|We see white writing atop a black paper. These are newspaper negatives, that have been converted to "Microfiche". Microfiche, a process involving placing small versions of information (such as newspaper pages) into rows and columns atop a piece of microfilm, can be viewed on any microfiche reader. The reader, reminiscent to a computer screen, magnifies the image and displays a life-sized version of the saved information. This makes it extremely easy to archive and preserve older newspapers. Once one finds the page he or she is interested in, the colors revert to normal, and a copy of "the page" may be printed out. Most libraries generally contain at least one microfiche reader, available upon special request. What we are seeing now is the Microfiche machine located at the Los Angeles Public Library. Elaine is scouring articles between the years 1898 and 1901 hoping to find information on why the Wessex Hotel originally erected a frieze around it's 13th floor. She passes through each page, scanning it for information, obviously skipping over advertisement pages and other nonrelated sources. For the hotel to have completely sealed off one of it's floors, a mere three years after it's grand opening, something drastic must have happened, and it would have surely made the front page. News was scarce 90 years ago, and anything of any degree of importance would have received a write-up in the local newspaper. And surely being one of the biggest and nicest hotels in Los Angeles during the turn-of-the-century, a sudden, rather drastic change was sure to alert the attention of the local newspaper. This isn't the kind of news that would be stuck in the middle of the paper amidst merchant advertising! It would be on the front page!
|As soon as the film comes back off of commercial, there is no music playing, and the sounds of the microfiche player are distinctive and defined. Each page makes a click as it enters on screen, and makes a mechanical scrolling sround as it scrolls between items. In the VHS version, or at least in the Italian VHS, the music from the last scene will continue playing, all the way up until the camera pans back around and focuses on Elaine. It is vaguely reminiscent of the theme played during Elaine's visit to Peddler's Underpass, and is absent during all cable television showings of the film.|
|The Daily Tribune:|
|Before Elaine moves on to viewing the next image, we can read a little bit of this page, now.|
The second page pages by, quickly and illegibly. We can see several ads on the right-hand side of the page that advertise items for $1 apiece.
to be Watched
It is the kind
of nourishment you get that
determines the Way you Feel
Special Premium ???
"Clean-up" of HATs
|Foreshadowing the Future:|
|As the third page comes into view, the first thing that we notice is a headline in the second column, nearer the bottom. It reads "Nine Dead in an Explosion". While this century-old news doesn't have anything to do with the Wessex, a need for a similar article may be necessary in the near future...|
|The Daily Tribune:|
|Captions and headlines on the third page read as follows:|
|Nine Dead in
with Walsh at
New York City
|As the camera pans around, we see a small desk-styled silver domed reading light to the right of the the microfiche player. We see the left side of Elaine's face and behind Elaine we notice a pamphlet-holder shelf with 19 of its shelves filled with pamphlets. The camera continues panning around, revealing more shelving behind Elaine, to her right, as well as a card-catalogue holder cabinet. The camera focuses on Elaine from the front. She is still wearing her royal purple sweater with a pendant hanging from a thin gold chain. She must have taken off her black blazer, but it is more thank likely draped over the back of the chair she is sitting in. There are four shelves worth of file boxes on the far wall in the back, as well as a small amount of light coming from a window in the upper righthand corner of the back room. It, along with the desk light and the light from the microfiche player provide a small amount of relief in this dim and scantly lit sub-basement of the Los Angeles, California library. Notice that the illumination of light behind Elaine gives her a heavenly glow. Since the scene began, Elaine has scrolled through a total of 15 pages. The 16th page contains an article that catches Elaine's attention.|
Elaine: How bizarre...
The page appears in negative format, as do the rest, but as soon as Elaine realizes it's something she wants to look at, a press of a button is all that it takes to put the picture into its clear, readable state.
|The caption below the picture reads: |
|The Daily Tribune:|
Can sadly be avoided if you let the people know it through a small "want ad."
IN THE TRIBUNE
THE DAILY TRIBUNE
Will help your business...
FRIDAY, SEPTEMBER 14, 1900
TWO CENTS IN THE AREA|
FIVE CENTS OUTSIDE THE AREA
Mass Murderer Hacks 16 People to Death at Wessex Hotel
Federal Reserve to Report Changes
Member Banks Gain Deposits and Reduce Borrowings From System
Loans on Securities Up
Rival Fusion Move Begun by Seabury; O'Ryan may Decline
New Slate, Probably Heading ...
Church Epic(?) Against Ind... for A... Is Unchanged
The Vote was Very Close
Avery Block, member of a satanic cult, walked calmly into the Wessex Hotel this morning took a fire axe from the wall and proceeded to hack to death 16 people seemingly at random. The investigating detective Daniel Bergin said "it was the
worst and bloodiest carnage he had ever witnessed." There were headless bodies and mutilated corpses all thru the hotel. Avery Block is still at large.
An immediate investigation...
|The rest of the article is prevalent but illegible.|
|Errors in Continuity:|
|Not really continuity errors, but:|
- there should have been a comma (,) after "morning".
- Daniel Bergin's direct quote should have read "I have ever" rather than "he had ever"; either that or "he had" should have read "[he had]".
|The camera brings the image of this page up close, starting with the lefthand side of the page. It's purpose is to allow the viewer to be able to read the headline, as it pans across the screen. After the headline has been shown in its entirity, the camera pans down the middle of the page, showing a large version of a picture of Axe Murderer Avery Block. The picture is the width of two columns, and takes up ¼ of the page. It is equivalent to about a 5" x 7". His expression depicts a no nonsense attitude and his deep, penetrating stare induces a sense of fear as one stares into the depths of his twisted soul. The camera flashes back to Elaine.
|As soon as I can acquire a copy of the prop newspaper created for this scene, I will update the above information with all missing text. There seems to be a detailed article adjacent to Avery Block's picture, obviously explaining the situation in more detail. No mention of the 13th floor appears in the article in the top righthand corner of the page, so we can assume that the longer article, which begins with the words "An immediate investigation" gives more detail on Avery Block, and his use of the hotel's 13th floor.|
Elaine stares intently at the article, absorbing as much of this newfound knowledge as possible. This is the information that she was looking for... the reason for the hotel's discontinuation of its 13th floor. This is the kind of information that she feels Detective Sargeant Madden needs to know. She heads straight for his office at the LA Police Department.
The camera is now inside of Sargeant Madden's office. It is aimed towards the window to the left of the door, and through it we can see Elaine, following the poor, overworked police detective as he approaches his door. It is unknown how long Elaine and the detective talked, but she obviously has been rehashing her story, telling him about her visit to the City Engineer's Office, and about her discovery of the Wessex Hotel's "hidden" 13th floor. She is now telling him about what she has just found out about Avery Block, a mysterious killer who murdered 16 people, almost a century ago.
As the door to the Sargeant's office is opened, you can hear the dialogue better. The camera focuses upon the two as they talk, zooming out to show a little more of the backdrop.
Elaine: And I looked it up at the library, and I found an old
story on (mass killing)(?)...
The Sargeant is carrying two file folders, filled with papers.
Sargeant Madden: Uh, huh.
|On Closer Inspection...:|
|As the Sargeant walks around his desk, remembering the stage turn, we can see two police officers through the small 16" x 42" window in between the door and file cabinets. They appear to be staring into the room, but they are in fact talking to another police officer. This officer is being blocked from view by the file cabinets and the window frame, but he will step to his left, entering view. The officer on the right will then take a drink of coffee from a small styrofoam cup.|
Note that we get a better view of the two mounted Bass on the Sargeant's wall and the three fishing poles behind his desk.
|Remember all the way back on Page 17 when I told you to pay attention to the area of glass next to the file cabinet? It was empty then, but now there are two fliers hanging in the once empty spot. The top flier reads "MISSING" while the one below reads "Have You Seen Me?" People are coming up missing all the time. In fact, there will be another flier later on, posted above these two... I'll tell you when.|
|On Closer Inspection:|
|There is now a red ended dart sticking out of the dart board. It wasn't there earlier, so the Sargeant must have been throwing a couple to relieve some stress. Probably not a good idea with the giant windows in the front. Everybody would be able to see, and more than likely reprimand him for playing games on the job. Somehow or another he got a dart on the board. It's in the second dark spot on the top, to the left of center.|
Elaine: A lunatic named Avery Block went up to the 13th floor
of the Wessex hotel with a bunch of his friends. He took a
fire axe off of the wall and started swinging at everybody in
sight. By the time the police got there 16 people had been
|The entire time, the Sargeant has tried to believe Elaine, even though he didn't really want to. There just hasn't been anything to support her claim. This story, however, is definitely a start. That's why Elaine specifically mentions "the police". She is making a reference to something that the Sargeant can definitely relate to. He is the police, and anything involving the police is usually very serious, thus Elaine's mention of the police arriving brings total credibility, reliability, and seriousness to the situation. Elaine feels that the Sargeant will be forced to believe her, as the police force was once involved. Notice also that she specifically mentions "The Wessex Hotel", even though the Sargeant knows exactly where she is referring. This is just to reintroduce the location of the crime to a busy law enforcement officer. The juxtaposition of "The Wessex Hotel" and "the police" are important to making a connection between the two. Superimposing the idea that the two go hand-in-hand, Elaine is hoping that the Sargeant will take the situation with all seriousness and do whatever it will take to find "the truth". And reall, it might even make the Sargeant's job a little bit easier, as maybe there won't be so many missing people in Los Angeles, once this maniac is taken into custody .|
Sargeant Madden: Eh? So what is it you want from me?
Elaine: The files from the original investigation.
The Sargeant smirks.
Sargeant Madden: Heh, heh. Are you serious?
The LAPD's Investigating Detective Sargeant walks towards his file cabinets, where he places the two files in his right hand onto the top of the pile, after having removed the two files already on top of the stack using his left hand.
Sargeant Madden: That was 90 years ago. I wasn't even a
glint in my father's eye. In fact my father wasn't even a
Elaine seems a little annoyed.
Elaine: C'mon, you keep records somewhere.
Sargeant Madden: I wouldn't even know where to start
The Sargeant gestures towards his desk. He takes the files he has just grabbed, and combines with a stack of files already on his desk.
Sargeant Madden: Hey, you see this. This is all mine. This is
real and in about 15 minutes the Lieutenant's going to be
in here and to tell you the truth, I am tired of looking at
|As the detective states the last line, about being "tired at looking at [Elaine's] face", notice that he is also sitting down. As he sits, he looks downward, thus avoiding, having to look at Elaine... He's so tired of looking at her face that he doesn't even do it as he tells her so.|
Elaine looks down, seemingly becoming even more annoyed, although she tries to hide her annoyance by retaining her professional and inquizative attitude as a writer. She is going to get a story, and nothing is going to stand in her way. She knows that news of the 13th floor's existance, and of a mass murderer using it for twisted and Sadistic personal gain are not interesting the detective, so she figures she might as well try to get everything and anything she can out of him... Starting with any information on Daniel Bergin...
Elaine: What about Danny Bergin?
The Sargeant himself seems a bit annoyed:
Sargeant Madden: Who the hell is Danny Bergin?
Elaine: The detective who investigated the case.
Sargeant Madden: He's gotta be dead.
Elaine: I know. Just check him anyway.
Sargeant Madden: For what?
|On the USA World Premiere Movie's one minute preview, when introducing John Karlen, there is a shot of the Sargeant that has been flipped from its original state. The picture appears at left.|
Elaine can tell that the Sargeant has been growing ever annoyed, so she counters by producing the biggest smile that she can muster. She compensates by being "overly" innocent. So much to the point that it sounds pushed and fake. Of course, it is... she's just trying to play on the Sargeant's kindness to women as a servant of the law. It's one of those smiles you just can't say "no" to.
Elaine: For me...
Sure enough, it works. The Sargeant can't turn down a smile like that, and, smiling as if to say "you got me", he chuckles:
Sargeant Madden: Huh huh.
|The Sargeant isn't mad at Elaine. He's just very overworked and thinks she believes she saw something, although there is absolutely no proof. There are real crimes being committed that are probably eating away at him, and Elaine is stealing away any extra time he may possess. But just to humor her, as long as it will get her out of his hair for awhile, he is willing to look. While the Sargeant rolls his old, rickety wooden desk chair over to the desk's left end where his computer is located, Elaine digs into her purse and pulls out an ink pen and a small black notebook. She passes the notebook to her left hand, flips it open and turns to a blank page. She uncaps her ink pen, ready to jot down all of the information that the Sargeant will provide her. While his back is turned, she smiles and grins widely, obviously proud of herself for being able to manipulate the Sargeant into finding information for her he really didn't want to find in the first place.|
|On Closer Inspection...:|
|Note that the Sargeant hits seven (7) keys and the "Enter" key twice. This would be enough keys to type "BERGI D". The "Enter" key makes an older-style DOS-type beep as it is pressed.
Sargeant Madden: Okay, like I said, Bergin, Daniel E.;
Sargent; died August 1943. Happy?
The Detective is hoping that Elaine is content with this little bit of newfound knowledge. But what did he tell her really? That the only person that may have been able to tell her anything about the case is dead? She shakes her head as if to saay she is happy, but she thinks of something the Sargeant didn't think of:
Elaine: Any kids?
Sargeant Madden: What difference does it make?
The Sargeant obviously isn't thinking about the possibility that the former Investigating Detective may have discussed the case with his children. Elaine may be able to acquire some kind of knowledge from Bergin's offspring, even if it's information about Daniel's personality or psychology.
Elaine: You're a cop, they might know something.
Elaine is implying, at least vocally, that the Sargeant should have thought of this himself.
Sargeant Madden: You married?
Sargeant Madden: I'm not surprised.
|The Sargeant isn't being condescending or sarcastic. His comment is designed for comic relief, although this time it's not to relieve a suspenseful situation, it's to imply that Elaine is becoming a nuisance! But at least we now have definitive confirmation that Elaine lives at home, alone. Companions only with her cat Stanley and her housesitter/catsitter Wendy. She did say earlier she was thinking about settling down... |
The Sargeant is trying to hurry Elaine up, as the Luitenent will be there in only a few minutes. He is willing to look real quick but that's it.
|On Closer Inspection...:|
|Note that the Sargeant hits eight (8) keys and the "Enter" key. He is more than likely using on-screen menu search functions.|
Sargeant Madden: Okay here it is. One son, Bergin, Thomas
G.; Priest. File closed, computer off, click. Thank you,
The Sargeant rolls back to his spot and looks at Elaine, in expectation of Elaine leaving. Elaine catches the hint, happy that he has been able to help her. At least Sargeant Bergin had a son she could talk to, and, being a priest, she knows that she can trust everything that he says with total confidence and believeability. She puts the cap back on her ink pen and closes her notebook. She places these items back in her purse.
Elaine turns to leave, not wanting to bother the dectective any longer. She is thankful, and is more than happy to leave. The Sargeant needs to prepare for the Luitenent's visit. He's coming any time now, and he'll have to rush to complete any paperwork before the Luitenent gets in there, but he can do it. He's just happy that Elaine will be out of his hair for awhile.
Note that while Elaine was concerned about whether or not she felt the dectective would help her last time, we saw her through the window to the left of the door looking back to examine the detective's facial expressions as she was leaving. She is content this time with the information she received, and so this time she doesn't even look back as she walks off. She shuts the door to his officer on her way out, as it was previously left open.
CONTINUE TO PAGE #25