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 NOTTFOWalkthrough / AnalysisPage 007 Share to:  Share to Facebook Share to Twitter Share to Google+ Share to Pinterest Share to Tumblr Share to MySpace Share to Email








































The camera is focusing on a spinning ceiling fan. It appears blurry not only as a transitional fade-in technique, but also to show the fan from Elaine's blurry perspective as she is regaining consciousness.

It is unknown for how long Elaine was trapped in the elevator, unconscious. We assume that it has been about 30 minutes to an hour, meaning it is probably about 3:30 - 4:00 in the afternoon.

The ceiling fan becomes clear again, and as the camera pans down. We come across Mr. Rogas, manager of the Wessex.

There is light blue and pink dentil style crown moulding wrapping the top corner of a room in the hotel. The coloring adds a touch of lightness which compliments the antique white paint and decorative dado mouldings incorporated onto the wall. It resembles the office Mr. Rogas manages out of, but it is possible that most of the first floor offices utilize the same moulding patterns. It adds a little more decorative flair to the plain walls versus, say, the verticle beaded paneling board used in the foyer areas of Elaine's suite.

We see a grey haired gentleman with a greyish suit jacket atop a bluish/grey button-up shirt. He appears to be a doctor. He is wearing a stethescope and his right hand is holding the end of it tightly to Elaine's wrist. He is looking at the watch on his left hand, counting, as he takes Elaine's pulse. The black-rimmed glasses he wears are bearly hanging on to the bridge of his nose.

Elaine awakens to find Doctor Lanier, Mr. Rogas, Judith, and Letti. She is very startled and appears to jump. She has been introduced to Judith and Letti already, but not to the hotel's manager or doctor.

The doctor tries to calm her down.

Dr. Lanier: Hey, hey! Take it easy. Do you know where you,
   are?

Jacob Rogas, manager of the Wessex, assuming Elaine's hearing has become upset, asks in a firm voice, one step below yelling:

Mr. Rogas: Are you alright, Miss Kalisher?

The doctor gesters for him to quiet.

Letti jumps on him for his impatience.

Letti: Give her a minute, will you?

Letti's comment is a way for showing she cares. Mr. Rogus gestures like okay, whatever, sorry...

Note:
The hotel staff seem to be genuinely concerned for Elaine's wellbeing.

The doctor introduces himself:

Dr. Lanier: Miss Kalisher, I'm Dr. Lanier. Do you remember
   what happened?

Elaine doesn't have to think for too long. It seems she remembers what just happened to her rather vividly.

Elaine: Oh my God... they killed him.

Everyone's eyes get really big and the room is filled with seriousness. All eyes are on Elaine.

The doctor is confused...

Dr. Lanier: What do you mean?

Elaine: A man was murdered.

The doctor seems to be in disbelief.

Dr. Lanier: What man? Who?

Elaine: I don't know...?

Mr. Rogas: Where, Miss Kalisher? Where did you see this?

Elaine: On the elevator.

Doctor Lanier takes his glasses off using both hands, grabs them with his right hand, uses his left hand to help open a pocket on the left side of his suit jacket, and, with his right hand inserts them into the pocket his left hand is helping to open.

Mr. Rogas: On the elevator?

Elaine: Yes - but, uh, no...

Note:
Elaine has a horrible headache, and she is being caught off guard during her vulnerabilty. She realizes that she answered the question incorrectly. She's smart enough to realize that technically no one was murdered on the elevator. That's why she changes her response. Unfortunately she isn't given a chance to truly be able to speak her mind, as her delirium has made her slighly loopy. It's nothing Elaine would have ever wanted to have happened. She knows what she wants to say, she just can't get it out.

Dr. Lanier: Easy... you took a pretty good rap.

Note:
The hotel hates that Elaine witnessed anything at all. Elaine's delirium actually works to the hotel's advantage as it helps make it easier to convince her that it was all a dream...

Elaine: It happened... when I hit the floor. The elevator got
   stuck and I, I couldn't get out. but I could, I could see the
   floor just above me and that's where it happened.

Version Differences:
On the film's premiere release, Elaine seems to have developed a slight lisp, as, trying to rush the phrase out while feeling badly, results in the phrase seeming to sound to say "the elevator got tuck". This is due to the liason Elaine places between the two syllables. In the VHS release, however, the dialogue is much more pronounced, and "stuck" is clearly heard.

Judith: What floor was it, Elaine?

Note:
Judith promised Elaine a perfect stay, and told her that she would personally take care of anything that goes wrong. She wants to do whatever she can to guarantee Elaine's article about the hotel will only be the best. Unfortunately, Elaine isn't quite sure...

Elaine: I don't - I don't know! No, I do, I do, I know, it was,
   it's the floor with the gas light.

Mr. Rogas: Gas light?

Note:
Mr. Rogas seems very confused. This is his hotel. He, personally, would know if there was a floor lit by gaslamps. Jumping to the defensive doesn't really make him guilty, rather, it appears to make him rather nervous.

Note:
If there was a floor lit by gas, the hotel would have to be paying a gas bill. But it wouldn't be obvious. The kitchen, although it more than likely has been remodled once or twice within it's 90 year history, has more than likely been using gas to cook it's food since it's opening. For this reason, if, theoretically, there was to exist a hidden floor lit by gaslamps, the gas usage listed on the bill could be disputed as it is measured in cubic feet. It is measured by volume, so in essence it is almost the same as buying gas for a car. You pay the price per gallon and you get one gallon of gas. The hotel might use 2,000 cubic feet of gas, and that's how much they are billed for. So if someone tries to say that there is a gaslit floor because the gas bill is so high, you could argue that the kitchen staff used more gas because of extra receptions and whatnot that they have had to cook extra food for.

Mr. Rogas: What are you talking about?

Note:
Jake cannot stand still. His heart is racing, and he might be starting to sweat under his light blue collared dress shirt, black suit vest, suit jacket and complimentary tie. It's appears to be black with grey plus and minus symbols tessilating throughout. The single red rose with stem and leaf attached to the collar of suit jacket is a quaint and elegant touch which help to compliment his friendly, professional appearance. But his cool demeanor may be being compromised and he doesn't want Elaine to see. His nervousness is building. His reputation and his hotel may potentially be on the line.

Mr. Rogas: What gas light?

Note:
Mr. Rogas walks around the room to be behind Elaine. This is an important plot tool used so that the manager can keep an eye on his staff and watch their expressions and listen to their comments and to be able to provide menacing stares towards anybody that may say anything inappropriate, without Elaine getting a chance to see what is happening behind the scenes. As he is walking around he utilizes a "what?" gesture to help accompany his dialogue:

Mr. Rogas: What, what does she mean?

Letti: Why don't you just listen?

Note:
Maybe Letti's a good person after all... As she stands, her hands are in the pockets of the black with white polka dot dress she was wearing earlier, and indicate a slightly defensive stance. She might be just cold, but her body language suggest that she truly cares and wants to hear Elaine's side of the story. This is also a plot tool used to make Elaine feel better: the hotel doesn't want Elaine to know the truth, but they want to appear supportive at the same time. By not just simply dismissing her as being crazy, and acting like they truly care about investigating to find the root cause of Elaine's misinterpretations, make them seem like a really personal, smaller, down-home, one-on-one style hotel, despite it's overwhelming granduriousness.

Dr. Lanier: Are you sure it was a gas light?

Note:
While the rest of the staff seem to be genuinely concerned for Elaine, the look on the doctor's face suggest to say that he just wants to go ahead an dismiss her as being crazy. In fact, there even seems to be a slight hint of sarcasm or condescention in his voice.

Elaine: Yes. Yes I'm sure. There - there was a bust on a little
   table and - a rug - an oriental rug.

Dr. Lanier: There's nothing like that anywhere in this hotel.

Note:
The doctor sounds confident and surely he would know. But the way the doctor says this almost makes it sound as if Elaine is either crazy or lying. Elaine jumps to the defense rather quickly, certain of what she has seen. Notice how the doctor looks up at the hotel manager, almost as if to say don't worry, she's crazy.

Elaine: Of course there is!

Note:
The doctor knows exactly how to handle the situation:

Dr. Lanier: Did you see all this before or after you hit your
   head?

Elaine: After...

Dr. Lanier: Okay. Well, then, you know when they found you
   you were unconscious. Isn't it possible you've imagined this
   whole thing?

Note:
The doctor is trying to convince Elaine that she is crazy.

Alternate Scenes:
During the movie, when the doctor asks if it was possible that she might have imagined the murder, he is shown from afar, with all of the characters in the frame. On the USA World Premiere Movie's one minute preview, he is shown close-up. He sounds almost the same, with maybe a hint more sarcasm in his voice. The look on his face shows that he definitely thinks she crazy. All of this is a reverse pyschological ploy to divert attention away from themselves by passing Elaine off as a nutjob. The doctor's dialogue also changes during this bit of dispassionate prose:

Dr. Lanier: Isn't it possible you've imagined all this?

Elaine doesn't buy it. She knows what she saw! She thinks...

Elaine: No - no I, I looked right at that mans face! I didn't
   imagine it.

Note:
Poor Elaine. She is so upset because the hotel refuses to believe her. But obviously the hotel would know whether or not there is a floor that uses gas lights. And seeing they all are so adamant as to its nonexistance, the only other logical explanation is that Elaine is crazy and that in her unconscious state she somehow dreamed up an imaginary murder on an imaginary floor in the hotel.

Judith: Elaine, I know exactly how you feel.

Note:
The sweet and caring concierge is the first to try and reassure Elaine that it was all a dream, but this time by using a real-life reference, rather than sarcasm, as the doctor was doing. It is unknown if Judith's nightmare was real or whether she is just trying to calm Elaine down by showing her that they relate (as evidenced by their earlier exchange about settling down), but she does a good job making it sound convincing:

Judith: I used to have a nightmare about a man climbing in
   my window...

Note:
Mr. Rogas, still standing behind Elaine where she cannot see him, (Elaine's looking at Judith while Judith tells her story) glares at Judith, in part to listen closely to what she tells Elaine, and to make sure she doesn't say anything incriminating or out of the way.

Judith: It was so real to me I would just scream...

Note:
So far Judith hasn't said anything out of the way. Her story sounds believable and it might even help to convolute Elaine's thinking into believing that her encounter is just mimicking Judith's. The manager turns his gaze now to Elaine, to make sure that she is taking it all in, and, probably, hoping that this can convince her otherwise...

Judith: My roomate would have to come in and shake me out
   of it.

Note:
Letti sounds genuinely concerned about Judith during the following exhange, but this could be a ploy. Judith might have told the story before, and Letti is just adding her contribution. A believable and concerning response that helps the confused hotel patrons to obtain the sense that the hotel truly cares about the feelings and wellbeing of its visiting hotel patrons.

Letti: You didn't think he was really there?

Note:
Judith seems a little scared and reluctant to talk about it. She turns, just for a moment, to glance at Lettie with a look of sadness and seriousness. She seems genuinely disturbed by what once used to haunt her and steal her sleep.

Judith: Are you kidding? I could smell his breath.

Dr. Lanier: Is that the way it was?

Note:
The doctor says this with the biggest sh*t-eating grin he can muster. The doctor's sarcasm continues to the point that he almost sounds like a grown-up talking to a child. He acts like Elaine is totally crazy. Elaine on the other hand, thinks nothing of it. She agrees with the doctor.

Elaine: Yes. But Judith, yours was a dream and mine...

Musical Note:
The music works its way in ominously as Elaine speaks. The shot cuts to Judith and Letti. They know that Elaine still really believes that what she saw was real. What Elaine doesn't know is that it is. Judith and Letti seem worried that Elaine is going to find out the truth. The music helps portray the worry that they feel.

Elaine: ...I... I don't know it...

Elaine sighs. What is going on?

Elaine: It seemed so real.

Note:
Elaine doesn't know what to believe. She has no reason to believe that this classic and iconic Victorian-style hotel may be involved in anything as sinister as they are. The hotel seems like any other, and she also has no reason to think that they would lie to her. She doesn't know, but the experience seemed to be so real. Hopefully she can forget about it.

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