Back to the NOTTFO Main Page The Wessex Hotel History of the Hotel Meet the Staff Areas in the Hotel Walkthrough/Analysis The Wessex Gift Shop Blueprints, Floor Plans & Renderings Ft. Lauderdale, Florida Los Angeles, California Seattle, Washington Real-life Filming Locations Cast Crew Filmographies Hotel Body Count The Avery Block Murders Alternate Scenes Props Airings & Showtimes Acquiring Behind the Scenes International Releases Music & Audio Images Wallpaper Video Scripts Message Board Chatroom Guestbook Shop Fanstuff Blog News Interviews Press Reviews About NOTTFO Site FAQ Disclaimer Privacy Policy Terms of Use Locations Credits Multimedia Support Features Site Help Find us on Facebook! Find us on Myspace! Follow us on Twitter! Find us on YouTube! Follow our RSS Feed!


 NOTTFOWalkthrough / AnalysisPage 010 Share to:  Share to Facebook Share to Twitter Share to Google+ Share to Pinterest Share to Tumblr Share to MySpace Share to Email





























































The concierge desk consists of a small podium that wraps around two sides of one of the columns in the center of the mezzanine level, to the left of the registration desk Elaine arrives at at the beginning of the movie.

Judith is standing behind the podium talking to Creeson, the hotel's doorman and primary greeter.

Note:
Elaine comes up, almost running. She is super excited. She assumes that if Judith doesn't know what is going on, now is the time that she does. Her lead could help to help crack the case!

On Closer Inspection...:
Listen closely. It sounds like Creeson sighs as Elaine approaches. This could be for a number of reasons. He might have been telling Judith about her wanting to know where the Convention Hall is located (as they might have been asked to keep an eye on her) and was interrupted. Or perhaps Judith was telling Creeson about Elaine's extreme nosiness and telling him to keep and even better eye on him. For some reason or another, Creeson was inside talking to Judith, and isn't outside greeting or thanking patrons.

Elaine: I saw it.

Judith: What?

Elaine: The boot?

Judith: What boot?

On Closer Inspection...:
Behind Judith and the podium, there is a list of weekly activities on a display "board" behind her. It is mounted to the column behind Judith and it is the because of this information that we have been able to establish dates since Elaine's arrival:

?????????
???????

???????
?????
???????

CLAIR WESTON(?)
PARTY
FRI. NITE

JAZZ ENSEMBLE
TONIGHT

ENJOY!


Note:
Rather than rehashing the story twice, the two are now in Mr. Rogas' office, and the story continues where it left off, being told to the hotel's manager. Notice that the moulding and paint colors in the manager's office utilize the same style as the office that Elaine was in earlier, upon waking up after being found trapped on the elevator.

Elaine: The one on the elevator.

Mr. Rogas seems very confused. He thought all this commotion was over.

Mr. Rogas: I don't understand. You never said anything about
   a boot.

Note:
The manager is wearing a grey suit jacket over his matching grey suit vest, light blue shirt and black tie. The corsage on his jacket collar adds a hint of down-home professionalism.

Note:
Notice the straight look on Judith's face. She is starring at the manager with a look of "We need to do something before she really starts to suspect something." Judith looks dashing in her pink blouse and off-white blazer. Her poofy hair and pearl earrings add a quaint and elegant touch.

Elaine: I forgot, everything was happening so fast!

Note:
Judith shows that she cares about Elaine by being on her side. She is using a bit of reverse pyschology that will help to play with the following exchange.

Judith: It doesn't matter, Mr. Rogas, she remembers now.
   When she got on the elevator there was a boot.

Note:
Judith is trying to make Elaine sound like she's not crazy, even though there's no proof of any kind of foul play... Elaine looks to Judith for reassurement as Judith speaks. So far Elaine is in it alone. Well, not entirely. She has Judith on her side as Judith promised originally to give her the best possible experience on her stay. After all, her article depends on it. In Elaine's eyes Judith is still innocent and will be the one she can count on to help her find the truth...

Elaine: And don't you see if I didn't imagine the boot I didn't
   imagine the murder.

Note:
Poor Mr. Rogas. He thought everything was all said and done, but here Elaine is, once again, insisting that a murder occurred somewhere in the hotel. As soon as Elaine mentions the word "murder", the somewhat already nervous manager shakes his finger and stands up. It is at this point that the manager must stop Elaine from wanting to continue.

Mr. Rogas: Miss Kalisher, I was there when they took you off
   of the elevator.

As Mr. Rogas begins to stand, he pushes the chair away from the desk, and still waving his finger in an unwillingness to believe, lifts himself from his chair using his left arm propped against the chairarm. He walks around the desk and stops, facing Judith and Elaine. He is confident in what he is saying, about there not being a boot, and, although Elaine doesn't believe it, the hotel manager is expected to be honest. If there was a boot, the manager surely woudn't have lied and said there wasn't... Maybe perhaps the boot was removed from the elevator before the manager found Elaine. He certainly wouldn't be lying then.

Mr. Rogas: There was no boot.

Elaine is quick to the defense, because she still doesn't want to be labeled as being crazy. She's sure of what she saw, and this boot is her way of solving the mystery.

Elaine: I can't help that. If I hadn't seen it on the elevator I    wouldn't have recognized it on the street, would I?

It seems the manager is out of options. Being too forceful on trying to convince Elaine of the contrary would result in Elaine believing that the hotel is trying to hide something. The manager doesn't want to upset Elaine and agrees with her, wanting to see where the coversation takes itself.

Mr. Rogas: Well that would seem to make sense.

Judith jumps in and saves the day. The manager has a lot on his mind after years of handling minor complaints, but now a patron is talking about murder and he doesn't know what to say. After all, it didn't happen, right? The eloquent concierge, on the other hand, is calm under pressure, and has promised Elaine her stay would be fantastic. She wants Elaine to have solace and to know the truth. Therefore, the only other option left would be to call the police.

Judith: Mr. Rogas, maybe it's time to consider calling the
   police.

As Judith speaks, Elaine stares intensely. Judith is truly an amazing person bent on making sure Elaine is 100% satisfied with her trip. Judith is in tune with Elaine and Elaine likes what Judith is saying. Her looks indicate a "whatcha gonna do?" type of attitude. She wants answers and she knows the police with find something, if it were to exist.

Mr. Rogas knows the police won't find anything. After all, nothing exists... Well, now that they've repaired the elevator and it won't malfunction again, nothing will be found... Mr. Rogas has no problem at all going ahead with the idea.

Mr. Rogas: Yeah. ...Yeah, maybe we should.

The scene cuts to the sound of sirens approaching, and we see a police car, coming down the road, passing a few vehicles parked on the side of the road including a green jeep, a blue, older model pickup truck, two white cars that could be taxis, and a yellow taxi cab, all parked along the side of the road in front of the Wessex. It really is busy.

The police car whips into a spot in front of the Wessex hotel, behind another police car, who is parked behind two yellow taxi cabs, already parked in front of the hotel. The people walking up and down in front of the hotel are probably in shock that police are having to arrive, sirens blazing, to such a seemingful peaceful locale.

The police come whipping in as if something serious has happened. While the situation wasn't quite as serious as it could have been, it is a reminder of what the scene would look like assuming the severity of the situation had of been more severe.

The elevator door sweeps open to reveal...

The hotel's ballroom, on the top floor. This is a long awaited sight. Elaine probably hasn't been back on the elevator since her accident, and probably never got a chance to see the ballroom that she was so anxious to see back on Page 6 of this guide. The door to the 16th floor, upon opening, reveals that missing piece. There is a stage and a dance floor type area supported by massive roof beams atop load-bearing columns similar to the ones in the lobby. There aren't as many, as less are needed for the weight of the other floors lie under this one, rather than placing the weight load on top. The massive beams are more than enough to support the open floor plan of the Ballroom floor. The crimson colored carpeting and the lower dados match what is found within the rest of the Wessex, so it is definitely a part of the hotel. The massive chandeliers are lit and the floor sits empty, eargerly awaiting guests to help liven it up.

Sargeant: Well?

Elaine is dumbfounded. She never got a chance to see the ballroom or any of the floors and now they have looked at all of them, in sequence, from the ground floor all the way to the very top floor. None of them match what she remembers from her earlier encounter. It's like the floor doesn't exist at all, except for inside of Elaine's subconscious. And to view all of them with a Police Detective who is a Sargeant no less, makes her feel worse. There's no denying that the floor does not exist, and the Sargeant and Elaine both can attest to this as they have seen every floor with their own two eyes. The manager watches Elaine's reactions and are happy that she is starting to look like she might be crazy... at least that's what the hotel wants Elaine to think.

Elaine: I don't understand.

Sargeant: This isn't it either?

Elaine: Not what I saw.

The Sargeant doesn't get mad, rather, he might be beginning to think Elaine might be crazy. He retains his professional demeanor and tries to brush it off as mere confusion on Elaine's part.

Sargeant: Mm hmm, okay...

The Sargeant turns to the patrolman standing by the elevator control panel.

Sargeant: Take it down.

The patrolman standing adjacent to the elevator controls has been pressing the buttons throughout their journey and presses the 1st floor button.

The elevator door shuts and the ballroom... (had Elaine have just been able to go and see it the first time, without any malfunction of the elevator, none of this would be happening) ...is left behind.

Perhaps it was meant to happen... Things work in mysterious ways...

The Detective Sargeant reaches into his suit jacket pocket and produces a small container, filled with either Tic-Tacs or nerve medication. It wouldn't be a shock if it was, as the poor Sargeant is already overworked, and is then forced to come out on a major call (which probably interrupted him from something more pressing) only to find... nothing at all. He turns to his right, facing Elaine, but talking mainly to the hotel's manager, as Elaine probably would not know the answer to his question.

Sargeant: There a toy store around here?

Note:
It is surprising that a Detective Sargeant would be unfamiliar with the layout of the town. The Sargeant's comment obviously implies that he is not from around that area, or at least, that he himself has never had to do much investigating in that part of town. The hotel manager would be the perfect choice to ask the question to, as managing a massive hotel around that area automatically makes a person think that that qualifies you to know everything about the surrounding area. If anyone would know, Mr. Rogas would:

Mr. Rogas: Mm, not that I know of.

Mr. Rogas overlooks the detective by a full 4½". He looks over the Detective Sargeant's shoulder to get a better glimpse at what the Sargeant is doing.

Sargeant: I thought it.

His question to Mr. Rogas has caused Elaine to look over at the detective, who also watches intently to see what he is doing. The Sargeant finally gets the container open, and takes one of whatever pill was inside of it.

The Sargeant feels Elaine watching him, and more than likely sees her out of the corner of his eye. He turns to her and stares while making the following statement:

Sargeant: Grandson's birthday tonight.

Note:
It is pyschologically important that the Sargeant mentions the Grandson's birthday to Elaine. As a woman, she is expected to care about these things rather intimately. It is useful for creating an empathetic bond between the two, that will last throughout the rest of the movie. Elaine has another friend she can turn to, to help her solve the case.

Note:
Elaine smiles and looks down while the Sargeant looks up to see the numbers dropping as the elevator descends. The manager looks as if he might be praying that they make it past the 14th floor without any problems...

Note:
There are three clicks up to this point, but the elevator has only descended two floors. This isn't an error, though. Upon leaving a current floor, the elevator will make a click to denote the passing of that floor.

The elevator is passing the 14th floor... The number 14 is illuminated with a yellow backlight.

The number 14 disappears and we await the illumination of the number 12...

The number 12 illuminates, indicating the arrival of the 12th floor upon the traversing of the hotel between floors.

The young patrolman, although somewhat decorated, seems a little confused, and stares at the set of numbers above the door...

His confusion is building, and he asks his question with the confusion plain in his voice:

Patrolman: Hey Sarge, where's 13?

Elaine looks to the Sargeant and the patrolman. The Sargeant and Mr. Rogas turn their attention to the elevator numbers above the door.

Sargeant: There isn't one.

Elaine turns her attention to the numbers up top.

Patrolman: Weird.

Mr. Rogas jumps in to try and help the situation advance a little more quickly:

Mr. Rogas: Most hotels don't have a 13th floor. It's a
   superstition.

The patrolman responds as if the answer is rhetoric and, almost as if he is a little unnerved to talk about ghosts or anything of a superstitious nature.

Patrolman: Ohhhh!

The patrolman turns his attention to the numbers again. The Sargeant stares straight ahead. Elaine stares at the patrolman, and Mr. Rogas stares at Elaine, hoping that she realizes now that she is wrong and that it was all a dream.

We see a shot of the service floor. Letti is near her desk, next to a chalkboard. She is taking a drag on her cigarette and putting a colorful bouquet of flowers down on a table next to the wall, under the chalkboard. Frank, the officer waiting for the others to come back, is leaned against the wall to the left of the elevator.

As the elevator door starts to open, the young officer jumps to his feet and Letti turns towards the elevator as well.

The Sargeant pulls back the retractable metal gate for Elaine and Elaine begins to exit the elevator.

Sargeant: All through here, Frank.

Spotlight On...:

Frank


Frank - As an adjective in the english language, Frank means short, brief and to the point. And this describes his first, short, brief visit to the Wessex perfectly.

The manager of the hotel is the first to apologize to the Sargeant:

Mr. Rogas: Sargeant, I'm really sorry we had to drag you down
   here.

The Sargeant seems not to care. He hasn't been here before, and probably thought it was a pretty cool experience getting to see each floor of this iconic Victorian-style landmark.

Sargeant: Don't worry about it, let's get out of here guys.

On Closer Inspection...:
Frank walks around behind Elaine while the Sargeant and the patrolman walk around behind Mr. Rogas, in front of Elaine. Notice the LAPD badge on the patrolman's uniform.

Mr. Rogas turns to Elaine, hoping that all of her fears are ended. Notice the enunciation in his voice. He is clear and concise, and as professional as any hotel manager:

Mr. Rogas: Now, Miss Kalisher, does this, ease your mind?

Letti turns to watch their exchange.

On Closer Inspection...:
The chalkboard behind Letti reads as follows:
BALLROOM PREP --

GARDEN CAFE ORDER --
*-EXTRA BUSBOYS + COOKS
BEHIND HOTEL (in faint letters)

VENETIAN RM. OPEN 6/11/90.

This plays in perfectly with what we established earlier on Page 1 in this guide about the calender in Elaine's house reading "May 1990". It is more than likely the middle if not the end of May and the Venetian Room (off to the left of the front entrance when Elaine first arrives) is set to open within a couple of weeks after a little bit more completion.

Elaine: I don't know, I uh, I'm still very confused.

Mr. Rogas: Well is there anything else that I can do?

Mr. Rogas still seems a tad confused. Here they have gone through every floor in the hotel and have found nothing. What else could Elaine possibly have to worry about? He keeps his hands together in front of him as a sign of passiveness and attentiveness to Elaine's concerns.

Elaine: No, no I guess not, I'm sorry to put y'all through this.

Mr. Rogas watches as Elaine walks away, proud to have handled the situation properly. He smiles as he turns to look at Letti. Letti looks nice in her white blouse and dark blue sweater jacket.

Letti looks back, a cigarette in her left hand and a piece of chalk in her right hand. Her shrug, along with her hand gestures signify a "she doesn't suspect a thing" look... She doesn't look like she could hurt anybody, but perhaps looks can be deceiving.

It seemingly enough gives the impression that the hotel might be hiding something.

Mr. Rogas turns back and continues watching her leave, smiling. Hopefully Elaine's fears have been resolved and she will finally give up on all of this asinine talk of murder within the hotel...

CONTINUE TO PAGE #11