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Note:
Welcome to Seattle, Washington! We can assume that it has probably been at least a week since the events that took place in Los Angeles. We are curious as to why we are so far away - almost 1,154 miles away - but our curiousity will soon be fulfilled.

The camera focuses in on a taxi that is in the right hand lane on a busy two way street. The cream colored taxi is to the right of a big box truck which is painted white halfway up the back, and yellow the rest of the way down and on the cab of the truck. A retangular blue unit is attached to the top of the truck, above the cab and as a part of the back. It is more than likely a refrigeration unit as this is more than likely a truck full of perishable items. It is more than likely a meat truck, to go along with the film's overall reliance on symbolism.


On Closer Inspection...:
The two vehicles ride through an intersection, crossing over a set of crosswalks running perpendicular to the road the taxi is on. Off to the right of the taxi is a white single cab truck with black on it's front fenders. A white and brown paneled station wagon sits to the left of the truck. There is a light pole, a crosswalk signal, a traffic light and a phone booth at the intersection. The truck is parked catycorner to a small one story building with graffiti on the side. A rectangular yellow sign with red letting on a pole in front of the building with graffiti reads "STEREO", running vertically. To the left of this building a square white sign and red letters read "LIQUOR".

As the camera zooms out we see the truck zoom past while the taxi slows down, pulling in behind two yellow taxi cabs that are parked in front of a giant building. The taxi seems to be pulling in in front of the front door. There are two 20 foot tall trees, one on either side of the opening. A massive awning drapes the entrance, supported by massive chained anchors, feeding into the concrete. Above the awning resides a row of seven flags.

Errors in Continuity:
Poles above the building's third floor support two large flags - on the right is the Flag of the United States, while the flag on the left is... The Flag of California!

As the camera continues zooming out we see the building is a gigantic corner unit. There is a large lamp post on the corner of the building, where the sidewalk wraps around the building. A yellow fire hydrant resides six feet from the corner while a curb painted red denotes a fire lane. Another tree resides a few feet down from the hydrant and we see decorative awnings and rounded concrete window boxes built in.

Location, Location, Location:
The exact location of this building is unknown. Comparing the massive building to the smaller buildings around it, as well as looking at the awning and window box styles, may help provide a clue as to where this building is located. Note the row of windows directly above the building's first floor. This row of windows comes from the hotel's Mezzanine Level. Note that they stop in the front, before each of the decorative concrete window boxes. Each window on the corner, on the hotel's second and third floors, possess a decorative rounded window box, and notice that there are no Mezzanine windows continuing around the sides of the building.

The building (it's another hotel), contains four floors made of a cream colored block. The fifth floor is the color of brick while a small cream colored frieze wraps around the building, before continuing with other floors, each the color of brick and possessing the look of the floors below.

Another key to finding this building in real life would be it's juxtaposition to the buildings around it. While the buildings seen surrounding it on its right side are completely engulfed by the massiveness of this structure, when we see the executive leaving the taxi, we can notice a large, greyish structure which possesses at least 12 floors, each of which contain small, rectangular shaped windows. To this structure's left lay another building that seems to engulf the first. There is a small group of trees in the center median, along with an antique ornate street lamp.

On Closer Inspection...:
The camera zooms in towards the taxi cab that has just pulled up. United Independent Taxi, 385-TAXI (385-8294), Taxi #1162. Why does this taxi look so familiar? Remember on Page 3 when I said we would see Elaine's taxi again? Well here it is. This is same exact taxi that Elaine rode in, when she first arrived at the Wessex. This is also one of the key signs in informing us that all of the filming locations are, in fact, in Los Angeles. And only possessing a tiny filming budget, the Location Coordinators picked out impeccible locations, all within a close proximity of the filming studios.

A woman in a red floral dress walks by the taxi cab, followed by a woman in a white half dress and white polyester jacket atop a black blouse carrying a black purse over her left shoulder. An older, grey haired gentleman in a greyish black suit atop a white collared button up shirt with a red tie with small gold polka dots on it, gets out of the taxi. Holding on to his briefcase with his left hand, he exits the taxi, reaching across himself to shut the door with his right hand. A blond haired woman with sunglasses in a pink blazer jacket, a darker pink blouse and a black miniskirt walks by as the man approaches the hotel. He walks in front of a man in a light blue shirt showing diagrams and file folders to a woman in black standing on his left. Looking down the sidewalk reveal the rounded awnings, over the first floor windows. They are white with a tan colored stripe in between two smaller red stripes, running horizontally along the flat part of the awning drop. Across from the tree rests a smalled, potted tree, situated in a giant, round shaped concrete flower pot with a flat base and a darker colored strip which runs in between where the round part comes the point in which is reflexively curves the opposite way, forming the pot's top rim. A man in a cream colored suit jacket walks past as the camera follows the man listed in the credits as "Executive". Walking by horizontal runs of concrete separated by a relief cut created for decorative appeal, it almost appears to possess the same general features as the bottom floors of the Wessex, indicating a possible standard of the times. The gentleman uses his right hand to straighten out his suit jacket as he walks by a gold rimmed bellhop cart containing two matching dark red suitcases - a large one and a smaller one, sitting against the wall to his left, and to the left of a white door with a black lock an pull handle. He approaches the doors, which sweep open automatically in both directions, revealing a potted plant and decorative rope lighting surrounding the ceiling panels in the anteroom. The Wessex did have any automatic entry doors - relying on the staff to open the doors for those needing help.

Musical Note:
Remember when we said that "Ragtime Piano" would make a nice tune to play in the corridors of the hotel, to provide ambiance to the patrons within earshot? "Ragtime Piano" wasn't playing on the Wessex Hotel's gramophone. Instead, here is the location of where the tune is playing. And it definitely sounds as if the tune is coming from over the hotel's loud speakers, rather than being overdubbed into the shot. From this, we can make a logical assumption that the song is indeed playing through the loud speakers of this hotel. This will provide relaxing ambiance to the location, that the song provided in it's original location - the Wessex Hotel. Just how this hotel acquired a copy of the legendary theme is unknown, but here it is, playing for all who will listen. And it really does live up to its original purpose of brightening up the place, adding a hint of cheeriness to an otherwise silent room. The song sounds very pleasing, accoustically bouncing off of the walls and ceilings throughout the floor. That's why it sounds cheerier when it comes on during the final scenes inside of the Wessex Hotel.

As the camera zooms out we see that the gentleman is in a hotel slightly larger than the Wessex. It may not be as eloquent, but it is certainly more modern. This is an actual Mezzanine Level, separated on the top on the sides by large rounded arches, and supported by giant square columns, 2½ feet wide, not just a hotel with a floor labeled "M". The columns have decorative notched grooves running from their base to their decorative and ornate kapitals. Astrigal mouldings wrap the columns at the middle of the Mezzanine Level's floor system, as does it come across each of the archway railing buildups. There is a dark red couch in a small sitting area and small potted trees sitting by each column. The carpeting in the central aise consists of tight knit rows of dark red diamonds, positioned between a layer of white. They run at a 45° diagonal against the structure, their path broken only by a 16" strip of white running around the perimeter of the central focal point. Dropped beams run in a gridwork pattern between columns and load bearing supports.

We see a lady in pink holding a tan handbag on her shoulder, to the left of a gentleman in a greyish-blue suit. They are being followed by the hotel's porter, dressed in a dark red jacket, black suit pants, and dark red hat, pushing their luggage on a gold rimmed bellhop cart, similar to the one seen outside. Another lady in pink comes from an area to the left of the door and makes a beeline around the back left column, a lady in grey, carrying a white towel draped over her left arm comes into view from behind the front left column.We hear a lady in the background, obviously complimenting the decorum, and giving creedence to the validity of granduereousness of this hotel:

Unknown Female: Oh that's so cool! Oh, what a...

The gentleman walks confidently past two smaller trees, in smaller V-shaped pots, and a larger one with greenery growing from its base and spewing out over the sides of the container.

There is a female in a white blouse and dark red vest with short curly dark hair, with her back facing the audience. She is typing on an older style computer that is sitting atop a counter which wraps around the hotel's registration desk. Tan colored panel mouldings, run vertically, 4 feet apart, give style to the wall behind the hallway on the side wall in front of the counter with the computer. We see a gentleman in a blue sweater walking down the hallway to the left of the counter. Greenery and colorful flowers adorn both corners of the registration desk, providing decorative contrast to the blue marble counter tops and white, bronze handled drawers underneath. The Executive walks up to the counter, and already having noticed the clerk's diverted attention, reaches immediately for the call bell sitting on the counter. With his right hand he rings the bell:

DING!

Clerk: Yes, sir. May I help you?

The gentleman wonders why she doesn't turn around. Could it be bad manners? He's not sure, but then again, how did she know he was a "sir", even though she never once turned her head? The Executive stresses that he has a reservation. This is his way of saying that she would be paying attention to him, rather than doing whatever it was that she was doing. In fact, he's one step below rolling his eyes. A decorative gold elevator direction indicator behind his head has an orange light lit up indicating the elevator is going, or is ready to go, up. This, combined with the Executive's registration and the patrons roaming the floor show how busy the hotel is. But the Executive wants attention paid to him. In fact he even thrusts his head forward, as he speaks.

Executive: Yes. J. J. McMahon. I have a reservation.

Note:
John J. McMahon, aka J. J. McMahon, is the president of Wilshire Court Productions, the company that filmed "Nightmare on the 13th Floor". Using his name is a fitting homage to a man that created an amazing company that created such an outstanding movie. This is also the reason that the credits list him as "Executive" rather than "J. J. McMahon".

Without missing a beat, the clerk retorts:

Clerk: Oh yes. I have you right here.

The Executive, already a little peeved at the lack of attention the clerk has shown a man of his stature, rests his arms on the counter in a "And how in the world can you possibly have me ready when I just walked it" sort of gesture.

The clerk finally whips around, and she is indeed holding something in her hand. The Executive immediately relaxes his shoulder, now developing a slightly permissive gestures, so indicate his quick attitude adjustment. There is a dark haired man walking down the hallway towards the entrance, while a blond haired female in blue walks in the opposite direction, into the heart of the hotel.

The clerk, holding a ballpoint pen and a white 5" x 7" card with a strip of blue with white lettering on the top. We see that the clerk is in fact Judith Teller, the [sadistic] concierge extraordinaire that escaped from the Wessex Hotel during the final moments before its 13th Floor exploded.

Musical Note:
As soon as we notice it is Judith, the end credits theme begins crescendoing in.

Judith: I know you'll enjoy your stay.

Note:
Judith is indeed good at what she does. And she can tell that ignoring the patron only to surprise them by producing their information, seemingly out of the blue, in an effort to show them that they were on the top of her list, after all, seems to work well. It definitely seemed to impress the Executive. She looks charming with a decoratively knotted, cream colored scarf around her neck. There is a decorative letter "B" that seems to shrouded by two decorative branches/wheat stalks that show that she has adapted to an entirely new life, in a brand new hotel.

Knowing she has almost shown a hint of telepathy, she relaxes her head and smiles an incredibly ominous smile. Judith was always rather forceful and proved to be a dominant force in the cult, and it's likely that she is capable of committing devious acts elsewhere. Judith may look sweet and innocent, especially when she is putting on a good front. Her ominous smile gives the viewer the impression that the horror may not be over... Mix that with "Ragtime Piano" playing over the hotel's loudspeakers over and over, and you're sure to get a homicidal concierge that finally goes ballistic and starts a Satanic cult in an effort to murder patrons to achieve immortality. Judith's only a desk clerk now, but she's soon to advance. ...Especially if she kills off the competition! Now we can just hope that Elaine gives up being a travel writer and never comes to Seattle, Washington. Or at least not to this hotel!

EXECUTIVE PRODUCER
WALTER GRAUMAN


comes onscreen, overlayed at the bottom, underneath Judith's smiling face. We must thank Mister Grauman for going out of his way to secure literally everything required to produce this fantastic film.

Musical Note:
The music rises ominously, perfectly complimenting Judith's charm, and providing a perfect finale for the film. It will be discussed more on the next page.

The screen cuts to black before the credits begin to roll.

CONTINUE TO PAGE #35