy that I passed on the stairs, but I mentioned that to security. LOGAN Really? Did you speak to the police at all? ERIC No, I had to leave and just talked to security. Plus, I didnt really get a good look at the guy. I dont know if Id be of much help. NATALIE What did he look like? ERIC He was just a random guy. People are always coming and going through that area. He didnt seem at all, suspicious. LOGAN You know, that might not help your case with the police. Being the only real witness and leaving before they arrived. ERIC Hey, I have nothing to hide. And Ive never found a dead body before, I thought security would have a better handle on it. LOGAN Did you at least leave your number with security?

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ERIC No... Eric gets a few looks and feels a moment of embarrassment. ERIC (contd) (defending himself) Hey, it was one in the morning and I just wanted to sleep. LOGAN Well, the police will be back at some point and theyll want to talk to you. ERIC Im sure. MARK Good, theyre looking for you. LOGAN What? ERIC Oh, hes just paranoid about people looking at him as a connection. LOGAN Why? ERIC He made a joke that night, about a black prostitute being the first kill. MARK In a hypothetical. It was part of a conversation about horror movies. I didnt think itd actually fuckin happen. Natalie and Hannah look at each other. LOGAN Dont worry, this isnt a horror movie. But it does make for a pretty creepy coincidence. MARK I know, right?

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NATALIE It is pretty weird. MARK But Im not responsible. Remember that. HANNAH Yeah, its not like youre the puppet master behind this guy. ERIC (to Mark) He could still be listening to you. Like I said. MARK Dont start. And besides, the killer could easily be female. Anybody think of that? NATALIE Hey, yeah. Our own Carrie. MARK Or Cathy Bates. NATALIE Keep an eye out for someone wielding a sledge hammer. MARK Exactly. HANNAH (to Eric) You getting any of these references? Eric shrugs and shakes his head. ERIC No, but I think someones single and bitter about it. MARK Hey, dont need a dick to be dangerous. HANNAH Doesnt take a cunt to be crazy either.

20. Natalie grabs a pair of scissors and turns her attention towards the package. LOGAN Regardless of the gender, this fucker needs to be caught. NATALIE Agreed. Natalie loudly rips off some tape from the package. ERIC Whats in the box? NATALIE Lets see. Theres no address and we werent expecting anything. She takes off the last bit of tape and unfolds the cardboard flaps. At the sight of whats inside she has a sudden moment of repulsion. She turns away and sets it down on the desk. NATALIE (contd) (a gasp) Oh my god. LOGAN Whats in the box? Hannah takes a hesitant look and experiences the same sense of disgust and pushes it towards the others. HANNAH (trying to compose herself) Its uh... Inside the box, lying in a puddle of red, is a piece of anatomy. A dismembered male member. MARK (taking at look) What the fuck!? ERIC Oh god. LOGAN Jesus Christ. The pain on the three male faces is obvious as they cringe. They all take a step back. Mark takes a seat, crossing his legs.

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ERIC I guess it could be a she. Logan takes a step forward and grabs the box. LOGAN (sighs) HereHe keeps it at arms length, walking out of the office to dispose of it for the moment. Mark and Eric avoid its presence as well. LOGAN (contd) (shaking his head) Jesus-fucking-Christ. Natalie picks up the office phone and punches in 911 on the key pad. INT. ABANDONED BAR/PUB Our Antagonist walks through an empty, closed-down bar space, interested in her surroundings. She goes into the kitchen area where a body waits on a dirty metal counter, the machete resting nearby. The blood-soaked body lies limp, but with the torso still moving, indicating breathe. She runs her finger through an open wound and licks the gathered blood off. She grabs the machete and starts to saw. She finishes and puts the remains in a trash bag, she ties it off and moves on. Sounds start to invade the space, voices. She paces and listens. A multitude of conversations filling the air as she circles. Suddenly she stops. Her appearance seems to change for a split second, a frame, as if her body glitches. INT. OFFICE NATALIE (on the phone) Yeah, its a... a body part. A dick in a box. So if you could send someone over as soon as possibleOur Antagonist stands just outside the office, she listens by the doorway then walks off, passing it by; unnoticed in her female form. She turns a corner and comes into view at the far end of a long hallway. She exits the building and makes her way through the exterior complex.

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She goes all the way down to the public restrooms, entering the code without hesitation. She goes into the restroom and instantly comes out as someone else, a male Killer wielding a makeshift pickaxe. As he walks, he sees a man go into the Mens room. He follows the stranger in, but shortly after comes back out, wiping his weapon with a saturated red paper towel. EXT. COMPLEX COURTYARD-EVENING Mark and Eric sit outside talking. ERIC Damn, I dont feel safe here at all anymore. MARK I dont think anyone is safe here anymore. But youre sticking around this time. Youre our key witness. ERIC Like a fly caught in a web. MARK Just hope theres no hourglass nearby. ERIC (looking at his watch) Yeah. How long does it take to drive two fucking blocks? Our Killer makes his way through the public area, weapon concealed. He walks past the two employees, back towards the ballroom. Eric notices him. He nudges Mark and points over to the suspicious man. Just then Logan comes out from the garage corridor and makes his way nearby. Eric calls his name quietly and points over to their suspect. He mouths the words "Thats him" and Logan looks over. Logan nods and goes to follow him. He sees the man go into the back hallway but as soon as he gets to the doorway the man is nowhere in sight. No sign of movement, not even the elevator is active. Logan turns to walk back the way he came. LOGAN Im going to get the keys to the ballroom.

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ERIC Okay. Mark and Eric continue to wait. ERIC Come on, just need that siren and those bright lights. MARK Red, white and blue wont symbolize freedom to this motherfucker for much longer. INT. OFFICES-CONTINUOUS Natalie is on the phone in the office still. NATALIE Okay... yeah, thank you so much. Bye. HANNAH On their way? NATALIE I think so. They didnt seem too convinced by what I told them, but they said theyll send someone over. HANNAH They better. Natalie gets up to leave as Hannah goes over to Dianes office. HANNAH (contd) Diane, well be right back. Diane sits at her desk with her head down, passed out. Her unconscious hand still lazily gripping a wine bottle. Both girls leave the office. CUT TO: BALLROOM HALLWAY Our Killer comes out of the ballroom and steps into the elevator. He ascends. CUT TO:

24. OFFICES Hannah and Natalie make their way through the offices to reach the elevators. They get there and stop for a moment as it reaches their floor. The door opens and an innocent looking young woman is inside. Our Antagonist steps aside to make room for them. Hannah and Natalie do not hesitate to get in. They descend. INT./EXT. COURTYARD-CONTINUOUS Logan has his keys and heads back over to the ballroom. The two employees watch him as they wait out in the courtyard. CUT TO: BALLROOM Logan gets into the ballroom and looks around. It is the usual cluttered storage space he sees daily. He walks through the space looking for a trespasser. He looks in each empty room, behind every corner. He cant find the person hes looking for. LOGAN (calling out) Ian? He comes to one room and finds something unfamiliar. A little piece of paper taped to the center of a blank wall. He takes it off to examine it. It is a portion of a ripped dictionary page. The definition reads: Inhabitancy |inhabitn-s| (also inhabitance) noun e Living in a certain place as an inhabitant, esp. during a specified period so as to acquire certain rights. He takes it with suspicion. He leaves the Ballroom. EXT. COURTYARD-CONTINUOUS Logan goes back out towards Mark and Eric. They notice Logan. ERIC Hey, you catch him? LOGAN No, but look what I found. He holds up the piece of paper.

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INT. BALLROOM HALLWAY-CONTINUOUS The elevators bell sounds. The door opens and the bodies of two young women, Hannah and Natalie, lie on the elevator floor. The Killer steps out and waves open a trash bag, creating a SNAP in the air. EXT. COURTYARD-CONTINUOUS Logan sits down and shows them the piece of paper. MARK I dont get it. But we obviously have someone stalking around here. ERIC Something else to add to the pile of evidence. MARK If only someone would show up. LOGAN How long have you guys been waiting? ERIC A good half an hour. LOGAN Jesus. Here, why dont you guys go back upstairs, Ill wait. ERIC Okay. Mark and Eric get up and leave. Logan sits down. INT. OFFICE COMPLEX-CONTINUOUS MARK and ERIC enter the complex and head back towards the office. They get there but dont find Hannah or Natalie. Mark checks Dianes office. It is empty. They continue through the building looking through the offices. They round corners and scan empty hallways, they seem to get lost a couple times in the maze of corporate space.

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EXT. COURTYARD Logan sits waiting as he examines the piece of paper. Another member of the maintenance crew comes by. NATHAN Hey Logan, whats in the box in theLOGAN You dont wanna know, we got something going on around here. NATHAN Ooh, really? LOGAN Yeah, I actually wanted to show you something. He hands over the dictionary page. NATHAN Its a definition. LOGAN Have you seen anything like this in the storage room before? NATHAN Nope, cant say that I have. LOGAN (taking it back and tucking it in a pocket) Well, it was in there today. NATHAN Cool... LOGAN Also, I wanted to ask you something. Do you remember Ian? NATHAN Yeah... why? LOGAN Well he, passed away, around here right?

27. NATHAN Yeah, um, up on the roof. A few years back. LOGAN Thats what I thought. NATHAN Thanks for reminding me of that buddy. LOGAN Sorry. Its just that, I couldve sworn I saw him heading over to the storage room earlier. NATHAN Hm. What time did your shift start? LOGAN Five. NATHAN (nods) Get some sleep dude. I think youre hallucinating. LOGAN Its not just me, Eric said he recognized him from the night Bob was murdered in the garage. Said he passed him on the stairs. NATHAN Well, then you both need some sleep. LOGAN Hey, we got something going on here, and hes kind of a suspicion character. We actually have the police on the way. NATHAN Wait, what? LOGAN The office upstairs got a package with a body part in it. NATHAN Oh, so thats whats in the box. But what does that have to do with Ian?

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LOGAN Thats what Id like to know. Again, theres obviously something serious going on around here and hes the only suspicious face we have. NATHAN Okay... LOGAN And Ive just been trying to figure out how Im going to give the police a description of a ghost. NATHAN Get some sleep dude. I got a call about the public restrooms but fill me in later. LOGAN Yeah, I will. NATHAN (as he walks off) And Im moving that box out of the office. Logan waves a thumbs up. INT. BALLROOM Our Antagonist, back in her space with the jewelery box, brings back a memory again. INSERT CUT: IAN sitting on the roof. He puts a gun to his head. He falls forward. A young woman steps into view. Non threateningly present. Our Antagonist walks over to his lying body, kneels over him and rests her hand on his chest. She seems happy with his choice and perfectly content in the moment. Suddenly she steps back and Ians death seems to move in reverse, time changes and Ian stands back up. She steps behind him. Our Antagonist stands up and walks off, leaving the ballroom.

29. INT. OFFICE COMPLEX-CONTINUOUS Mark and Eric are still searching, but start to slow as they give up. ERIC Where the hell could they have gone? MARK Did everyone just disappear all of a sudden? They round a corner and suddenly stop, faced against a familiar presence. Our Killer stands solid, looking at them. They take a step back in reflex. Eric notices the pickaxe. ERIC Shit. He nudges Mark and they turn to run. But as they turn their backs on their aggressor he throws his weapon with effortless skill into the back of Eric. He goes down and struggles in pain. Our Killer trails after Mark and as he passes he yanks his weapon out from Erics back. He takes down his last opponent in the same way and stops over him. EXT. COURTYARD-CONTINUOUS Logan still sits out in the courtyard waiting. He checks his watch. LOGAN Fuck it. He walks off. INT. OFFICE COMPLEX-CONTINUOUS The Killer stands over his last kill, looking down upon his prey. He kneels down, confronting the heavy breathing of Mark. KILLER Are you a virgin? MARK (struggling) What? A smirk crosses our Killers face and he plunges the pickaxe into Marks throat.

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KILLER Thats what I thought. EXT. COURTYARD-CONTINUOUS Logan heads back over to the ballroom and sees the Killer come out of the elevator with a trash bag over his shoulder, walking towards the ballroom. LOGAN Hey! The Killer doesnt acknowledge him. Logan watches, expecting the locked doors to stop him. But they dont and Logan sees him disappear behind the doors. He follows after, not believing what he saw, he checks the doors. They are still locked. He gets his keys out and enters the ballroom. INT. BALLROOM Logan hesitantly walks through the space. Suddenly there is a noise and he sees a young woman quickly disappear behind a corner, then through a door. LOGAN Hey! He runs to catch up, heading for the same door. He gets through to a large abandoned gym. He continues the search. ABANDONED GYM LOGAN (contd) Youre giving an old friend of mine a bad name. There is no response. He continues on through the mirror-laced space. He ends up in the locker room and looks around. It is silent except for the SOUND of DRIPPING WATER. Suddenly the lights go out. He grabs a small light from his belt and it illuminates the dark. Our Antagonist stands outside, caging her prey. Suddenly Logan hears a voice out of nowhere. ANTAGONIST (O.S.) I can hear you guys, you know. All of you. He stops. Startled by the phantom voice.

31. ANTAGONIST (O.S.) Were all old friends. She enters the locker room after him, dragging the machete. He hears her, but cant find her. He comes across IAN, pacing mindlessly in a corner. Logan takes a step forward. Our antagonist stands directly behind him. She nudges him with the blade, taunting him. He turns around and she puts her fist to his chest. She disappears, the machete drops, metal hits tile. Logan starts to drain, the expression on his face melts, his eyes become blas and he drops his light, it goes out. He stands in front of a wall of mirrors, but with his back to it. His reflection comes into view, but it is not him. It is of our Antagonist. She turns and looks back at him. Logan stands apathetically, looking lost. The dropped machete grabs his attention and his arm lazily gestures towards it. But then his focus goes back on Ian. The lifeless slave just stands there and Logans expression returns and he whips his head in anger, as if wiping away a thought and our Antagonist is thrown back into the room. Logan grabs the machete and guards himself, pointing it at her. LOGAN Im not playing this game. ANTAGONIST Obviously you are. He backs her out of the locker room and she stops. She hits something and the lights of the locker room come back. Logan diverts his gaze and she disappears. Suddenly our Killer, Ian, stands directly behind Logan, motivated. Logan turns around. He grips the machete but cant strike. Ian shoves him, causing him to drop the weapon. Logan backs out of the locker room. LOGAN Ian? IAN/ANTAGONIST He hasnt been here for three years. Logan backs up and when the door is in reach he quickly gets through and puts his weight against it. BALLROOM Suddenly he hears Swan Lake begin to play. He resumes his search, looking in each room, making his way closer and closer to the source of the music.

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ANTAGONIST (O.S.) In time youll be at home here. Among the ghosts. LOGAN I just want some answers! As Logan passes several parts of the ballroom, figures fade into the space but out of his view. Various demographics of the deceased (including Bob, a black transvestite prostitute, a young girl with a bloody back and a young boy with a bandaged crotch) all wielding the same weapon. Wandering like lifeless slaves in their respective rooms. Suddenly he is stopped by a figure in confrontation. MARK Something of my own. A voice from behind. Logan turns around. ERIC A story... Natalie comes out from a room, behind Eric. NATALIE I could bring to life. Hannah appears. HANNAH Everyone likes a good story. Logan turns back around faced against our Antagonist. ANTAGONIST And you guys gave me one I couldnt refuse. She walks off towards a room. Logan follows slowly and stops before the room, the MUSIC playing clearly now. Logan pushes through the doorway and stops. Our Antagonist, standing inside, sees him but turns and takes a seat on the floor next to the jewelery box. As the music plays and the ballerina turns, she sits in comfort. LOGAN (holding up the ripped dictionary page) Is this yours? She just barely acknowledges it.

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LOGAN Who are you? No word. LOGAN (contd) What are you? No word. LOGAN (contd) (confrontational) And what do you want with my friends? She is barely listening. But then she speaks. ANTAGONIST I was perfectly content killing for fun. But then you guys gave me some inspiration. LOGAN You used us. Whats your game? Why are you here? ANTAGONIST I had to take over at some point, you guys were running out of ideas. You created a start, I just made it my own. LOGAN You have nothing to be proud of. She gently toys with the little ballerina in the jewelery box. ANTAGONIST You know... everything I have, I found here. It isnt mine, no one gave it to me. Do you mind me taking care of something everyone else has forgotten? Abandoned. Logan doesnt buy the act. ANTAGONIST (her tone changes) Like their worthless lives.

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LOGAN (suddenly disturbed) What? She gabs the pickaxe and drags it closer, making the SOUND of metal SCRAPPING across floor. Almost like nails on a chalk board. ANTAGONIST (seemingly innocent) I should have the right to a life... A smirk crosses her face. ANTAGONIST (contd) ...or two. She shuts the jewelery box and the music stops. CUT TO BLACK TITLE CARD: INHABITANCE Credits. EPILOGUE A long slow PUSH IN on a handwritten sign taped to a column in the upstairs projection area of the theater. It reads: Beings from another place, do not and demons, grudge girl too, stay Let no evil spirits lurk wherever dark or after dawn, all you scary occupy this space. Ghosts away from you know who. we have to work. After spooks BE GONE!