In a section of the city slated for redevelopment, a lone skid row hotel stands as the only beacon of light for blocks. The remaining tenants, due to vacate the building by morning, are a cross-section of the flotsam and jetsam of life, all fearful of where fate is going to take them: FREDO, the middle-aged loser in love with MARIA, the suicidal crack whore. TOMMY, a vet haunted by betrayal idolized by SAM, who gave up his dreams to care for his retarded brother JOEY. MADAME OUSPENSKAYA, a fortune teller who sees her dismal future only too well. LUCAS, an up-and-coming community activist. And CARMEN, a business-woman who sells phone sex.

Into this hotel comes RANSON. He forces the tenants to seal the entrances and soon the hotel is under siege by the UNDEAD, all communications cut off. Ranson is a hitman; the undead are former targets that have resurrected and now hunt him for a "vessel" that he carries.

Ranson and the inhabitants are driven back up each floor by the undead onslaught from below led by a former rival of Ranson's known as THE DUDE. The tenants take refuge in the apartment of VIGGO, a wheelchair-bound pedophile who created an armed bunker against the coming of the End of Days, deduced from the bad news flooding the world media. Viggo reveals that the undead seek the "vessel" and points to a hollow pendant filled with a liquid that Ranson wears, a sentimental token from his murdered mother that he refuses to give up.

It comes out that Ranson's last job was the targeted hit of a multi-billionaire's child. Only this was no ordinary child... but the Antichrist. The "vessel" has the ability to restore life fully to one dead.

As the undead close in, Ranson discovers a further truth about the "vessel," and the terrible sacrifice he must make to save the world from the End of Days.

THE HITMAN'S DEAD
Screenplay
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