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It is later in the day, about 7:30-8:00 pm. We are in the back of the hotel, near the service door. Technically we are looking at the hotel's incinerator, although right now the viewer is unaware of this fact. We see an arm using a small metal rod to open the right, and then the left, doors to the incinerator. The sudden introduction of oxygen causes the flames to enrage and liven with activity.

We see a gentleman in a baseball hat looking into the incinerator. This is Peddler, the derelict we were introduced to on Page 9. It appears the good doctor was right about the incinerator being the only place he could think of where Peddler might find burned clothing...

The fire, as with the fire we have witnessed the hotel kitchen staff using to cook with earlier, are exactly like the chainsaw, chisel, and other items of danger that we have discussed already, as well as a few that we will see in the future. They are plot metaphors for expressing the idea of danger. This idea is expressed, and elaborated upon, better at the end of the movie...

Elaine is on a service ramp platform one floor higher, hidden behind a stack of wooden boxes and pallets. She watches intently. Apparently the doctor was right. Peddler has been coming to the hotel, opening it's incinerator, and fishing out clothing and other items he might possibly be able to sell. Maybe, just maybe, Peddler isn't killing anybody for clothing... He is just claiming the surplus clothing that the hotel is burning off...

Peddler pulls an object out of the incinerator.

On Closer Inspection...:
At last we've found it. The hat that Mrs. Beecher was wearing back on Page 3. We haven't seen in since. And here it is, minutes away from becoming a pile of ash. It's too far gone, unfortunately, for Peddler to be able to salvage and sell it:

Peddler: Damn. Too late.

Elaine watches as Peddler tosses it back in. He looks to see if there is anything else of value. Nothing. He shuts both doors using the small metal rod he had used to open them. The rod is retractable and he condenses it down, and then inserts it into the inside left pocket of his overcoat.

Elaine is shocked. Just why and how are clothes winding up in the hotel's incinerator? Something isn't right.

In the hotel business, an incinerator is defined as: Any device, apparatus, equipment or structure used for destroying, reducing or salvaging by fire any material or substance, including, but not limited to, "refuse," "rubbish," "garbage," "trade waste," "debris or scrap," or a facility for cremating human or animal remains.

Cremation of human remains? Could the hotel be disposing of dead bodies by burning them to ash, leaving no trace of their existence? It's a possibility, but Elaine probably doubts that theory - at least for now. But the hotel definitely seem to be getting rid of clothing. It fills Elaine with suspicion. There has to be a reason they are burning clothing, and Elaine is beginning to think that it is because they are trying to hide something more sinister.

The back service area is a mess! There are trash cans filled with broken wooden slats, boxes and other debris probably to be burned in the incinerator. There are boxes, pallets and other debris around the area by the loading ramp and pallets to the right of the service door. There is a lot of machinery, and it goes to show how much is actually involved with making a hotel operate smoothly. There are a ton of staff inside, many of whom go unnoticed by visiting patrons, that put their heart and souls into making the place spectacular (kind of like the cook we will meet later) and do so without the need for recognition. The pipes, conduits, shut-off valves and machinery pretty much achieve the same purpose. They provide valuable services throughout the hotel, be it to provide gas, electric, water or for whatever purpose they were designed, all at the same time, being discreetly tucked away, behind the hotel. They are generally regarded as an eyesore, though without them, the hotel would perish, desperately lacking the essential functions they provide.

On Closer Inspection...:
There are several pipes and conduits strapped to the walls, running to various locations. These are gas and electric conduits, and the electric conduits exist for a non-anachronistic reason. Older buildings, built before electricity became a standard, did not possess electric, and thus they would be added later, more reminiscent of an afterthought. While Los Angeles started using electricity in 1879, and the hotel was built in 1898, it would be assumed that they should be using electricity. Electric usage in hotels wouldn't become standard until the birth of Los Angeles' Hotel del Coronado in 1888, with the bulk of usage coming in about 1900. At that time, the electric wires were installed inside of the gas lines, so if the "new-fangled" electricity didn't work, they could always pipe gas in to illuminate the rooms. Most hotels, the Wessex included, still relied predominately on gas, and it wouldn't be until the hotel renovated, and added electric, that electric began to replace gas as a power source. That's why external conduit exists - to hide a hidden wire that wasn't originally designed in as a part of the original structure.

Elaine watches as Peddler walks around, looking through each trash can. There wasn't anything of value in the incinerator this time, so maybe there will be something good in one of the four trash cans.

There doesn't appear to be anything good or useable. Wait a minute! Peddler reaches into the second trash can and pulls out... a bottle of wine! Peddler probably couldn't be happier. And he didn't have to sell anything or kill anybody to get it. He couldn't find any clothing this time, but he'll definitely take free wine!

On Closer Inspection...:
The wine bottle is slightly illegible but it appears the name on the bottle begins with the letter "P". The name looks to have about 6 letters. The 3rd letter has an upward stem, more than likely from a "b", "d", or "l". Palmer, perhaps?

Peddler takes a drink. Not bad. Elaine is watching, more than likely thinking of how disgusting Peddler is, drinking someone's leftover bottle of wine that he just pulled out of a trash can. Or maybe not. We hear the sound of a door opening and Elaine, although she cannot hear what is going on, looks to the left, forgetting about Peddler's appalling habit, and begins watching Letti Gordon, who has just come out of the back service door. The door makes an ominous squeak.

Letti steps out of the door and lights a cigarette. Peddler takes a longer drink than the first time, obviously savoring the flavor of the bottle's contents.

Elaine is more than likely worried about Letti's safety. Although Peddler didn't harm Elaine, he could still do harm to Letti Gordon. Luckily the hotel service manager can take care of herself. There is a possibility that Elaine is no longer starting to fear Peddler, however. With the Sergeant telling her the clothes are worthless, she might have started to think that he was right: maybe Peddler wouldn't kill over junk clothing. And when Alan said "incinerator", and here Peddler is, Elaine starts thinking maybe he's just an innocent bystander. A victim in all this. The hotel is disposing of clothes for a reason, and he's only coming to salvage what he can. It's a good think Peddler exists, or Elaine would have never found this startling connection.

On Closer Inspection...:
The green sign to the right of the door reads:

The sign on the door reads:
10 - 4

Letti, with white blouse and navy blue blazer, looks charming with her white dress and heels. She isn't too happy coming out and finding a bum snooping around in the trash can. While most women would be terrified, Letti confronts him head on:

Letti: Hey you, what the hell are you doing?

Peddler is surprised and turns around to find Letti. He has no fear in her, being a woman, and is probably upset that she works in a fancy hotel, and can buy her own cigarettes, where he is forced to find pieces dropped on sidewalks near trashcans, and resides in a dank, dirty, abandoned underpass. He answers, with a hint of annoyance in his voice:

Peddler: What's it look like!?

Letti is quick to reply:

Letti: Hey don't get snotty with me.

Letti might have been able to handle the situation a little better than she does. It almost seems as if she is kind of instigating something. She seems to know how to handle herself, anyway.

Peddler: Why not?

Letti: Well maybe I wanna help.

Peddler: Bug off.

On Closer Inspection...:
Peddler doesn't care what this woman wants, and wants to be left alone. He takes another drink without any regard for Letti's presence, and puts the bottle back into the trash can without even finishing it. Must been really nasty or Peddler doesn't want to drink that badly. He might be planning on coming back for it, assuming he can find something to eat to go with it, in one of the other trash cans. He looks through the trash can to his left.

Letti walks up, making her way over to him slowly but surely..

Letti: When was the last time you had a decent meal?

Letti seems to have a softspot and wants to be nice by helping a poor derelict fill his belly with a warm, and well-needed meal. The thought must give her a warm feeling... Even though she can be slightly condescending sometimes, she is still a good person inside.

Peddler: What do you care?

Letti is concise in relaying her purpose. Even though he may have been a little snotty earlier, she is willing to forgive him, and help look out for him by giving him something good to eat. Probably a well-balanced meal off of the hotel's room service menu.

Letti: Well do you want one or not?

Peddler: Are you yanking my chain?

Why would anybody just voluntarily, out of the blue, offer a derelict a decent meal? It must be because of Letti's softspot. Elaine is watching... It is assumed she cannot hear, although she might be able to hear, and just chooses not to believe that Letti would just openly want to give the derelict a decent meal. Elaine ponders whether Peddler and Letti are both in cahoots with each other. Of course, since she is starting to believe that Peddler is innocent, it is likely that she is thinking more along the lines of Letti and the hotel being responsible for something sinister...

Letti: Well I'm not going to stand out here all night.

Musical Note:
The music is ominous and suspicious and something isn't right.

Peddler probably hasn't had a decent meal in years. He also probably hasn't ever had anybody like Letti going out of her way for him, and trying so hard to look out for him. It this for real!? He is speechless, dumbfounded, in shock, in awe and gracious, all at the same time. He never blinks, and stares straight-faced at Letti.

We have to laugh slightly at Peddler. He is ecstatic about what is going on, and can't wait to get a bite to eat. But even then, he is more than likely dirty and dingy, and he knows it. Can't sit down to a nice meal, in a fancy hotel, looking the way he does. It's just not proper. As he is wandering off, following Letti, he wipes his hands on his overcoat in an effort to make himself "presentable" in the best, and, at least unless he is able to wash his hands inside, the only way he can.

Elaine waits as Peddler follows Letti through the back entrance to the service floor. The door shuts and she starts following. We see a ton of debris, cardboard boxes, black trash bags with yellow drawstrings, pallets, and broken wooden slats in front of a ramp leading to an area one floor higher. She follows slowly, wanting to see where Letti is really taking Peddler, but not too slowly as to let them get to far away.

Elaine is more than likely thinking that Peddler is innocent. Like Sergeant Madden told her - he's just collecting junk. But if Peddler is innocent, someone else is murdering people somewhere in the hotel. Elaine knows something isn't right. She feels very strongly that the murder she witnessed is real, and she wants an answer. She slowly starts thinking that Letti may be involved, and now something might be going to happen to Peddler...

We are now inside of the hotel, on the bottom service floor. There is a gigantic commercial dishwashing machine with side panels that raise to allow dishes to be placed inside. Every other panel is open so that we know what it is and what's inside. As the camera pans around we see the large end portion of the dishwasher. This section is where clean plates and dishes end up, allowing them to air dry and to be gathered easily by the kitchen staff.

We see Elaine coming around the dishwasher. She is looking around, looking for Letti and Peddler. They are nowhere to be seen.

The camera pans around in a counterclockwise direction, showing the dishwasher again, and showing another, similar dishwashing machine angled towards the entrance to the stairs.

On Closer Inspection...:
The reddish schemed tiles help to compliment the orangish-brown walls and pale red carpeting running up the flight of stairs. The 6 foot tall silver corner coverings help the column to withstand damage received by carts being inadvertently bumped into them. The 6 foot wide stairway has a rail on the left that helps to keep service staff from falling off of the side while a rail running up the center of the stairway provides handrail access for both sides of the stair while at the same time creating two "separate" staircases - one going up and one to be used for staff coming down. It allows for a more organized travel between floors. Because it is so late, the floor isn't used as frequently as it is during the day. For this reason, to conserve on electricity consumption, half of the fluorescent lights on the floor have been turned off. The remaining strips of lights that are on, only half illuminate the floor, and the area thusly, appears dark and ominous. Note that the use of giant machinery also contribute to the idea of danger as a plot element.

Elaine makes her way up the stairs, to the area where the kitchen is located, hoping to find Peddler being treated to the meal he was promised. Of course, Elaine states later that she doesn't know why Letti let Peddler in through the service door, so we can assume she didn't hear the exchange between these two characters, and has no clue what Letti wants with Peddler. She suspects foul play, but she can't prove it. But she wants to know where Peddler is at. She hopes nothing happens to him.

The next thing that we see is a shot from inside of the elevator shaft. We are looking down at the elevator, watching it ascend between floors. The motor is grinding and we can assume that Peddler and Letti are more than likely inside of the elevator...

We see Letti and Peddler in the elevator. Sure enough, she is taking him somewhere and it is unknown where. She presses the 12th floor button as Peddler watches. Are we going to the 12th floor?

Peddler glances at Letti who opens her mouth as if to make small talk. She doesn't say anything, and instead smiles at Peddler. It doesn't seem to make him feel any better.

Letti seems a hint nervous, but does a good job at pushing the emotion away. She seems to be up to no good, and tries to cover it up with smiling courteousness.

Peddler glances up to the numbers above the elevator door, watching the floor numbers increase as the elevator traverses past that floor. Peddler seems uneasy, and even though Letti is trying to smile and act as non-chalant as possible, we can sense that something is wrong with the situation, and assume perhaps that Letti is going to do something bad to Peddler. It is unexpected, as we have been slowly growing to like and appreciate all that Letti is and does.

Musical Note:
The soft background music fades away, being blended into the hum of the motor from a giant, commercial, electric mixer. There are sounds of the hustle and bustle of a busy kitchen, and it goes to show that even late at night, the staff is busy working, obviously preparing delectable delicacies for use the next day. The hum reverberates through the floor, echoing off of the concrete walls, and provides an ominous stab at trying to liven up an otherwise dark and dead time period.

Elaine's arrival on this floor is symbolized by showing an event, already occurring on the floor. The first shot that we see is of a giant bowl of batter, being mixed by a giant, commercial, electric mixer. This not only helps the viewer to establish where in the hotel he or she is through the use of visual aids, but it also contributes to the idea of danger as a plot element, as the giant spinning mixer blades could definitely do some damage, assuming a hand was placed in it path, rather than the batter that it is currently mixing.

We see a white-clothed arm pouring flour from a giant 15 pound bag into the giant mixing bowl, where the rotating blades mix the contents into perfect unity. Note that the chef (listed as "Cook" in the credits) pours the flour without measuring. This is the sign of a master chef - a person who has been doing this forever, and possesses the ability to know exactly how much of something to use, without the need to break out a measuring cup. He adds just enough to achieve the perfect consistency of the batter.

The kitchen is quite busy. There are trays of delicacies being prepared for tomorrow, fliers on a bulletin board in the background denoting various events and plenty of vases and 5 gallon buckets filled with colorful fresh cut flowers being organized for usage in various locations throughout the hotel.

We see Elaine coming through the kitchen area. She approaches the cook, and using his right hand, he presses a button on a pushbutton type system attached to the mixer. It shuts off, and the kitchen is temporarily silent.

Elaine: Did Letti Gordon pass through here?

Cook: Haven't seen her.

The cook yells to the members of his staff:

Cook: Anybody seen Letti?

It is quiet. The cook turns around, and yells his question again:

Cook: Anybody seen Letti?

It is quiet again. Obviously nobody knows where she is, or at least she hasn't passed through this area in quite some time.

Cook: Sorry.

It's not the cook's fault he doesn't know where Letti could be. After all, she was supposed to be coming to the kitchen to acquire a plate of food to feed to Peddler.

Elaine: Thanks.

The cook turns the mixer back on, as Elaine walks away. Elaine passes a table containing three stacks of plates (a total of 17 plates) and a medium-sized metal mixing bowl. Notice the use of fire in the cooking process. This relates to earlier conversation about the usage of dangerous items used in a controlled setting.

The scene switches back to Letti and Peddler. We know it is them because we are watching the elevator ascending, via a camera pointed facing down the shaft.

The numbers change, representing the floors as they are being reached. ... 7 ... 8 ... 9

Peddler is getting a little worried. He hasn't seen any sign of food as of yet and the elevator is rising, taking him deeper and deeper into the hotel... The higher they go, the farther Peddler becomes from being able to make a quick escape. He is far from the entrance and right now he is vulnerable. The elevator makes a roaring noise as it ascends, and it doesn't help to alleviate Peddler's fears.

Peddler: Thought I was getting something to eat.

With a smile, Letti assures him that a meal is waiting for him, just as soon as they get to where it is they are going...

Letti: Hang on.

Peddler wonders if Letti is taking him to the banquet hall. He doesn't really know where he is going. All he knows is that he hasn't seen a kitchen, but Letti promised food, and she surely wouldn't have lied.

Peddler: Where we going?

Letti's eyes glance upward towards the changing numbers. She acts as if Peddler's comment if rhetorical, and answers slightly sarcastically, all while maintaining an assurative smile:

Letti: We're going up.

Peddler glances up at the numbers. He is beginning to have second thoughts about having come with Letti, but he knows that there is nothing he can do about it now. It's too late to ask Letti to turn around and take him back to where she found him. And it would be rude for him to turn her down. He stands his ground, although there is a lot of disapproval coming from his voice:

Peddler: I don't think I like this.

Peddler watches as the floor numbers rush by, hoping to hurry up and be on his way.

The floor numbers changes as the elevator passes that floor:

... 11 ... 12 ...

The elevator finally stops, stopping on the 12 floor with a bang and a thud. Letti tries to put on a serious look as if the bang didn't scare her. Peddler turns to look at Letti as he himself was a tad bit frightened by the elevator's sudden stop.

Musical Note:
The music begins to rise ominously.

Letti grabs a hold of the 12th floor button, which is still illuminated. Using her right hand thumb and index finger, she rotates the 12th floor button, sideways, turning it clockwise ½ turn. It makes a click.

On Closer Inspection...:
We have seen the floor "descriptor labels" for the top two rows of buttons, and now we can make out the next three rows of buttons as well:

The top label is blank...


We would assume that Elaine should have gotten the Presidential Suite, but according to the elevator descriptor labels, that Suite resides one floor down below Elaine's. The label for the 6th floor is blank, and we can assume, thusly that Elaine's Suite possess no name. Either that or there are too many focal points on the 6th floor, and thus no label was necessary. Either way, this label is blank.

The 12th floor button is now completely sideways. Letti presses it again. It makes another click as she turns to smile at Peddler. Note that there is no button #13 and that the buttons skip from 12 to 14, same as the floor number indicator above the door in the elevator.. Assuming that, at one time there could have been a 13th floor button, it would have taken the place of the 12th floor button. Each floor button would acquire the number of the floor beneath it, with the exception of the 9th floor. It would have required an entirely separate button, and would have placed below the 10th floor button, directly across to the button labeled "M" for the Mezzanine Floor. It was obviously removed, although before now the viewer was to assume that there wasn't a 13th floor, nor was there ever a button, nor could the floor be accessed. But here we are...

Turning the 12th floor button sideways and pressing it again is the key to accessing the hotel's hidden 13th floor. The viewer watches Letti intently, knowing nothing yet of Letti's plans for Peddler, nor realizing what exactly is going on.

Peddler looks at Letti with large eyes, desperately trying to figure out exactly what is going on.

After Letti presses the sideways 12th floor button, the elevator begins to ascend once more. We see a shot of the pulley being used to pull this ancient elevator upwards.

Letti turns back to give Peddler a smile. She possesses a solemn glance that unfortunately isn't sincere. Letti is secretly counting all of the people who are being sent up to the 13th floor, and Peddler is just one more on the list. She doesn't feel badly for what she is about to do to Peddler.

The elevator comes to a stop. There are no numbers lit up on the floor number indicator, and Peddler seems to be a little worried. He looks to Letti with a solemn gaze, wondering if it was a mistake to have come with her. He stares at the door, anxiously and nervously waiting to discover what lies on the other side.

The viewer still has no clue what is going on. Is there a banquet hall or a kitchen on the other side of the elevator door? Where is our sweet and Sadistic Service Manager taking this gentleman?.

Letti begins opening the retractable metal gate and the elevator doors come sweeping open.

Peddler stares, obvious in awe at what he is seeing. We gain a sense of insight as to what Peddler is seeing, based on the look of shock and awe in his eyes. It definitely doesn't seem like the kind of reaction that someone would display if they were looking at a giant table filled with food.

The elevator doors open to reveal a familiar sight - the same place in which Elaine witnessed the original murder. Ragtime Piano, aka The Wessex Death March, is playing in the background and we are greeted to two eerily lit gaslights, casting an eerie shadow on the dimly lit wallpaper. There is the same small wooden table with three Satyr legs with the bust atop it that Elaine noticed so well the first time. This is the same floor that Mrs. Beecher was murdered on, and the viewer finally gets a true sense of what is going on. Apparently the hotel staff are murdering off it's patrons on this... hidden floor. Or at least Letti is. We start feeling different for Letti, knowing what she has been doing. We don't yet understand why the hotel is killing of it's visitors, but apparently it has something to do with this floor, Letti Gordon, and a mysterious axe murderer.

The Wessex Death March (Jay Gruska states it's official name is "Ragtime Piano"), is playing in the background and we know that, every time this song is playing, somebody is going to die. Bad thing is we know Peddler is about to die. We feel bad for Peddler because he doesn't know that he is going to die.

This certainly wasn't what Peddler was hoping was going to meet him when the elevator doors opened. He was expecting to see a table full of food. He stares widely at the tattered wallpaper, devilish bust, and overall creepiness that the floor provides. He isn't afraid to ask:

Peddler: The hell are we?

Peddler is in a vulnerable state. Confusion has set in and he temporarily lets his guard down. This was extremely bad timing for Peddler to decide to choke up, because before he has a chance to react, Letti gives him a good shove. Her shove pushes him all the way out of the elevator, sending him stumbling to the ground over to the left of the table.

Peddler: Uh! Hey!

As Peddler is picking himself up off of the ground, Letti closes the metal gate, giving Peddler one final look - this will be the last time that she sees him. And with this the door comes to a close.

On Closer Inspection...:
Notice the crimson curtains hanging on either side of the elevator. While it gives notion to the idea that the curtains may be closed, concealing the elevator from view, they are more than likely used for decorative appeal.

Peddler jumps to his feet, and runs over to the elevator. The doors have already closed and Letti is probably halfway to the service floor. Peddler beats on the elevator door:

Peddler: Hey ya old bag! What the hell are you doing!?

Peddler realizes that banging on the door is useless. He decides he might as well explore. He is, after all, at least inside of the hotel, and not outside digging through it's trash cans looking for food. Unfortunately, if Peddler was to know what was coming, he would more than likely much rather have preferred to be outside digging than walking around, hoping to find a room full of food. ...Because he isn't going to find one.

He begins to admire the decorum... Ornate red wallpaper? Gaslights? And what's with this creepy statue? Is that a blood stain that is dripping from his mouth?

We see the bust, up close. It sits wide-eyed, appearing almost as a ominous omen. It is faced perfectly so that it appears to be staring at whoever comes out of the elevator. It gives a creepy first impression, mixed with the dank lighting conditions, dark wood floor, dark brown veneer and ornate red Oriental rugs. The head appears to watching who comes out and it is a possibility that it contains a built-in camera and that whoever the killer might be, might be watching the footage, hence he always knows when someone is on the floor. It could also be a representation of the manifestation of those to whom the hotel is trying to impress, (we later learn that it's Satan) and this is their way of anthropomorphising the statue. He is being given an opportunity to "see" his "sacrifices"... However, it's definitely frightening when it's one of the first things that you see.

Peddler begins walking down the small flight of steps as he enters the next area. From the platform in front of the elevator there are three steps that must be climbed in order to get to the lower area. This, in essence, makes this area and the rest of the floor about 22 inches lower (or slightly under 2 foot) meaning that the floor would possess a 12-12½ foot ceiling, versus the 10 foot ceiling possessed by the service area where the elevator resides.

The look in Peddler's eyes are a mixture of fear and surprise.

We next see another familiar sight - the devilish looking head, with sadistically content smile and long pointed ears, that we saw before the tragic and emotionally heartbreaking death of Mrs. Beecher. It is sitting on a small little wooden platform that acts as an alter, and is the focal point in between elaborate and ornate candelabras. As we have talked about on Page 13, this is an image that tells that something bad is going to happen...

Peddler really doesn't look like he's too happy. Dread and worry feel his soul. What has he gotten himself into? He doesn't know the answer, but he will soon find out. All that he knows for sure is that he doesn't like the look of this place...

We see a hand protruding from a white garment. It appears to be the same hand as before, implying that the hotel is using the same killer. It reaches for the axe that is inside of the glass-fronted case that protrudes from the wall. The audience knows that bad things are going to happen. It is a scary thought and we feel even worse for Peddler, knowing his fate.

Musical Note:
The music rises ominously and provides a chilling effect.

The camera perspective changes to the bottom. We see Peddler's feet, and a glimpse of the silver-toed boots that helped to start all of the madness, as he begins to walk down the hallway. The camera is actually focusing on the hallway, and it appears to be extremely long and ominous. The entire hallway is scantly lit and the hues of reds and browns make for creepy eye candy. The hallway is empty and desolate of life, and Peddler is hesitant, but continues anyway.

We see another shadowy silhouette of a man walking while carrying the axe. We know from the sequence with Mrs. Beecher that this is a sign that he on his way to pay Peddler a visit. Elaine is right. Someone really is inside of the hotel killing people. We feel horrible as we know that the figure is gaining on Peddler... We're also mad at Letti for being involved in something so sinister.

Peddler stares down the dimly lit corridor. There is nobody around. No waiters, no kitchen staff, no food. There are cobwebs all around and the floor appears to be trapped in time.

Peddler: Where is everybody?

On Closer Inspection...:
Peddler tries the doorknob to Room #7. It is locked, obviously, as are most of the doors on this floor. The floor definitely gives off a feeling of claustrophobia.

The first door Peddler tries, and it's locked. Not the kind of service he was expecting from a 5-star hotel...

There is a picture of a skull, sitting on a little grey covered table. The skull is vaguely reminiscent of something found in Shakespeare's Hamlet, although it contains the bottom jaw. It appears to be smiling a wide-mouthed smile. Behind it in the left background are several candles, and they appear to be the same candles that are arranged around the devilish head with the sadistically content smile that we viewed a few seconds back.

Peddler: W'kind of dump is this?

We have to laugh slightly at Peddler's comment. Being a bum, or, to be more politically correct, a derelict, Peddler has more than likely been around quite a few unsavory places in his days. As we think back, his own domicile, a dark and graffitied up underpass, completely surpasses this place in being rundown and disapproving. Yet he speaks empathetically about hygiene as if he were a man of money. He did, earlier, after all, wipe his hands on his more than likely filthy overcoat, in an effort to clean them, so maybe he wants to do better in life, he just can't help the spot that he's been put in, and finding a way out is exceptionally tough for the poor street merchant.

There is a picture of a taxidermied mountain lion, whose wide-open mouth reveal several sharp and menacing looking teeth. The look on his face say that he wants to bite, rip and shred. It's a symbolic reminder of danger used as a plot element and help contribute to the notion that something bad is about to happen.

Peddler has made it all the way to the end of the hallway. Unfortunately, it makes a left hand turn. The camera tilts slightly as we watch Peddler slowly turn the hallway.

The camera angle, being deliberately slanted to one side, is known as a "Dutch Tilt" or a "Dutch/German Angle" and is used for dramatic effect to helps portray unease, disorientation, frantic or desperate action, intoxication, madness, etc... Peddler is probably feeling all of these emotions...

Peddler looks down other hallway. The entire floor appears to be a giant, dimly lit maze of corridors, and Peddler doesn't like the look of things.

There is an open door at the end of this hallway, and Peddler can tell that this is where the music is coming from. He feels uneasy, and doesn't exactly want to enter the room at the end of the hallway. He feels as he is walking into a trap, and he doesn't like it.

Something just doesn't feel right. Peddler decides to turn around.

The killer has been following Peddler.

Oh, how scary! All of a sudden the killer, definitely a male and dressed in black and white comes from behind the same corner that Peddler had just come around. He is holding the axe and Peddler is mortified!

The killer pulls Peddler's hat off, obviously so that Peddler can get a better view of the man about to take his life. Don't worry about the hat, it's going to wind up in the incinerator before too long...

The killer begins to hack Peddler to death:

Peddler: Wuh, uh, ah! Ahh, ahhh! Ahhhh!

A shadow slowly begins covering Peddler's face, engulfing it in darkness. This is an important plot element as it suggests his fate is sealed. This is identical to what we saw happen to the man in the frieze carving on Page 2...

Counting Corpses:
Peddler's death marks the fourth death (Death #4) at the hotel since Elaine has arrived, and marks (Death #12) on the hotel's current count...

The hotel is definitely making good time! We are only 36 minutes into the movie, and the hotel has already killed off four individuals. That averages out to one death every 9 minutes, or in the real life standards set forth by the movie, one per day.