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,