Screenplays for You - free movie scripts and screenplays

Screenplays, movie scripts and transcripts organized alphabetically:

SHINING (1980)

by Diane Johnson, Stanley Kubrick. Based on the novel by Stephen King. Post Production Script. July, 1980.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


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.
All movie scripts and screenplays on «Screenplays for You» site are intended for fair use only.