Stanley Kubrick - The Shining lyrics

THE SHINING (1980) movie script by Diane Johnson, Stanley Kubrick. Based on the novel by Stephen King. Post Production Script. July, 1980. EXT. COLORADO MOUNTAIN (U.S.A.) - DAY - L.S. Lake and Mountains. CAMERA TRACKS FORWARD past island in lake. DISSOLVE TO: EXT. ROAD - DAY - L.S. High Angle V.W. Car moving along road - CAMERA TILTS UP with it. CUT TO: EXT. COLORADO MOUNTAINS & ROAD - DAY - L.S. Mountains and Road - V.W. Car moves away along road - CAMERA TRACKS after it. CUT TO: L.S. V.W. Car moving away along road - CAMERA TRACKS after it and pa**es car - TRACKING FORWARD to Mountains in b.g. CUT TO: M.L.S. High Angle V.W. Car moves away along road - CAMERA TILTS UP with it. Car goes into tunnel and comes out other side. CAMERA TRACKS after car. CUT TO: L.S. V.W. Car moves along road. CAMERA TRACKS after it. Mountains in b.g. CUT TO: L.S. High Angle V.W. Car moving away along road. Mountain in b.g. CAMERA TRACKS after car. CUT TO: L.S. Mountain - CAMERA TRACKS IN on Hotel. CUT TO: Black Frames. THE INTERVIEW. CUT TO: . 2. INT. OVERLOOK HOTEL/LOBBY - DAY - M.L.S. Jack walks L-R across Lobby. CAMERA TRACKS BACK & PANS with him to RECEPTIONIST behind desk. JACK Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance. RECEPTIONIST His office is the first door on the left. JACK Thank you. JACK moves away R-L. CAMERA PANS with him and TRACKS IN after him through Secretary's office to open door of ULLMAN's office - revealing ULLMAN seated at desk with SECRETARY standing beside him. JACK Mr. Ullman? ULLMAN Yes? JACK I'm Jack Torrance. ULLMAN Oh, well - come on in Jack. ULLMAN stands up and hands book to SECRETARY, walking round side of desk. JACK moves into office. CAMERA TRACKS IN after him. He shakes hands with ULLMAN. ULLMAN Very nice to meet you. JACK Nice to meet you, Mr. Ullman. ULLMAN points to SECRETARY. ULLMAN This is my secretary, Susie. SECRETARY Hallo. JACK Susie, how do you do? . 3. ULLMAN Have any trouble finding us? JACK Oh, no problem at all. I made the trip in three and a half hours. ULLMAN Well, that's very good time, very good. Please sit down a minute. ULLMAN points to chair cam.R. JACK sits cam.R.f.g. ULLMAN walks behind desk. ULLMAN JAck, just make yourself at home. Would you like some coffee? JACK Well, if you are going to have some, I wouldn't mind. Thanks. ULLMAN Susie. SECRETARY Sure. ULLMAN Oh, and would you ask Bill Watson to join us? SECRETARY Yes, I will. ULLMAN sits behind desk. SUSIE walks forward to R.f.g. DISSOLVE TO: EXT. APARTMENT BUILDING/BOULDER - DAY - L.S. Apartment Building - cars parked in front of it. Mountain in b.g. CAMERA TRACKS IN on Apartment Building. CUT TO: INT. JACK & WENDY'S APARTMENT IN BOULDER (USA) / LIVING ROOM - DAY - M.L.S. DANNY is sitting at table eating a sandwich. WENDY sitting cam.R reading book. DANNY Mom... . 4. WENDY Yeah. DANNY Do you really want to go and live in that hotel for the winter? WENDY Sure, Danny, it will be lots of fun. DANNY Yeah, I guess so. Anyway, there's hardly anybody to play with around here. WENDY Yeah, I know. It always takes a little time to make new friends. CUT TO: M.S. DANNY eating sandwich. DANNY Yeah, I guess so. CUT TO: M.S. WENDY WENDY What about Tony? He's looking forward to the hotel, I bet. CUT TO: M.S. DANNY while eating sandwich wiggles forefinger of his L.hand and speaks with different voice. TONY NO, I ain't Mrs. Torrance. CUT TO: M.S. WENDY WENDY Oh come on, Tony. Don't be silly. CUT TO: M.S. DANNY wiggles forefinger of L.hand and speaks with different voice. . 5. TONY I don't want to go there, Mrs. Torrance. CUT TO: M.S. WENDY WENDY Well, how come you don't want to go? CUT TO: M.S. DANNY wiggles forefinger of L.hand and speaks with different voice. TONY I just don't. CUT TO: M.S. WENDY. WENDY Well, let's just wait and see. We're all gonna have a real good time. DISSOLVE TO: INT. OVERLOOK HOTEL/ULLMAN'S OFFICE - DAY - M.L.S. JACK over ULLMAN seated at desk. BILL WATSON enter office. JACK rises and shakes hands with him. ULLMAN Bill, I'd like you to meet Jack Torrance. WATSON How do you do? JACK Bill, how do you do? WATSON Pleased to meet you. JACK Pleasure to meet you. ULLMAN Grab a chair Bill, and join in. . 6. WATSON & JACK sit down. ULLMAN Jack is going to take care of the Overlook for this winter. I would like you to take him around the place as soon as we are through. WATSON Fine. ULLMAN Jack is a schoolteacher. CUT TO: M.C.S. JACK. JACK Eh - formerly a school-teacher. WATSON (OFF) What line of work are you in now? JACK I'm a writer um... Teaching has been more or less a way of making ends meet. CUT TO: M.C.S. WATSON. WATSON Well this ought to be quite a change for you. CUT TO: M.C.S. JACK JACK Well, I'm looking for a change. ULLMAN (OFF) Our people in Denver recommended Jack very highly, and, for once, I agree with them. CUT TO: M.S. ULLMAN . 7. ULLMAN Let's see, where were we? Yes. I was about to explain that eh... our season here runs from oh May 15th to October 30th and then we close down completely until the following May. CUT TO: M.C.S. JACK JACK Do you mind if I ask why you do that? It seems to me that the skiing up here would be fantastic. ULLMAN (OFF) Oh, it sure would be CUT TO: M.S. ULLMAN ULLMAN (CONT'D) but the problem is the enormous cost it would be to keep the road to the Sidewinder open. It's a... It's a 25 mile stretch of road - gets an average of 20 feet of snow during the winter, and there's just no way to make it economically feasible to keep it clear. When the place was built in 1907, there was very little interest in winter sports, and this site was chosen for its seclusion and scenic beauty. CUT TO: M.L.S. ULLMAN over WATSON & JACK. JACK Well, it's certainly got plenty of that. JACK laughs. ULLMAN That's right. And did they give you any idea in Denver about what the job entails? . 8. JACK Only in a very general way. ULLMAN Well... CUT TO: M.S. ULLMAN ULLMAN (CONT'D) ...the winters can be fantastically cruel, and the basic idea is to...to cope with the very costly damage and depreciation which can occur. And this consists mainly of running the boiler, heating different parts of the hotel on a daily rotating basis, repairing damage as it occurs and doing repairs, so that the elements can't get a foothold. CUT TO: M.C.S. JACK JACK Well, that sounds fine to me. ULLMAN grunts off. CUT TO: M.S. ULLMAN ULLMAN Physically, it's not a very demanding job. The only thing that can get a bit trying up here during the winter is eh... the tremendous sense of isolation. CUT TO: M.C.S. JACK JACK Well, that just happens to be exactly what I'm looking for. I'm eh... I'm outlining a new writing project, and eh... (MORE) . 9. JACK (CONT'D) five months of peace is just what I want. CUT TO: M.S. ULLMAN ULLMAN That's very good Jack, because eh... for some people eh solitude and isolation... CUT TO: M.C.S. JACK. ULLMAN (OFF) (CONT'D) can of itself be a problem. JACK Not for me. CUT TO: M.S. ULLMAN. ULLMAN How about your wife and son? How do you think they'll take to it? CUT TO: M.C.S. JACK. JACK They'll love it. ULLMAN (OFF) Great... CUT TO: M.S. ULLMAN ULLMAN Well, before I turn you over to Bill, there is one other thing I think we should talk about. I don't want to sound melodramatic, but it is something that's... (MORE) . 10. ULLMAN (CONT'D) been known to give a few people second thoughts about the job. CUT TO: M.C.S. JACK JACK I'm intrigued. CUT TO: M.S. ULLMAN. ULLMAN I don't suppose they eh told you anything in Denver about the tragedy we had up here during the winter of 1970? CUT TO: M.C.S. JACK shakes his head. JACK I don't believe they did. CUT TO: M.S. BILL WATSON. ULLMAN (OFF) Well, my predecessor in this job CUT TO: M.S. ULLMAN. ULLMAN (CONT'D) hired a man named Charles Grady, as the winter caretaker. He came up here with his wife and two little girls of about eight or ten. And he had a good employment record, good references and from what I've been told, I mean, he seemed like a completely normal individual. But at some point during the winter, he must have suffered some kind of a complete mental breakdown. (MORE) . 11. ULLMAN (CONT'D) He ran amok and eh... k**ed his family with an axe, CUT TO: M.C.S. JACK ULLMAN (OFF) (CONT'D) stacked them neatly in one of the rooms in the West Wing, and then he um... then he put eh both barrels of his shotgun in his mouth. CUT TO: M.S. ULLMAN sitting behind desk. ULLMAN (CONT'D) The police eh... they thought that it was what the old-timers used to call cabin-fever, a kind of claustrophobic reaction which can occur when people are CUT TO: M.C.S. JACK ULLMAN (OFF) (CONT'D) shut in together over long periods of time. JACK Well, that is eh quite a story. CUT TO: M.S. ULLMAN laughs. ULLMAN Yes, it is. Oh, it's still hard for me to believe that it actually happened here, but it did and eh... I think you can appreciate why I wanted to tell you about it. CUT TO: M.C.S. JACK. . 12. JACK Ah, I certainly can, and eh... I also understand why your people in Denver left it for you to tell me. JACK laughs. CUT TO: U.S. ULLMAN laughing. ULLMAN Well, obviously some people can be CUT TO: M.C.S. JACK. ULLMAN (OFF) (CONT'D) put off by the idea of staying alone in a place where something like that actually happened. JACK Well, you can rest a**ured Mr. Ullman, that's not going to happen with me, and eg as far as my wife is concerned, I am sure she'll be absolutely fascinated when I tell her about it. She's a confirmed ghost story and horror film addict. DISSOLVE TO: INT. BOULDER APARTMENT/BATHROOM - DAY - M.S. Shooting through open door - DANNY standing on stool at basin. DANNY Tony, do you think Daddy will get the job? TONY (OFF) Yeah, he did. He's gonna phone Wendy up in a few minutes to tell her. CUT TO: INT. BOULDER KITCHEN/LIVING ROOM - DAY - M.S. WENDY back to camera washing dishes at sink. PHONE RINGS OFF. She dries her hand and puts carton in fridge. Then moves L-R into Living Room - CAMERA PANS with her. . 13. She picks up telephone receiver. WENDY (into phone) Hello. CUT TO: INT. HOTEL - LOBBY - DAY - M.L.S. JACK leaning on counter at reception desk, speaking into phone. JACK (into phone) Hi, babe. WENDY (over phone) Hi, hon. How's it going? JACK (into phone) Great. Look, I'm at the hotel and I still have an awful lot to go through. I don't think I can get home before nine or ten. CUT TO: INT. BOULDER APARTMENT/LIVING ROOM - DAY - M.S. WENDY sitting on back of chair phone to ear. WENDY (into phone) Sounds like you got the job? CUT TO: INT. HOTEL - LOBBY - DAY - M.L.S. JACK leaning on reception desk with phone to ear. JACK (into phone) Right it's a beautiful place. You and Danny are gonna love it. INT. BOULDER APARTMENT/BATHROOM - DAY - M.S. DANNY standing on stool by basin. He is reflected in mirror. CAMERA TRACKS IN on his reflection in mirror. . 14. DANNY Tony, why don't you want to go to the hotel? DANNY wiggles forefinger. TONY (OFF) I don't know. DANNY You do too know, now come on tell me. DANNY wiggles forefinger. TONY (OFF) I don't want to. DANNY Please... DANNY wiggles forefinger. TONY (OFF) No. DANNY Now Tony, tell me. CUT TO: INT. HOTEL - LOBBY - M.L.S. Shooting towards doors of lifts. Blood gushes in from L.side of lift and in from corridors L. and R. of lift doors - surging towards camera. CUT TO: INT. HOTEL/CORRIDOR - M.S. Two Little GRADY girls holding hands. CUT TO: INT. HOTEL/LOBBY - M.L.S. Blood gushing in from corridors L-R of lift doors and surging towards camera. CUT TO: . 15. INT. BOULDER APARTMENT - M.C.S. DANNY screaming. CUT TO: INT. HOTEL/LOBBY - M.L.S. Blood gushing in from corridors L-R of lift doors and surging forward. The blood gushes up into camera lens causing black out. DOCTOR (OFF) Now hold your eyes still so that I can see. CUT TO: INT. BOULDER APARTMENT/DANNY'S BEDROOM - DAY - M.S. DOCTOR bending over DANNY lying on top of his bed. She is examining his eyes. WENDY standing at foot of bed. DOCTOR That's good, now the other one. Good boy. DOCTOR straightens up. She puts instrument away in case and closes it. Then she sits on bed beside DANNY. DOCTOR Now Danny, when you were brushing your teeth, do you remember if you smelled anything funny, or saw any bright flashing lights, or anything at all strange? CUT TO: M.C.S. DANNY. DANNY No. DOCTOR (OFF) Do you remember when you were brushing your teeth? DANNY Yes. CUT TO: . 16. M.S. DOCTOR sitting on bed beside DANNY. WENDY standing at foot of bed. DOCTOR What's the next thing you remember after you were brushing your teeth? CUT TO: M.C.S. DANNY. DANNY Mommy saying, 'Wake up, wake up, wake up Danny, wake up.' CUT TO: M.S. DOCTOR sitting on bed beside DANNY. WENDY standing at foot of bed. DOCTOR Now Danny, can you remember what you were doing just before you started brushing your teeth? CUT TO: M.C.S. DANNY DANNY Talking to Tony. CUT TO: M.C.S. DOCTOR DOCTOR Is Tony one of your animals? CUT TO: M.C.S. DANNY DANNY No. It's the little boy that lives in my mouth. CUT TO: M.C.S. WENDY WENDY Tony is his imaginary friend. . 17. DOCTOR (OFF) Oh, CUT TO: M.C.S. DOCTOR DOCTOR (CONT'D) if you were to open your mouth now, could I see Tony? CUT TO: M.C.S. DANNY DANNY No. CUT TO: M.C.S. DOCTOR DOCTOR Why not? CUT TO: M.C.S. DANNY DANNY Because he hides. CUT TO: M.C.S. DOCTOR DOCTOR Where does he go? CUT TO: M.C.S. DANNY DANNY To my stomach. CUT TO: M.C.S. DOCTOR DOCTOR Does Tony ever tell you to do things? M.C.S. DANNY . 18. DANNY I don't want to talk about Tony anymore. CUT TO: M.S. DOCTOR sitting on bed beside DANNY. She pats his leg and stands up. WENDY at foot of bed. DOCTOR Okay. That's fine. All right Danny. DOCTOR puts case and stethoscope in her shoulder bag. DOCTOR Now I'm going to ask you to do me a favor, and stay quietly in bed for the rest of the day. Okay? DANNY Do I have to? DOCTOR Yes, I'd like you to. WENDY We're just going to go into one of the other rooms for a few minutes and talk - then I'll come back and check on you, okay? DANNY Okay. DOCTOR Goodbye. WENDY & DOCTOR move R-L to open door. DOCTOR goes into the corridor. CUT TO: INT. CORRIDOR/LIVING ROOM - DAY - M.S. DOCTOR standing in corridor. WENDY moves out of DANNY's room and closes the door. She turns to DOCTOR. WENDY Shall we go into the living room? DOCTOR Yes. . 19. DOCTOR & WENDY walk forward along the corridor - CAMERA TRACKS BACK before them and PANS R-L with them to Living Room. WENDY points to sofa. WENDY Please... DOCTOR Thank you. DOCTOR moves to sofa and sits down - WENDY sits in chair cam.R. DOCTOR Mrs. Torrance, I don't think you have anything to worry about. I'm quite sure there is nothing physically wrong with Danny. CUT TO: M.C.S. WENDY. WENDY Oh, yeah. Oh, yeah, he seems absolutely fine now, but you should have seen him. CUT TO: M.S. DOCTOR over WENDY. DOCTOR leans back on sofa. DOCTOR Oh I know. Kids can scare you to d**h, but believe me these episodes are not at all uncommon, and they look much worse than they are. CUT TO: M.S. WENDY over DOCTOR. WENDY But eh what was the matter with him? DOCTOR Mrs. Torrance, most of the time these episodes with kids are never explained. They are brought on by emotional factors, and they rarely occur again. CUT TO: . 20. M.S. DOCTOR. DOCTOR They're more akin to auto-hypnosis, a kind of self induced trance. If it re-occurs which I doubt CUT TO: M.S. WENDY takes cigarette out of packet. DOCTOR (OFF) (CONT'D) you can always think about having some tests done. WENDY holds cigarette packet out towards DOCTOR. DOCTOR (OFF) No thank you. She puts packet down on table. WENDY Oh, I'm...I'm sure you're right. She lights cigarette from lighter. CUT TO: M.S. DOCTOR. DOCTOR Have you been in Boulder long, Mrs. Torrance? CUT TO: M.C.S. WENDY. WENDY Only about three months. Eh we're from Vermont. My husband was teaching school there. CUT TO: M.S. DOCTOR DOCTOR Did the appearance of Danny's imaginary friend...? CUT TO: . 21. M.S. WENDY over DOCTOR. WENDY Tony. DOCTOR Did Tony's first appearance happen to coincide with your arrival here? CUT TO: M.C.S. WENDY WENDY No, um let's see I guess Danny started talkin to Tony about the time we put him into nursery school. CUT TO: M.S. DOCTOR over WENDY. DOCTOR Did he adjust well to school? CUT TO: M.C.S. WENDY - she shakes her head. WENDY No. He didn't like it too much at first, and then he had an injury, so we kept him out for a while, and, yeah, I...I guess that's about the time when I first noticed that he was talking to Tony. CUT TO: M.S. DOCTOR over WENDY. DOCTOR What sort of injury did he have? CUT TO: M.C.S. WENDY WENDY Ah he dislocated his shoulder. WENDY inhales. . 22. DOCTOR (OFF) How did he manage to do that? WENDY Well it's just one of those things. You know... purely an accident, um. My husband had oh... been drinking, and he came home about three hours late, so he wasn't exactly in the greatest mood that night. And well Danny had scattered some of his school papers all over the room... and my husband grabbed his arm, you know, and pulled him away from them. It's...it's just the sort of thing you do a hundred times with a child - you know, in a park or on the streets - but on this particular occasion my husband just... used too much strength and he injured Danny's arm. CUT TO: M.S. DOCTOR WENDY (OFF) (CONT'D) Anyway, something good did come out of it all because he said: CUT TO: M.C.S. WENDY WENDY (CONT'D) "Wendy, I'm never gonna touch another drop and if I do you can leave me", and he didn't and he hasn't had any alcohol in eh five months. CUT TO: BLACK FRAMES. Superimposed Title over: CLOSING DAY. CUT TO: . 23. EXT. COLORADO MOUNTAINS - DAY - L.S. High Angle Trees on side of Mountain - CAMERA TRACKS FORWARD over them to Jack's car moving away along road. CUT TO: INT. JACK'S CAR - DAY - M.S. WENDY sitting beside JACK as he drives along Mountain Road. DANNY, between them, is leaning on backs of their seats. WENDY yawns. WENDY Boy, we must be really high up. The air feels so different. JACK Uh...huh. DANNY Dad? JACK Yes? DANNY I'm hungry. JACK Well you should have eaten your breakfast. WENDY We'll get something as soon as we get to the hotel, okay? DANNY Okay, Mom. WENDY Hey, wasn't it around here that the Donner party got snowbound? JACK I think that was farther west in the Sierras. DANNY What was the Donner party? . 24. JACK There were a party of settlers in the covered wagon times. They got snowbound one winter in the mountains. They had to resort to cannabilism in order to stay alive. DANNY You mean they ate each other up? JACK They had to, in order to survive. WENDY Jack... DANNY Don't worry, Mom. I know all about cannabilism, I saw it on T.V. JACK See, it's okay. He saw it all on the television. DISSOLVE TO: EXT. COLORADO MOUNTAINS - DAY - L.S. High Angle JACK's car moving away along road on side of mountain - CAMERA TRACKS after it. CUT TO: EXT. OVERLOOK HOTEL - DAY - L.S. Cars parked in front of Hotel. CUT TO: INT. OVERLOOK HOTEL/LOBBY - M.L.S. Man cleaning floor. CAMERA TRACKS L-R. WATSON & ULLMAN walk forward from b.g. ULLMAN What time does the plane leave? WATSON Eight thirty. ULLMAN Well, that still gives up plenty of time to go over everything first. . 25. Two Girls carrying luggage enter cam.R and walk away to b.g. GIRLS Goodbye Mr. Ullman. ULLMAN Goodbye. ULLMAN & WATSON walk L-R to JACK sitting in chair. ULLMAN Good morning Jack. I hope you haven't been waiting too long. JACK No problem. In fact we had time to grab a bite to eat. JACK stands up. ULLMAN Good. Glad you made it before they shut down the kitchen. Is your family having a look around? JACK No, my son's discovered the games room. ULLMAN Oh... Has your luggage been brought in? JACK points to luggage. JACK Right there. ULLMAN Oh fine. Well in view of all the ground that we to cover today, I suggest we go and have a quick look at your apartment and then get started straight away. ULLMAN turns to WATSON. ULLMAN Bill, would you have the Torrances' things brought in their apartment. WATSON Fine. . 26. WATSON walks out cam.L. JACK I'd better collect my family first. ULLMAN Oh... ULLMAN laughs and they move out cam.L. DISSOLVE TO: INT. HOTEL/COLORADO LOUNGE - DAY - M.L.S. ULLMAN, followed by WENDY, JACK & WATSON, moves out of lift cam.R. They walk R-L across Lounge. CAMERA TRACKS with them. ULLMAN This is our Colorado Lounge. WENDY Oh, it's beautiful. (to Jack) My God, this place is fantastic, isn't it hon? JACK Sure is. WENDY God, I've never seen anything like this before. Are all of these Indian designs authentic? ULLMAN Yes, I believe they are based mainly on Navajo and Apache motifs. WENDY Oh well they're really gorgeous. As a matter of fact this is probably the most gorgeous hotel I've ever seen. ULLMAN laughs. ULLMAN Oh this old place has had an illustrious past. In its heyday it was one of the stopping places for the jet set, They reach corner and turn, walking towards camera. . 27. ULLMAN (CONT'D) even before anybody knew what a jet set was. We've had four presidents who stayed here, lots of movie stars. WENDY Royalty? ULLMAN All the best people. CUT TO: INT. HOTEL GAMES ROOM - DAY - M.C.S. DANNY throwing darts - CAMERA TRACKS BACK & PANS L-R with him as he walks to the dartboard. He climbs up on chair and pulls two darts out. He looks cam.L. CAMERA ZOOMS IN on him. CUT TO: M.S. Two GRADY girls, holding hands, standing near open door. CUT TO: M.C.S. DANNY. CUT TO: M.S. Two GRADY girls, holding hands. They look at one another, then turn and exit out through open doorway. CUT TO: M.C.S. DANNY. CUT TO: INT. HOTEL/CARETAKER'S APARTMENT CORRIDOR - DAY - M.S. ULLMAN leads WENDY & JACK forward along corridor to Caretaker's Apartment. ULLMAN This is the staff wing of the hotel. None of the other bedrooms are heated during the winter. WENDY Oh! Two Girls carrying bags enter from cam.L. . 28. GIRLS Goodbye Mr. Ullman. ULLMAN Goodbye girls. ULLMAN waves to Girls and moves cam.R into JACK's apartment. WENDY & JACK follow him. ULLMAN And here are your quarters. CUT TO: INT. HOTEL/JACK'S APARTMENT - DAY - M.S. ULLMAN, followed by WENDY and JACK, move up steps. ULLMAN points to open door cam.R. ULLMAN Living Room, bedroom, bathroom, and a small bedroom for your son. JACK leans forward and looks in small bedroom cam.L. He turns and looks cam.R. at ULLMAN. JACK Perfect for a child. WENDY Yeah. ULLMAN Yes. They move into apartment. JACK & WENDY move away through living room into bedroom - CAMERA TRACKS FORWARD after them. ULLMAN (OFF) Well the place is very nicely self- contained, easy to keep. JACK feels bed. JACK Cosy. JACK & WENDY move away and enter bathroom - CAMERA TRACKS after them. . 29. ULLMAN (OFF) Yes, very cosy for a family, and if you feel like spreading out you have the rest of the hotel to move around in. JACK Well, it's very... homely. WENDY Yeah. DISSOLVE TO: EXT. HOTEL/THE MAZE - DAY - L.S. ULLMAN leading WENDY, JACK & WATSON R-L along outside of Maze. CAMERA TRACKS & PANS with them. ULLMAN This is our famous hedge maze. It's quite an attraction around here. The walls are thirteen feet high and the hedges are about as old as the hotel itself. It's a lot of fun, They walk from end of Maze towards Hotel in b.g. ULLMAN (CONT'D) but I wouldn't go in there unless I had an hour to spare to find my way out. Laughter. WENDY When was the Overlook built? CUT TO: M.L.S. ULLMAN leads WENDY, JACK & WATSON L-R along front of Hotel - CAMERA TRACKS with them. ULLMAN Ah... construction started in 1907. It was finished in 1909. The site is supposed to be located on an Indian burial ground, and I believe they actually had to repel a few Indian attacks as they were building it. ULLMAN points to red Snowcat at entrance of garage. . 30. ULLMAN That's our Snowcat. Can you both drive a car? JACK & WENDY (together) Yes. They walk towards SNOWCAT. ULLMAN That's fine because basically the Snowcat operates very much like a car and it won't take you long to get the hang of it. DISSOLVE TO: INT. HOTEL BALLROOM/CORRIDOR - DAY - M.S. ULLMAN, JACK, WATSON & WENDY walk forward along corridor - CAMERA TRACKS BACK before them. ULLMAN As a matter of fact we eh... brought a decorator in from Chicago just last year to refurbish this part of the hotel. WENDY Oh well he sure did a beautiful job. Pink and gold are my favorite colors. ULLMAN leads WENDY, JACK & WATSON L-R into Gold Ballroom - CAMERA TRACKS with them. Men in b.g. cleaning Ballroom. ULLMAN Oh...well this is our gold ballroom. WENDY Oh, I'll say. ULLMAN leads them L-R across Ballroom to closed bar. ULLMAN We can accommodate up to three hundred people here very comfortably. WENDY Boy, I bet you we could really have a good party in this room, huh hon? . 31. ULLMAN I'm afraid you're not going to do too well here unless you've brought your own supplies. We always remove all the booze from the premises when we shut down: He points to shuttered bar. ULLMAN that reduces the insurance that we normally have to carry. DICK HALLORAN walks forward from b.g. JACK We don't drink. ULLMAN laughs. ULLMAN Well then, you're in luck. ULLMAN waves to HALLORAN/ ULLMAN Oh Dick, come on over and say hello to Mr. and Mrs. Torrance. HALLORAN Sure. ULLMAN This is Dick Halloran, our Head Chef. JACK shakes hands with DICK. JACK Mr. Halloran, I'm Jack, and this is my wife, Winifred. HALLORAN Glad to meet you, Jack. HALLORAN shakes hands with WENDY. HALLORAN Glad to meet you, Winifred. WENDY Nice to meet you. . 32. ULLMAN The Torrances are going to take care of the Overlook for us this winter. HALLORAN Oh, that's just great. How do you folks like our hotel so far? WENDY Oh it's just wonderful. WENDY waves out cam.L. WENDY Hi Danny! CUT TO: INT. HOTEL - BALLROOM - DAY - M.S. SUSIE holding DANNY's hand. They walk L-R across Ballroom. CAMERA TRACKS with them to JACK, HALLORAN, WATSON, WENDY & ULLMAN. SUSIE I found him outside looking for you. JACK (OFF) Danny, did you get tired (IN SHOT) of bombing the universe? DANNY Yeah. WENDY Danny, come on over here. DANNY walks L-R from SUSIE to WENDY. WENDY looks at SUSIE. WENDY Thanks. ULLMAN Thank you, Susie. SUSIE exits cam.L. ULLMAN turns to HALLORAN. . 33. ULLMAN Dick, if you're ready to do it now, I think it would be a good idea if you could show Mrs. Torrance the kitchen, while I continue on with Jack. HALLORAN It will be a pleasure. Right this way Mrs. Torrance. WENDY Great. See you later, hon. HALLORAN walks away to b.g. WENDY & DANNY follow him. JACK Bye darling. ULLMAN, JACK & WATSON move out cam.L. DISSOLVE TO: INT. HOTEL - KITCHEN - DAY - M.S. WENDY holding DANNY's hand walks forward into kitchen with HALLORAN. CAMERA TRACKS BACK before them. HALLORAN Mrs. Torrance, your husband introduced you as Winifred. Now are you a Winnie or a Freddie? WENDY I'm a Wendy. HALLORAN Oh Wendy. That's nice. That's the prettiest. WENDY God. This is the kitchen, huh? HALLORAN Yeah, this is it. How do you like it, Danny? Is it big enough for you? DANNY Yeah, it's the biggest place I've ever seen. HALLORAN laughs. . 34. WENDY Yeah. This whole place is such an enormous maze, I feel I'll have to leave a trail of breadcrumbs every time I come in. HALLORAN laughs. HALLORAN Don't let it get you down Mrs. Torrance - it's big but it still ain't nothing but a kitchen... a lot of the stuff you'll never have to touch. WENDY I wouldn't know what to do with it if I did. HALLORAN Well one thing for sure, you don't have to worry about food because you folks could eat up here a whole year and never have the same menu twice. HALLORAN points to cam.L and leans to cam.L taking hold of door handle. HALLORAN Now right here is our walk-in freezer. CUT TO: INT. HOTEL - FREEZER - DAY - M.S. HALLORAN opens door and steps into freezer. WENDY & DANNY stand in doorway. HALLORAN points to various items. HALLORAN Now this is where we keep all of out meat. You got fifteen rib roasts - thirty ten pound bags of hamburgers. You got twelve- turkeys, two dozen pork roasts and twenty legs of lamb. (to Danny) Do you like lamb, Doc? DANNY No. . 35. HALLORAN You don't? Well what's your favorite food then? DANNY French Fries and Ketchup. HALLORAN laughs. HALLORAN Well I think we can manage that too, Doc. Come along now. Watch your step. HALLORAN points to step by door. CUT TO: INT. HOTEL - KITCHEN - DAY - M.S. DANNY & WENDY, followed by HALLORAN, come out of Freezer. WENDY Mr. Halloran, HALLORAN closes the door and turns to WENDY. WENDY (CONT'D) how did you know we called him 'Doc'? HALLORAN, DANNY & WENDY walk forward - CAMERA TRACKS BACK with them. HALLORAN Beg pardon? WENDY Doc. You called Danny 'Doc' twice just now. HALLORAN I did? WENDY Yeah. We call him Doc sometimes, you know, like in the Bugs Bunny cartoons. But how did you know that? HALLORAN Well I guess I probably heard you call him that. . 36. WENDY Well, it's possible, but I honestly don't remember calling him that since we've been with you. They all stop walking. HALLORAN Well anyway, he looks like a Doc, doesn't he? HALLORAN bends down to DANNY. HALLORAN (clicks his tongue) Me ah - what's up, Doc? HALLORAN laughs and turns away to door cam.L. He opens door. HALLORAN Now this is the storeroom. CUT TO: INT. HOTEL - STOREROOM - DAY - M.S. HALLORAN moves forward into Storeroom, followed by DANNY & WENDY. Groceries stacked on shelves. HALLORAN In here, Mrs. Torrance, is where we keep all the dried goods and the canned goods. We got canned fruits and vegetables; canned fish and meats; hot and cold cereals. HALLORAN & WENDY move L-R - CAMERA TRACKS with them past shelf in f.g. HALLORAN Post Toasties, Cornflakes, Sugar Puffs, Rice Krispies, Oatmeal, Wheatina and Cream of Wheat. CUT TO: M.S. DANNY standing by cardboard boxes. CAMERA TRACKS IN on him. HALLORAN (OFF) We got a dozen jugs of black mola**es, we got sixty boxes of dried milk, thirty twelve pound bags of sugar. CUT TO: . 37. M.S. HALLORAN talks inaudibly to WENDY, back to camera. CAMERA TRACKS IN on HALLORAN. HALLORAN (thought transfer) How'd you like some ice cream, Doc? CUT TO: M.C.S. DANNY. HALLORAN (OFF) sociables, finger rolls and seven kinds of what-have-you. CUT TO: M.S. HALLORAN & WENDY move R-L to DANNY by open door. CAMERA TRACKS with them. HALLORAN Now we got dried peaches, dried apricots, dried raisins and dried prunes. CUT TO: INT. HOTEL KITCHEN - DAY - M.S. HALLORAN, followed by WENDY & DANNY move out of Storeroom cam.R.f.g. HALLORAN You know, Mrs. Torrance, you gotta keep regular, if you want to be happy. HALLORAN laughs as he closes Storeroom door. JACK, ULLMAN & WATSON walk forward from b.g. ULLMAN Hi. WENDY Hi. ULLMAN How're you getting on? HALLORAN & WENDY Just fine. . 38. ULLMAN Dick, can we borrow Mrs. Torrance for a few minutes? We're on our way through to the basement - I promise we won't keep her very long. HALLORAN No problem, Mr. Ullman. I was just getting to the ice cream. HALLORAN leans down to DANNY. HALLORAN Do you like ice cream, Doc? DANNY Yeah. HALLORAN laughs. HALLORAN I thought you did. HALLORAN straightens up and looks at JACK. HALLORAN You folks don't mind if I give Danny some ice cream, while we're waiting for you? JACK Not at all. WENDY No, we don't mind. HALLORAN Good. WENDY Sound good to you, Danny? DANNY Yeah. WENDY Okay. You behave yourself. HALLORAN takes hold of DANNY's hand as ULLMAN, JACK, WENDY & WATSON move away to b.g. HALLORAN Now what kind of ice cream do you like Doc? . 39. DANNY Chocolate. HALLORAN Chocolate it shall be. Come on son. HALLORAN & DANNY move out cam.L. DISSOLVE TO: INT. HOTEL - GREEN CORRIDOR - DAY - M.S. ULLMAN, JACK & WENDY - followed by WATSON - move forward. CAMERA TRACKS BACK before them. WENDY It's amazing how much activity is going on today. ULLMAN Yes, well the guests and some of the staff left yesterday, but the last day is always very hectic - everybody wants to be on their way as early as possible. They turn corner and walk away along corridor. ULLMAN By five o'clock tonight, you'll never know anybody was ever here. WENDY Just like a ghost ship, huh? ULLMAN Yes. DISSOLVE TO: INT. HOTEL - KITCHEN - DAY - M.C.S. HALLORAN looking down cam.R. HALLORAN Do you know how I knew your name was Doc? CUT TO: M.C.S. DANNY over HALLORAN - DANNY looking at HALLORAN. CUT TO: . 40. M.C.S. HALLORAN HALLORAN You know what I'm talking about, don't you? CUT TO: M.C.S. DANNY over HALLORAN. DANNY looking at HALLORAN. CUT TO: M.C.S. HALLORAN HALLORAN I can remember when I was a little boy, my grandmother and I could hold conversations entirely without ever opening our mouths. She called it shining, CUT TO: M.C.S. DANNY HALLORAN (OFF)(CONT'D) and for a long time I thought it was just the two of us that had the shine to us. CUT TO: M.C.S. HALLORAN. HALLORAN Just like you probably thought you was the only one. But there are other folks, though mostly they don't know it, or don't believe it. CUT TO: M.C.S. DANNY CUT TO: M.C.S. HALLORAN HALLORAN How long have you been able to do it? CUT TO: M.S. HALLORAN & DANNY sitting at table. . 41. HALLORAN Why don't you want to talk about it? CUT TO: M.C.S. DANNY DANNY I'm not supposed to. CUT TO: M.C.S. HALLORAN HALLORAN Who says you ain't supposed to? CUT TO: M.C.S. DANNY DANNY Tony. CUT TO: M.C.S. HALLORAN HALLORAN Who's Tony? CUT TO: M.C.S. DANNY DANNY Tony's the little boy who lives in my mouth. CUT TO: M.C.S. HALLORAN HALLORAN Is Tony the one that tells you things? CUT TO: M.C.S. DANNY . 42. DANNY Yes. CUT TO: M.C.S. HALLORAN HALLORAN How does he tell you things? CUT TO: M.S. HALLORAN & DANNY sitting at table. DANNY It's like I go to sleep, and he shows me things but when I wake up, I can't remember everything. CUT TO: M.C.S. HALLORAN HALLORAN Does your Mum and Dad know about Tony? CUT TO: M.C.S. DANNY. DANNY Yes. CUT TO: M.C.S. HALLORAN HALLORAN Do they know he tell you things? CUT TO: M.C.S. HALLORAN HALLORAN Has Tony ever told you anything about this place? About the Overlook Hotel? CUT TO: M.C.S. DANNY over HALLORAN . 43. DANNY I don't know. CUT TO: M.C.S. HALLORAN. HALLORAN Now think real hard, Doc. Think. CUT TO: M.C.S. DANNY over HALLORAN. DANNY Maybe he showed me something. CUT TO: M.C.S. HALLORAN. HALLORAN Try to think what it was. CUT TO: M.C.S. DANNY over HALLORAN. DANNY Mr. Halloran, are you scared of this place? CUT TO: M.S. Shooting across table onto HALLORAN & DANNY. HALLORAN No, I'm scared of nothing here. It's just that you know some places are like people, some shine and some don't. I guess you could say the Overlook Hotel here has something about it that's like shining. DANNY Is there something bad here? CUT TO: M.C.S. HALLORAN. . 44. HALLORAN Well, you know Doc, when something happens it can leave a trace of itself behind... say like is someone burns toast. CUT TO: M.C.S. DANNY HALLORAN (OFF) Well, maybe things that happened... leave other kinds of traces behind. CUT TO: M.C.S. HALLORAN HALLORAN Not things that anyone can notice, but things that people who shine can see. Just like they can see things that haven't happened yet. Well, sometimes they can see things that happened a long time ago... I think a lot of things happened right here in this particular hotel - over the years, and not all of them was good. CUT TO: M.C.S. DANNY DANNY What about Room 237? CUT TO: M.C.S. HALLORAN HALLORAN Room 237? CUT TO: M.C.S. DANNY DANNY You're scared of Room 237, ain'tcha? CUT TO: M.C.S. HALLORAN . 45. HALLORAN No I ain't. CUT TO: M.C.S. DANNY DANNY Mr. Halloran, what is in Room 237? CUT TO: M.C.S. HALLORAN HALLORAN Nothing. There ain't nothing in Room 237, but you ain't got no business going in there anyway, so stay out! You understand, stay out! CUT TO: M.C.S. DANNY. CUT TO: BLACK FRAMES. Superimposition over: A MONTH LATER CUT TO: EXT. OVERLOOK HOTEL - DAY - M.L.S. Hotel. Mountain in b.g. CUT TO: INT. OVERLOOK HOTEL - LOBBY - DAY - M.S. WENDY pushing trolley forward along corridor. CAMERA TRACKS BACK with her. She turns to cam.L and enters Lobby. CAMERA TRACKS R-L with her across lobby. CUT TO: INT. HOTEL - KITCHEN & LOUNGE - DAY - M.S. DANNY sitting on tricycle. He pedals out of Kitchen into Lounge, across it and back into Kitchen. . 46. CAMERA TRACKS FORWARD after him. CUT TO: INT. HOTEL - CORRIDOR TO TORRANCE'S APARTMENT - DAY - M.S. WENDY enters cam.L pushing trolley. She pushes it forward along corridor. CAMERA PANS L-R with her to door of their Apartment. CUT TO: INT. HOTEL - TORRANCE'S APARTMENT - DAY - M.C.S. JACK asleep in bed, reflected in mirror. CAMERA TRACKS BACK. WENDY enters cam.R carrying tray. She walks forward. CAMERA TRACKS BACK with her. She puts tray down on table. WENDY Good Morning, hon. Your breakfast is ready. JACK What time is it? WENDY It's about eleven thirty. CAMERA TRACKS FORWARD to JACK & WENDY reflected in mirror. JACK Eleven thirty - Jesus! WENDY I guess we've been staying up too late. JACK I know it. JACK sticks his tongue out. WENDY picks up plate and gla** of orange juice. WENDY I made 'em just the way you like 'em, sunny side up. JACK Hmm, nice. WENDY walks forward to JACK and puts plate down cam.L. She hands him gla** of orange juice and he drinks it. . 47. WENDY It's really pretty outside. How about taking me for a walk after you've finished your breakfast? JACK Oh I suppose I oughta try to do some writing first. He puts empty gla** down cam.L and picks up plate of eggs and bacon. WENDY Any ideas yet? JACK Lots of ideas. No good ones. WENDY sits down cam.R. WENDY Well, something'll come. It's just a matter of settling back into the habit of writing every day. JACK Yeah... that's all it is. JACK starts to eat bacon. WENDY It's really nice up here, isn't it? JACK I love it. I really do. I've never been this happy, or comfortable anywhere. CUT TO: M.C.S. WENDY WENDY Yeah. It's amazing how fast you get used to such a big place. I tell you, when we first came up here, I thought it was kinda scarey. WENDY laughs. CUT TO: M.C.S. JACK over WENDY. . 48. JACK I fell in love with it right away. When I came up here from my interview, it was as though I had been here before. We...we all have moments of deja vu, but this was ridiculous. It was almost as though I knew what was going to be around every corner. Ooohhhhh... WENDY laughs. DISSOLVE TO: INT. HOTEL - LOUNGE - DAY - M.S. Typewriter with sheet of paper in it. CAMERA TRACKS BACK and TILTS UP onto JACK throwing ball against wall. CUT TO: M.S. JACK back to camera throwing ball against wall. DISSOLVE TO: EXT. HOTEL - MAZE - DAY - M.L.S. WENDY running after DANNY from Hotel to Maze - CAMERA PANS L-R & TRACKS with them to entrance to Maze. WENDY The loser has to keep American clean, how's that? DANNY All right. WENDY And you're gonna lose. And I'm gonna get you - you betta run fast! Look out - I'm coming in close. All right? DANNY & WENDY run into Maze. CAMERA TRACKS L-R onto plan of Maze on board. DANNY (OFF) You'll have to keep America clean. CUT TO: . 49. INT. MAZE - DAY - M.S. DANNY & WENDY walking forward in Maze - CAMERA TRACKS BACK before them. WENDY Okay Danny, you win. Let's take the rest of this walking, huh? DANNY Okay...oh! WENDY Give me your hand. Oh, isn't it beautiful. DANNY Yeah. CUT TO: M.S. WENDY & DANNY backs to camera walking away through Maze - CAMERA TRACKS FORWARD after them. WENDY Here's a dead end. WENDY & DANNY turn at dead end and walk away along Maze. CAMERA TRACKS after them. DISSOLVE TO: INT. HOTEL - LOBBY - DAY - M.L.S. JACK back to camera bounces ball on floor and catches it. Then he throws it away to b.g. He walks away to model of Maze on table by window. CAMERA TRACKS FORWARD after him. He stops by model and leans on table. CUT TO: M.S. Shooting over model of Maze on table to JACK looking down at it. CUT TO: M.C.S. JACK looking down. CUT TO: EXT. MAZE - DAY - L.S. High Angle shooting down on Maze. WENDY & DANNY move through it. CAMERA TRACKS DOWN on Maze. . 50. WENDY Oh what a Maze. Isn't it beautiful. DANNY Yeah. CUT TO: M.S. DANNY & WENDY walk forward through Maze - CAMERA TRACKS BACK before them. WENDY It's so pretty. DANNY Yeah. WENDY I didn't think it was going to be this big, did you? DANNY No. CUT TO: BLACK FRAMES. Superimposition over: TUESDAY. CUT TO: EXT. HOTEL - DUSK - M.L.S. Hotel. Mountain in b.g. DISSOLVE TO: INT. HOTEL - KITCHEN - DUSK - M.C.S. WENDY's hands taking lid of can. CAMERA TRACKS BACK to table with portable T.V. Set on it. The set is switched on. WOMAN ANNOUNCER (OFF) Rutherford was serving a life sentence for his conviction in the 1968 shooting and the search continues in the mountains near Uray today for that missing Aspen woman, WENDY carries tin to bowl on table. . 51. WOMAN ANNOUNCER (CONT'D) twenty-four year old Susan Robertson has been missing ten days. She disappeared while on a hunting trip with her husband. They have good weather right now, but they may have to call off the search if the predicted snowstorm moves in tomorrow. Picture on T.V. Set changes to MAN & WOMAN. WOMAN ANNOUNCER But it's so beautiful here in Denver today, it's hard to believe a snowstorm could be that close. MAN ANNOUNCER I know. I want to go outside and lie in the sun. Yet to our north, to our west, it is snowing and cold, and it's moving SOUND OF CLICKS. MAN ANNOUNCER (CONT'D) right here towards Colorado, right now as we talk. It's incredible. WOMAN ANNOUNCER I know. CUT TO: INT. OVERLOOK HOTEL - CORRIDORS - M.S. DANNY back to camera on tricycle pedals away along corridors - CAMERA TRACKS after him. He looks at door cam.L and slows down, stopping. CUT TO: M.S. DANNY in f.g. Number 237 on door in b.g. CUT TO: M.C.S. DANNY looking at number. CUT TO: M.S. DANNY in f.g. Number 237 on door in b.g. CUT TO: . 52. M.L.S. Corridor. DANNY in f.g. gets off tricycle, and moves R-L to door of room 237. He looks up at number - then reaches out to door handle and turns it. Door doesn't open. He looks up at number. CUT TO: M.S. Two GRADY Girls holding hands. CUT TO: M.S. DANNY looking up at number on door. He moves L-R to his tricycle. CAMERA PANS with him. He sits on tricycle and pedals fast away along corridor. CUT TO: INT. HOTEL - LOUNGE - NIGHT - M.L.S. Lounge. JACK sitting back to camera typing at table. CAMERA TRACKS FORWARD onto him. CUT TO: M.C.S. JACK typing. CUT TO: M.L.S. JACK back to camera typing at table in f.g. WENDY enters cam.R.b.g. and walks forward to JACK. WENDY Hi, hon. How's it going? WENDY stops cam.R of him. JACK pulls page from typewriter. JACK Fine. WENDY kisses him. WENDY Get a lot written today? CUT TO: M.S. JACK looking up cam.L at WENDY. JACK Yes. CUT TO: M.C.S. WENDY . 53. WENDY Hey, the weather forecast said it's going to snow tonight. CUT TO: M.S. JACK looking up cam.L at WENDY. JACK What do you want me to do about it? CUT TO: M.C.S. WENDY WENDY Ah, come on hon. Don't be so grouchy. CUT TO: M.S. JACK looking up cam.L at WENDY. JACK I'm not being grouchy. I just want to finish my work. CUT TO: M.C.S. WENDY WENDY Okay. I understand. I'll come back later on with a couple of sandwiches for you and... maybe you'll let me read something then. CUT TO: M.C.S. JACK. JACK Wendy, (clears throat) let me explain something to you. Whenever you come in here and interrupt me, you're breaking my concentration. JACK hits his forehead with his hand. JACK (CONT'D) you're distracting me, . 54. He picks up sheet of paper and tears it up. Then he throws the pieces down. JACK (CONT'D) and it will then take me time to get back to where I was, understand? CUT TO: M.C.S. WENDY. WENDY Yes. CUT TO: M.C.S. JACK JACK Fine. Now we're going to make a new rule. Whenever I am in here and you hear me typing, JACK taps typewriter keys. JACK (CONT'D) or whether you don't hear me typing, whatever the f** you hear me doing in here, when I am in here that means that I am working - that means don't come in. Now do you think you can handle that? CUT TO: M.C.S. WENDY WENDY Yes. CUT TO: M.C.S. JACK JACK Fine. Why don't you start right now and get the f** out of here, hmm? CUT TO: M.C.S. WENDY. . 55. WENDY Okay. CUT TO: M.L.S. WENDY standing cam.R of JACK back to camera sitting at table. She turns and walks away to b.g. CAMERA TRACKS BACK. CUT TO: M.S. JACK starts to type. CUT TO: Black Frames. Superimposition over: THURSDAY. CUT TO: EXT. HOTEL - DAY - M.L.S. WENDY running R-L being chased by DANNY carrying snowballs. AD LIB SHOUTS & LAUGHTER. CAMERA TRACKS R-L with them past Hotel in b.g. WENDY I know you've got some. CUT TO: INT. HOTEL - LOUNGE - DAY - M.S. JACK at window watching WENDY & DANNY playing in the snow. CAMERA TRACKS IN to M.C.S. CUT TO: BLACK FRAMES. Superimposition over: SATURDAY CUT TO: EXT. HOTEL - DAY - M.L.S. HOTEL in b.g. Trees and snow in f.g. CUT TO: . 56. INT. HOTEL - LOUNGE - DAY - M.L.S. High Angle JACK sitting at table in b.g. typing. CUT TO: INT. HOTEL - LOBBY & OFFICE - DAY - M.S. WENDY standing at switchboard with headset on her L.ear and putting plugs into switchboard. WENDY Oh no! WENDY puts socket into various plugs. WENDY I knew it! WENDY puts headset and plug down and turns away from switchboard. She walks R-L to door. CUT TO: M.L.S. WENDY walks out of switchboard - round counter and moves forward R-L across Lobby. CAMERA TRACKS BACK before her. She moves R-L into Office. CAMERA PANS with her. She stops at radio set and switches it on. She pulls microphone towards her. WENDY (into mike) This is KDK 12 calling KDK 1. CUT TO: INT. RANGER'S OFFICE - M.L.S. RANGER seated at radio cam.L. MAN standing at filing cabinet cam.R. GIRL seated at desk cam.R. WENDY (OFF) (over radio) KDK 12 to KDK 1. RANGER (into mike) This is KDK 1. We're receiving you. Over. CUT TO: . 57. INT. HOTEL - OFFICE - DAY - M.S. WENDY picks up microphone. WENDY (into mike) Hi. This is Wendy Torrance at the Overlook Hotel. CUT TO: INT. RANGER'S OFFICE - DAY - M.S. RANGER seated at radio speaking into mike. RANGER (into mike) Hi. How are you folks getting on up there? Over. CUT TO: INT. HOTEL - OFFICE - DAY - M.S. WENDY, holding mike, seated on cabinet with foot up on desk. WENDY (into mike) Oh we're just fine, but our telephones don't seem to be doing too well. Are the lines down by any chance? Over. CUT TO: INT. RANGER'S OFFICE - DAY - M.S. RANGER seated at radio, speaking into mike. RANGER (into mike) Yes. Quite a few of them are down, due to the storm. Over. WENDY (over radio) Any chance of them being repaired soon? Over. RANGER (into mike) Well, I wouldn't like to say. Most winters they stay that way until spring. Over. CUT TO: . 58. INT. HOTEL - OFFICE - DAY - M.S. WENDY, holding mike, seated on cabinet with foot up on desk. WENDY (into mike) Boy, this storm is really something, isn't it? Over. CUT TO: INT. RANGER'S OFFICE - DAY - M.S. RANGER sitting at radio - speaking into mike. RANGER (into mike) Oh yes. It's one of the worst we've had for years. Is there anything else we can do for you, Mrs. Torrance? Over. CUT TO: INT. HOTEL - OFFICE - DAY - M.S. WENDY holding mike seated on cabinet with foot up on desk. WENDY (into mike) I suppose not. Over. CUT TO: INT. RANGER'S OFFICE - DAY - M.S. RANGER seated at radio - speaking into mike. RANGER (into mike) Well, if you folks have any problems up there just give us a call, and Mrs. Torrance. CUT TO: INT. HOTEL - OFFICE - DAY - M.S. WENDY holding mike - seated on cabinet with one foot up on desk. . 59. RANGER (over radio) I think it might be a good idea if you leave your radio on all the time now. Over. WENDY (into mike) Okay. We'll do that. It was real nice talking to you. Bye. Over and Out. WENDY puts down mike. CUT TO: INT. HOTEL - GREEN CORRIDOR - M.L.S. DANNY pedals away along corridor on his tricycle. CAMERA TRACKS after him. He exits cam.R at the end of corridor. CAMERA TRACKS FORWARD along empty corridor. CUT TO: INT. HOTEL - CORRIDOR - M.S. DANNY pedals away along corridor. CAMERA TRACKS after him. He turns corner and stops as he sees the two GRADY Girls at the end. CUT TO: M.C.S. DANNY. CUT TO: M.L.S. DANNY back to camera in f.g. The two GRADY Girls at end of corridor. GRADY GIRLS Hullo, Danny. CUT TO: M.C.S. DANNY GRADY GIRLS (OFF) Come and play with us. CUT TO: M.L.S. DANNY back to camera in f.g. The two GRADY Girls at end of corridor. . 60. GRADY GIRLS Come and play with us, Danny. CUT TO: M.S. The two GRADY Girls laying on floor covered with bloodstains. Bloodstained axe on floor in f.g. Walls covered with bloodstains. CUT TO: M.L.S. Two GRADY Girls, holding hands and standing at end of corridor. GRADY GIRLS For ever... CUT TO: M.S. The two GRADY Girls lying on floor, covered with bloodstains. Bloodstained axe on floor in f.g. Wall covered with bloodstains. CUT TO: M.C.S. DANNY reacts. CUT TO: M.S. Two GRADY Girls holding hands and standing at end of corridor. GRADY GIRLS ... and ever... CUT TO: M.S. The two GRADY Girls lying on floor covered with bloodstains. Bloodstained axe on floor in f.g. Wall covered with bloodstains. CUT TO: M.S. Two GRADY Girls holding hands standing at end of corridor. GRADY GIRLS ...and ever. CUT TO: M.S. Two GRADY Girls lying on floor covered with bloodstains. Bloodstained axe on floor in f.g. . 61. Wall covered with bloodstains. CUT TO: M.C.S. DANNY reacts. He puts hands over his eyes. Then he opens his fingers and looks through them. CUT TO: M.S. DANNY's P.O.V. Empty corridor. CUT TO: M.C.S. DANNY looking through his open fingers. He lowers his hands from his face. CUT TO: M.L.S. DANNY back to camera in f.g. in empty corridor. CUT TO: M.C.S. DANNY. DANNY Tony, I'm scared. He raises up his R.hand and wiggles his forefinger as he speaks. TONY Remember what Mr. Halloran said. It's just like pictures in a book, Danny. It isn't real. CUT TO: BLACK FRAMES. Superimposition over: MONDAY. CUT TO: INT. OVERLOOK HOTEL - LOBBY - DAY - M.S. Play on Television set, CAMERA TRACKS BACK from set to reveal WENDY, seated on sofa cam.L, watching set, DANNY seated on floor watching set also cam.R. DOROTHY (on T.V.) Please let me give you some money. . 62. HERMIE (on T.V.) Oh I wouldn't think of it. DOROTHY (on T.V.) Well how can I repay you? HERMIE (on T.V.) It's okay, really. DOROTHY (on T.V.) Well I'm going to have some coffee. Would you like some? HERMIE (on T.V.) Sure. DOROTHY (on T.V.) Great. Sit down. Oh these marvellous doughnuts, help yourself. Coffee will be ready in a few minutes. Play on Television continues inaudibly in b.g. DANNY Mom? WENDY Yes? DANNY Can I go to my room and get my fire-engine? WENDY Not right now, Daddy's asleep. DANNY I won't make any noise. WENDY Come on, Doc. He only went to bed a few hours ago. Can't you wait till later? DANNY I won't make a sound, I promise. I'll tip-toe. . 63. WENDY Well all right. But really don't make a sound. DANNY I won't, Mom. DANNY stands up and runs out cam.L. WENDY Make sure you come right back, cause I'm going to make lunch soon. Okay? DANNY (OFF) Okay, Mom. DISSOLVE TO: INT. HOTEL - JACK'S APARTMENT - DAY - M.C.S. Door opens and DANNY appears. He enters room - CAMERA TRACKS BACK with him as he walks forward up steps. He looks to cam.R. CAMERA PANS L-R to JACK sitting on edge of bed. JACK looks towards camera. CUT TO: M.L.S. JACK seated on bed cam.R.f.g. DANNY standing at open door in b.g. DANNY Can I go to my room and get my fire-engine? JACK Come here for a minute, first. JACK holds out his hand to DANNY, who walks forward. CUT TO: M.S. JACK sitting on bed. DANNY enters cam.L.f.g. and stops cam.R of JACK. JACK sits DANNY on his knee and puts his arms round him, kissing him. JACK How's it going, Doc? DANNY Okay. CUT TO: . 64. M.S. JACK over DANNY seated on his knee. JACK Are you having a good time? DANNY Yes, Dad. JACK Good. I want you to have a good time. DANNY I am, Dad. Dad? JACK Yes. DANNY Do you feel bad? JACK shakes his head. JACK No. I'm just a little tired. DANNY Then why don't you go to sleep? JACK I can't. I have too much to do. DANNY Dad? JACK Yes? DANNY Do you like this hotel? JACK smiles and looks at DANNY. JACK Yes I do. I love it. Don't you? DANNY I guess so. JACK Good. I want you to like it here. I wish we could stay here for ever, and ever... ever. . 65. DANNY Dad? JACK What? DANNY You wouldn't ever hurt Mummy and me, would you? JACK What do you mean? CUT TO: M.S. DANNY over JACK. JACK Did your mother ever say that to you - that I would hurt you? DANNY No, Dad. JACK Are you sure? DANNY Yes, Dad. CUT TO: M.S. JACK over DANNY. JACK I love you, Danny. I love you more than anything else in the whole world, and I'd never do anything to hurt you, never... You know that, don't you, huh? DANNY Yes, Dad. JACK Good. CUT TO: BLACK FRAMES Superimposition over: . 66. WEDNESDAY CUT TO: EXT. HOTEL - L.S. Shooting across snow to Hotel in b.g. Three lit windows. CUT TO: INT. HOTEL - CORRIDOR TO ROOM 237 - M.C.S. High Angle - DANNY playing on floor with toy cars and trucks. CAMERA TRACKS UP & BACK - yellow ball rolls in from f.g. and stops by one of DANNY's trucks. DANNY looks up. CUT TO: M.L.S. DANNY, back to camera, in f.g. looking away along empty corridor. CUT TO: M.S. DANNY kneeling on the floor by his toys. He stands up. DANNY Mom? CUT TO: M.L.S. DANNY, back to camera, in f.g. Empty corridor in b.g. CUT TO: M.S. DANNY walks forward along corridor - CAMERA TRACKS BACK with him. DANNY Mom? CUT TO: M.L.S. Empty corridor. CAMERA TRACKS FORWARD to open door of Room 237. DANNY (OFF) Mom, are you in there? CAMERA TRACKS FORWARD into room. DISSOLVE TO: . 67. INT. HOTEL - BOILER ROOM - M.S. WENDY, holding clipboard. She looks at dials on boiler - then moves R-L to second boiler. CAMERA PANS with her. She looks at dials - then moves R-L to switchboard and presses two switches. She reacts as she hears JACK off groaning in his sleep. She puts down clipboard and moves L-R. CAMERA PANS with her. She starts to run away to entrance. CUT TO: INT. HOTEL - LOUNGE - M.S. JACK leaning forward in chair with head resting on table. He groans and cries out as he sleeps. CAMERA TRACKS IN on them. CUT TO: INT. HOTEL - CORRIDOR TO LOUNGE - M.S. WENDY running away along corridor - CAMERA TRACKS after her. WENDY Jack... WENDY turns corner to entrance to Lounge. WENDY Jack... Jack... WENDY runs forward into Lounge and goes to JACK asleep at table. CAMERA TRACKS FORWARD. WENDY Jack, honey, what's wrong? She puts her hands on his arm and back. JACK stirs and falls off chair onto floor. CUT TO: M.S. JACK groans as he lies on floor. WENDY enters cam.R and takes hold of his arm, a**isting up onto his knees. He groans and gasps. WENDY What happened, honey? Hon? What's wrong? Jack! She smoothes his hair with her hand. . 68. JACK I had... I had the most terrible nightmare I ever had. It's the most horrible dream I ever had. WENDY It's okay. It's okay, now. Really. CUT TO: M.S. JACK & WENDY JACK I dreamed that I... that I k**ed you and Danny. CUT TO: M.S. JACK over WENDY. JACK But I didn't just k** you, I cut you up into little pieces. He puts his hand up to his eyes. JACK Oh... CUT TO: M.S. JACK handed up to his eyes - and WENDY. JACK My God, I must be losing my mind! He lowers his hand. WENDY Every...everything is just going to be all right. Come on. Here let's get up off the floor. WENDY puts hand under his arm and he starts to rise. CUT TO: INT. OVERLOOK HOTEL - LOUNGE - M.L.S. DANNY back to camera in f.g. walks into Lounge. In b.g. WENDY helps JACK up into his chair. INAUDIBLE DIALOGUE. WENDY turns to DANNY and throws up her arm. CAMERA TRACKS FORWARD with DANNY. . 69. WENDY Danny! Everything's okay... Just go play in your room for a while. Your Dad's just got a headache. Danny - mind what I say. Go play in your room! WENDY bends down to JACK. WENDY Hon, let me just go and get him out of here. I'll be right back. WENDY moves R-L behind table and moves forward to DANNY in f.g. WENDY Danny, why don't you mind me - huh? Danny. She crouches down before DANNY and turns him cam.L to face her, and the window. He is s**ing his thumb. She sees mark on his neck and tilts his head over sideways. WENDY Oh my God! Danny what happened to your neck? Danny... She pulls DANNY's thumb out of his mouth. WENDY (CONT'D) what happened to your neck, huh? She puts her arms round him. CUT TO: M.L.S. JACK, back to camera, leaning back in chair in f.g. WENDY kneeling with her arms round DANNY in b.g. CUT TO: M.C.S. JACK sitting in chair with his hand up to his head. CUT TO: M.L.S. JACK back to camera leaning back in chair in f.g. WENDY kneeling with her arms round DANNY in b.g. She stands up and lifts DANNY up in her arms. CUT TO: M.S. WENDY holding DANNY in her arms. . 70. WENDY You did this to him, didn't you? CUT TO: M.C.S. JACK. WENDY (OFF) You son of a b**h! You did this to him, He shakes his head. WENDY (OFF)(CONT'D) didn't you? He shakes his head. CUT TO: M.S. WENDY with DANNY in her arms moves backwards. WENDY How could you? How could you? She turns and runs away to entrance in b.g. CUT TO: M.C.S. JACK. He lowers his hand. DISSOLVE TO: INT. HOTEL BALLROOM CORRIDOR - M.L.S. JACK enters cam.L in b.g. and walks forward. CAMERA TRACKS BACK before him. He mutters and flings his arms about. He stops and looks at notice on trestle - "THE GOLD ROOM." JACK moves L-R into entrance of Ballroom. He reaches out cam.L and switches on lights - then moves away to lit bar in b.g. CUT TO: INT. HOTEL - BALLROOM - M.L.S. JACK walks L-R across Ballroom - CAMERA TRACKS & PANS with him to bar. CUT TO: M.L.S. JACK leans over counter and looks down. . 71. JACK (to himself) God, I'd give anything for a drink? JACK sits down and puts his hands up to his face. JACK My goddam soul, just a gla** of beer. CUT TO: M.S. JACK with his hands up to his face. He lowers his hands and looks - he lowers hands to bar and smiles. JACK Hi Lloyd. JACK looks cam.R then back at camera. JACK A little slow tonight, isn't it? JACK laughs. CUT TO: M.S. LLOYD standing behind bar. LLOYD Yes, it is, Mr. Torrance. LLOYD moves forward - CAMERA TRACKS BACK revealing JACK seated at bar. LLOYD What'll it be? CUT TO: M.C.S. JACK JACK Now I'm awfully glad you asked me that, Lloyd, because I just happen to have two twenties and two tens right here in my wallet. I was afraid they were going to be there until next April. So here's what: you slip me a bottle of Bourbon, a gla** and some ice. You can do that, can't you, Lloyd? You're not to busy, are you? CUT TO: . 72. M.S. LLOYD LLOYD No, sir. I'm not busy at all. LLOYD turns away to bottles of shelf. JACK (OFF) Good man. LLOYD turns with bottle and gla** to counter. JACK (OFF) You set them up, and I'll knock them back, Lloyd, one by one. CUT TO: M.S. JACK sitting at bar. LLOYD puts bottle and gla** down on bar. LLOYD puts ice in gla** and fills it from bottle. JACK White man's burden, Lloyd my man. White man's burden. JACK looks at his wallet then at LLOYD. JACK Say, Lloyd, it seems I'm temporarily light. JACK laughs. JACK How's my credit in this joint anyway? CUT TO: M.C.S. LLOYD LLOYD Your credit's fine, Mr. Torrance. CUT TO: M.C.S. JACK JACK That's swell. I like you, Lloyd. I always liked you. You were always the best of them. (MORE) . 73. JACK (CONT'D) Best goddamned bartender from Timbuctoo to Portland Maine - Portland Oregon for that matter. CUT TO: M.C.S. LLOYD LLOYD Thank you for saying so. CUT TO: M.C.S. JACK looks at his gla**. JACK Here's to five miserable months on the wagon and all the irreparable harm that it's caused me. He drinks and lowers his gla** - then looks at LLOYD. CUT TO: M.S. JACK sitting at bar. LLOYD behind bar. LLOYD How are things going, Mr. Torrance? JACK Things could be better, Lloyd. Things could be a whole lot better. LLOYD I hope it's nothing serious. JACK taps on bar and LLOYD fills up his gla**. JACK No, nothing serious. CUT TO: M.C.S. JACK JACK Just a little problem with the... old s**m bank upstairs. JACK laughs. . 74. JACK Nothing that I can't handle though, Lloyd. Thanks. CUT TO: M.C.S. LLOYD LLOYD Women! Can't live with 'em. Can't live without 'em! CUT TO: M.S. JACK over LLOYD. He points finger at LLOYD. JACK Words of wisdom, Lloyd. Words of wisdom. JACK drinks - then swirls drink round in gla**, putting gla** down on counter. JACK I haven't laid a hand on him. Goddam it, I didn't. I wouldn't touch one hair of his goddam little head. I love the little son-of-a- b**h. JACK laughs. JACK I'd do anything for him. Any f**ing thing for him. CUT TO: M.C.S. LLOYD JACK (OFF) That damn b**h. CUT TO: M.C.S. JACK JACK As long as I live she'll never let me forget what happened! He looks cam.L then cam.R -- throwing his hands out and sighing. . 75. JACK I did hurt him once, okay? It was an accident, complete unintentional. It could have happened to anybody. He raps on counter with hand. JACK And it was three goddam years ago. The little f**er had thrown all my papers all over the floor. All I tried to do was to pull him up. A momentary loss of muscular coordination. I mean... A few extra foot pounds of energy, per second... per second. JACK gestures with his hands. WENDY (OFF) Jack... CUT TO: INT. HOTEL - BALLROOM CORRIDOR - M.L.S. WENDY, sobbing, runs forward along corridor. CAMERA TRACKS BACK with her and PANS L-R into Ballroom. She runs away to JACK sitting at bat in b.g. WENDY Oh Jack! (sobs) Thank God you're here. CUT TO: INT. HOTEL BALLROOM - M.S. JACK sitting back to camera at bar. WENDY enters cam.R. WENDY (OFF) Jack, (IN SHOT) Jack, there's someone else in the hotel with us. There's a crazy woman in one of the rooms. She tried to strangle Danny. CUT TO: M.C.S. JACK . 76. JACK Are you out of your f**ing mind? CUT TO: M.S. WENDY over JACK. WENDY No. It's the truth, really. I swear it. Danny told me. He went up into one of the bedrooms, the door was open, and he saw this crazy woman in the bath-tub. She tried to strangle him. CUT TO: M.C.S. JACK. JACK Which room was it? CUT TO: INT. MIAMI APARTMENT - M.C.S. Montage of shots on T.V. Set for program "NEWSWATCH." DISC JOCKEY (OFF) (on T.V.) From Channel 10 in Miami, this is Newswatch - with Glen Rinker and Bishop, and the award winning Newswatch team. CAMERA TRACKS BACK to reveal T.V. Set. HALLORAN's bare feet and legs on bed in f.g. Shot of GLEN RINKER on T.V. Set with superimposed title: '10 GLEN RINKER WPLG MIAMI' GLEN RINKER (on T.V.) Good evening. I'm Glen Rinker Newswatch 10. While Miami continues to swelter in a record winter heatwave bringing temperatures to the mid and upper nineties, the Central and Rocky Mountain States are buried in snow. (MORE) . 77. GLEN RINKER (CONT'D) In Colorado ten inches of snow has fallen in just a few hours tonight. Travel in the Rockies is almost impossible. CUT TO: M.C.S. HALLORAN - CAMERA TRACKS BACK to reveal him lying on bed, watching T.V. GLEN RINKER (OFF) (on T.V.) Airports are shut down stranding thousands of pa**engers. Highways are blocked by snowdrifts. Railroad tracks are frozen. Officials in Colorado tell Newswatch at least three people have been k**ed by exposure to freezing winds. The Governor of Colorado is expected tomorrow to declare a weather emergency. The National Guard might be called out to clear streets and roads. Weather forecasters predict more snow and heavy winds tonight and tomorrow, with temperatures dropping well below zero. CUT TO: M.S. HALLORAN's feet and legs on beg in f.g. GLEN RINKER on T.V. Set at foot of bed. GLEN RINKER (on T.V.) Back here in South Florida, we've got just the opposite problem; the heat and humidity are supposed to climb. CUT TO: M.S. HALLORAN lying on pillows. CAMERA TRACKS IN to C.S. his face, as he reacts. GLEN RINKER (OFF) (on T.V.) Local beaches should be jammed. Our weather expert Walter Cronice will have the local forecast later on. . 78. COMMENTATOR continues inaudibly in b.g. CUT TO: INT. OVERLOOK HOTEL - CORRIDOR - M.S. Open door of Room 237. CUT TO: INT. HOTEL - DANNY'S BEDROOM - M.C.S. DANNY, his head shaking. CUT TO: INT. HOTEL - ROOM 237 - M.S. Mantlepiece and fireplace. CAMERA PANS R-L across room to open door. Then TRACKS FORWARD through doorway to slightly open door of bathroom. CAMERA STOPS TRACKING. Door swings open to reveal YOUNG LADY seated in bath behind curtain. CUT TO: M.C.S. JACK CUT TO: M.S. YOUNG LADY seated in bath behind curtain. She draws curtain aside with hand. CUT TO: M.C.S. JACK - he smiles. CUT TO: M.S. YOUNG LADY stands up in bath. CUT TO: M.C.S. JACK CUT TO: M.S. YOUNG LADY steps out of bath. CUT TO: M.C.S. JACK - he smiles. CUT TO: . 79. M.S. YOUNG LADY walks forward from bath and stops in f.g. CUT TO: M.C.S. JACK - he moves forward. CUT TO: M.S. JACK moves forward to YOUNG LADY - she puts her arms round his neck. He puts his arms round her and they kiss. CUT TO: M.C.S. JACK over YOUNG LADY as they kiss. He opens his eyes and reacts. He pulls back from YOUNG LADY - CAMERA PANS L-R onto mirror. JACK & WOMAN reflected in it. He sees that she is covered with scars. He takes his arms away from her - she starts to laugh. CUT TO: INT. HOTEL - DANNY'S BEDROOM - M.C.S. DANNY - he is shaking his head. WOMAN LAUGHING OFF. CUT TO: INT. HOTEL - ROOM 237 - BATHROOM - M.S. ELDERLY WOMAN lying in water in bath. WOMAN LAUGHING OFF. CUT TO: M.S. JACK shaking his head as he backs out of bathroom. CUT TO: M.S. Naked ELDERLY WOMAN laughing as she walks forward with outstretched arms. CUT TO: INT. HOTEL - DANNY'S BEDROOM - M.C.S. DANNY shaking his head. WOMAN LAUGHING OFF. CUT TO: INT. HOTEL - ROOM 237 - M.S. Naked ELDERLY WOMAN lying in water in bath. WOMAN LAUGHING OFF. CUT TO: . 80. M.S. JACK backs down steps into living room - WOMAN LAUGHING OFF. CUT TO: M.S. Naked ELDERLY WOMAN laughing, as she walks forward with outstretched arms. CUT TO: INT. HOTEL - DANNY'S BEDROOM - C.S. DANNY shaking his head. WOMAN LAUGHING OFF. CUT TO: INT. HOTEL - ROOM 237 - M.S. Naked ELDERLY WOMAN lying in water in bath. She starts to sit up. WOMAN LAUGHING OFF. CUT TO: INT. HOTEL - CORRIDOR - M.S. JACK backs out of Room 237 into corridor. He closes the door and locks it - then backs away along corridor. He exits cam.L. WOMAN LAUGHING OFF. DISSOLVE TO: INT. MIAMI APARTMENT - NIGHT - M.S. HALLORAN telephone up to ear. He dials number, then picks up phone and walks R-L to window. He turns and walks back L-R. He puts phone down. OPERATOR (over phone) We are sorry your call cannot be completed as dialed. If you need a**istance, please call the operator. He puts telephone down. CUT TO: INT. HOTEL - JACK'S APARTMENT - M.S. WENDY moves R-L in b.g. sobbing. KNOCK ON DOOR OFF. She reacts and runs forward. WENDY Jack? . 81. JACK (OFF) Yes, it's me. She moves R-L. CAMERA PANS with her down steps to front door. CAMERA TRACKS FORWARD after her. WENDY Oh, thank God! WENDY takes chain off door and opens it. JACK enters apartment. WENDY Did you find anything? JACK No, nothing at all. JACK closes front door. JACK I didn't see one goddam thing. JACK & WENDY walks forward and move up steps to DANNY's bedroom. CAMERA TRACKS BACK before them. WENDY You went into the room Danny said - to 237? JACK Yes, I did. WENDY And you didn't see anything at all? JACK Absolutely nothing. How is he? JACK moves R-L and looks into darkened bedroom. WENDY He's still asleep. JACK Good. JACK closes bedroom door and turns to WENDY. JACK I'm sure he'll be himself again in the morning. . 82. They move L-R into Living Room. CAMERA PANS with them and TRACKS after them across room. WENDY Well, are you sure it was the right room? I mean, maybe Danny made a mistake? WENDY & JACK move into their bedroom. JACK He must have gone into that room - the door was open and the lights were on. WENDY sits on bed. WENDY Oh, I just don't understand. JACK sits down on bed beside her. CUT TO: M.C.S. WENDY sobbing. WENDY Well what about those bruises on his neck? CUT TO: M.C.S. JACK over WENDY. WENDY Somebody did that to him. JACK I think he did it to himself. CUT TO: M.C.S. WENDY shakes her head. WENDY No! No, that's not possible. CUT TO: M.C.S. JACK over WENDY. . 83. JACK Wendy, once you rule out his version of what happened, there is no other explanation - is there? It wouldn't be that different from the episode that he had before we came up here, would it? CUT TO: INT. OVERLOOK HOTEL - DANNY'S BEDROOM - M.S. DANNY lying awake on his bed. CAMERA TRACKS IN on him. WENDY (OFF) Jack, whatever the explanation is, CUT TO: M.S. Low Angle Door with word "MURDER" written backwards across it. CUT TO: M.C.S. DANNY lying awake on his bed. CAMERA TRACKS IN on him. WENDY (OFF) I think we have to get Danny out of here. CUT TO: INT. JACK'S APARTMENT - BEDROOM - M.C.S. JACK over WENDY. JACK Get him out of here? WENDY Yes. JACK You mean just leave the hotel? WENDY Yes. CUT TO: . 84. INT. DANNY'S BEDROOM - M.C.S. DANNY with his mouth wide open. CUT TO: INT. HOTEL - LOBBY - M.S. Blood gushing forward from lifts and surging up into camera lens. CUT TO: INT. HOTEL - JACK'S APARTMENT - M.C.S. JACK over WENDY. JACK It is so f**ing typical of you to create a problem like this when I finally have a chance to accomplish something. When I'm really into my work. I could really write my own ticket if I went back to Boulder now, couldn't I? CUT TO: M.S. WENDY & JACK sitting on bed - JACK stands up and turns to her. JACK Shovellings out driveways, work in a car wash - any of that appeal to you? WENDY Jack... JACK Wendy, I have let you f** up my life so far, but I'm not going to let you f** this up! He starts to move away. CUT TO: M.L.S. JACK walks forward from WENDY, sitting on bed. He crosses living room and CAMERA PANS R-L with him to steps leading to front door. He walks away down steps, opens front door and walks away along corridor. CUT TO: . 85. M.S. WENDY sitting on bed, starts to cry. She leans forward and buries her face in her hands. CUT TO: INT. HOTEL - KITCHEN - M.L.S. JACK moves forward in kitchen. He sweeps coffee pot off table onto floor. CAMERA TRACKS BACK before him. He kicks coffee pots on floor, then sweeps rings off stove onto floor. He kicks rings as he leaves kitchen, moving into corridor. CAMERA TRACKS BACK before him. He stops and looks ahead. CUT TO: INT. HOTEL CORRIDOR LEADING TO BALLROOM - M.L.S. Empty corridor. Balloons and streamers strewn about. CAMERA TRACKS FORWARD. CUT TO: INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S. HALLORAN standing, phone up to ear. RANGER (over phone) Good evening. Forest Service. HALLORAN (into phone) Hallo. My name's Dick Halloran. I'm the Head Chef up at the Overlook Hotel. RANGER (over phone) Good evening, Mr. Halloran. What can I do for you? HALLORAN (into phone) Sir, I've been trying to make an urgent phone call up there, He picks up phone and walks R-L to window. CAMERA PANS with him. HALLORAN (CONT'D) (into phone) but the operator said that the phone lines are down. CUT TO: . 86. INT. RANGER'S OFFICE - M.S. RANGER sitting at radio with phone to ear. RANGER (into phone) Yes, I'm afraid a lot of lines around here are down, due to the storm. CUT TO: INT. MIAMI - HALLORAN'S APARTMENT - M.S. HALLORAN, phone to ear, at window. HALLORAN (into phone) Well, look sir, I hate to put you to any trouble, but there's a family up there all by themselves with a young kid, and with this storm and everything. HALLORAN moves L-R. CAMERA TRACKS with him. He puts phone on table. HALLORAN (into phone) I'd sure appreciate it if you'd give them a call on your radio just to see if everything is okay. CUT TO: INT. RANGER'S OFFICE - M.S. RANGER sitting at radio, phone to ear. RANGER (into phone) I'd be glad to do that, sir. Oh why don't you call me back in about eh twenty minutes? HALLORAN (over phone) Thank you very much. I'll do that. RANGER (into phone) All right, sir. . 87. RANGER puts phone down. CUT TO: INT. HOTEL CORRIDOR & BALLROOM - M.L.S. JACK walks forward along corridor to Ballroom. He turns L-R into Ballroom - CAMERA TRACKS with him revealing crowded Ballroom. MAITRE D standing at entrance. MAITRE D Good evening, Mr. Torrance. JACK Good evening. JACK moves L-R across crowded Ballroom - CAMERA TRACKS with him to LLOYD serving behind bar. JACK sits at bar. LLOYD moves to him. JACK Hi Lloyd. I've been away. Now I'm back. LLOYD Good evening Mr. Torrance. LLOYD puts dishes of olives and peanuts on bar before JACK. CUT TO: M.S. JACK over LLOYD. LLOYD It's good to see you. JACK It's good to be back, Lloyd. CUT TO: M.C.S. LLOYD LLOYD What'll it be, sir? CUT TO: M.S. JACK over LLOYD JACK Hair of the dog that big me. CUT TO: . 88. M.C.S. LLOYD LLOYD Bourbon on the rocks. CUT TO: M.S. JACK over LLOYD JACK That'll do her. JACK takes handful of peanuts and empties them into his mouth. LLOYD puts ice into gla**. CUT TO: M.C.S. LLOYD preparing drink. CUT TO: M.S. JACK over LLOYD. LLOYD pouring drink. JACK takes out his wallet, takes out note and holds it out to LLOYD. LLOYD holds up his hand. LLOYD No charge to you, Mr. Torrance. JACK looks down at note and up to LLOYD. JACK No charge? CUT TO: M.C.S. LLOYD LLOYD Your money's no good here. CUT TO: M.S. JACK over LLOYD. JACK looks down at his note then up at LLOYD. CUT TO: M.C.S. LLOYD LLOYD Orders from the house. CUT TO: . 89. M.S. JACK over LLOYD. JACK puts note back into his wallet. JACK Orders from the house. He puts wallet away. CUT TO: M.L.S. LLOYD LLOYD Drink up, Mr. Torrance. CUT TO: M.S. JACK over LLOYD. JACK tucking wallet into his hip pocket. JACK I'm the kind of man likes to know who's buying their drinks, Lloyd. CUT TO: M.C.S. LLOYD LLOYD It's not a matter that concerns you, Mr. Torrance - at least not at this point. CUT TO: M.S. JACK over LLOYD. JACK smiles and picks up his drinks. JACK Anything you say, Lloyd. Anything you say. JACK turns away from bar. CUT TO: M.L.S. JACK moves away from bar. He dances forward to center of room - CAMERA TRACKS after him. WOMAN enters cam.R.f.g. and walks away. WAITER (GRADY), carrying tray of drinks, walks forward from b.g. He bumps into WOMAN. GRADY Oh! GRADY staggers forward, colliding with JACK and spilling drinks down front of JACK's jacket. . 90. GRADY Oh dear, oh dear. I'm so sorry, sir. Oh! He puts down tray and takes advocaat gla** from JACK. GRADY Oh dear oh dear... I've made an awful mess of your jacket, sir. GRADY puts gla** on tray. JACK Oh eh that's all right. I've got plenty of jackets. GRADY mops JACK's jacket with his serviette. GRADY I'm afraid it's advocaat sir. It tends to stain. JACK Advocaat is it? GRADY Yes sir. Look um... I think the best thing is to come along to the gentlemen's room, sir, and eh... GRADY bends down and picks up his tray. GRADY we'll get some water to it, sir. JACK & GRADY start to walk away to the Gentlemen's. CAMERA TRACKS after them. JACK Looks as though you might have got a spot of it on yourself there, Jeevesy old boy. JACK pats GRADY on his back. GRADY That doesn't matter, sir. You're the important one. JACK Awfully nice of you to say. Of course I intend to change my jacket this evening before the fish and goose soiree. . 91. JACK & GRADY enter Gentlemen's Toilet. GRADY Very wise, sir. Very wise. JACK exits cam.R behind door. JACK (OFF) Here, I'll just, eh... CUT TO: INT. MEN'S TOILET - M.L.S. Men's toilet. JACK moves in from cam.L.b.g. He holds door open. JACK hold this for you there, Jeevesy. GRADY enters cam.L. GRADY Thank you, sir. Thank you. GRADY walks forward and puts his tray down on basins cam.R. JACK walks forward. GRADY Now let's see if we can improve this with a little water, sir. GRADY soaks his serviette under tap. JACK puts gla** down cam.L and turns to GRADY cam.R. JACK Right, I'll just set my bourbon and advocaat down right there. JACK laughs. GRADY starts to sponge JACK with serviette. GRADY Won't keep you a moment, sir. JACK Fine. GRADY sponges JACK. JACK What do they call you around here, Jeevesy? . 92. GRADY Grady, sir. Delbert Grady. CUT TO: M.S. JACK over GRADY. GRADY sponging JACK's jacket. JACK Grady? GRADY Yes, sir. JACK Delbert Grady. GRADY That's right, sir. GRADY sponges JACK's trousers. JACK Eh, Mr. Grady... JACK clears his throat. JACK (CONT'D) haven't I seen you somewhere before? GRADY Why no, sir. I don't believe so. GRADY turns cam.L to basins to rinse serviette under tap. He turns back to JACK and sponges his jacket. GRADY Ah ha, it's coming off now, sir. JACK Eh... Mr. Grady... weren't you once the caretaker here? GRADY Why no, sir. I don't believe so. GRADY sponges JACK's trousers. JACK You er a married man, are you, Mr. Grady? GRADY sponges JACK's jacket sleeve. . 93. GRADY Yes, sir. I have a wife and eh two daughters, sir. JACK And, er... where are they now? GRADY Oh, they're somewhere around. I'm not quite sure at the moment, sir. JACK takes serviette away from GRADY and wipes his hand with it. JACK Mr. Grady, you were the caretaker here. I recognize you. I saw your picture in the newspapers. You eh... chopped your wife and daughters up into little bits, and eh... and you blew your brains out. JACK throws serviette into basin cam.L. CUT TO: M.L.S. GRADY over JACK. GRADY That's strange, sir. I don't have any recollection of that at all. Mr. Grady, you were the caretaker here. CUT TO: M.S. JACK over GRADY. GRADY I'm sorry to differ with you, sir, but you are the caretaker. You have always been the caretaker, I should know, sir. I've always been here. CUT TO: M.C.S. JACK laughs. CUT TO: M.C.S. GRADY . 94. GRADY Did you know, Mr. Torrance, that your son... is attempting to bring an outside party into this situation? Did you know that? CUT TO: M.C.S. JACK. He shakes his head. JACK No. CUT TO: M.C.S. GRADY GRADY He is, Mr. Torrance. CUT TO: M.C.S. JACK JACK Who? CUT TO: M.C.S. GRADY GRADY A n******g. CUT TO: M.C.S. JACK JACK A n******g! CUT TO: M.C.S. GRADY GRADY A n******g cook. CUT TO: INT. MEN'S LAVATORY - M.C.S. JACK . 95. JACK How? CUT TO: M.C.S. GRADY GRADY Your son has a very great talent. I don't think you are aware how great it is, but he is attempting to use that very talent against your will. CUT TO: M.C.S. JACK JACK Well, he is a very willful boy. JACK smiles. CUT TO: M.C.S. GRADY. GRADY Indeed, he is, Mr. Torrance. A very willful boy. A rather naughty boy, if I may be so bold, sir. CUT TO: M.C.S. JACK. He looks about. JACK It's his mother. JACK looks about. JACK She eh... interferes. CUT TO: M.C.S. GRADY. GRADY Perhaps they need a good talking to, if you don't mind my saying so. Perhaps a bit more. CUT TO: . 96. M.C.S. JACK. GRADY (OFF) My girls, sir, they didn't care for the Overlook at first. One of them actually stole a packet of matches CUT TO: M.C.S. GRADY GRADY (CONT'D) and tried to burn it down. But I corrected them, sir. And when my wife tried to prevent me from doing my duty I corrected her. CUT TO: M.C.S. JACK smiles. CUT TO: M.C.S. GRADY. CUT TO: INT. HOTEL - JACK'S APARTMENT - M.S. WENDY, crying and holding cigarette, walks R-L from Living Room into Bedroom. CAMERA PANS with her. WENDY (to herself) We have the Snowcat. If the weather breaks, we might just be able to get down the mountain in that. WENDY turns and walks L-R back into LIVING ROOM - CAMERA TRACKS IN and PANS with her. WENDY (to herself) I could call the Forest Rangers first and then tell them that we're coming so that they could start searching for us, in case we didn't make it. WENDY turns and walks R-L into Bedroom - CAMERA PANS with her. . 97. WENDY (to herself) If Jack won't come with us, we'll just have to tell him that we are going by ourselves. That's all there is to it. DANNY (OFF) Red Rum. Red Rum. WENDY reacts and turns to cam.R. She runs away to DANNY's bedroom door in b.g. DANNY (OFF) Red Rum. Red Rum. CUT TO: INT. DANNY'S BEDROOM - M.S. WENDY opens door and stands in doorway. WENDY Danny? DANNY (OFF) Red Rum. Red Rum. Red Rum. WENDY moves R-L from door. CAMERA PANS with her and TRACKS BACK to reveal DANNY sitting up in bed. WENDY sits beside him. DANNY Red Rum. WENDY Danny... what's the matter, hon? DANNY Red Rum. WENDY Are you having a bad dream? CUT TO: M.C.S. DANNY over WENDY WENDY Danny? Hon? . 98. TONY Danny's not here, Mrs. Torrance. CUT TO: M.C.S. WENDY over DANNY WENDY Come on, hon, wake up. You just had a bad dream. Everything's okay. CUT TO: M.C.S. DANNY over WENDY. TONY Danny can't wake up, Mrs. Torrance. CUT TO: M.C.S. WENDY over DANNY. WENDY Danny, wake up! Come on, right now, CUT TO: M.C.S. DANNY over WENDY. WENDY Wake up. TONY Danny's gone away, Mrs. Torrance. CUT TO: M.C.S. WENDY over DANNY. WENDY Danny... She leans forward and puts her arm round him. She strokes his hair. DISSOLVE TO: INT. HOTEL LOBBY - M.L.S. JACK walking L-R past reception desk. CAMERA TRACKS with him to office. He goes in and switches on lights. . 99. RANGER (over radio) This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Are you receiving me? This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Do you read me? CUT TO: INT. HOTEL - OFFICE - M.L.S. JACK walks from office into inner office. CAMERA TRACKS after him. He stops by radio set. RANGER (over radio) This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Are you receiving me? CUT TO: M.S. JACK looking down at radio set. He tries to take the cover off. RANGER (over radio) KDK 1 calling KDK 12. KDK 1 calling KDK 12. Do you read me? JACK unscrews back of set and lifts cover off radio. He drops it on floor. RANGER (over radio) This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. He reaches out to the set with his hand. CUT TO: M.C.S. JACK's hand touches component in set. He pulls it out. RANGER (over radio) Are you recei... He pulls two more components out of set. He rattles them in his hand, then moves out cam.L. DISSOLVE TO: . 100. INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S. HALLORAN, phone to ear, walks R-L towards window. CAMERA PANS with him. RANGER (over phone) Good evening. Forest Service. HALLORAN (into phone) Hallo, this is Dick Halloran again. I called a while ago about the folks at the Overlook Hotel. CUT TO: INT. RANGER'S OFFICE - NIGHT - M.S. RANGER sitting at radio, phone to ear. RANGER (into phone) Oh yeah. We tried to contract them several times by radio, but they didn't answer. MAN enters from cam.R.f.g. and walks away to b.g. RANGER (into phone) Now, maybe they've got their radio turned off or they're in a place where they can't hear it. If you like me to, I'd be glad to try them again later on. CUT TO: INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S. HALLORAN, phone to ear. HALLORAN (into phone) Oh, that's very nice of you. I'll call you back later. Bye. He walks L-R. CAMERA TRACKS & PANS with him. He puts phone down on receiver, and puts his hand up to his head. CUT TO: BLACK FRAMES. . 101. Superimposition: 8 a.m. CUT TO: EXT. SKY - DAY - L.S. D.C.10 in flight. CUT TO: INT. D.C.10 - M.C.S. HALLORAN sitting in seat. CAMERA TRACKS BACK to reveal other pa**engers in their seats. HALLORAN turns in his seat and looks cam.L. STEWARDESS enters from cam.L and stops beside HALLORAN. HALLORAN Pardon me, miss. What time will we get to Denver? STEWARDESS We're due to arrive at 8:20, sir. HALLORAN Thank you very much. STEWARDESS walks out cam.R. HALLORAN looks at his wristwatch. DISSOLVE TO: INT. HOTEL - LOUNGE - L.S. Shooting through entrance onto JACK seated, back to camera, typing at table in b.g. CAMERA TRACKS FORWARD onto JACK. DISSOLVE TO: EXT. AIRPORT - DAY - L.S. D.C.10 moves away along flare path, as it lands. DISSOLVE TO: EXT. DURKIN'S GARAGE - M.L.S. DURKIN at car by petrol pump. He moves away R-L to office. CUT TO: . 102. INT. DURKIN'S GARAGE - M.S. MAN standing cam.L. MAN sitting reading magazine. DURKIN enters. He stamps snow off his feet and moves L-R. CAMERA PANS with him behind counter. He picks up ringing phone. DURKIN (into phone) Durkin's garage. HALLORAN (over phone) Hello, can I speak to Larry? DURKIN (into phone) Speaking. CUT TO: INT. AIRPORT - M.S. HALLORAN at telephone booth, phone to ear. HALLORAN (into phone) Hello Larry. This is Dick, Dick Halloran. CUT TO: INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear, behind counter. DURKIN (into phone) Dick, how are you doing? How's the weather down there? CUT TO: INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN (into phone) I'm not in Florida, Larry. I'm calling from Stapleton Airport. CUT TO: . 103. INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear, leaning on counter. DURKIN (into phone) What the hell are you doing down there? CUT TO: INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN (into phone) Well, I just got in from Miami, and I've got to get up to the Overlook today. What's the weather like up there? CUT TO: INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear. DURKIN (into phone) Well, the snow ploughs are keeping things moving in town, but the mountain roads are completely blocked. CUT TO: INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN (into phone) That means I'm going to need a snowcat to get up there, Larry. Can you fix me up with one? CUT TO: INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear. . 104. DURKIN (into phone) What's the big deal about getting up there today, especially in this kind of weather? CUT TO: INT. AIRPORT - M.S. HALLORAN, phone to ear. HALLORAN (into phone) Larry, just between you and me, we've got a very serious problem with the people who are taking care of the place. They've turned out to be completely unreliable a**holes. Ullman phoned me last night, and I'm supposed to go up there and find out if they have to be replaced. CUT TO: INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear, looks at his watch. DURKIN (into phone) How long is it going to take you to get up here? CUT TO: INT. AIRPORT - M.S. HALLORAN phone to ear. HALLORAN (into phone) Oh about five hours. I'm gonna rent a car here at the airport. CUT TO: INT. DURKIN'S GARAGE - M.S. DURKIN, phone to ear. . 105. DURKIN (into phone) Okay, Dick - I'll take care of it. CUT TO: INT. AIRPORT - M.S. HALLORAN phone to ear. HALLORAN (into phone) Oh thanks a lot, Larry. I really appreciate that. CUT TO: INT. DURKIN'S GARAGE - M.S. DURKIN phone to ear. DURKIN (into phone) That's all right. Drive carefully. He puts phone down. DISSOLVE TO: EXT. ROAD - NIGHT - M.L.S. HALLORAN's car moving forward along snow covered road. CAMERA TRACKS BACK with it. VOICE OVER RADIO Well, good morning to you, Hal and Charlie on Radio 63, KHOW Denver DISSOLVE TO: INT. HALLORAN'S CAR - NIGHT - M.C.S. HALLORAN sitting behind wheel as he drives along road L-R. VOICE OVER RADIO (CONT'D) and, Charlie, we have what you call your bad day out there. What you call your heavy snow, snowing hard throughout the eh Denver metro area. Many of the mountain pa**es - Wolf Creek, and Red Mountain pa**es are already closed... DISSOLVE TO: . 106. M.S. Shooting from behind HALLORAN through windscreen as he drives along road, pa**ing overturned truck cam.L. VOICE OVER RADIO (CONT'D) and the chain law is in effect right now at the Eisenhower Tunnel. I guess as we've just heard from the news forecast, Charlie, a few of the flights are still landing out at Stapleton International Airport, and, with these early storms like this, I guess the entire airport will probably be closed within the hour. Yeah, they're just not prepared. The storm will continue throughout the day, and the national weather service... has declared a stopmans and travelers advisory... for all areas outlying the Denver metro region - get the cows in the barn. There you go. Many businesses... CUT TO: INT. OVERLOOK HOTEL - JACK'S APARTMENT - M.S. DANNY & WENDY sitting at table watching T.V. Set cam.L. WENDY inhales cigarette and looks at her watch. She puts cigarette out cam.R. WENDY Hon, WENDY strokes his hair, then takes hold of his chin and turns his face to her. WENDY (CONT'D) ...listen to me for a minute, will you, hon? She lowers her hand from his chin and strokes his hair. WENDY I'm just going to go and talk to Daddy for a few minutes and I'll be right back. I want you to just stay here and watch your cartoons, okay? She strokes his hair. WENDY Okay, hon? . 107. DANNY holds up his forefinger and wiggles it. TONY Yes, Mrs. Torrance. WENDY kisses DANNY's head. WENDY All right. Now I'll be back in just about five minutes. I'm gonna lock the door behind me. She kisses his head and strokes his hair - then stands up and walks away to door. She stops and picks up a baseball bat from cam.R. She walks away through open doorway, and exits cam.R. DISSOLVE TO: INT. HOTEL LOUNGE - M.L.S. WENDY, carrying baseball bat, walks away into Lounge. As she goes, she turns and looks about her - CAMERA TRACKS after her. WENDY Jack...? She looks about and then moves L-R past table, with his typewriter on it. She walks L-R behind pillar and appears again on the other side. CAMERA TRACKS with her. WENDY Jack...? WENDY stops and looks about. CUT TO: M.L.S. WENDY, holding bat, in f.g. She turns and walks away to JACK's typewriter on table in b.g. CUT TO: M.S. Low Angle - JACK's typewriter in f.g. WENDY moves forward into shot. She looks down at sheet of paper in typewriter. CUT TO: M.C.S. Sheet of paper in typewriter with repetition of line on it, reading: "ALL WORK AND NO PLAY MAKES JACK A DULL BOY." . 108. Sheet of paper is turned up, showing repetition of line. Again sheet of paper is turned up showing repetition of line. CUT TO: M.S. Low Angle - WENDY looking down at sheet of paper in typewriter. She looks cam.R - then moves to cam.R. CUT TO: M.S. Sheets of paper, filling cardboard box. CAMERA TRACKS IN on top sheet, showing repetition of the line "ALL WORK AND NO PLAY MAKES JACK A DULL BOY." filling sheet. CUT TO: M.S. Low Angle WENDY looking down at box of paper in f.g. She holds up top sheet and looks at it - then puts it down in box. CUT TO: M.C.S. Sheets of paper filling box. WENDY's hand enters cam.L.f.g. She flicks through sheets of paper and sees they are all filled with repetition of line: "ALL WORK AND NO PLAY MAKES JACK A DULL BOY." CUT TO: M.S. Low Angle - WENDY flicking through sheets of paper in box. CUT TO: M.S. Pillar. CAMERA TRACKS R-L revealing WENDY, back to camera, looking through sheets of paper in box on table in M.L.S. JACK enters cam.R.f.g. JACK How do you like it? WENDY SCREAMS and turns round to face JACK. WENDY Jack! JACK How do you like it? JACK moves away towards table. WENDY walks R-L along table. CUT TO: M.S. JACK moves forward. CAMERA TRACKS BACK before him. . 109. JACK What are you doing down here? He stops by chair and puts his hand on back of it. CUT TO: M.S. WENDY holding bat. WENDY I just eh... wanted... CUT TO: M.S. JACK - hand on back of chair. WENDY (OFF) ...to talk to you. JACK moves R-L to table. CAMERA TRACKS BACK. JACK Okay. Let's talk. JACK flicks through sheets of paper in box - then looks towards WENDY. JACK What do you want to talk about? CUT TO: M.S. WENDY holding bat. WENDY I... CUT TO: M.S. JACK WENDY (OFF) I can't really remember. JACK You can't remember. JACK moves forward L-R. CAMERA PANS with him. WENDY (OFF) No, I can't. CUT TO: . 110. M.S. WENDY, holding bat, moves L-R. CAMERA PANS with her. CUT TO: INT. HOTEL - JACK'S APARTMENT - M.S. DANNY sitting at table. CAMERA TRACKS IN on him. JACK (OFF) Maybe it was about Danny. Maybe it was about him. CUT TO: INT. HOTEL - LOBBY - M.S. Blood clear from camera lens revealing furniture floating about on river of blood. JACK (OFF) I think we should discuss Danny. CUT TO: INT. HOTEL - CORRIDOR - M.S. Low Angle Door with word "MURDER" scrawled in reverse on door. CUT TO: INT. HOTEL - LOBBY - M.S. Furniture floating on river of blood towards camera. JACK (OFF) I think... we should discuss what should be done with him. CUT TO: INT. HOTEL - LOUNGE - M.S. JACK moves forward. JACK What should be done with him? CUT TO: M.S. WENDY holding bat gives nervous laugh. CUT TO: . 111. M.S. JACK moves forward R-L - CAMERA PANS & TRACKS BACK with him. WENDY (OFF) I don't know. JACK I don't think that's true. I think you have some very definite ideas about what should be done with Danny... and I'd like to know what they are. CUT TO: M.S. WENDY holding bat moves back R-L. CAMERA PANS with her. She weeps. WENDY Well I... I think maybe he should be taken to a doctor. CUT TO: M.S. JACK JACK You think maybe he should be taken to a doctor? CUT TO: M.S. WENDY WENDY Yes... CUT TO: M.S. JACK JACK When do you think maybe he should be taken to a doctor? CUT TO: M.S. WENDY holding bat. WENDY As soon as possible? CUT TO: . 112. M.S. JACK JACK As soon as possible. WENDY (OFF) Jack... CUT TO: M.S. WENDY holding bat. WENDY ...please... CUT TO: M.S. JACK moves forward - CAMERA TRACKS BACK before him. JACK You believe his health might be at stake? CUT TO: M.S. WENDY holding bat moves back. WENDY Ye...yes. CUT TO: M.S. JACK moves forward. CAMERA TRACKS BACK before him. JACK And you are concerned about him? CUT TO: M.S. WENDY holding bat moves back. WENDY Yes. CUT TO: M.S. JACK points to himself as he moves forward. JACK And are you concerned about me? CUT TO: M.S. WENDY holding bat moves backwards. . 113. WENDY Of course I am. JACK (OFF) Of course you are. CUT TO: M.S. JACK moves forward. CAMERA TRACKS BACK before him. He points to himself and gestures. JACK Have you ever thought about my responsibilities? WENDY (OFF) Oh Jack, what are you talking about? JACK Have you ever had a single moment's thought about my responsibilities? Have you ever thought for a single solitary moment about my responsibilities to my employers? CUT TO: M.S. WENDY holding bat moves backwards. CUT TO: M.S. JACK moves forward - CAMERA TRACKS BACK before him. JACK Has it ever occurred to you that I have agreed to look after the Overlook Hotel until May the first? Does it matter to you at all that the owners have placed their complete confidence and trust in me, and that I have signed a letter of agreement, a contract, in which I have accepted that responsibility? CUT TO: M.S. WENDY holding bat moves backwards L-R to foot of stairs. CAMERA PANS with her. She moves onto first step. JACK (OFF) Do you have the slightest idea what a moral and ethical principal is? Do you? CUT TO: . 114. M.S. JACK moves forward L-R. CAMERA PANS with him. JACK Has it ever occurred to you what would happen to my future, if I were to fail to live up to my responsibilities? CUT TO: M.S. WENDY holding bat backs up stairs. JACK (OFF) Has it ever occurred to you? JACK moves in cam.R.f.g. JACK Has it? WENDY swinging bat before her backs up stairs. JACK moves after her. CAMERA TRACKS FORWARD after them. WENDY Stay away from me! JACK Why? WENDY I just want to go back to my room. JACK Why? WENDY sobs. WENDY Well... I'm very confused, and I just need a chance to think things over. CUT TO: M.S. High Angle JACK over WENDY. He moves forward up stairs. She backs away. CAMERA TRACKS BACK and UP before them. JACK You've had your whole f**ing life to think things over - what's good a few minutes more going to do you now? . 115. WENDY Jack... stay away from me... please. JACK reaches up to her. WENDY Don't hurt me! Don't hurt me! JACK I'm not going to hurt you. WENDY swings bat in front of her as she backs up stairs. WENDY Stay away from me, JACK Wendy! WENDY Stay away...! JACK Darling, light of my life, I'm not going to hurt you. You didn't let me finish my sentence. I said 'I'm not going to hurt you... I'm just going to bash your brains in!' I'm going to bash them right the f** in. WENDY waves bat in front of her. JACK laughs. WENDY Stay away from me! CUT TO: M.S. Low Angle WENDY swinging bat in front of her, backs up stairs. JACK follows her - CAMERA TRACKS FORWARD after them. WENDY Stay away from me! JACK I'm not going to hurt you. WENDY Stay away from me! CUT TO: M.S. High Angle JACK over WENDY. She swings bat in front of her, as she backs away and he follows her. . 116. WENDY Stay away from me! Please... JACK Stop swinging the bat. WENDY Stay away from me. JACK Put the bat down, Wendy. WENDY Stop it! JACK Wendy give me the bat. WENDY Stay... stay away! JACK Give me the bat. CUT TO: M.S. Low Angle WENDY over JACK. CAMERA TRACKS FORWARD as they come up stairs. WENDY Stay away from me. JACK Give me the bat. WENDY Jack, stay away from me! JACK Stop swinging the bat. WENDY Get down. CUT TO: M.S. High Angle JACK over WENDY. She swings bat in front of her as they move up stairs. CAMERA TRACKS with them. JACK Give me the bat. WENDY Go away from me. . 117. JACK Wendy... WENDY Go away. JACK Give me the bat. WENDY Go away. JACK Give me the bat. JACK reaches up with hand. WENDY hits his hand with bat. SHE SCREAMS. HE YELLS and grabs his wrist. CUT TO: M.S. Low Angle WENDY over JACK. JACK Goddamn! WENDY hits JACK on head with bat. CUT TO: M.S. High Angle JACK over WENDY - he throws up hand and leans back. CUT TO: M.L.S. Low Angle WENDY over JACK. He falls backwards down stairs. CAMERA PANS L-R with him as he somersaults down stairs, stopping face down on half landing. CUT TO: M.L.S. High Angle WENDY back to camera at top of stairs. JACK lying facedown on half landing. WENDY Oh...oh! DISSOLVE TO: INT. HOTEL - KITCHEN - M.C.S. JACK lying on his back on floor. He GROANS as he is dragged along R-L. CAMERA TRACKS with him. CUT TO: . 118. INT. OVERLOOK HOTEL - KITCHEN - M.S. WENDY, holding JACK's ankles, drags him backwards to food store door. She undoes bolt, then tries to open door. JACK GROANS. CUT TO: M.S. Low Angle WENDY tugging at handle. JACK GROANS OFF. CUT TO: M.C.S. WENDY tugging at handle. She looks down cam.R. CUT TO: M.C.S. JACK, lying on his back on the floor GROANING, starts to come to. His eyes open and he lifts his head up. CUT TO: M.C.S. WENDY, tugging at door handle. CUT TO: M.C.S. WENDY's hand on handle. She takes out pin on chain in handle and tugs handle open. CUT TO: M.S. WENDY swings door open. Then she takes hold of JACK's ankles. CUT TO: M.C.S. JACK. JACK Hey... what are you doing? CUT TO: M.S. WENDY pulling JACK by the legs into food store. JACK Ohhh... what are you doing? CUT TO: M.S. High Angle JACK on his back being dragged through door into food store. . 119. JACK Hey, wait a minute... What are you doing? WENDY puts his feet down and moves away to door. JACK What are you doing? CUT TO: M.S. Low Angle WENDY's feet and legs move forward from JACK - She exits cam.R.f.g. JACK rolls over onto his elbow. Door closes in f.g. CUT TO: M.S. JACK on floor in f.g. WENDY in b.g. closes the door. JACK gets onto his feet. He GROANS and grips his R. ankle, staggering against cardboard boxes. They fall down onto him. CUT TO: INT. HOTEL KITCHEN - M.S. WENDY puts pin in handle, and backs L-R away from door. CAMERA PANS with her. JACK (OFF) Hey, wait a minute! WENDY turns away and looks about. JACK (OFF) What are you doing? WENDY sees knife in rack on wall and lifts it out of rack. She turns to face food store door. JACK (OFF) Open the door. WENDY backs away to table. JACK (OFF) Goddamit! Let me out of here! Open the goddam door. WENDY, resting one hand on table, weeps as she sinks to her knees. CUT TO: . 120. INT. HOTEL - FOOD STORE ROOM - M.C.S. Low Angle - JACK. JACK Wendy, listen. Let me out of here and I'll forget the whole goddam thing. It'll be just like nothing ever happened. CUT TO: INT. HOTEL - KITCHEN - M.S. WENDY kneeling by table. She is weeping and puts her hand up to her head. CUT TO: INT. FOOD STORE ROOM - M.C.S. Low Angle JACK listens to her weeping. JACK Wendy, baby... He puts hand up to head. JACK I think you hurt my head real bad. He takes his hand away from his head. JACK I'm dizzy. I need a doctor. CUT TO: INT. KITCHEN - M.S. WENDY weeping as she kneels by table. JACK (OFF) Honey... don't leave me in here. WENDY stands up. CAMERA TILTS UP with her. WENDY I'm gonna go now - WENDY walks R-L. CAMERA PANS with her to food store room door. . 121. WENDY I'm going to try and get... get Danny down to the Sidewinder... in the Snowcat today. She weeps. WENDY I'll bring back a doctor. CUT TO: INT. FOOD STORE ROOM - M.C.S. JACK JACK Wendy... WENDY (OFF) I'm gonna go now. JACK Wendy... CUT TO: INT. KITCHEN - M.S. WENDY weeping turns to food store door. WENDY Yes? CUT TO: INT. FOOD STORE ROOM - M.C.S. JACK smiling. JACK You've got a big surprise coming to you. He laughs. JACK You're not going anywhere. He laughs. CUT TO: . 122. INT. KITCHEN - M.S. WENDY by food store door. JACK (OFF) Go check out the Snowcat and the radio and see what I mean. He laughs off. JACK (OFF) Go check it out! He laughs off. WENDY exits cam.L. CUT TO: INT. FOOD STORE ROOM - M.C.S. JACK laughing. JACK Go check it out! He laughs. JACK Go check it out! He laughs. CUT TO: INT. HOTEL - CORRIDOR - M.L.S. WENDY carrying knife runs forward - CAMERA PANS L-R with her as she runs to door. She forces it open. CUT TO: EXT. HOTEL - M.L.S. WENDY forces door open against snow and walks out on snow. CAMERA PANS L-R with her to edge of porch. She runs away to b.g. CUT TO: M.L.S. WENDY runs L-R along front of hotel - CAMERA TRACKS with her. CUT TO: . 123. INT. HOTEL - GARAGE - M.S. Snowcat in garage. WENDY seen through open doorway. She runs forward and enters garage, carrying knife. She stops at entrance. Then she moves L-R towards Snowcat, and picks up distributor cap. CAMERA TRACKS IN on her, reacting to damaged distributor cap. CUT TO: BLACK FRAMES. Superimposed over: 4 p.m. CUT TO: EXT. HOTEL - L.S. Overlook Hotel in b.g. Snow and trees in f.g. CUT TO: INT. HOTEL - FOOD STORE ROOM - M.C.S. JACK asleep on sacks. CAMERA TRACKS BACK. KNOCK ON DOOR OFF. JACK stirs and rubs his eyes. KNOCK ON DOOR OFF. Jack sits up. JACK Wendy? CAMERA TRACKS BACK as JACK feels his R. ankle. GRADY (OFF) It's Grady, Mr. Torrance. Delbert Grady. JACK Grady... oh. JACK puts his hand up on shelf. JACK Oh Grady... right. Grady... er... JACK stands up and moves R-L behind shelves towards door. CAMERA TRACKS with him. JACK Hullo Grady. JACK moves R-L to door and leans on it with his hand. . 124. GRADY (OFF) Mr. Torrance, I see you can hardly have taken care of the... CUT TO: M.C.S. JACK by door. GRADY (OFF) business we discussed. He moves back R-L from door. JACK No need to rub it in, Mr. Grady. I'll deal with that situation as soon as I get out of here. GRADY (OFF) Will you indeed, Mr. Torrance. He puts his hand up to his head. GRADY (OFF) I wonder. I have my doubts. He lowers his hand from his head. GRADY (OFF) I and others have come to believe... that your heart is not in this, that you haven't the belly for it. JACK laughs. JACK Just give me one more chance to prove it, Mr. Grady. That's all I ask. GRADY (OFF) Your wife appears to be stronger than we imagined, Mr. Torrance. Somewhat more resourceful, she seems to have got the better of you. JACK For the moment, Mr. Grady. Only for the moment. . 125. GRADY (OFF) I fear that you will have to deal with this matter in the harshest possible way, Mr. Torrance. I fear that is the only thing to do. JACK There's nothing I look forward to with the greater pleasure, Mr. Grady. GRADY (OFF) You give your word on that do you, Mr. Torrance? JACK nods his head. JACK I give you my word. SOUND OF BOLT BEING DRAWN & HANDLE BEING UNFASTENED OFF. CUT TO: EXT. ROAD - NIGHT - L.S. HALLORAN driving Snowcat forward along snow-covered road between banks of trees. DISSOLVE TO: INT. HALLORAN'S SNOWCAT - M.C.S. HALLORAN driving Snowcat L-R along road. DISSOLVE TO: M.S. Shooting from behind HALLORAN sitting cam.L through windscreen, with wipers working, as he moves forward along snow-covered road. Trees on either side of road. CUT TO: INT. HOTEL - JACK'S APARTMENT - NIGHT - M.C.S. DANNY moves away R-L towards his MOTHER asleep in bed. CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. DANNY stops beside WENDY asleep in bed. . 126. TONY'S VOICE Red Rum. WENDY stirs in bed. DANNY reaches out with his hand for knife on table cam.R of bed. TONY'S VOICE Red Rum. DANNY holds up knife. TONY'S VOICE Red Rum. Red Rum. He feels blade. TONY'S VOICE Red Rum. Red Rum. He takes hand away from blade. TONY'S VOICE Red Rum. He turns away from bed and holding knife up walks L-R. CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. Red Rum. He stops by dressing table. TONY'S VOICE Red Rum. He picks up lipstick from dressing table. TONY'S VOICE Red Rum. Red Rum. He turns away from dressing table. TONY'S VOICE Red Rum. DANNY walks R-L away to door - CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. CUT TO: . 127. INT. OVERLOOK HOTEL - JACK'S APARTMENT - NIGHT - M.S. DANNY holding knife and lipstick at door. WENDY asleep in bed in b.g. TONY'S VOICE Red Rum. Red Rum. He starts to write with lipstick the word "MURDER" IN reverse on the door. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. Red Rum. Red Rum. He finishes writing word and looks at word. TONY'S VOICE Red Rum. Red Rum. He turns and walks away to WENDY asleep in bed. TONY'S VOICE Red Rum. Red Rum. Red Rum. WENDY wakes and sits up with a SHRIEK. CUT TO: M.S. DANNY beside WENDY in bed. DANNY Red Rum. Red Rum. Red Rum. WENDY gets out of bed and takes knife away from him. WENDY Danny. Danny, stop it. Danny! DANNY Red Rum. Red Rum. Red Rum. Red Rum. WENDY puts her arms round DANNY and pulls him towards her. She looks over his shoulder. WENDY Eh... She reacts - CAMERA ZOOMS IN on her face. CUT TO: . 128. M.S. WENDY's P.O.V. The word "MURDER" written by DANNY on door - reflected in mirror. CAMERA ZOOMS IN on word. SOUND OF AXE STRIKING DOOR OFF. CUT TO: M.C.S. WENDY shrieks and looks cam.L. She puts her hand up to DANNY's head. CUT TO: INT. HOTEL - CORRIDOR - M.S. JACK swings axe at front door of his apartment. CUT TO: INT. JACK'S APARTMENT - M.S. WENDY holding DANNY in her arms gets up off bed. CUT TO: INT. HOTEL - CORRIDOR - M.S. JACK swings axe at front door of apartment. CUT TO: INT. JACK'S APARTMENT - M.S. WENDY, with DANNY in her arms, looks about, then moves to door with "MURDER" in reverse written on it. She opens door and goes into bathroom, with DANNY, closing door behind her. CUT TO: INT. BATHROOM - M.S. WENDY, with DANNY clinging to her, closes the door. Then she bolts and locks it. CUT TO: INT. HOTEL CORRIDOR - M.S. JACK swings axe at door and splinters a panel. CUT TO: INT. BATHROOM - M.S. WENDY & DANNY move R-L from door to window. She drops knife in basin as she pa**es it. CAMERA PANS with them. . 129. WENDY unbolts window and raises the bottom part. CUT TO: EXT. HOTEL - M.S. WENDY tries to force bottom part of window higher up. CUT TO: INT. BATHROOM - M.C.S. DANNY clinging to WENDY looks over his shoulder as he hears axe splintering door OFF. CUT TO: INT. HOTEL CORRIDOR - M.S. JACK swings axe at splintered panel on door. CUT TO: EXT. HOTEL BATHROOM WINDOW - M.S. WENDY looking out of window. CUT TO: L.S. HOTEL. WENDY at bathroom window. She draws back into bathroom. CUT TO: INT. HOTEL CORRIDOR - M.S. JACK swings axe at splintered panel on door. CUT TO: INT. JACK'S APARTMENT - M.S. JACK pulls piece of wood away from splintered panel, and looks through gap. CUT TO: M.C.S. JACK at gap in panel. JACK Wendy, I'm home. . 130. He looks down. CAMERA TILTS DOWN - he removes a piece of wood with hand and then reaches in and unlocks door. CUT TO: INT. BATHROOM - M.S. WENDY, back to camera, lifts DANNY up to open window. CUT TO: EXT. HOTEL - L.S. WENDY pushes DANNY out through open window onto snow. She lets him go and he slides L-R down snow. He stands up at the bottom, and looks up at WENDY at window. CUT TO: M.S. WENDY struggling to get out of open window. CUT TO: INT. JACK'S APARTMENT - M.S. JACK, carrying axe, moves up stairs from open front door. CAMERA TRACKS BACK with him. CUT TO: EXT. HOTEL - M.S. WENDY struggling to get out of bathroom window. She goes back into bathroom. CUT TO: M.S. DANNY looking up cam.L at bathroom window. CUT TO: INT. JACK'S APARTMENT - BEDROOM - M.S. JACK, carrying axe, walks away across Living Room into Bedroom. CAMERA TRACKS after him. JACK Come out, come out, wherever you are! CUT TO: . 131. INT. BATHROOM - M.S. WENDY trying to force window up higher. She looks over her shoulder, then puts her head down to open window. CUT TO: EXT. HOTEL - M.S. WENDY tries to get out of open window. CUT TO: INT. BEDROOM - M.C.S. JACK enters cam.R. He stops at Bathroom door. HE RAPS ON DOOR. CUT TO: EXT. HOTEL - M.S. WENDY with head out of open Bathroom window. WENDY Danny, I can't get out! CUT TO: L.S. WENDY at Bathroom window cam.L. DANNY at foot of slope of snow looking up cam.L. WENDY Run, run and hide. Run, quick! DANNY runs away L-R. CUT TO: INT. BEDROOM - M.C.S. JACK at Bathroom door. JACK Little pigs, little pigs, let me come in! CUT TO: INT. BATHROOM - M.S. WENDY by open window. She moves L-R to basin. CAMERA PANS with her. She picks up knife and moves R-L to side of door. . 132. CAMERA PANS with her. CUT TO: INT. BEDROOM - M.C.S. JACK at Bathroom door. JACK Not by the hair on your chiny, chin, chin. Then I'll huff, and I'll puff CUT TO: M.S. JACK holding axe back to camera at Bathroom door. JACK (CONT'D) and I'll blow your house in. He swings axe back. CUT TO: M.S. JACK swings axe twice at Bathroom door. WENDY SCREAMS OFF. CUT TO: INT. BATHROOM - M.S. WENDY standing at side of door. JACK's axe appear through door. WENDY SCREAMS. JACK's axe repeatedly appears and splinters door. WENDY screams. WENDY Jack. Please. Don't... Don't... Head of axe appears through splintered door. WENDY SCREAMS. WENDY Don't! Oh! Please Head of axe appears again through door. WENDY SCREAMS. WENDY Stop! CUT TO: M.C.S. Splintered door panel. WENDY (OFF) Jack! . 133. JACK in b.g. swings axe at door and smashes away the splintered wood. WENDY (OFF) Stop it! Stop it! CUT TO: INT. BEDROOM - M.S. JACK swings axe at splintered door. WENDY (OFF) Stop it! JACK moves L-R to gap in splintered door. WENDY SCREAMS OFF. CUT TO: INT. BATHROOM - M.C.S. JACK's face at gap in splintered door. JACK Here's Johnny! CUT TO: M.C.S. WENDY holding knife SCREAMS. CUT TO: M.C.S. JACK's smiling face at gap in splintered door. He moves backwards and reaches in through gap. CUT TO: M.C.S. JACK's hand in through gap in door to key on inside of door. CUT TO: M.S. WENDY strikes down with knife. CUT TO: M.C.S. JACK's hand on key. WENDY's knife slashes across back of his hand, and withdraws cam.R. JACK's hand moves to gap in door. JACK YELLS OFF. CUT TO: . 134. M.C.S. JACK's face at gap in door. HE IS YELLING. He looks down and turns away from door. CUT TO: EXT. ROAD - NIGHT - M.S. Shooting from behind HALLORAN sitting back to camera L.f.g. through windscreen as he drives along snow-covered road. CUT TO: INT. BATHROOM - M.S. WENDY at side of door. She looks cam.R as she hears HALLORAN's Snowcat approaching OFF. CUT TO: INT. BEDROOM - M.C.S. JACK at Bathroom door - he turns round as he hears HALLORAN's Snowcat approaching OFF. He looks down cam.L. CUT TO: EXT. HOTEL - NIGHT - L.S. HALLORAN's Snowcat moves R-L along snow-covered road. CAMERA TRACKS with it revealing Overlook Hotel in b.g. CUT TO: INT. BEDROOM - M.C.S. JACK looking cam.R. He turns away to splintered door. SOUND OF SNOWCAT OFF. CUT TO: INT. BATHROOM - M.C.S. WENDY at side of door listening. CUT TO: EXT. HOTEL - L.S. HALLORAN's Snowcat moves R-L along front of Hotel. CAMERA TRACKS with it. Snowcat stops. CUT TO: . 135. INT. HOTEL CORRIDOR - KITCHEN - M.L.S. DANNY runs forward along corridor. CAMERA TRACKS BACK before him. He runs into kitchen - stops and moves L-R to oven. He kneels down beside it. CAMERA PANS with him. DANNY slides oven door open R-L and crawls into it. CUT TO: M.C.S. DANNY in oven slides door R-L. CUT TO: M.S. Oven door sliding L-R. CUT TO: M.S. JACK holding axe limps R-L through kitchen. CAMERA TRACKS with him. CUT TO: INT. BATHROOM - M.S. WENDY sobbing at side of door - then she moves to door and slashes at it with knife. CUT TO: EXT. HOTEL - M.L.S. HALLORAN walking R-L. CAMERA TRACKS with him. He moves to door left open by WENDY. He pulls it open wide and exits into Hotel. CUT TO: INT. HOTEL - LOBBY - M.S. JACK holding axe moves forward - CAMERA PANS R-L and TRACKS with him. He moves away up stairs. HALLORAN (OFF) Hallo! JACK at top of stairs. HALLORAN (OFF) Anybody here? JACK moves away from stairs CAMERA TRACKS after him. JACK moves R-L and looks down at Lobby. CAMERA TRACKS after him. . 136. HALLORAN (OFF) Hallo! Anybody here? CUT TO: M.L.S. HALLORAN moves forward along corridor. CAMERA TRACKS FORWARD. HALLORAN Hallo! HALLORAN moves R-L to entrance to Lobby. HALLORAN Anybody here? HALLORAN moves away into Lobby. CAMERA TRACKS FORWARD after him. HALLORAN Hallo! Hallo! Anybody here? JACK, holding axe, YELLS as he steps from behind pillar cam.R and moves towards HALLORAN. CUT TO: M.S. JACK YELLING as he swings axe at HALLORAN. CUT TO: M.C.S. HALLORAN's chest - axe pierces raincoat and blood oozes out. CUT TO: M.C.S. DANNY, with his mouth wide open. CUT TO: M.S. JACK over HALLORAN. JACK holding onto shaft of axe. CUT TO: M.C.S. HALLORAN, with his mouth wide open. CUT TO: M.C.S. DANNY, with his mouth wide open. CUT TO: . 137. M.S. JACK over HALLORAN, holding onto shaft of axe. CUT TO: M.C.S. HALLORAN, with his mouth wide open, sinks down out of shot. CUT TO: M.C.S. DANNY, with his mouth wide open. CUT TO: M.C.S. JACK rises up into shot. CUT TO: M.L.S. JACK holding axe standing beside body of HALLORAN on floor. JACK limps forward. CAMERA TRACKS BACK before him. JACK Danny! Danny boy! He stops at corridor to kitchen. JACK Danny! CUT TO: M.L.S. JACK back to camera in R.f.g. DANNY climbs out of oven in b.g. JACK moves forward. DANNY exits cam.R.f.g. JACK limps away. CAMERA TRACKS IN after him. JACK Danny! Danny! CUT TO: INT. HOTEL - STAIRS - M.S. High Angle WENDY runs up stairs L-R. She pauses on landing. WENDY Danny! CAMERA TRACKS BACK before WENDY as she goes up next flight of stairs. She stops at top of stairs and looks along landing. CUT TO: M.L.S. WENDY'S P.O.V. Shooting along landing into open doorway of bedroom. . 138. MAN, dressed in Dog's costume, kneeling at foot of bed. He leans back and looks towards her. MAN, in evening dress, leans forward and looks at WENDY. CAMERA ZOOMS IN on them. CUT TO: M.S. WENDY, holding knife, at top of stairs backs away - then turns and runs away along corridor, exiting cam.L at end. CUT TO: INT. LOBBY - M.L.S. JACK, holding axe, limps forward and moves L-R through entrance. He walks away to open door. CAMERA TRACKS after him. He stops in doorway. CUT TO: EXT. OVERLOOK HOTEL - NIGHT - M.L.S. Shooting from door. HALLORAN's Snowcat in b.g. CAMERA PANS L-R. CUT TO: INT. HOTEL - LOBBY - M.S. JACK, holding axe, at open doorway. He comes in and moves L-R to switch panel on wall. He opens cover and presses switches down. He leans towards open doorway and watches lights going on outside. CUT TO: EXT. HOTEL - M.S. DANNY crouched behind track of HALLORAN's Snowcat. He peers round corner. CUT TO: EXT. HOTEL - M.S. JACK limps to open doorway and stops. JACK Danny! CUT TO: . 139. EXT. HOTEL - M.S. DANNY by track of HALLORAN's Snowcat. He moves away L-R. CUT TO: M.L.S. JACK limps away from door. JACK Danny! CUT TO: M.S. DANNY runs L-R and exits cam.R. CUT TO: M.S. JACK limping L-R from Hotel. CAMERA TRACKS with him. JACK Danny! CUT TO: M.L.S. DANNY running away L-R across snow. CAMERA PANS with him. He runs into Maze. CUT TO: M.S. JACK limping L-R. CAMERA TRACKS with him. Hotel in b.g. CUT TO: EXT. HOTEL - MAZE - M.S. DANNY running away through Maze. CAMERA TRACKS after him. He looks back over his shoulder. CUT TO: M.S. JACK in the Maze. He limps forward. CAMERA TRACKS BACK before him. JACK Danny! I'm coming. I'm coming Dan! He looks down. CUT TO: M.C.S. DANNY's footprints in snow. CAMERA TILTS UP & TRACKS FORWARD along DANNY's footprints. CUT TO: . 140. M.C.S. DANNY's feet and legs running away through Maze. CAMERA TRACKS FORWARD. CUT TO: INT. HOTEL - M.L.S. WENDY, carrying knife, runs forward into kitchen. She looks towards stairs in b.g. WENDY Danny! WENDY stumbles forward through coffee pots and rings on floor. CAMERA TRACKS BACK before her. WENDY Oh! WENDY turns R-L. CAMERA TRACKS with her. She moves away along corridor. CAMERA TRACKS after her. She stops at corner. CAMERA CONTINUES PAST her revealing HALLORAN lying dead on floor of lobby. CUT TO: M.C.S. WENDY reacts. CUT TO: M.L.S. HALLORAN's body lying on floor. CAMERA ZOOMS IN on it. CUT TO: M.C.S. WENDY looks about. She moves away R-L. CAMERA PANS with her. She SCREAMS and turns to cam.R. CAMERA WHIP PANS L-R onto M.L.S. INJURED GUEST. CUT TO: M.S. WENDY reacting - knife trembles in her hand. CUT TO: M.C.S. INJURED GUEST, with scar running down his head and face. He raises gla** he is holding. INJURED GUEST Great party, isn't it? CUT TO: . 141. M.S. WENDY SCREAMING turns and runs away. CUT TO: EXT. HOTEL - MAZE - M.L.S. DANNY running away through Maze. CAMERA TRACKS after him. JACK (OFF) Danny! Danny! I'm coming! CUT TO: M.S. JACK limps forward in Maze. CAMERA TRACKS BACK before him. JACK You can't get away. I'm right behind you. CUT TO: INT. HOTEL - CORRIDOR & LOUNGE - M.L.S. WENDY runs forward. WENDY Danny! WENDY runs forward and then moves R-L. CAMERA PANS with her - she stops cam.R.f.g. and SCREAMS. CUT TO: M.C.S. WENDY looking about. CUT TO: M.L.S. SKELETONS sitting in chairs. Bottle of champagne on table in f.g. CUT TO: M.S. SKELETONS sitting at table with bottle and gla**es on it. CUT TO: M.L.S. SKELETONS sitting in chairs round tables with bottles on them. CUT TO: . 142. EXT. HOTEL - MAZE - M.L.S. JACK limps away through Maze. CAMERA TRACKS FORWARD after him. CUT TO: M.S. DANNY steps backwards in his footprints in snow. CUT TO: M.S. JACK limps forward laughing. JACK Danny! CUT TO: M.L.S. DANNY stepping backwards in his footprints in snow. He jumps L-R landing in snow, and crawls L-R - brushing his traces in the snow out with his hands. CUT TO: INT. HOTEL - CORRIDOR - M.L.S. WENDY holding knife runs forward. She slows down as she nears f.g. She moves R-L. CAMERA PANS with her to open door. She stops by doorway and looks along corridor towards lift doors in b.g. CUT TO: M.S. Lift doors. Blood gushes in cam.L and surges forward along floor. CUT TO: M.C.S. WENDY reacts. CUT TO: M.S. Lift doors. Blood gushes in cam.L and cam.R - surging forward in wave towards camera. CUT TO: EXT. HOTEL - MAZE - M.S. DANNY sitting leaning against side of Maze. CAMERA TRACKS R-L revealing JACK, holding axe, cam.R.b.g. He limps R-L and moves away along Maze. CUT TO: . 143. M.S. DANNY's footprints in the snow - CAMERA TRACKS FORWARD and stops when footprints end. CAMERA TILTS UP to snow without footprints. CUT TO: M.C.S. JACK - he looks about then back and forwards - and finally cam.R. JACK Danny! He looks cam.L. CUT TO: M.C.S. DANNY crouched against side of Maze. JACK (OFF) Danny! CUT TO: M.S. JACK - he looks about then cam.L. JACK Danny! CUT TO: M.L.S. JACK limps L-R and exits cam.R. CUT TO: M.S. DANNY appears from behind mound of snow and moves forward R-L. CUT TO: M.L.S. DANNY's P.O.V. Empty Maze. CUT TO: M.S. DANNY moves away R-L from mound of snow. CAMERA PANS with him. He runs away along Maze. CUT TO: M.S. Footprints in snow in Maze. CAMERA TRACKS FORWARD along footprints. CUT TO: . 144. M.L.S. JACK, back to camera, limping away along Maze. CAMERA TRACKS after him. CUT TO: M.S. JACK limps forward along Maze. CAMERA TRACKS BACK before him. CUT TO: M.S. CAMERA TRACKS FORWARD along Maze. CUT TO: M.S. DANNY runs forward along Maze. CAMERA TRACKS BACK. CUT TO: M.L.S. JACK moves to opening cam.R. CAMERA TRACKS FORWARD - he turns and moves R-L to opening cam.L. CAMERA PANS with him. He stops and turns - then moves L-R. CAMERA PANS with him and TRACKS after him as he limps along MAZE. CUT TO: EXT. HOTEL - M.L.S. WENDY sobbing and holding knife runs away to HALLORAN's Snowcat in b.g. CAMERA TRACKS FORWARD after her. She stops by Snowcat and looks about. CUT TO: EXT. HOTEL - MAZE - M.S. DANNY runs forward in Maze. CAMERA TRACKS BACK. DANNY looks over his shoulder and falls down in snow at entrance. CUT TO: EXT. HOTEL - M.S. WENDY standing by HALLORAN's Snowcat. She throws down knife. WENDY Danny! Danny! She runs forward and out cam.R.f.g. CUT TO: M.L.S. DANNY lying on snow at entrance to Maze. He gets up and runs R-L. CAMERA PANS with him. . 145. DANNY Mommy... WENDY (OFF) Danny, come here! DANNY Mommy... Mommy...! WENDY (OFF) Danny! DANNY runs R-L into WENDY's arms as she kneels on snow. DANNY Mommy! WENDY Oh! WENDY hugs and kisses DANNY. WENDY Oh Danny! CUT TO: EXT. HOTEL - MAZE - M.S. JACK holding axe limps forward - CAMERA TRACKS BACK. JACK Danny! Where... JACK GROANS. CUT TO: EXT. HOTEL - M.L.S. WENDY holding DANNY moves R-L to HALLORAN's Snowcat. CAMERA PANS with them. WENDY opens door of Snowcat and lifts DANNY up to cab. CUT TO: EXT. HOTEL - MAZE - M.L.S. JACK GROANING staggers away along Maze - CAMERA TRACKS after him. JACK Danny! . 146. He stumbles and lies in snow. He struggles up to his feet. CUT TO: EXT. HOTEL - L.S. Snowcat with lights on moves R-L in front of Hotel, then turns to cam.R. JACK SHOUTS INAUDIBLE OFF. CUT TO: EXT. HOTEL - MAZE - M.S. JACK staggers forward. CAMERA TRACKS BACK - INDISTINCT SHOUTS. He GROANS as he moves forward R-L. CUT TO: EXT. HOTEL - L.S. Snowcat drives away down road. JACK INAUDIBLE SHOUTS OFF. CUT TO: EXT. HOTEL - MAZE - M.S. JACK staggers forward along Maze. CAMERA TRACKS BACK - INDISTINCT MOANS & GROANS. CUT TO: M.L.S. JACK staggers away along Maze. CAMERA TRACKS after him. INDISTINCT MOANS. He slumps down cam.L against side of Maze. CUT TO: EXT. HOTEL - MAZE - DAY - M.C.S. JACK sitting up to his chest in snow dead. Snow and icicles on his face. CUT TO: INT. HOTEL - GOLD BALLROOM - M.L.S. Entrance to Gold Ballroom - CAMERA TRACKS FORWARD through entrance to photographs on wall. CAMERA TRACKS IN close on photograph of Guests at Ball. DISSOLVE TO: . 147. M.S. Photograph of Guests at Ball. DISSOLVE TO: M.C.S. Photograph of YOUNG MAN in dinner jacket. CAMERA TILTS DOWN TO: OVERLOOK HOTEL JULY 4th BALL 1921 FADE OUT. BLACK FRAMES.