The camera is now inside of the elevator shaft, just above the elevator's giant pulley system. The elevator is ascending, being pulled upward by the gigantic pulley.
|Errors in Continuity:|
|The elevator is on the first floor when Sargeant Madden and Elaine enter it, but yet when we see the pulley system pulling the elevator upward, the elevator is clearly one floor below the pulley system, implying it is showing the elevator as it approaches the buildings top floor. Just before the elevator would clearing be stopping for the last floor, as the top of the elevator is approximately 10 feet below the pulley system, the camera cuts to the inside of the elevator. |
It appears Elaine has already pressed the button for the 15th Floor. That's the floor she was on when the elevator first broke and started dropping, so she thinks it could be a start. Shadows mixed with flashes of light indicate the passing of floors. The Sargeant looks to Elaine before looking back to the floor number indicator lights above the elevator door.
Sargeant Madden: Okay, what do we do?
Elaine is just as confused as the Sargeant. She has no clue. She looks to the Sargeant before turning back to the floor number indicator herself.
Elaine: There's gotta be a way. Gail Myers found it.
Elaine is unsure that Gail's method of arriving on the 13th Floor even involves the service elevator. She could have could a hidden staircase. Elaine makes the educated guess of using the service elevator in her quest. After all, she's convinced Letti took Peddler on the elevator, and the elevator was where she first saw a murder take place, so the elevator is at least one surefire way of getting there.
The elevator clicks as it reaches each floor. The elevator's floor number indicator is shown and we see that the elevator has already made it to the 5th Floor. One more click and the elevator is on the 6th Floor.
|There is another shot of elevator rising. This one is a German tilt of the top of the elevator as it rises through the long, desolate, and dangerous shaft. It's a reminder that the shaft is one gigantic open hole, running all the way from the top to the bottom. The only thing inside of it is the elevator car, ascending and descending from inside of it. If someone was to fall down into this shaft, with the elevator nowhere near, they could fall, literally, 100 or more feet.|
The Sargeant has been listening closely to the clicking the elevator has been making as it approaches each floor. Like a metronome, the elevator clicks with rhythmatic precision.
Click - 12
We see Elaine and the Sargeant, both watching the elevator's floor number indicator. The Sargeant, rhythmatically counting the clicks in his head, waits for the click that should comes next, but it takes an extra second for the click to come.
Click - 14
This was something the Sargeant hadn't noticed the first time he was in the elevator. They didn't see anything then, but that's because they were stopping on each floor so Elaine could get a view of the floor, and compare it to the mental image she had developed of the murder scene. The only time they would have been able to listen to the clicking as it clicked in succession, would have been on the trip down. But by the time the elevator was reaching the 14th and 12th Floors, the Sargeant's mind was very preoccupied. Between thinking Elaine was crazy for dragging him out here on a wild goose chase, telling the young officer there wasn't a 13th Floor, and thinking about getting a present for his grandson's birthday party, his mind was preoccupied, and that kept him from observing this vital clue. But now he has been quietly listening... analysing. And sure enough, he notices something alarming:
Sargeant Madden: Stop it.
Elaine reaches out and hits the elevator's stop button. With a thud and a clang, the elevator comes to a stop.
Sargeant Madden: It's twice as long between 12 and 14.
The realisation hits the detective, and he speaks as if it so.
Elaine is smiling as she is happy the Sargeant is finally listening to her, and that he has made the connection between the missing floor number and the amount of time it takes to traverse between the two floors, in respect to the speed of the elevator. She was hoping he would notice, like she had, and sure enough he had. Still looking upward, she glances over at the detective for a second, smiling, before turning her attention back towards the elevator's floor number indicator.
Elaine: That's where it is but it won't stop there.
Elaine has obviously tried pressing the "Stop" button in the elevator, which is supposed to instantly stop the elevator, regardless of the floor number. It obviously is programmed not to stop between the 12th and 14th floors, even after hitting the stop button.
If the elevator won't stop there, the Sargeant knows of another way to access it. After all, it's still there. The elevator just won't stop there. It might have, at one time, but the elevator has been programmed to bypass it completely. The door to the floor itself, should definitely still exist.
Sargeant Madden: Push 12.
Elaine pushes the button for the 12th Floor. The elevator light indicating the pair are on the 14th Floor disappears, indicating they are starting to descend.
The indicator makes its signature click, and the number 12 illuminates. The elevator comes to it's normal crashing and banging stop.
The dectective knows that the floor exists directly above this one. He also knows that all elevators possess an access door, located in its roof.
The Sargeant looks around and notices the elevator's access door/trap door, in the corner opposite the elevator's control panel. The purpose of the trap door is more or less a backup safety feature that allows a trapped person to climb out, and possibly find safety on the floor above the elevator as well as being able to provide access for firemen to be able to get inside to save a potential victim when the person is stuck on the elevator during a power outage or in the event of fire.
Sargeant Madden: Right here. Here... Put your hands
together like this.
The Sargeant, demonstrating for Elaine, interlocks the fingers from one hand with the fingers from the other, creating a solid cup. Squating, but solidly braced, and keeping her hands about a foot or two off of the floor, Elaine could create a "platform" for the Sargeant to stand on, which would help lift him a foot or so higher. Elaine, more than likely having seen this done before, either that or because she is very perseptive of that going on around her, is skeptical about being able to support the Sargeant's weight.
Elaine: I don't think I can't hold you.
The Sargeant looks up at Elaine.
Sargeant Madden: Don't worry about it, I'm mostly hot air.
The Sargeant's comment is for comic relief, although it doesn't seem to help ease the young writer's mind. Elaine swoops her hands together, slightly under the camera's view. The Sargeant takes his left hand and grabs ahold of the side bar on the frame, under the diagonal mesh, in the area behind Elaine. The Sargeant's next comment isn't that clear, but it sounds as if he is stressing Elaine's importance. Boosting her confidence will help provide her with a temporary blast of strength.
Sargeant Madden: Give me help?
Right hand on his hip, he begins to step upward, placing his right foot into the "platform" Elaine has created.
The poor out of shape detective is having a hard time pulling himself up into the hole:
Sargeant Madden: Uhhhh, ah!
The Sargeant is able to grab onto the solid metal crossbar running perpendicular to the hole. The bar runs longways, or, side to side, on top of the elevator. The four giant threaded cables feeding through the pulley system, two on the left and two on the right are attached to this bar, and are what help to provide support to lift the elevator car.
Staring at the door ahead of him, and using this as a focal point to guide his tenaciousness, the Sargeant uses the giant cables to his advantage, grabbing onto them, and using them to help lift himself upward. He is huffing and puffing, and panting, and entire time.
Sargeant Madden: Uhn, huh huh eh, e, ah, ah, hah, uh, uh,
ho, hah. hah.
He finally pulls himself up onto the elevator car. Right hand still clutching the cable, he takes a quick breather. He grabs another cable with his left hand and stares ominously at the door leading to the floor directly above the one the elevator is stopped on. He releases his left hand and thrusts it out, letting it land atop the small wall under the door. The bottom of the door comes to about the Sargeant's neck.
Elaine can tell he has stopped and is excited. Looking up towards the roof of the elevator, facing in the direction of the door, she asks:
Elaine: What do you see?
With confidence the Sargeant stares up at the door and informs her:
Sargeant Madden: The 13th Floor.
Elaine looks down and then back up towards the hole:
Elaine: Here, help me up okay?
The Sargeant's voice is heard from up above:
Sargeant Madden: You stay there.
Still looking upward, Elaine looks disappointed:
Elaine: No, I wanna come up!
Sargeant Madden: Good luck.
Elaine looks even more disappointed. The Sargeant doesn't want anything to happen to the young writer, nor does he want to be worrying about having to keep an eye on her. He would rather go alone, keeping her out of the line of fire, out of danger, and able to escape quickly assuming trouble erupts.
The Sargeant goes to slide the door open.
Sargeant Madden: Uh, uhn, uhn. uh Uhn! uhn!
|The Sargeant goes to slide open the door and the first thing we see are two rows of orange, one row of red and two smaller rows of brown. The use of these colors present an ominous and ghoulish feel totally opposite of the cheeriness found on the other floors in the Wessex. The round tubing running up and down the length of the shaft, to the right of the door, are more than likely part of the hydraulic brake system. This is the system that helped the elevator to stop when Elaine first witnessed a murder.|
The camera is now on the inside of the floor, facing down towards the door, where we see the Sargeant. The door is slightly under halfway open, and he struggles to open it, but he finally finishes pushing it open. We have to remember, he is so low and the door is so high, so he must use forceful counter leverage to get it open.
The Sargeant is greeted by exactly what Elaine was wanting to try and describe: A bust on the small half-round wooden table, with half naked Satyr legs, the rich brown paneling, the ornate red and yellow wallpaper, the two gaslit wall sconces and the ornate, tessilating, ornamental rug on the floor in front of the elevator.
The Sargeant notices the bust. This was definitely something he did not see on the first trip up and down the elevator with Elaine. The screen zooms in towards the bust. The Sargeant's interest spikes and he wants to see more.
Sargeant Madden: Judas Priest!
|Judas Priest is described as a blasphemous-sounding but meaningless euphemism for "Jesus Christ". The heavy metal band of the same name acquired it for this reason.|
|The music whips in like the wind, and adds a creepy air of ambiance.|
The Sargeant rests his left arm on the threshold of the now open door and places his right hand higher up on the right side of the door frame. He pulls himself up, using the support bar behind him to prop his back legs upon, and helps use it to his advantage to hoist himself up onto the floor.
Sargeant Madden: Ahhh! Uh! Oh, huh, huh, huh.
He finally pulls himself up to the point that he can get his knees onto the floor. With a little more thrusting, the out of shape detective finally crawls into the room, onto the oriental rug, which is beginning to bunch up in two spots.
The Sargeant takes a quick breather before pushing himself up onto his feet. Working behind a desk for so long has really taken a toll on the poor detective. This is the best workout he's probably had in quite awhile.
|Unfortunately, we know that something bad is going to happen to the poor detective. While he is on this side of the floor, catching his breath, the killer is on the opposite side of the floor, approaching the axe case - an obvious impending sign of doom. We see the brown, glass fronted case protruding from the wall that contains the floors fire axe. We then see the killer's silhouette step in front of it. The shadow slightly disappears as it moves to the left, as the killer steps closer towards the case. For a split second we can we a man's forehead and nose on the right side of the screen, as his left hand opens the case. |
The Sargeant, having caught his breath, steps to his left, where he is more centered in the hallway. He is in an extremely uncomfortable place, but he starts to regain his composure. He grabs ahold of his front jacket ends, pulling them inward in order to make his jacket not only fit a little better, but also in order to make it look slightly more presentable. If he knew what awaited him, repositioning him jacket for aesthetic reasons would be the last thing on his mind.
The juxtaposition of the Sargeant and the axe is bad. Really bad. But not so much as juxtaposing both of these images with that of the skull, used as decorum, and illuminated by the fire lit candles in the background. The skull isn't a good sign, and it usually is a symbolic representation of death.
The Sargeant has climbed down all of the steps to the right of the elevator and is now walking down the small hallway. He is examining his surroundings: there is a door or an opening to nowhere to the detective's left; straight ahead lies a darkened dead end where a framed picture resides center of the wall. To the Sargeant's right lies an area with illumination. That's the Sargeant's next destination.
The Sargeant is unsure of what to expect as he goes around this corner. Luckily he brought his handgun. Slowly and confidently, the Sargeant reaches into the left hand holster straped under his jacket and begins reaching for his pistol.
Sidearm in hand, the Sargeant begins to turn the corner. There are cobwebs overhead and the gaslit sconces provide a flickering, shadowing luminescence on the antique wallpaper. It's creepiness only helps to make the Sargeant's fears of whats to come, worse.
Just as the Sargeant begins to peer around the corner, we see the axe case again. The axe is now out of the case. We see the axe's head and the hand holding it carrying it away from the case, heading to the right.
|There is a bone chilling rise in the music that helps add the perfect air of creepiness.|
The Sargeant has rounded the corner. Pistol in his right hand, ready for action, we see him standing in awe, looking down the ominous hallway that lay ahead. Gaslit wall sconces prove that this floor, anachoronistically frozen in time, is still in full use. And the fact that not only was it sealed off, but that the staff denies it's existance, makes not only its usage, but it's overall presence, even more ominous.
|The camera is now at the end of this long and ominous hallway, facing towards the Sargeant. The hallway looks as if it goes on forever, and using this camera perspective, the Sargeant appears to be tiny. It's another reminder of the the granduereousness of this massive structure. It is also symbolic for showing that the Sargeant, appearing tiny, is taking on this big, extremly labyrinthian styled hotel, all by himself. It makes the viewer possess more empathy for the detective, as he searches for whoever may be lurking on th hotel, swiping people off of the streets, and killing them in Satanic rituals.|
The Sargeant has decided to stop at the first "hotel room" door he comes across. It's Room #9, the same room that Mrs. Beecher awoke in. We see the Sargeant's left hand, reaching for the doorknob. He tries it. It is unlocked.
|Notice the Sargeant's thin gold wedding band. It is a sad reminder that if the killer does away with the detective, he will be leaving behind a family... one that will have to live with the loss of the Sargeant - a husband, father, grandfather, uncle, brother, nephew - for the rest of their lives - all because of the Wessex Hotel and a crazed killer, performing a ritual in the name of the Devil.|
The Sargeant slings the door to the room open, whips his right hand with his pistol up, and quickly grabs ahold of the pistol with his left hand, also, ready to send a steady shot straight into the killer . The camera is now inside of the room, facing the Sargeant. In the foreground sits a four foot round wooden table on top of which sits an ornate, white globed oil lamp whose light is burning, as well as a few other items of antiquity. The Sargeant is in the background, hands on his pistol, looking around for any sign of any body. A wooden framed picture resides on the wall to the left of the dark, rich brown door frame.
|In his haste, the Sargeant swung the door to the room open a little too hard. Hitting against the doorstop behind it with a thud, it comes flying back towards him. Reflexively, the Sargeant drops his left hand off of his handgun and swings it over, using it to stop the momentum making the door swing, right before it comes back and hits him. |
The Sargeant peers around the room, looking for any sign of movement. Notice that the curtains that Mrs. Beecher tore down earlier, are still rested upon the floor in front of the window.
The camera pans around the room. We see a fireplace with cover in front of it, and older clock on the mantle, the small table with the oil lamp, an older styled, dusty chair, a framed portrait and a decorative vase atop another table in between the chair and the window.
|In the USA Network World Premiere Movie's one minute preview, we see this room from a slightly different angle. Literally. The first thing that we notice that is different is that the antique, and undoubtably original number "9", perfectly centered, and adorning the door to the room numbered 9, is seen straight on. The closest that we come to seeing the room number in the film itself is during two shots seen of it as the Sargeant is holding the door open. It is on the door, visible to the Sargeant's right. But it definitely isn't as clear and legible as it is now.|
The second difference is that in the film, after the door bursts open, the camera is inside of the room, behind the small table, facing the Sargeant, who is peering into the room, looking for signs of movement. It then cuts to the Sargeant's view into the room - looking at the fireplace and window. In the USA Network World Permiere Movie's one minute preview, however, as soon as the door bursts open, we see the shot of the fireplace and window. It is a lot darker than the shot that wound up in the film. It was also filmed at a slightly different angle. While the images appear to be almost identical, pay attention to the fireplace mantle, on the right side of the screen. In the film, it runs downhill to the right at a slightly larger angle than it does in the shot used in the film's preview, which appears to have been shot more straight on, rather than filmed on an angle.
Panning to the left, we can now see a better shot of the window, the curtains on the floor, the antique china hutch to the left of the window, as well the bottom right corner of the canopy bed. The camera pan was quick, as it is supposed to be representative of looking through the Sargeant's eyes as he anxiously scans the room, wondering if the killer could be lerking close by...
The Sargeant, standing in the doorway amidst a slew of cobwebs, takes a sigh of relief. No one in this room. Now he has the whole rest of the hallway to check... The Sargeant breathes a sigh of relief. He slowly lowers his pistol. Sliding his left hand along the door, he pulls away, resting in the door frame, letting the jamb support his back. His left hand reaches into the left chest pocket of his white collared button-up shirt.
Sargeant Madden: huh... whoo...?
Huffing and puffing, nervous, anxious, and still trying to catch his breath, the Sargeant takes the small Tic-Tac container out of the shirt pocket. Breathing heavily, holding the container with his left hand, the fingers on his right hand not supporting his firearm help to pop the container's top open.
|The Sargeant barely has enough time to pop the small mint into his mouth when "Ragtime Piano" starts out of nowhere, playing on the gramaphone. The Sargeant about jumps as he spins his head to look down the hallway, in the direction that the music is coming from. He stares inauxpiciously down the hallway. Timers weren't as popular as they are now, and the music sounds antiquish, so the music coming on means that there is someone other than the Sargeant on the floor.|
The Sargeant immediately sticks the container back into his pocket. He begins readying himself. Leaving the door open, the Sargeant cautiously slides to his left, away from the door frame, and into the hallway. Pistol poised, and slowly chewing the small mints, the Sargeant cautiously steps down the hallway, making his way to the location that the music is coming from.
|Silmilar to during the Gail Myers sequence, we see a silhouette of the killer's shoulder, right hand, and the axe that the hand is holding. He is just leaving the axe case, and as soon as he appears, the music rises ominously, providing a feeling of creepiness that overpowers "Ragtime Piano", the already creepy music coming from the gramophone down the hallway. This music will taper away as the Sargeant continues down the hallway and Elaine begins to holler.|
The Sargeant is trying to be as quiet as possible. Maybe trying to sneak up on the killer. Or at least whoever turned on the music... But all of a sudden, out of the blue:
Elaine: Sargeant? Sargeant Madden?
The Sargeant is slightly annoyed, but moves forward.
Elaine: Sargeant Madden can you hear me?
Real great. Of course the Sargeant can hear her. She's probably just worried, as she can probably hear "Ragtime Piano" playing, and she knows the Wessex uses this song whenever somebody dies. But even then, all she's doing now is alerting the killer to her and the Sargeant's presence. Real great. The Sargeant hears her but he would rather not. So much for sneaking up on the killer. There's no doubt he already knows the Sargeant is there, because Elaine is screaming at the top of her lungs...
Elaine: Sargeant Madden can you hear me? Sargeant?
Great. Another corner... And who knows what may be lurking around it. The investigating detective slowly approaches the corner. He has to go this way. That's the direction that the music is coming from, as well as the location of whomever may have turned it on...
Placing both hands on his firearm, he pounces out from behind the corner, ensuring that he not only lands in the center of the hallway, but that he positions himself to be ready to shoot, should the need arise.
We see the Sargeant straight on. Nothing. The hallway behind the Sargeant is darkened, but there appears to be a small speck of light, shining onto the floor, and coming from another room off to the right. The Sargeant is still hesitent. Wide eyed and ready for anything, he relaxes his left hand, but makes sure not to let his guard down. He has his eye on something down the hallway.
|While it's better to think that the 13th Floor here is part of the Wessex, it was actually built on a studio sound stage at the film's production company, Wilshire Court Productions. You must admire the dedication that was put in to building the 13th Floor set. Between the floors, wall, mouldings, wallpapers, furnishings and even a complete and finished ceiling, a lot of work was put in to making the Floor anachronistically true to the original structure.|
|On Closer Inspection...:|
|There is even more peeling wallpaper. Peeling wallpaper generally occurs only in damp conditions. But seeing the 13th Floor is "unused", per se, lack of ventillation is undoubtably the cause. Perhaps the heat and natural gas vapors are a cause.|
The camera view is now 4 inches off of the floor, facing down the hallway. It is another hallway, similar to the first. Elaborate dark brown mouldings and woodworkings, ornate red and yellow wallpaper, load bearing columns that protrude from the walls on a periodic basis, and the signature gas lights flickering, all of which provide eerie ambiance.
With the camera on the floor, we see the Sargeant's legs, as they come into view, and start walking down the hallway, straight towards the open room at the end of the hallway. The Sargeant appears into frame, and appears to grow smaller the further he gets from the camera. This is possibly symbolic, as the Sargeant is in fact tiny in comparison to the hotel and it's grand scheme. He is heading into this unknown room, trying to uphold his duty as an officer of the law, but in the end, the hotel will take his life...
|The music becomes more powerful and suspenseful and will continue as the Sargeant approaches the Hotel's Altar Room. It rises ominously as the silhouette of the killer and his axe are shown again, still walking, and obviously getting closer to the unsuspecting Sargeant. While the silhouette shows everything as a shadow upon the wall, on the right side of the screen we can also see the killer's shoulder and the axe head. Seeing the axe head is definitely a reminder of what's to come.|
The Sargeant is making his way down the last segment of this hallway. The gaslight sconces provide little in terms of luminescence on either side of the Sargeant, and they certainly don't provide any real lighting in the center of the hallway. The Sargeant's face, thus, is bathed in darkness.
The Sargeant approaches the open room. The Joplin-styled Ragtime music does little to provide cheeriness as the ominousness of the score creeps in. The Sargeant slowly enters the room. His eyes work hastily to scan the room.
|On Closer Inspection...:|
|From the Sargeant's perspective, we see quite a sight as we look into the room. There is a skull sitting on a small, black, coffin shaped box atop a round 2½ foot wide wooden table on which a candle is also sitting, one on each end of the miniature coffin. There is a chalice above the skull, more than likely used in ritual practice. Also on this small table, we see another sign of trouble. An hourglass whose sand is all in the bottom, implying that time has run out. This is an symbolic in foreshadowing what happens to victims that come across this horrible place. There is a vicious looking taxidermied white bear, an equally vicious looking taxidermied wolf, strange statues, an antique desk with vials, an oil lamp, an open spell book, scrolls, the gramaphone and a few small urns. There are bat sculptures, spears, and other visions of demonic images like a horned beast hanging like a centerpiece on a deep brown built-in section of the wall, overlooking a small pergola type structure built like shelter over a shelf containing small knickknacks. The Sargeant's eyes say "What the heck kind of freaky stuff is going on here!?" as he continues scanning the room.|
The Sargeant enters... He notices the chair behind the desk. It is facing backwards. Could the killer be sitting in it?
|On Closer Inspection...:|
|There is a suit of armor, a strange golden statue, vases, urns, a devilish looking head on a small platform center of the fireplace mantle. Five candles, two on either of a central candle, are lit, and sitting in decorative candlabras. There are five, single, unlit candles on the right side of the mantle: two below the candlabrum, on on either side, and three sitting a few inches apart, a few inches away from these. There is a small candle burning under the devil head statue and two single candles, one on either side of the left hand candlabrum, sitting on the left hand side of the mantle. There is decorative woodwork on the fireplace, in which a roaring fire is blazing, in between two grey gargoyle statues. There is an antique spear with intricate handle to the left of the fireplace, under the gaslight, and to the right of a giant four shelf bookshelf, more than likely filled with tales of the grotesque and arabesque.|
The Sargeant, nervously making his way over to the desk, is trying to be as careful as possible. Unfortunately he doesn't notice a small red topped foot stool, sitting about four feet in front of the matching red upholstered chair. He hits it with his foot and accidentally kicks it. It makes a thud, followed by two slightly smaller thuds as it loses acquired momentum. This seems to startle the detective, as he was trying to sneak up on whoever might be sitting in the chair. The element of surprise was gone as soon as Elaine started hollering, but now, with the Sargeant kicking the footstool, we know there is no sneaking up on "the killer".
|The picture at left is a promotional photo of the Sargeant, taken for press release purposes. The room is very well illuminated, much more so than how it appears in the film. The left hand side of the fireplace is seen to the Sargeant's right. The scimitar to the Sargeant's left, to the right of the bookcase, can be seen with much more detail, as can the spines of the books residing in the bookcase. The Sargeant is going for a "sexy" look, posing with his handgun, deeply intent on spinning the chair around and shooting the killer. The Sargeant in the film, however, looks a little more reserved, undoubtably nervous, and anxiously hoping for the best. He is also looking straight, and not to his left.|
We see another shot of the chair behind the desk. The vicious looking grizzy bear stands, looking as if he is poised to attack.
The lighting is very bad, as the wall mounted gaslit sconces do little to fill the room with light. Thank goodness for the fire in the fireplace and the burning candles on the mantle.
The Sargeant readies himself as he slowly extends his left arm out, behind the gramaphone, and slowly reaches it towards the top right hand edge of the back of the chair.
Grabbing the chair, he slowly pushes it to the left, where the front side of the chair would spin clockwise towards him. He slowly pushes, slowly pushes...
All of a sudden he gives it a thrust. In the process he whips his left arm back up, grabbing onto the pistol already being held by his right hand. He is ready to shoot.
The Sargeant's final forceful thrus causes the chair to spin around to face him. As the chair is halfway around, we can see that the chair is empty. This, along with the relieved look on the Sargeant's face tells us there is nothing to worry about.
|We could assume there was nobody in the chair, before it even finished spinning. The Sargeant, cantileveraging a fully extended arm, wasn't using much force when he was slowly pushing, and yet the chair was starting to move. Generally, with older wooden furniture, the extra added weight of a fully grown adult would make the chair harder to spin, at least without the person sitting in the chair, making an effort to help spin it.|
Indeed, there is no one. The Sargeant is relieved. He takes a big sigh of relief, relaxes both of his arms, bringing them down to his side. His left hand clutches the desk and he puts his head down.
The Sargeant slides to his left so that his right arm, still holding on to his sidearm, can also clutch onto the desk. The Sargeant takes a breather, and tries to relax. He shouldn't however. Someone still had to have turned the music on, so there's got to be someone, still on the floor.
|As the gramaphone music, playing almost right in the Sargeant's ear right now, leads from one verse back into the chorus, it creates the perfect compliment to the ambiance created as all of the gas lights in the room, dim away to nothing. The score rises in, creating an ominous feel to the now darkened room.|
As the lights dim, the Sargeant knows he is no longer alone. The room would be pitch dark if it weren't for the burning candles and fire roaring in the fireplace. Trapped in a room full of strange artifacts and an overall creepy feeling do not help to relieve the Sargeant's fears. In fact it only makes it worse.
The Sargeant slowly starts to turn, trying to adjust his eyes to the now darkened room. There is a creepy ambiance as the gramaphone fills the room with a song that, at one time, was used to create cheeriness in the corridors.
Horrific images are shown, used as a reminder of the tragedy to come:
There is a picture of the taxidermied wolf, 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.
The Sargeant slowly turns to face the now off wall sconces.
We next see the devilish looking head, with sadistically content smile and long pointed ears, sitting on the small little wooden platform that acts as an alter, and is the focal point in between elaborate and ornate candelabras. It's in the center of the fireplace mantle, residing directly above the roaring fire. It's another sign that something bad is going to happen.
We see another picture of the Sargeant, who slowly turns his gaze back towards the desk.
We are then shown another picture of the skull, sitting atop the small coffin shaped box on the small table in the center of the room. The skull is anthrotomorphic of death, and is yet another sign of impending doom. The juxtaposition of all three of these images, back to back with images of the Sargeant are plot metaphors, implicating that the Sargeant's fate is sealed...
The Sargeant scans the area behind the desk. The lights went off for a reason - because somebody turned them off - and the Sargeant gets the strange feeling that he is not alone.
We see another shot of the desk. The chair is facing front, now, and the vicious looking grizzly doesn't look any less menacing. We hear shuffling, coming from the in darkened area behind the desk. What's this? Half hidden by the giant bear, half silhouetted, we can see the outline of a figure behind the bear. He's in the open spot between the bear and the chair. We can make out a shadowed head, shoulders and arms, but it's the white sticking out from under the killer's black robe, that really sets him off. The Sargeant sees this too.
The figure's movement, predominately the white that wraps his wrists, definitely helps to get the Sargeant's heart pumping. He rushes the pistol upward, grabbing it with both hands. In his haste, he anxiously fires a shot, hoping that it hits whoever is lurking behind the taxidermied bear...
Elaine, waiting patiently in the elevator, hasn't heard anything thus far. She's been listening to "Ragtime Piano", which she already associates with death, but she hasn't heard any signs of struggle or screaming up to this point. And now, out of the blue, she hears a shot. Looking upward towards the direction of the 13th Floor's door, she is extremely worried.
|The picture at left is another promotional photo of the Sargeant, taken for press release purposes. The room is very well illuminated, much more so than how it appears in the film. This photo was taken in the same vacinity as the promotional photo alluded to above. We can now better see a small crocodile statue in front of the bookcase. Its mouth is open, and its sharp, vicious teeth are showing. This is yet another decorum item used to help add to the overall demonicness of the Wessex Hotel's Altar Room. The Sargeant, looking more to his right than he does during the film, looks as if he is giving his best scared but still ready to kill the killer look. This picture was also used on the back cover boxart on the film's German release.|
Elaine: Sargeant! Sargeant?
Elaine figits as she hangs her hands in front of her midsection, holding her purse by the strap, using only two fingers on her right hand. Poor Elaine is powerless and is completely unable to help the poor police detective. She hopes for the best, or at least that the Sargeant's shot took the killer down.
The camera flashes back to the vicious white bear. Below it's head we now see two white outlines and a hand. The hands raise where we can get a better shot of what is going on. The frilled white garment protruding from under the black robe, are cloaked around the wrists of somebody holding a light, wood-colored handle. The hands and handle are to the right of the bear's massive fanged teeth, providing a contrast of horrificness. The axe head is darkened out of view, but the handle is plainly in view. Seeing the handle and especially being held in an obtrusive position, the Sargeant knows something is wrong.
He backs up two steps, aims carefully, and fires again.
|Elaine is probably mortified. She is powerless to help the detective, and when she heard the first shot, she was hoping the Sargeant has "rectified" the situation. But now, hearing a second shot, Elaine is unsure. Obviously the first shot didn't kill the killer, and Elaine now knows nothing, but she probably suspects the worse, although she is hoping for the best.|
The Sargeant should have turned around, but he was trying to keep an eye on the action. Two more steps backwards, and the Sargeant runs into the small footstool that he bumped into during his entry into this room. But earlier, the Sargeant was sneaking in, and barely bumped it. This time, however, he is trying to make a break for it, and is nervously still trying to keep an eye on whoever is coming for him, and hits the stool full on. It causes him to stumble.
The Sargeant's stumble becomes a full on fall. He stumbles to the point that he literally flies forward, fully extended, flat on his face.
He is mortified! He has to get up and out of this vulnerable position.
The Sargeant brings his hands around, trying to flip back over onto his back. The fall makes the Sargeant's gun fall out of his hand. He isn't worried about finding the gun, he just wants to get out of there, as quickly as possible.
The footstool gets turned over in the process. The Sargeant stumbles to his feet, and runs towards the door.
Sargeant Madden: Oh! Ah! Whoa!
Grabbing onto the door frame, catching his breath and his balance, he looks back, mortified.
The Sargeant, now gunless and scared out of his wits, makes a mad dash down the corridor he so cautiously traversed, only a minute ago. After a couple of steps, he turns and looks backwards. Hopefully he can put some distance between him and the killer. He makes it around the corner, and runs down the second corridor, leading to the service hallway and the service elevator.
The killer, aware of his surroundings, is in no hurry to chase the detective down. He can halt the detective's progress, in a matter of seconds. He knows the Sargeant is running towards the elevator, and he has the power to control the elevator, via a switch/lever. The lever, which resembles the lever to a giant circuit breaker, is built into a small recess in the wall, and is trimmed out with brown casing, matching the moulding throughout the rest of the room. Possessing two giant wires that come through the top of the box, and two giant wires that come through the bottom of the box, each wire leads to its respective bolt. The top left wire leads to the top left bolt, for example. This circuit, created through the lever and the heavy guage wires, changes the direction of the elevator's travel, by changing the direction of the circuit. Pushing the level upward (to the point in which the lever flattens out against the wall) causes the elevator to rise, while pushing the level downwards will cause the elevator to lower. When this switch is controlling the elevator, the buttons on the control panel are rendered useless. The killer pushes the level downwards, and the elevator starts to descend.
It's sudden jerking shocks Elaine, who is unaware of anything going on around her. She goes to the control panel, trying to press buttons - anything to get the elevator to stop, but it isn't stopping.
|The second thing the killer does, before pursuing the detective, is stop to pick up the footstool, knocked over during the earlier exchange. We don't see this, but a little later, it is upright, and the Sargeant's gun happens to have ended up underneath it. We can assume, thus, that the killer hasn't yet turned on the lights in the Altar Room, and that he picked up the footstool while the room was still dark. Mind set on pursuing the detective, he turns it upright, not noticing that he was placing it atop the Sargeant's gun, which the killer obviously didn't see the Sargeant had dropped. And thank goodness he didn't, for the gun will come in handy later on.|
|The film's score, already intense as the Sargeant runs from the killer, takes a shift, and with timpanis blaring, there is a heart rushing beat that perfectly compliments the descent of the elevator, and the terror running through the Sargeant as he makes his way through this ominous, seemingly neverending corridor.|
Sargeant Madden: Ah Ah !
The Sargeant runs as fast as he can. He glances back, hoping to not see the killer, who is following him.
We see a shot of the top of the elevator, which is descending.
The Sargeant approaches the end of the hallway, where he would make a left onto the service hall. He is about 15 feet from elevator, and before he even turns the corner, he can hear the elevator rumbling. Is Elaine leaving him?
Sargeant Madden: Wait for me!
The Sargeant has turned the corner and has already made it up the small set of steps, but the elevator is gone.
Sargeant Madden: Wait!
Elaine: I can't stop it!
It is unknown whether or not the Sargeant hears Elaine, but he looks mortified that the elevator is leaving him. He plops down, and sits on the ledge to the open elevator shaft.
Sargeant Madden: Hey, wait for me!
There is a tilted shot of the elevator, still decending. From this view, it appears the Sargeant could have jumped down onto the top of the elevator, and perhaps would have survived. But the elevator continues descending at a continuous pace. There is nothing but fear in the Sargeant's eyes as he watches the only way out of this nightmare leave him behind at a rapid pace. Assuming he didn't hear Elaine saying she couldn't do anything to stop the elevator, he could be thinking thoughts of betrayal, shocked that the young writer would have brought him here to wind up suffering a horrible fate.
Sargeant Madden: Wait for me!
Investigative Detective Sargeant Bernie Madden
Bernie - A diminutive of Bernard, the Sargeant's first name comes from German. It means "brave like a bear"
Madden - The Sargeant's last name means "descendant of the hound". Referring to blood hounds, the Sargeant's demeanor relates quite a bit to a hound's hunting abilities. This is referring to the detective's knack at sniffing out the criminals. Unfortunately, today he shouldn't have tried to find "the truth", as it isn't going to end well for him. He was never really wanting to believe Elaine in the first place, but now that she has finally convinced him to come, he had no choice but to do his duty as a law enforcement officer and come. It's also his duty, as investigating detective, but he really should have delegated the assignment to another officer.
Elaine continues pushing buttons. 12, STOP... Nothing. The elevator is ignoring all of her commands. Nothing she can do will stop the elevator, and the Sargeant is trapped, looking into an open hole, watching Elaine and the elevator continue farther and farther down the shaft.
The Sargeant knows the killer is closing in on him, and he decides to climb down into the shaft.
Sargeant Madden: Eeeyah.
The Sargeant lowers himself into the shaft, and is barely holding on by his fingers.
The camera is now inside of the shaft, facing upward. We see the Sargeant from the backside. He is lowering himself down into the shaft. Unfortunately his feet slide against the door to the 12th Floor, and he struggles to find a place to rest his feet upon. There is none, and he dangles helplessly. His only platform, the elevator, is now about 100 feet below him, and the Sargeant's chances for survival seem very meek.
The Sargeant looks upward as the killer steps into frame. The killer's legs are shown, one on either side of the Sargeant's head. This means that the killer is now looking down at the helpless law enforcement officer.
Sargeant Madden: Oh my god, no!
The camera is now back inside of the shaft. We can no longer see the elevator, as it is so far down into the shaft. It appears the Sargeant is dangling over a dark, ever ending hole. Conduits and pipes wrap the outer edge of the shaft, and appear as shadows, outlined by light coming into the shaft. We see the killer, standing in the open doorway, above the Sargeant.
The killer raises his axe. We see a glimpse of the axe head as it illuminates in the light.
We see a silhouette of the axe, coming down to strike, against the red background. This image immediately changes to a shot of the polished axe head, shown in full glory, as it is being brought down.
The killer's axe strikes the Sargeant's right hand.
Sargeant Madden: Aaaaah!!!
|On Closer Inspection...:|
|The axe head seems to just miss the Sargeant's fingers. Scared, the Sargeant reflexively pulls his hand away, and he is now dangling by only his left hand. He appears to have his pinky finger bent over, where as the other fingers are straightened. This could be to give the illusion of his finger getting chopped off.|
The Sargeant screams in terror. He knows this isn't going to end well for him. The viewer does also. We pray for the best, but we know to expect the worst. Our hearts are racing.
We are now back inside of the shaft where the killer is above the Sargeant. The killer is bending over, so we still can't make out who it is, but we see him getting ready to strike again.
There is another silhouette of the axe against the red background. Like before, it changes to a shot of the polished axe head, which now comes down to strike the Sargeant's left hand.
|On Closer Inspection...:|
|While we are probably to believe that the Sargeant's fingers were chopped off,
it appears that the detective's fingers were recessed into a notch created in the floor. This was to have been created by the axe, digging it's way into the floor. The positioning of the Sargeant's fingers: under the index finger, and over the remaining fingers, in comparison to the anglature of the axe head, give the look that the axe has ripped through the Sargeant's fingers - so hard in fact it created an indention in the floor. Notice the complete lack of blood on the polished and gleaming axe head. If the Sargeant's fingers would have been chopped or cut, there is bound to have been blood on the axe head. But there is none. So maybe the Sargent's fingers are safe. This is lucky for the Sargeant. Unluckily, however, the Sargeant has reflexively pulled both of his hands away from the frame, and so he is no longer holding on to anything.
As the Sargeant lets go of the frame, he begins falling down into this long, scary and seemingly neverending shaft.
Sargeant Madden: Aaaaaaah!
There is a shot of the inside of the shaft taken by looking through the open spots between the long conduits and piping, running vertically through the shaft. Through this cutaway we see the Sargeant falling helplessly.
Another shot from inside the shaft, this time from down low, and facing almost perfectly upward, shows the Sargeant falling straight towards the camera.
There is temporary blackness as the camera shifts to the inside of the elevator, facing the small 2' by 1½' opening. With a thud, the Sargeant falls onto the top of elevator. He lands just perfectly so that his face, now covered in blood dripping from his forehead, lands facedown, center of the open hole. His body shakes as final tremors overcome the Sargeant's body.
Elaine immediately reaches up, and covers both of her eyes.
|The poor, overworked, Sergeant marks the seventh death (Death #7) to occur at
the hotel since Elaine arrives. The hotel only needs to kill off 16 people before they can make contact with Satan, thus achieving immortality, and Sergeant Madden makes the fifteenth (Death #15) death that the hotel has committed since beginning the process. There were eight people to pass before Elaine ever arrived at the hotel. If the Sergeant could have found a way to climb or jump, he might have gotten away. But as he more than likely didn't hear Elaine yell that she couldn't stop the elevator's descent, it's tragic thinking that sarge died believing Elaine left him on purpose. He didn't mean to not believe her. She just didn't have any hard evidence. Hopefully Elaine wasn't in on it, either. The poor Sargeant is left to watch her leave, knowing the killer is right behind him, and knowing that he is going to die, for there is no way to escape death. He leaves the world in a horrible state: knowing his only hope of escape is gone, and that the only two options he has left are to either plunge to his death, being able to grab ahold of nothing on his way down, or to await a slaughterous torture via the hands of the murderder, who is just inches away.
Elaine is mortified. All this time she's wanted the Sargeant to believe her, and now he finally did. She got him on her side, he finally discovered the one place Elaine has been trying to prove exists for almost the entire movie, and now he is dead. Dead! Elaine was hoping that bringing a law enforcement officer - and in this case, a well respected officer such as the police Sargeant, would help to put an end to this madness. But it doesn't. Instead, the hotel has now just killed off the one and only person that can help Elaine - and his bloody corpse is directly above her head.
|With Elaine's scream of terror fading, the music dies off and the cable aired version of the film will cut to a commercial break. There will be no music when the movie first returns.|
|While it is perhaps more of a Cultural Difference than an Alternate Scene, the picture at left comes in the form of back cover boxart, used on the film's German release. We see a picture of Sargeant Madden, after he has fallen on top of the elevator. His face is still bloodied, and his hair is just as ruffled, but he is being shown at an entirely different angle. This angle, different from any used in the film, shows the Sargeant more perpendicular to the camera view. The picture also shows a little more of the Sargeant's shoulders, as well as his white shirt. The picture possesses much more of a gold hue, as the lighting effects are significantly different, as well.
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