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 029 Share to:  Share to Facebook Share to Twitter Share to Google+ Share to Pinterest Share to Tumblr Share to MySpace Share to Email







































The Sargeant and Elaine are driving up to the hotel in the Sargeant's blue undercover cop car. There isn't a need to come pulling up with sirens blaring, like he did the first time. This time he wants to be surreptitious. There is a small light blinking on the center of his dashboard, but this is the only indication that he is in a police vehicle.

On Closer Inspection...:
As the Sargeant approaches the hotel, we see in front of the hotel, there is a black car, a grey taxi, another black car, a white taxi, a yellow taxi, an open spot in front of the hotel's middle, and another yellow taxi with its trunk open. There is the sound of tires screeching as the Sargeant goes to pull into the open spot. The black car in between the grey and white taxis pulls out into the road and there are several horns going off: beep beep; beep beep; beep beep; beeeeep... beeeeep. There are several people walking up and down in front of the hotel. There is a blue truck and then a white car that rides by going the opposite direction, and we notice a blue, brown, black, and another blue car, parked across from the hotel, on the section of roadway in front of the open field.

Note:
Elaine sits in the car, staring at the hotel. This isn't like earlier, however, when she was sitting in the taxi eyeing the hotel, overjoyed that she will be writing an article on such a massively ornate structure. Now she is ready to put an end to the madness. The Sargeant throws the car into park. Elaine looks over to him, as he exits the vehicle. She exits herself, shuts the door with her right hand while clutching her purse with her left. The Sargeant comes around and steps onto the concrete curb. Elaine watches, not wanting to make a move until the Sargeant does. The Sargeant continues, looking over to Elaine. Elaine immediately rushes to his side. There are four ladies and six gentlemen walking up and down the street. Elaine and the Sargeant cut in front of all of them, making a beeline for the hotel's entrance, as the sounds of cars continue up and down the roadway. The driver of the taxi behind the Sargeant's car exits his taxi, obviously going to let a patron out, or get their luggage out of the back. The patron wouldn't be wanting to stay if they knew what Elaine and the Sargeant do.

Elaine, on the Sargeant's left, adjusts her purse, making sure it is sitting well on her left shoulder. Her and the Sargeant both walk with confidence, ready to put an end to this madness.

As the two approach the small set of stairs leading up to the hotel's main entrance, Creeson, doorman extraordinaire, starts gesturing towards the Sargeant's vehicle:

Creeson: Ah, Sir! I'm sorry but you can't park there!

Note:
Creeson is only being honest. The spot directly in front of a commercial establishment is usually denoted as being a fire and rescue lane. If the area catches on fire, or ambulatory services are required at the establishment, having the a straight shot to the entrance is a necessity.

The Sargeant, however, is in a position of power to where he can pretty much park anywhere he wants. It's his right, as certain times it is of his best interest, in order to guarantee the safety of the public. He's here on business - intent on finding out what happened to Gail Myers and all of these other people that are coming up missing. He may end up finding there really is a maniac killer running loose, and he'll end up putting and end to the hotel once and for all. Everyone will be fired or in jail, depending on their levels of accomplicing, so the last thing on the Sargeant's mind is the hotel's doorman crying over a parking spot.

The Sargeant immediately whips his shiny, golden police badge from out of his left front chest pocket. He holds it in his left hand, and extends his arm out in order for Creeson to get a better view of it. There is nothing else the doorman can say.

Creeson: I see.

His facial expression indicates this, as the Sargeant is a man of the utmost importance. The doorman, with a quick reach for his hat, nods at Elaine:

Creeson: Miss Kalisher.

Elaine, still silent, nods, slightly against her will, just to show acknowledgement to the doorman. At this point, it is still unknown to Elaine as to whether or not the doorman is part of the conspiracy, but she's not taking any more crap. She looks to the Sargeant, as his finishes clipping the badge he was holding to the front of the pocket in which it was in. Now everyone who sees it will know, a policeman is here, and he's looking for something...

Note:
The Sargeant doesn't know what exactly he is looking for, but he believes Elaine about the possibility of a killer living on this hidden floor. And if the hotel is snatching people off the streets, something has to be done. The Sargeant knows the dangers that may potentially await him.

The Sargeant continues walking and Elaine follows. Creeson, holding his head down as the two pass by, likely so that suspicion won't be cast his way, step back, allowing them extra room as they walk past him. Listening to their footsteps as they ascend the stairs, Creeson can tell as soon as they finish ascending and reach the platform. This is his sign that they are no longer interested in him - their attention is diverted towards entering the hotel.

He waits until they are on the platform, then immediately rushes over to the lamp fixture base, where he opens the small compartment containing the telephone. He grabs the receiver and places it to his ear, and begins readying himself to make a call. He must be calling the manager, Mr. Rogas, because the manager will soon be on the scene. The manager would be the first that needs to know what is going on, so he can delegate instructions to the rest of the staff as to how to handle the situation.

We are now inside of the hotel, inside of the service hall. The camera is looking through the small window through the door on the right hand side of the set of double doors leading into the service hall. This is the same door Elaine used earlier, and the one next to the one Gail Myers used. Through this window we see Elaine coming towards the door. The Sargeant is now following Elaine. Elaine must be excited. She must be walking fairly fast, as her hair bounces up and down with each step.

Elaine pushes open the door, making sure the Sargeant grabs ahold of it before letting go. He follows her into the service hall. She looks around, almost as if she is making sure the coast is clear. The door squeaks as it is swung open, and then allowed to shut. We can hear the hustle and bustle of the kitchen staff, coming from the area off to Elaine and the Sargeant's right. Elaine looks their way, closes her eyes as she looks down, and then looks back up. She appears to be readying herself for what's to come.

Note:
The fourth half-round table that we will see is here in this service hallway. It is a metal table that appears to be holding a silver ice bucket, a silver decanter, and a ceramic mug, turned upside down, atop a matching white saucer. The table's on the right side of the screen, about four feet from the doorway.

The Sargeant glances over in the direction that Elaine did, taking quick mental note of all of the staff, working in the room adjacent. There are giant metal rolling shelves holding stacks of large metal bowls, two feet wide and 4 inches deep. They are residing between the half-round metal table and a white door, mounted into the cinder block wall. It appears to have an arrow pointing to the right. Red colored words to the right of the arrow appear to read "SERVICE ELEVATOR". To the left of the door is a red rimmed chart, that appears to be, more than likely, the floor's evacuation plan.

Elaine makes a left, rounding the corner next to the door. The Sargeant follows Elaine around the corner. A light switch by the corner and 6" tall brown cove moulding are the only affectations on the plain white wall Elaine and the Sargeant walk against.

On Closer Inspection...:

The tessilating floor tiles in the service area add a bit of decorate flair to the otherwise bland walls. Like the crimson carpeting on the other floors, the tiles are also original to the Ambassador Hotel. These were the tiles used in the hotel's kitchen and service areas. Reproduction tiles are used in various areas throughout the school since built in the hotel's place.


Elaine passes by Letti, glaring at her as she comes through, then quickly looks away. She doesn't want to hear more of Letti's lies. Letti is wearing a white shirt with black buttons and an ornate white and black collar under a black sweater jacket. The Sargeant presses the elevator's UP button.

Elaine turns back and looks at Letti again. Letti obviously didn't get the message that they were coming. She takes the cigarette out of her mouth with her left hand and takes the glasses off of her eyes with her right. A blast of smoke escapes her lips as she stares back at Elaine, in awe, disappointment and anger, almost as if they are up to no good, and intruding upon her space.

The elevator rings and the door opens. Elaine turns her attention back towards the Sargeant, who starts to open metal gate.

Mr. Rogas comes marching down the service hallway. Creeson must have alerted him to Elaine and the detective's arrival, and he wants to know why they are there. He comes around the corner, in a light blue button-up shirt, black tie, black suit jacket, and red corsage.

Mr. Rogas: Sargeant! I, uh...

He clears his throat. He is probably nervous, and his mouth is dry. Either that or inhaling a stream of the smoke that Letti is creating causes him the need to clear his throat. Elaine and the Sargeant turn to him and he gestures side to side as he approaches:

Mr. Rogas: I'm surprised to see you back. What's the matter?

The Sargeant tells Mr. Rogas in a straightforward manner that he is going to look around. But seeing it's the hotel's manager he is talking to, he asks for permission. He doesn't need it, and it doesn't matter if the manager says no, but he asks anyway. Of course, had the manager had said no, it would have made him look guilty automatically.

Sargeant Madden: I'm gonna take a look around. You mind?

The manager seems fine with it. But about that time, he's clever enough to remember a crucial fact. The detective needs a search warrant. He asks as if he is being clever, or a bit sarcastic.

Mr. Rogas: Oh, I, I don't, thank ya, um, shouldn't you have a
   warrant?

The Sargeant somewhat sarcastically retorts:

Sargeant Madden: Oh, yeah... Yeah, you're right.

Does the manager really think the overworked police Sargeant would have forgotten a search warrant? Maybe so. He wouldn't need one unless he really suspects something is wrong. The Sargeant, however, knows this could be serious. Very serious. So serious that from the time Elaine showed him Gail Myers' business card to the time the missing persons report came in, he had already secured a court ordered search warrant, and at this time, he takes his right hand and pulls the right front part of his jacket away from his stomach, takes his left hand, reaches into the pocket on the jacket's inside right hand side, and produces a paper labeled "SEARCH WARRANT". He thrusts it towards the manager.

The manager looks as if he instantly gets butterflies in his stomach, although he tries to maintain an air of dignity. He waves the paper around.

Mr. Rogas: Um, Sargeant I, I don't understand. What, what is
   all this about?

The Sargeant is almost positive that the nervous manager already knows what all this is about... He's about to get busted for harboring a murderer. The Sargeant gestures his right hand in a definitive manner:

Sargeant Madden: You'll find out. And get the staff together,
   I want to talk to them when I come down.

He turns to finish opening the metal gate. Elaine turns as soon as he does, facing him. As they step into the elevator, the screen pans back onto Letti, who stares straightfaced at them until the door shuts. She's worried, but she has other plans for the two...

As the door is shutting, we then see Mr. Rogas, who turns to Letti. He is faced where the two can't see the look of shock on his face. He clutches the warrant with both hands, releases it to his right hand where he drops the arm to his hip.

His left arm comes up where he looks down while covering his mouth. He knows this could be the ruination of his career. He also knows he wouldn't look good in prison garb. He takes his hand away from his mouth as Letti begins to stand. There are pink, yellow, green and white cards and notes stuck onto the corkboard bulletin board behind her. This is her way of trying to spruce up her dank little corner of the service hallway, in which her desk resides. She can tell this is bothering the manager, and looks to want to console him. She doesn't seem to be as worried about the events transpiring:

Letti: Relax!

Mr. Rogas loves his job, and thinks she is crazy for being so calm. He starts to raise his voice. After all, having a policeman and a writer against them could be the ruination of the entire hotel. All of Letti's colorful notecards, her organized chalkboard of events, the manager's professionalism... it could all be in vain if the hotel is shut down and the staff is all looked up!

Mr. Rogas: Don't be stupid! The damn roof is about to come
   down on us!

He looks down, back to the search warrant, as the camera cuts to Letti.

Letti: Don't worry about it. There's two of them.

The camera cuts back to the manager, and the look on his face says that he is beginning to understand what Letti is telling him. Police Sargeant and a writer or not, they only need two more "victims" for their ritual to be complete. By the time anybody finds out... "it'll be finished". Maybe they will be able to get away with this heinous crime after all.

Spotlight On...:

Jake Rogas


Jake - Diminutive for Jacob. Supplanter. A supplanter is one who takes the place or moves into the position of another. Will he, though? He seems a little too submissive, although he is pretty tough.

Rogas - Derived from Rojas, Spanish Rojo meaning "red." Possible From the ash tree or the name of a craft. The manager might get a flustered, and his face turns a little red. Red plays a big part in the movie, and there's a crossover somewhere.

Letti: We're home free.

Letti maintains eye contact with the manager as she takes a drag on her cigarette. She is happy to have helped to ease the manager's mind.

The ritual is almost over. She is ecstatic. As she smiles deviously, she releases a small puff of smoke.


CONTINUE TO PAGE #30