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The image of the hotel burning in the bottom of the image completely fades away as the scene transitions to the hustling and bustling of the street in front of the hotel. The explosion of the frieze has sent particles flying everywhere, and severly halted traffic. Chaos is bound to insue and police officiers, rescue crews, firemen, paramedics and more are coming together to ensure that everything is cleaned up and that "the truth" comes about.

The words "AMBULANCE" and "PARAMEDICS" are indeed supposed to make the viewer feel better, but what about the axe? We can see that its handle is also red, as red has been denoted as a color for safety. To the left of the axe appears to be some sort of yellow, tanked apparatus. Perhaps it provides oxygen.

We see a hand reaching for the axe. But unlike earlier in the movie, where we have witnessed the killer's robed hand reaching for the axe, this time we can tell by the bright flourescent yellow strip that this hand is coming from somebody wearing a fireman's uniform.

The fireman picks up the axe, and begins walking to the left, down the length of the ambulance. The vehicle is predominently white although it's hood, or at least its sides, are painted red. There are round lights casting a red spotlight type glow on top of the ambulance, and well as on its hood. One on either side are placed on the hood in front of the main windshield. They are spaced so that, straight on, they appear above the vehicle's standard white headlights and orange parking lights.

A female police officer (whose hair is very reminiscent of Judith's) stands in front of the ambulance, and appears to be taking a statement from a lady draped with a large brown blanked.

Smoke rises from the burnt debris, which has been spread all around the neighboring area.

The fireman, still holding the axe prominently in his left hand, walks in front of a police car whose red and blue lights are producing a stobe light effect against the building, each time they produce one full revolution.

There is a firetruck in the background to the left of the hotel's main entrance, and there appears to be one to the right of it that has its extention bucket extended out.

As the fireman walks by we can hear one of the service crew members on a walkie-talkie, obviously recanting the damage:

Guy on Walkie-Talkie: Uh, there appears to be a, uh, floor
   blown completely off the top of the building and uh...
   ...damage to the exterior...

As the firefighter continues walking we see other officers walking around, as well as two individuals that appear to be assessing the debris that has fallen. A car on the left seems to have been halted due to the falling debris.
The firefighter walks in between a yellowish colored door with two rounded windows and two paramedics that are talking. He then continues around the vehicle, to where we lose sight of him.

The paramedic on the right stops talking to other to walk over to the vehicle whose door we just saw. The door belongs to an ambulance, and it is open. In fact, both of them are. Behind each door, round orange lights flash in an alternating pattern. Elaine is sitting on the back of the vehicles bed, breathing through a cup designed to deliver oxygen. An oxygen tank sits inside of the back of the ambulance, which is illuminated by four small round lights that don't seem to put off enough light.

The paramedic, wearing a dark blue uniform, bends over, placing his left arm on his left knee which acts as a balance prop, and places his right hand on Elaine's shoulder. The way he bends allows the camera to see perfectly his PARAMEDIC patch, alerting the viewer to the fact that this is a genuine hardworking member of the community, that truly cares for the well being of those around him, and not just some average Joe. He seems worried about Elaine.

Paramedic: You okay?

Elaine, having just witnessed the firefighter carrying the axe by, takes the oxygen cup that she is holding with her left hand away from her mouth, letting her arm fall into her lap. She is wrapped in a dark colored blanket, trying to warm up and relax her nerves after such a terrifying experience.

Elaine: Yeah. I am now.

So what was with the fireman and the axe? The entire movie has been based around symbolism, and the ending is just the same. Throughout the movie we have been studying items used as weapons, even metaphorically, and how some weapons, like the fireaxe, were never meant to be used as weapons at all. Like the artist using his chainsaws and chisels, and the chefs cooking with fire, certain items of danger can be used to perform wonderous acts, when placed in the right hands. The fireaxe throughout the movie was taken out of its original place, used for an entirely alternate purpose, versus the reason in which it was intended, and was used as a horrific weapon, capable of achieving so much evil. Placed in the hands of the firefighter, on the other hand, gives the axe new life. Now it is in the hands of somebody that can do so much good with it. He's not a bad person, because he's not using the axe for bad intents. He's a good person, who uses it to help save lives. Elaine knows that the "nightmare" is over, and seeing the firefighter, she knows she is back in the realms of reality. Back in a world where the police, fightfighters, paramedics and other service members help provide a valuable service to the community, rather than using the tools of their trade to commit heinous acts.

The paramedic doesn't exactly believe Elaine, but he knows she needs to rest. He doesn't even know the half of it! He looks her over one more time, obviously examining for telltale signs of shock or health instabilities caused by this pressing event. Everything seems okay and so he takes his hand away from his shoulder, straightens back up, and continues on his way to help the next person in need of someone to care for them.

The camera zooms in towards Elaine and she leans her head up against the side wall in the back of the ambulance. She listens to the talking - a stream of incoherent banter - that is stirred up by those trying to sift through the madness. Elaine shakes her head. Not only is she in disbelief that such a lovely hotel could have housed such horrificness, she just utterly thankful to have made it out alive. She almost didn't, and Alan's words about realizing how little power we have over our lives eats at her mind. She is thankful to have made it out alive and a tear forms in her right eye.

The camera fades from Elaine to the hotel's now destroyed 13th Floor. Coming through one of the windows we see broken and bent shards of metal, concrete and wood. The curtains above the window are nothing more than charred strings of blackened mess. As the camera enters the window and into the room we see that everything is destroyed.

Musical Note:
Eerie music begins playing as the camera tours the destroyed floor. Everything is charred and the walls are blackened. Burnt matress frames are thrown around and there is debris everywhere. Everything is in a state of disarray.

The only thing that might have prevented the floor from causing structural damage to the floors above and below, would be the fact that the Wessex Hotel utilized concrete block walls to build the shell and all essential interior walls, and coated the interior walls with a fireproof abestos plaster that was standard of the times.

The camera focuses towards the door in front of it before fading to a shot leading out of a door. The camera pans around into the hallway, where we see the once prominent hallway now just a shell of rubble and debris. The woodwork is burnt and destroyed in spots, the walls are atrocious. Piles of debris are everywhere.

We are standing in the hallway, looking down to the room that once housed the Wessex Hotel's Altar Room. Elaine and the Sargeant had just run through this hallway, only minutes ago, and now here it is, in a horrendous state of disrepair. It is unknown whether the hotel will rennovate, and perhaps use the thirteenth floor again, or whether it will be sealed off. That's if the City Engineer's Office doesn't press to condemn the building, ending its reign of terror once and for all.
Mouldings hang while other trim pieces lay against the wall, victim of a tragic method of deconstruction. All of the wall sconces are gone - blown off of the walls, and into oblivion. The floor looks to be expected, assuming an explosion was to rip through the place.

Errors in Continuity:
As the camera enters the Altar Room, we notice a light, that is seemingly out of place. Like during Gail Myer's sequence earlier, their is an orangish light in this room as well. In the picture to the left, it is the rectangular light in the top center of the picture. As the camera enters the room it appears to be a skylight, but its placement would make absolutely no sense. It can be assumed, therefore, that as the room was so dark, the light was placed to illuminate the spot in the middle of the room not already illuminated by the light coming in through the windows. The "light" even seems to cast a rectangular beam of light into the middle of the room, which provides ample lighting for the camera's view.

Watch the moonlight as it beams down into the room. This is the first time in 90 years - the first time since the floor has been sealed off - that light has been allowed to pass into the floor via once usable window openings.

The Altar Room is in just as bad a shape as the rest of the floor. It is very tragic to see the room looking so badly, when just minutes before we were looking into a richly decorated room that possessed a very ominous theme. There are piles of wood everywhere, and a horribly damaged picture frame resting crooked on the wall behind what used to be the desk. It is an absolute shame. Sure, we are happy that the hotel can no longer do harm to people, although the staff will never be heard from again. At least we can assume that.
We know that Creeson and Letti were murdered, so they're out of the picture. We saw Judith scurry away and Porter never came upstairs. The fates of Mr. Rogas and Abraham, our orataticle desk clerk, will never be known for sure.

Musical Note:
As the ominous music displays a feeling that displays character to this ransacked room, it gets even more ominous as the camera zooms in towards one item that is still sitting on what is left of the desk - the gramophone that played so big a roll in the murders of at least 15 patrons. As the camera approaches, the gramophone seems to start playing by itself. Great. Now what, we think. Luckily, however, it isn't actually the gramophone that is blasting "Ragtime Piano", even though the cylinder is spinning. The song is coming from somewhere else, and is being overlaid here to get the effect that the horrors may not yet be over. The main score trails out perfectly, letting "Ragtime Piano" overtake it.