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NOTTFO is making the assumption that today is Sunday, about 1:30 in the afternoon. I am assuming it is after church, after the congregation has left, and that Elaine has spent all Saturday, locked in her room (or at least staying away from all Wessex Hotel staff members), searching for the location of the parish in which Father Thomas Bergin preaches. I say this because Elaine visited the City Engineer's office yesterday (unless she went back to the hotel and changed clothing, which I doubt...) and we will see our favorite Engineer, Gail Myers, tomorrow. By Tuesday, Elaine speaks to a draftsman who states that Gail "went out on a call... yesterday", which I think implies that "yesterday" would have been Monday, as the City Engineer's office would have been closed all weekend.

On Closer Inspection...:
This is the second time that we see Elaine arriving at a location in a United Independent Taxi taxi. This one is just like the first one, but this one is a dark hunter green with white top. It is Taxi #207. We hear the birds as they chirp, adding quaint ambiance.

The taxi is inside of a parking lot. Elaine has searched out Father Bergin's parish, and has caught a taxi to the church. The curb outlining the perimeter of the parking lot stops about two feet before a two foot tall brick divider wall. The two foot of void in between the brick wall and the curbed transition unto the parking lot is filled with a lushly manicured dark greem grass. Elaine steps out of the taxi. The back window is open half way, as far as it can go down. Elaine leaves it open, more than likely for ventilation purposes, also it may have already have been left open prior to her entry into the cab, and she is leaving it as she found it.

Elaine walks down the sidewalk leading from the parking lot to the church. The void in between the two foot section of grass grows to 10 feet, as the curbed perimeter blocking off the parking lot transitions from pavement to a lot of grass in between the sidewalk and the retainer wall. The brick wall corners off about 10 feet from another sidewalk that runs perpendicular to the sidewalk that Elaine is walking down. From up above the sidewalks will resemble a cross, reminiscent of the holiness of the church in which the sidewalk provides access unto. The row of trees behind the brick wall carry a steady six foot "ceiling height" and will continue running from behind the brick wall all the wall until it meets the sidewalk.

Elaine is wearing a grey plaid blazer jacket with a darker greyish blue creating the plaid lines. She is wearing a light blue top under her blazer which is tucked into her black slacks. Elaine seems to have left her necklace and hooped earrings in her hotel room, but a decorative golden broach completes her elegant "professional" demeanor.

The front of the church presents a stunning representation of where Elaine is at. There is a six foot overhang protruding out above the entryway to the church. It is two feet tall and almost the same hue of blue as the shirt in which Elaine is wearing. At four foot intervals, evenly spaced admist the blue are one foot tall white crosses, which help to provide the viewer a clue as to where Elaine is entering. The double door in the center of the church is a solid, older, heavy duty style wooden door, each panel being seven foot tall and three feet wide. The church itself is a soft red brick that matches the color of the two foot tall brick retainer wall outside of the church. To each side of the double door lie three tall, verticle windows, each 16 inches tall and four foot wall. Beneath the triplet windows lie decortative stone work done is cream colored stones. Two decorative planters, placed center under each set of triplet windows provide decorative appeal which help to compliment the well manicured bushes, trees, grass and fern bed.

The camera perspective is now inside of the church, facing the doorway to focus upon Elaine's entrance. The doors, a soft blue on the outside, are painted brown on the inside. The decorative handles on the churches outise facade become fire code required push bar openers on the inside. Elaine opens the door to her right, the viewers left. There is an Emergency Exit sign about the entrance with green letters that spell EXIT.

We now see Elaine entering a second set of double doors. The entrance doors led into a foyer, while these doors, each flanked with a window designed to resemble crosses, lead into the churches main sanctuary. Elaine walks down the main aisle of the church, while light coming through the stained glass windows cast a colorful array of shadows on the wall behind Elaine.

On Closer Inspection...:
There are at least 28 sets of pews, 14 per row.

The high vaulted ceiling and central beamwork, along with the stained glass windows which run not only along the lenght of the church, but the two behind the pulpit, as well as the yellow section in the middle of the back wall, which posesses a giant 6 foot by three foot wooden cross, perfectly above where the preacher would stand, provide an intricate background which helps the viewer to further establish where they are at without the use of anything other than visual clues. It is a nice church, which maintains an air of richness and solitude. The lights are off and a predominate blue coming from the churches stained glass windows provide a solemn look. Elaine does see the preacher. He is actually upstairs, fixing the churches organ. ...It's "G", the one second from the top, is still slightly flat.


The sound doesn't exactly startle Elaine, but she spins around to see where this note is coming from. Elaine doesn't know where it came from, only that it came from behind her. She knows it must have come from up above, as that's where the church's organ is located, and she yells in the direction of the organ.

Elaine: Where can I find Father Bergin?

Father Bergin: Come on up. There's a door over to the side
   of the foyer.

The preacher doesn't seem to be startled that someone besides him is now inside of the church. There is a chance that he heard the door open, and by playing the organ's "G", he is not only tuning it, but also using it to alert the newcomer to his presence. He obviously isn't frightened, but he shouldn't be. Not only is he being backed by the hand of God, but Elaine isn't a threat!

On Closer Inspection...:
The organ is against the back wall, on the second floor, directly above the church's foyer. The church's vaulted ceiling stops at a point, and appears to be steeper than a 12 on 12 (12/12) roof. The organ's 16 predominate pipes rise up at an angle as the pipes rise in size. The organ appears to be built into the wall as there are jut-outs on top and both sides. The jut-out on top contains a black triangle which is centered within itself, with a three inch reveal surrounding it. The jut-outs on the two sides contain strips of verticle moulding, which all rise in size as it trangresses up the lenght of the gabled wall. There are four spotlights, two per side, which function to illuminate the antique organ. A built-up wall creates a balcony that is illuminesced in the blues and reds coming from the decorative stained glass windows. A one foot tall black cast-iron look railing sits atop the wall, creating a safety ledger.

Elaine walks back the way she just came, not giving it a second thought. She has no problem understanding as she re-enters the church's small foyer.

Elaine opens the right-hand door and heads diagonally, to the right. As the door is shutting, we can see her through the small cross-shaped window on the door. We see her ascending a small staircase with a metal railing that leads upward, following the pitch of the stairs. It ascends until it meets into a wall higher up.

We see a white door with brass handle on the right as the camera perspective is now at the top of the staircase, facing downward. We watch Elaine ascend, purse in left hand, and right hand holding the banister protruding from the wall. On the right side of the screen we see a half-spherical bulb of light illuminating a small platform created by the stairs turning 90°. On the wall at the bottom the stairs we see purplish hues created by light from the stained glass windows coming through the cross-shaped window in the door from the foyer into the main section.

Elaine arrives onto the section floor, comes to her right out of the doorway, sees the preacher, and heads toward the church's organ. There are spare yellow chairs, in the alcove to the right of the organ.

Elaine is walking towards the preacher, who is standing atop a ladder, still trying to tune the pipes on the organ. Upon reaching the keyboard part, the preacher instructs Elaine to stop.

Father Bergin: Stay there.

Elaine is slightly taken aback.

Elaine: Father?

Before Elaine can say anymore, the preacher "introduces" himself by allowing Elaine the opportunity to assist him in what he is doing.

Father Bergin: Hit a "G".

Elaine looks down at the keyboard. There are three different sets of piano keys. Two are on the left, one atop the other, placed where both may be played. These sets of keys are yellowed with age. The keyboard to the right is slightly newer, as its keys are still white. Elaine reaches for the keyboard on the bottom left. She selects the highest "G" out of all seven "G"s on the keyboard. It emits a strong and powerful note:


Father Bergin: Uh, down an octave.

Elaine reaches for the "G" eight notes lower. She smiles for her awareness. The second "G"from the top emits a tone almost identical to the first, but this one needs to be adjusted. The juxtaposition of the two "G"s tell us for definite: this "G" sounds flat, in regards to the first.


Father Bergin: Now you're cooking.

Elaine is all smiles for having enough musical awareness to not have to let the preacher down. After all, she knew which key was a "G"!

Father Bergin: Hit it again.

Elaine strikes the note again:


Father Bergin: Once more.


Father Bergin: That's it. Right on the button.

Elaine: I think it might be a little flat...

Elaine shrugs, slightly, and her expression is one that says, "I don't know... maybe?"

Father Bergin: Hit it again.


Father Bergin breaks out a small tuner/harmonica while the note is playing and uses to play the note against the other one. As the sound of the organ's "G" diminishes, so does the sound of Bergin's "G". The note is indeed flat. The preacher takes a small rubber mallet, and with two careful (almost to the point that you may think he can't possibly be doing anything) strikes to a chisel inserted into a spot adjacent to one of the longer pipes, he turns and faces Elaine.

The preacher points the mallet towards Elaine as he speaks to her:

Father Bergin: Damn. Got a good ear. Musician?

Elaine smiles for impressing the preacher, but alas, she is no musician. She carries a solemn tone in her voice:

Elaine: No, I'm a writer. I'm doing a story on the Avery Block

Father Bergin: Then you're here about my father.

The preacher is absolutely correct in his thinking. This shows that, obviously, his father and the Avery Block murders go hand in hand. Almost as if they are used synonomously. The passing of the preacher's father was probably a heartfelt and heartbreaking one. Anytime a parent is lost, it is hard to cope with that loss. Elaine is serene as she isn't wanting to drudge up any hard feelings for the preacher, as she will have to ask him questions that he has probably answered many times throughout the last 47 years since his father's passing.

It is likely that Daniel Bergin's obsession with Avery Block and the powers of evil that surround this case is what sparked his son's obsession with wanting to become a priest in the first place.

Spotlight On...:

Thomas G. Bergin

Thomas - Greek for "twin", this could be a reference to good versus evil and how people say you have a good side and a bad side, or that when you have twins, one is usually good and one is usually bad. In this event, Thomas is the good twin, who pursued a life in the clergy.

Bergin - Bergin is a topographical name for someone who lived on or by a hill. (ie, Berg) This could be a reference to the minister being heavenly, as heaven is, in theory, of a higher elevation.

Daniel - The preacher's father's name, Daniel, is Hebrew for "God is my judge". This is a good start for his son becoming a preacher. Also, the father obsessed over finding the truth behind a Sadistic axe murderer for many years. Many people probably judged him for wasting his life, but he's hoping God will forgive him.

Elaine: Yes.

Elaine's request can't be answered with simple yes or no answers. We can tell that the preacher wants to get to a more comfortable position, as obviously there is a lot to say. That's great, to Elaine, because she wants to know everything she can. The preacher grunts in pain as he begins to make his way down the ladder. It is only a six foot tall ladder, and he is only on the second step, but ergonomically, placing it so that he was facing the other way might have prevented him from straining his back as much.

Father Bergin: Eh uhn

Elaine is concerned for Father Bergin.

Elaine: Father?

Father Bergin: Bent over that ladder too long.

All the traversing up and down the ladder may have hurt his back as well. Remember, he has been having to come down and play the note, listen to it, then make his way back up the ladder to do any final adjustments. He must have just gotten back upon the ladder, as he had just played the note when Elaine entered the main body of the church.

Note that the church is symmetrical. The door on the opposite end is open and faces opposite the one in which we saw as Elaine was ascending the staircase. Note that the railing coming up on this side comes up to the point that the door frame, protruding from the concrete wall, has been notched completely out of the way to compensate for the railing. It is boxed completely, but makes you wonder why the builders didn't just bump the railing into this jutout, rather than notching the jutout around the doorway. The most logical solution to explain this would be that the railing existed first, and the wall came second. Not wanting to ruin or diminish the integrity of the original rail, the "new" frame being built is thence built around the rail.

The side walls are painted a soft blue giving a pleasent compliment to the adjacent white walls and trim. There is a small two-foot-tall cross and a recepticle outlet on the wall behind the preacher, as well as a small plaquard to the cross's left. There are two rows of yellow chairs in front of the side blue wall. The preacher takes a seat in the first row, second seat from the left.

Father Bergin: Ruined my father's life. He was obsessed with
   that investigation.

Elaine: Obsessed?

This definitely intrigues Elaine. She wants to know more! She knows she has come to the right place, and the preacher obviously knows all about this obsession. Elaine is more than happy to learn everything about the incident that the preacher can tell her. She makes her way over to the preacher, and sits in the empty chair to the right of the preacher.

Elaine: Why?

Father Bergin: Avery Block had a cult that believed in the
   power of evil...

Elaine doesn't seem to be too interested in Avery Block, his cult, or evil, she's just trying to learn more about the Wessex Hotel.

Elaine: What does that have to do with the Wessex?

The preacher doesn't seem to be too bothered by Elaine's brashness.

Father Bergin: ...Well it was the tallest structure in the city
   and somehow Block believed that it was a sign from Satan.

Elaine: How?

Father Bergin: It had a 13th floor.

Elaine: The devil's number.

Father Bergin: In his mind, the gateway to hell.

The preacher says this very ominously, and you can hear the scariness in his voice. Technically the devil's number has always been represented as being 666, although 13 carries a negative connotaion. Refer to NOTTFO's Blog for more. Elaine sees the connection to the hotel's "non-existant" 13th floor. Is the hotel staff evil? Are they allowing this to happen? Why did Avery Block have to go and do something stupid which forced the hotel to "close" the floor...?

Elaine: Why did he slaughter all those people?

Father Bergin: Why? Because he was convinced that he could
   contact Satan through the taking of human lives.

Elaine: And when he had killed them, what then?

Father Bergin: Well I suppose he believed he'd share Satan's

This catches Elaine offguard. Elaine seems to have never dwelt into the powers that be, at least not from a religous standpoint. She has always tried to do good in life, and hasn't given much thought to the dark side. She wonders if it is even possible for a regular human to possess Lucifer's powers as he is represented as the God of Evil.

Elaine: Father, is ... is that even... possible.

Father Bergin: Well the church feels th...

Elaine stops the preacher in mid-thought. She wants to know what he feels, in his heart. He's the closest she can come to his father, and wants an answer with a personal touch.

Elaine: No... do you believe it?

Musical Note:
The music is sad and complimentary as it comes on and helps provide the perfect backdrop to an emotional situation...

Father Bergin: My father did. Spent the rest of his life
   looking for him. You see, they never found Block. Before
   my father died, he came to believe that Avery Block had
   made contact.

Elaine looks down, absorbing what the preacher has told her. She is dealing with powers and things beyond her control. She hopes that she is ready for all of this.