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 NOTTFOWalkthrough / AnalysisPage 018 Share to:  Share to Facebook Share to Twitter Share to Google+ Share to Pinterest Share to Tumblr Share to MySpace Share to Email





































Today is Thursday, Elaine's fourth day at the hotel, and Elaine is of the way towards solving the mystery.

We are taken to another bright and cheery exterior shot of the Wessex, on this fine Spring morning. We are treated to yet another, really good shot of the misplaced frieze above 10th floor... Luckily, since we've already discussed the reasoning behind it, we can keep continually pointing it out, without having to explain why. It doesn't hurt anything seeing it there, it's just interesting to note that it shouldn't be there.

The three flags of the Wessex are billowing beautifully in their position on the terrace between the 3rd and 4th floors. The prominent palm trees add a balmy, localized feel, and the canopy over the entry (which was added just for this movie) provides a welcoming touch. Note that almost all movies utilizing the Sheraton-Town House all typically built their own personalized canopy entrance, similar to the one used here.

Note:
Notice how different floors posses different style lintels above their windows. Pay special attention to the rounded arches on the 4th floor windows. Their style played a more prominent, now hidden purpose, that we will discuss later...

Musical Note:
Peaceful classical music play in the Hotel's Garden cafe. It helps to add a quaint and peaceful ambiance to help soothe the dining patrons.

Elaine, in a white blouse with black blazer, has just gotten finished telling the good doctor about her visit with Peddler and Sargeant Madden, and it seems to really bother Doctor Lanier that Elaine is potentially putting her life at risk to try and find proof of a murder that never happened in the first place.

Alan: Elaine, I really can't believe you went down there.

Elaine: What was I going to do? Everything else was a
   deadend?

On Closer Inspection...:
Throughout the scene, there are various times that we will see our kind young waitress, Juli, walking around, serving patrons at different tables. There are also two other waitresses, dressed identically to Juli, as well as busboys that pick up plates and silverware after the patrons depart. It is a busy and lively setting that is quaint, peaceful, and relaxing. It possesses the features that will give it an excellent write-up in Elaine's article. Note the strand of white christmas lights wrapping the tree beside the table. This provides more peaceful ambiance.

The doctor, wearing a bluish button up shirt underneath a grey suit jacket, seems worried about Elaine:

Alan: It this really that important to you to maybe risk your
   life?

Note:
Elaine opens and pours one little pack of sugar into her coffee cup.

Elaine: I had to prove I wasn't crazy.

Alan: Well, nobody ever said you were!

Note:
Elaine only wants to make herself feel better. Get a little solace in knowing the truth. Nobody said she was crazy, but it was driving her a little crazy thinking that a vision so realistic as hers could possibly be a mere dream. And since there's no way to prove it to the staff, in her mind, she more than likely automatically assumes the staff assumes that she is crazy. The hotel staff (who are oblivious and know nothing about any murder) need to also know the truth, and Elaine would be a hero if she could help them uncover something sinister that had been going on, right up under their noses, while they stood oblivious.

Elaine uses her right hand's index finger to "count" off fingers on her left hand as she "counts" "the boots" and "the man" in the following dialogue:

Elaine: Yes, but I wasn't sure. Now I am. I found the boots. I
   found the man. And I'm telling you, I'm going to find that
   floor.

Alan's eyes are huge as he stares wide in disbelief. There is no "floor" to find... At least, that's all Elaine needs to know...

Elaine: What's the matter?

Note:
Why does the doctor look wide-eyed at Elaine when she mentions "the floor"? Elaine might suspect, only to a degree, that the doctor might know something.

Alan: Why I wish you could see your face.

Elaine: Why?

Alan: Well, you're so intense.

Note:
Okay, maybe the doctor doesn't know anything. He was just surprised, because he has never seen Elaine so intense or excited...

Elaine: Of course I am, don't you see there's a story here!?

Alan: You came here to write a travel article about this hotel.

Note:
Why would the good doctor care about the topic of Elaine's article? Maybe he just really loves the hotel and wants to see it get a good review...

Elaine: Are you kidding? I can't write about croissants now!

Note:
The croissants were delicious! But if there was a murder, and Elaine could prove it, she might achieve a little more stardom that if she were to just write a simple travel article. And if she could sell the article to a major newspaper, that would be even more rewarding. The doctor is still worried.

Alan: The croissants won't bounce a pipe off your head.

Elaine: Alan, why are you trying to stop me from doing this?

Note:
Elaine leans in towards the doctor. Her minor suspicions she had of him earlier are slowly coming back. You would think he would want her to find the truth. Does he have something to do with this? Is he hiding something? Why is he... holding her back?

Alan: Because I care.

Note:
Alan's reply is perfect, thanks to it's delivery. He says he cares in a voice one step above crying. It's enough to make Elaine think that he is truly and genuinely concerned about her safety and wellbeing. The look on her face says he's lucky he redeemed himself... She's willing to forgive him from trying to stop her... for now. Luckily enough, as if it were fate, she doesn't get a chance to ponder the scenario any more. Something else more pressing comes about, and it definitely gives her something else to think about. Our sweet, kind and innocent waitress Juli is carrying a big, old, brick looking cordless telephone with an 8" antenna, and just so happens to be bringing it to Elaine's table.

Juli: Miss Kalisher... There's a call for you.

Elaine takes the phone from Juli, who turns back to her left, exiting off the right of the screen, same as her entrance point.

Elaine: Thank you.

Elaine presses the talk button on the telephone, which in turn makes a click.

Elaine: Hello?

Sargeant Madden: It's Sargeant Madden.

Note:
The Sargeant is calling Elaine? What in the world for? He had to have found something out. Elaine seems to be very excited that he is following up with her. He even happens to be around the area still. He is standing, talking on a payphone, in a graffitied up area resembling Peddler's Underpass.

On Closer Inspection...:
There is a red cross to the right of the payphone. In white lettering, running vertically in the middle of the cross is written the word "HOP". Running horizontally through the cross, using the "O" as a connecting letter, is the word "DOC". On the left side of the payphone frame resides the word "MAYER". This could also be a reference to the slasher film "Halloween", as are Gail Myers and Judith. Myers is derived from the word MAYER, so this could be a possible tie-in.

Elaine: Yes?

Sargeant Madden: I went down there.

Elaine: Did you find the clothes?

Sargeant Madden: Oh yeah.

Elaine perks up. She knew she was onto something!

Elaine: See I was right!

Sargeant Madden: Let me ask you, did you take a good look
   at that stuff?

It looked like she did. She had a fire barrel shooting 1½ foot tall flames above it's rim, and it provided a fairly decent amount of light. Everything looked decent enough...

Elaine: Yes of course.

Sargeant Madden: I mean, outside, in the light.

Elaine: No I didn't why?

Sargeant Madden: Stuff is junk.

What does he mean? There were clothes, and shoes, and suitcases... It was all there...

Elaine: What do you mean?

Sargeant Madden: It's worthless. Burned. You know, scorced,
   like in a fire.

Elaine: Scorched!?

Note:
Scorched? Everything looked okay when Elaine was there. Was it possible that Peddler set the clothes ablaze to cover his tracks and cast the blame elsewhere? Probably not... he sells these clothes for liquor money, so he would certainly want them to remain in the best shape possible. Perhaps the clothes might have minor defects that she didn't notice. Fire would definitely explain the water-damaged look that we noticed on the bottom of the shoe when Elaine pulled it out the box. It must have been fire, and not water...

Sargeant Madden: Yeah. So now we know, huh? You're
   barking up the wrong tree. Nobody's gonna kill people over
   garbarge.

Note:
The clothes are garbage? The Sargeant traveled all the way over to where Peddler resides to check out Elaine's claims, didn't find anything useful, and then had to waste 25¢ to use a payphone to call Elaine to tell her that all he found was junk. Elaine doesn't want to be looked at as a troublemaker or a crazy person, and doesn't walk to talk anymore. The Sargeant did finally go and look and has answered all of her questions. There is nothing more that he can do...

Elaine: Thank you. Bye, bye.

Elaine hangs up the phone, setting it down on the table in front of her. She doesn't want to admit she was wrong, but she might have to.

Elaine: Well, looks like you were right.

Alan: What do you mean?

Right about what? The doctor is curious.

Elaine: I should stick to croissants.

Elaine picks up her fork and takes a bite of the lemon-merangue pie sitting on the pink-rimmed saucer sitting in front of her.

Alan: That was the cop, wasn't it?

Elaine shakes her head "yes", still chewing.

Alan: It didn't pan out?

Elaine finishes her bite and shakes her head "no".

Note:
Right about now, if it was any other time or place, Elaine would usually be thinking about how rich, creamy, heavenly and divine the bite was, and trying to find the perfect words for her magazine article. But this time she has her mind preoccupied. With the possibility of murder looming and the Sargeant possibly thinking she's crazy, a delectable bite of pie isn't enough to get her to alter her train of thought.

On Closer Inspection...:
On the table, there are two pink-rimmed saucers (Elaine has pie, Alan has cake), two smaller saucers sitting underneath matching tea cups, cutlery, a water glass, a silver creamer carafe, a set of tall, skinny, glass salt and pepper shakers with silver tops, a clear glass ashtray, and a pink-rimmed plate with what appears to be a small red and white box sitting atop a piece of wax paper.

Elaine sits, pondering the Sargeant's words. She just doesn't believe it, and the thought eats away at her subconscious. She knows she is overlooking something crucial to solving the case, but she doesn't know what it is she's looking for.

Elaine: Dammit! I know those boots came from this hotel.
   Probably the clothes too. But where would a bum find
   burned clothes around here?

Alan gives Elaine a sly look.

Alan: I don't know? Maybe the incinerator?

Note:
Alan is trying to slowly lead Elaine astray, but he has to appear to be supportive and on her side during her quest to find "the truth". He mentions the incinerator, as that's one of the only places in the hotel where stuff is burned. By going along with Elaine, and helping to point her in a fairy right direction, he is actually using reverse pyschology. He wants Elaine to think the best of him. He might have sensed her thoughts earlier, when he seemed to be wanting to keep Elaine from finding the truth, so to avoid any kind of negative thoughts about him (be it that he's keeping her from finding the truth, or blatantly not wanting to help her at all) he is willing to give her all the "hints" that he can...

On Closer Inspection...:
Alan prepares to eat a tiny piece of cake, 1½" square, ½" thick. It is iced with yellow frosting an adorned with a small brown ornate letter "W" (although it appears with the loops of the font that it is an "M" rather than a "W").

CONTINUE TO PAGE #19