"THE SHINING"
Post Production Script
A STANLEY KUBRICK FILM
EXECUTIVE PRODUCER:
JAN HARLAN
PRODUCED AND DIRECTED BY:
STANLEY KUBRICK
July, 1980
"THE SHINING."
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 passes 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... killed 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 assured 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
death, 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
molasses, 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 glass
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 glass 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 glass 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 fuck 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 fuck 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, assisting 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 killed
you and Danny.
CUT TO:
M.S. JACK over WENDY.
JACK
But I didn't just kill 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 sucking 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 bitch! 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 glass 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
glass 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 glass 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 glass down
on bar. LLOYD puts ice in glass 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 glass.
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 glass - 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 glass.
JACK
No, nothing serious.
CUT TO:
M.C.S. JACK
JACK
Just a little problem with the...
old sperm 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 glass, putting
glass 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-
bitch.
JACK laughs.
JACK
I'd do anything for him. Any
fucking thing for him.
CUT TO:
M.C.S. LLOYD
JACK (OFF)
That damn bitch.
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 fucker 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 fucking 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 passengers. Highways
are blocked by snowdrifts. Railroad
tracks are frozen. Officials in
Colorado tell Newswatch at least
three people have been killed 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
assistance, 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 fucking 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 fuck up my
life so far, but I'm not going to
let you fuck 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 glass.
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 glass from JACK.
GRADY
Oh dear oh dear... I've made an
awful mess of your jacket, sir.
GRADY puts glass 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 glass 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 nigger.
CUT TO:
M.C.S. JACK
JACK
A nigger!
CUT TO:
M.C.S. GRADY
GRADY
A nigger 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 passengers 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 assholes.
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 passes - Wolf
Creek, and Red Mountain passes are
already closed...
DISSOLVE TO:
106.
M.S. Shooting from behind HALLORAN through windscreen as he
drives along road, passing 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 fucking 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 fuck 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 passes 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 glass 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 glasses 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.