Nan touches her head. There is a dull pain there.
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Nan touches her head. There is a dull pain there.
Nan decides to exit the SAFEHOUSE BATHROOM.
Nan re-enters the THIRD FLOOR SAFEHOUSE.
Nan warns the others to be careful around the mirrors. She still feels a dull pain in her forehead.
Anderson asks if they all plan on just sitting here until they die. Kim says they have enough food and water here to last them for a while, and the room seems safe so far, so it might be best to just wait for rescue.
Nan says rescue is not coming. Nothing here seems certain, but that's about as sure as she can be about anything.
Nan asks if anyone has keys. Most of the rooms appear locked or barred.
Kim says she has a key to something called the Anasazi Lounge. She found it in her room, when she first got here. Nan can have it -- Kim doesn't even know where the Lounge is.
Nan takes the ANASAZI LOUNGE KEY from Kim.
Kim says Nan can go, but she's staying here where she's been safe for the past several days. Besides, she still has no idea where the lounge is.
Anderson says he doesn't want to leave either of them alone, but clearly he'll have to choose who to stay with.
Nan decides to head out on her own, as Kim seems set on staying here. Anderson offers her a LEAD PIPE as a weapon.
Scrounging through the drawers, she recovers a FLASHLIGHT.
Nan takes the items and steps out into the THIRD FLOOR HALLWAY.
Where to?
Nan heads for the Elevator.
Perhaps the ANASAZI LOUNGE is on the second floor.
The lights at the end of the hall have gone out.
Nan shines her FLASHLIGHT.
The result is not entirely as expected.
Nan hesitates, and attempts to greet the Padre.
Nan's modes of exit are quickly narrowed.
Something appears to be blocking the stairs.
Darkness covers the hall as the lights go out one by one.
Nan glances to the elevator, considering her options.
One light is left on.
Nan backs away slowly.
The Padre begins to run.
Nan flees to the elevator.
Nan slams the button for the GROUND FLOOR.
On the wall of the elevator is a figure vaguely resembling a person.
It is marked directly on the surface, and its texture is worn, aged, unevenly speckled.
Whether it's been painted or otherwise imprinted is not clear.
The elevator begins to move, descending slowly.
Nan pokes the strange mark with her LEAD PIPE, but it's just like poking the wall.
The elevator stalls for a second, then continues downward.