All throughout, Hightower's voice is heard echoing throughout the office warning guests the curse is real and urging them to leave while they can. The lights dim and the stained glass window changes to show a frightened Hightower holding the idol and then entering the elevator on that fateful night, then shows the outside of the hotel as the elevator ascends. A tour guide talks about Hightower, then winds up an old gramophone that plays a recording of Hightower's last interview. Guests enter one Hightower's office, where a large stained glass window depicts a confident Hightower, while Shiriki Utundu sits on a pedestal nearby the stained glass. Guests are then ushered into a room filled with many photographs of Hightower, his expeditions, and his hotel. At the end of the lobby is the elevator in its destroyed state, its doors left open with only a single plank of wood holding them together. On each ceiling arch is painted a mural of Hightower on one of his adventures, portraying his escape from native people with a valuable artifact or item in his possession. The queue area winds through gardens filled with statues from many different countries up to the Hotel Hightower before guests then enter the lobby.
The ride has a green roof made of copper and a brick façade, with its upper levels sitting precariously on a smaller middle that connects it to the base of the building. The hotel's design is based on a mishmash of Gothic Revival and Moorish Revival architecture (or Neo-Moorish), popular with American and European architects during the 19th and early 20th centuries when the increasing exploitation of European colonies in the Middle East and Africa brought back a thirst for all things "oriental." It is now a style found more commonly in synagogues, due to the association with the Golden Age of Jewry in Moorish Spain.
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