All language subtitles for [subtitlekit.com]_1408_eng_to-srt

The Lord has
told me that the open gates

of Hell are yawning
up widely in our path.

Yes, the flames of perpetual damnation

are ever ready to grasp our souls.

We know the way of the righteous man.

Yeah, we know the prayer
of the righteous man.

I'm telling you that
the Lord has spoken.

Yes, the Lord has spoken to me.

- Hi.

Mike Enslin.

Checking in.

- Honey.

Mr. Enslin.

We were afraid you
weren't going to show.

- Oh it's such an
honor to have you here.

- Terrible night out there.

- If | could just get the key,

I'll settle In and we can
talk in the morning after-

- You probably want to hear
all about our haunted history.

Well, this staircase here,

this Is where the maid
reputedly hung herself in 1860.

- Oh.

- There's a picture!

- Can we do this in the morning?

- Wait wait.

It's printed in our brochure.

Did we send you one of these?

- Uh, probably did.

- Do you see her in the window?

- Yeah, there she is.

- That's a photo that
a guest took in 1986.

- In your letter you
mentioned that the rooms

with the most paranormal
activity were In the attic.

Could | have one of those rooms?

- That's right, because the attic

iS on the third floor

which is the former servant's quarters.

People say that all of
Sylvia's children died up there

of tuberculosis.

- All of them?

- Guests have reported strange sounds.

At the stroke of midnight
there's been weird noises.

Now our best advice is to lock
your door from the inside.

Isn't that right, honey?

- That's right.

You take care, you just
lock it from the inside.

- | will.

As soon as you give me the key.

- I'm so, right.

Got it right here.

Number 14, you can't miss it.

- Been a long drive.

- Good luck.

- All right, we'll see
what the night brings.

Mrs. Clark, the proprietor,

says she hasn't slept a
night since acquiring the inn

and | believe her.

No no no, | pity her.

But in any case, the eggs
Benedict are delicious

and if you call in advance,

Mrs. Clark says she will bake her famous

flourless chocolate cake.

On a Shiver Scale, | award the
Weeping Beach Inn six skulls.

Screw 'em, five skulls.

Hi.

- Oh hey.

How's it going?

Can | help you?

- Yeah, I'm here for the big event.

- All right.

Cool.

- I'm Mike Enslin.

- Sorry?

- Book signing.

- Oh, right.

Oh, that's you, yeah.

| see the resemblance, yeah.

That's a good picture.

- Thanks, man.

- All right, hold on.

Um, attention, book lovers.

Tonight we have noted
occult writer Michael Enslin

at the Author's Corner tonight.

He's the writer of the best-selling
ghost survival guides,

um, with such titles
as "10 Haunted Hotels,"

"10 Haunted Graveyards,"
"10 Haunted Lighthouses."

That's tonight, seven p.m.

- Anyway, so | really
enjoyed writing it,

and that's kind of a
history of the book.

And | hope you enjoy it, or enjoyed It.

Uh, you know, stay scared.

Right?

Any questions?

- Where's the scariest
place you've ever been?

- Scariest place I've ever been?

Uh, I've never heard
that question before.

That's a joke.

Well, all these places have
very colorful histories.

Um, | would say, if |
had to pick a top one,

| would say Bar Harbor,

the site of the grisly
McTeig wedding night murders.

That's an intense place.

Or maybe St. Cloud, Minnesota,
where the crazed war widow

threw her baby down a well.

| mean, those all have a
lot of, | mean, it's thick.

The air is thick.

- What about poltergeists?

- Look, I'm a good researcher.

| go into every gig locked and loaded.

| travel with an EMF meter,

full-range spectrometer,
Infrared camera.

| mean, look, nothing
would make me happier

than to experience a paranormal event,

you know, to get a glimpse
of the elusive light

at the end of the tunnel.

- So you're saying there's
no such thing as ghosts?

- I'm
S
a
y
In
g
|!
V
e
ne
V
e
r
s
e
e
n
o)
n
e
y

but they're awful convenient

for desperate hotels when
the interstate moves away.

This thing has really
gone off the rails.

Who has a pen?

- | do.

- Which one?

- Uh, but seriously, Mike,

If | want to see a real live ghost,

where's my best bet?

- Guaranteed?
- Yeah.

- Haunted Mansion, Orlando.

- Awesome, thanks.

- Stay scared.

- Thank you.

Hey, Ray, can you lock up?

| got band practice tonight.

- Holy shit.

What rock did you find that under?

- Um, eBay.

- eBay, huh?

How much did it go for?

- Well, there weren't many bidders.

- | would think not.

Wow.

- But it's, um, an amazing book.

- Oh.

- Um, so, unique and
inspirational and honest.

- Thanks.

What's your name?

- Um, Anna.

- Okay, Anna.

Are you gonna write
another one like this one?

- Nah, it's a different guy.

- Um, can | ask you a question?

- Sure.

- Um, the relationship in
the book with the father

and the son,

it's probably too personal, but, um,

it's so authentic and,

well-constructed, and, is it true?

- No.

- Well, thank you for this.

| really appreciate It.

- My pleasure.

- Bye.

Are you okay, buddy?

Hey, are you breathing?

We got 325.

That is back here, | think.

Uh-huh.

This is the one.

Sign on the line, please, sir.

- Oh, you mean right here?

- Have yourself a beautiful day.

- Thank you.

Thank you very much.

Hey, man, you've been gone a while.

- Hey, Jackson, what's up?

- Oh by the way, dude,
| read your last book,

the "10 Haunted Mansions" thing.

Man, that's some scary shit.

- Cool.
- Later on, dude.

- Hi.
- Hi, how you doing?

- Hi.
- Good.

Thanks.

Jp 1 just need some place
where | can lay my head J

J Hey, mister, can you tell me
where a man might find a bed >

JS He just grinned and shook
my hand, no was all he said

J Take a load off Fanny J

Pp Take a load for free J)

J Take a load off Fanny J

JL And you put the load right on me J

C'mon, let's go! We
ain't got all day!

- That's cute.

Good evening, Dolphin
Hotel.

How might | direct your call?

Yeah, hi, I'm
calling about room 1408.

One moment please, sir.

How may I help you?

- Yeah, I'd like to stay
in room 1408 please.

That room is unavailable,
Sir.

- | didn't tell you which date.

How about Saturday?

It's unavailable.

- The following Tuesday?
- Unavailable.

- Next month?
- Unavailable.

- Next summer?

- Somebody, anybody, where's
good Chinese near 48th?

| got to have lunch with
that idiot from Random House.

Anybody?

- Sam, Mike Enslin calling
from Los Angeles again.

- I'll take it in there.

Clay, you got a sec for Mike Enslin?

Say yes.

- Yes.
- Great.

Now look, this guy tends
to get a little morose,

so try to keep the energy up.

Otherwise he stews in his own funk.

Mike!

Hey, Sam.

- Hey hey, read the first
five chapters last night.

Spooky shit, couldn't sleep a wink.

Greal.

Hey, did you take care of that thing?

- You'd better believe | did.

And | got our top lawyer here right now.

Mike, Clay, Clay, Mike.

- Hi, Clay.
- Mike.

- Talk fast, all right?

This guy's 400 bucks an hour.

- All right, Clay, what's
up with the Dolphin?

- Yeah, the Dolphin.

That stick-up-its-ass
relic on Lexington.

Too posh for a free plug, right?

Well, you are gonna love
what Clay's cooked up.

He dug around and found
you, are you sitting down?

A Federal Civil Rights law.

Like somebody would
discriminate against you,

a well-to-do white guy.

But the law's the law, right, Clay?

Ergo, if the room's
not occupied they have

to give it to you.

- Really?
- Yeah.

Now look, the manager
there's gonna put up

a stink but he knows the drill.

Nothing you can't handle.

- So, Mike, we'll book the
room and if they refuse,

we'll rattle our sabers and file suit.

- So it's all done?
- Thanks, Clay.

Get lost, all right?

Bye, Clay.

- Yeah, Mike, are you there?

Yeah, uh, on a more personal note,

are you sure you want to come here?

- Yeah, of course.

It'll make a solid closing
chapter of the book.

- Yeah yeah, | know the routine.

But, | mean, it's New York.

All that happened, you really want

to put yourself through that?

- I'll be quick.

- Are you gonna call Lily?

- No.

| don't want to impose.

In and out.

Nobody gets hurt.

It's just a job.

Here you are,
Dolphin.

Hey!

Taxi!

It's a beautiful room,
with fabulous views

of the city.

- Pardon me, ladies.

Thanks very much.

- Welcome to the Dolphin, sir.

Are you checking in?

- Mike Enslin.

One night.

- And how are we spelling that today?

N-S-L-/-N.

- Yeah.

- Uh, would you excuse
me for a moment, sir?

- Sure.

- Mr. Dempsey, Mike
Enslin's just checked in.

- Where is he?
- He's over at my desk.

- That's fine, Marie.

I'll take care of it.

- Okay.

Can you just
stay here for a minute?

- It'll just be a minute, Mr. Enslin.

- Good evening, sir.

Can | help you with your bag?

- No.

- Very well.

- Mr. Enslin, I'm Gerald
Olin, manager of the Dolphin.

If there's anything that | can
do for you while you're here,

dinner reservations, theater
tickets, maybe a Knicks game?

Anything, just tell me.

| am at your service.

- Well, if | can just
get the key to 1408,

| can get out of your hair.

- Oh, we were thinking of upgrading you

to a penthouse suite.

- 1408, please.

- Insistent, aren't we?

Could you please humor
me by coming to my office

for a more private conversation?

- Sure.

- Excellent.

Come in.

Make yourself comfortable.

- 1408 a smoking room?

- As a matter of fact, it is.

Yes.

- Good, one less worry in
the watches of the night.

- Care for a cigar?

- No thank you, | don't smoke.

Oh this, yeah.

That's In case nuclear war breaks out.

| gave it up a long time ago.

It's part habit, part superstition.

It's, you know, a writer thing.

- You do drink, don't you?

- Of course, | just said | was a writer.

- Le Cinquante Sept Deces, 1939.

Exquisite.

About $800 a bottle,
when you can find it.

- | appreciate the bribe,
but | intend on staying

In that room.

- How long?

- How long?

My usual is overnight.

- | see.

No one's ever lasted more than an hour.

- Jesus, man.

You ought to shave your eyebrows

and paint your hair
gold if you're gonna try

to sell that spookhouse bullshit.

Otherwise, you'll scare the children.

- Why are you mocking
me when | am genuinely,

to the best of my ability,
trying to help you?

- No, you're playing a little game.

You're selling the mystique.

But eventually, we both know
you're gonna give me the key

and I'm gonna go up to the room

and I'm gonna write my
story and your bookings

are gonna go up 50%.

Do you mind if my little friend
records our conversation?

I'll take that as a yes.

- Sir, you quite
misunderstand the situation.

Now, | know the Dolphin doesn't
have the cachet of the Plaza

or the Carlyle, but we
operate at 90% capacity.

Always.

And my concern here
IS not for the hotel.

My concern here is not for you.

Frankly, selfishly, | don't want you

to check into 1408 because | don't want

to clean up the mess.

Now hotels are all about presentation

and fertile creature comforts.

My training is as a
manager, not a coroner.

Under my watch there have
been four deaths, four.

After the last one, | forbade any guest

from checking into 1408 ever again.

- The last one was David
Hide, orthodontist,

manic-depressive.

Slit his wrist, did
a little self-surgery,

turned himself into a eunuch, right?

- Yes.

| see you've done your homework.

- I'm
a
p
ro
f
e
S
sion
a
|
(0)
o)

- Well, grievously, in
its 95-year existence,

the hotel has seen seven
jumpers, four overdoses,

five hangings-

- Three mutilations.

- Two stranglings.

General manager
Gerald Olin is well-versed

in the hotel's tragic history,

dryly reciting the docket of carnage

like a bookkeeper discussing his ledger.

- Well, you think you're
clever, don't you?

- | know the game.

- Well, during your investigation,

did you discover the 22 natural deaths

that have occurred in 1408?

- Natural deaths?

- Ah, didn't find out about them

because the newspapers don't
print anything about them.

Hmm.

All told, there have
been 56 deaths in 1408.

- 567

You're shitting me.

- You don't know anything.

The causes of death in 1408
range from heart attack,

stroke, drowning-

- Drowning?

- Yes, one Mr. Grady Miller
drowned in his chicken soup.

- That's hard to do.

How did he do that?

- How indeed?

Interesting.

It's all In here.

| will let you have this and
give you access to my office.

You can take notes, put
it all in your book.

My only condition is that
you do not stay in that room.

- You'll let me look at all that stuff?

- Hmm.

- | never did get that drink.

Oh, that is good.

- Here, keep It.

Compliments of the house.

- I'm still staying.

- Damn it to hell!

- I'm
S
orry.

- All right here.

Here, read the godforsaken thing.

| guarantee you, once you've
read it you won't want

to stay in 1408.

The first victim, Mr. Kevin O'Malley,

sewing machine salesman.

Checked into the hotel
the first week it opened.

October, 1912.

- Cut his own throat, right?

- Oh, that's not the horrific part.

Afterwards, in a fit of insanity,

he tried to stitch himself back together

using an old sewing needle
before he bled to death.

- Easy, man.

- Look, Mr. Enslin, you
don't have to stay in 1408.

You can take photographs of 1404.

It has the exact same layout

and no one will ever
know the difference.

- My readers expect the truth.

- Your readers?

Your readers expect
grotesqueries and cheap thrills.

"The headless ghost of Mr. Eugene Rilsby

still walks his abandoned farmhouse."

"The Barking Phantom of
Mount Hope Cemetery."

- A direct quote.

How'd you know that?

- Your books aren't hard to find.

They're on the bargain shelves
of any paperback novel store;

full of cynicism, written by a talented,

intelligent man who
doesn't believe in anything

or anyone but himself.

- Guilty as charged.

Hey, listen, this meeting's over.

Why don't you give me the room?

- Oh please, don't act
like a hurt schoolgirl.

In fact, you surprised me.

- Oh.

- You are not the
hack-n-slash | expected.

| rather liked the first
one, the hardcover.

What was it called?

"The Last Walk."

- "Long Road Home."

- "The Long Road Home," yes.

| rather thought the
father was a bastard.

- Yeah, he was.

Um, look, man, just give me the key.

- Mr. Enslin-

- Just give me the key!

Listen, | stayed at the Bigsby house.

| brushed my goddamn teeth right next

to the tub where Sir David
Smith drowned his whole family.

And | stopped being afraid
of vampires when | was 12.

Do you know why | can stay

in your spooky old room, Mr. Olin?

Because | know that
ghoulies and ghosties

and long-legged beasties don't exist.

Even if they did, there's no God

to protect us from them, is there?

- So | can't talk you out of this?

- | think we've reached
an understanding.

- Very well.

Come with me.

- Most hotels have
switched to magnetics.

An actual key.

That's a nice touch, it's antiquey.

- We have magnetic cards also,

but electronics don't
seem to work in 1408.

Hope you don't have a pacemaker.

- General manager claims

that the phantom in room interferes-

- | have never used the word "phantom."

- Oh, I'm sorry.

Spirit?

Specter?

- No, you misunderstand.

Whatever's in 1408 is nothing like that.

- Then what is it?

- It's an evil fucking room.

Please.

Mr. Olin.

- Oh, oui.

Tres bien.

- Why don't the owners
just close the room?

- The Yasuko Corporation prefers

to pretend there's no problem.

Just as they pretend
there's no 13th floor.

- The room, it's got to be filthy.

| mean, the sheets haven't
been changed in what?

11 years?

- No no no, we're very professional.

1408 gets a light turn once a month.

| supervise, the maids work In pairs.

We treat the room as if
it's a chamber filled

with poison gas.

We only stay 10 minutes and |
insist the door remain open.

But still,

a few years ago, a young maid

from El Salvador found herself
locked in the bathroom.

She was only there for a few moments,

but when we pulled her out, she was-

- She was dead.

- No, blind.

She had taken a pair of scissors
and gouged her eyes out.

She was laughing hysterically.

- Ouch.

- Your floor.

Well, this is where we part company.

This is as close as | get to 1408

unless it's that time of the month.

- See you tomorrow.

- Mr. Enslin?

Please don't do this.

- I'll call you about
those Knicks tickets.

Stop it!

- It's okay, it's okay, sweetie.

We're home now.

Here we go.

- This is it?

You got to be kidding me.

Round one goes to the hideous Mr. Olin

for effective aggressiveness.

| have to admit, he had
me going for a moment.

But where is the bone-chilling terror?

Show me the rivers of blood.

It's just a room.

$8 for beer nuts.

This room is evil.

Olin said hotels are about
fertile creature comforts.

It's a good line, but /
wonder whether they're really

about reassuring platitudes,

a prosaic sense of the familar.

"Yes, /'ve been here before.

It's safe.”

There's a sofa, a writing desk,

a faux antique
armoire, floral wallpaper.

Carpet's unremarkable,
except for a stain

beneath a thrift-store painting
of a schooner lost at sea.

The work is done In the
predictably dull fashion

of Currier & Ives.

The second painting Is

of an old woman reading bedtime stories,

a Whistler knockoff, to a
group of deranged children

as another Madonna and child
watch from the background.

It does have the vague air of menace.

The third and final
painfully dull painting

Is the ever-popular "The Hunt."

Horses, hounds and
constipated British lords.

Some smartass spoke about
the banality of evil.

If that's true, then we're In
the seventh circle of Hell.

It does have its charms.

The panorama is typically
cramped New York City view

of nothing.

Dull, grey buildings all
around; Honking traffic below.

The view of a-

J We've only just begun J

Ow!

PD To live )

- Holy shit.

J White lace and promises J

PD A kiss for luck J)

J And we're on our way J

J We've only begun J)

J) Before the rising sun

- Bravo, Olin.

That is very unsettling.

J So many roads to choose J)

Jp We start off walking
and learn to run

JL And yet we've just begun J

- That means someone's in the room.

Hello?

Hello!

Whoa.

That is bizarre.

Finally | got something to write about.

A ghost that offers turn-down service.

All right.

All right, let's Encyclopedia
Brown this bitch.

Started off the window,
hear the music, nab my head.

| turn around, go to the
bed for the chocolate.

Then | go into the
closet which would have,

my back was turned.

It would have let
Houdini have time to come

In here do the paper trick,
and he's in the living room.

Out!

Hello?

You're gonna have
to try harder, asshole!

Nice and warm for you up there?

It's hot down here, bubba.

Come on.

Front desk.

- Hello, this is Mike Enslin.

Guess which room.

- Good evening, sir.

- Good evening.

Are you ready to check
out?

- Check out?

NO no no no no.

Check out, check out, no.

Why would | check out?

Especially with this
wonderful maid service.

It's so discreet.

No no no, | need you to send
somebody to fix my thermostat.

Room's on fire.

- Of course, sir.

We'll send an engineer right up.

- You will?
- Absolutely.

- Thank you.
- You're welcome.

- How many thin walls have we
put up with together, old boy?

How many sarcophagal chambers?

Hotel rooms are a naturally
creepy place, don't you think?

| mean, how many people have
slept in that bed before you?

How many of them were sick?

How many of them lost their minds?

How many of them died?

We came here to get the story,
and we don't rattle, do we?

It's not that what
I'm
S
e
e
In
g
IS
n
(o)
t
re
a

It just ain't as real as it seems.

Hello?

You got a
problem with the temperature?

- Yeah.

Come on.

- Is it too hot or too cold?

- What does it look like?

Come on in.

The box is right over here.

It's stuck around 80.

| said the box is right here.

- | know where the hell it is,

but | ain't going in this room.

- You just have to
walk six or seven feet.

- | said | ain't going in.

You know what happened in here?

- Yes, I'm well aware of that.

- Look, I'll talk you through it.

Any jackass can fix that thing.

Just remove the panel.

Okay, now above
that coll is a little tube

filled with mercury.

That's supposed to activate
the contact switch.

But this hotel's so
goddamn old, half the shit

In here don't work.

Just give the tube a little tap.

Just tap the damn thing!

- Yeah, there it is.

Oh, sir, you're a genius.

A gentleman and a scholar.

Thank you, let me give you

a tip.

Sir?

JL And yet we've just begun J

J Sharing horizons >

- Son of a-

Nobody lasts more than an hour.

Very effective.

Oh.

Ow.

Son of a...

Ow!

Ow.

J We've only just begun J

PL Toli- Pp

Hello?

Hello?

Sir, I'm afraid
there was a miscommunication

in the kitchen.

There's going to be a 10-minute
delay with your sandwich.

- Sandwich?

What sandwich?

| didn't order any sandwich.

What are you talking about?

I'm sorry.

You're welcome to substitute a side dish

for your French fries.

We have cottage cheese,
macaroni salad, coleslaw-

- Listen to me.

You win.

I'm checking out.

I'm hurt.

Do you understand?

My goddamn hand is hurt.

l understand.

If you leave your dry
cleaning out by 10 a.m.

we'll have it pressed
and returned by five-

- Shit, bitch!

Call me a cab to the nearest hospital!

I'm hurt!

Do you comprehend what I'm telling you?

- Sir, | will not
tolerate you speaking fo me

in that tone of voice.

- You're an idiot!

I'm
g
0)
n
n
a
S
u
ey
0
u
r
a
S
S

I'm gonna take legal action!

What's wrong with you?

- If you wish,

/ can connect you with
our manager Mr. Olin.

- Good!

Good good good good good!

Put him on.

Put him on.

I'm gonna blitz the son of a bitch.

Olin, good!

Put him on now!

When staying at
the Dolphin, be certain

to enjoy New York's finest dining

at the fabled Sea Bream
restaurant on our mezzanine level.

Muscles tense?

Then make an appointment
to visit our deluxe spa

on the Coral level.

With full massage, facial
and aromatherapy facilities,

It will leave you feeling relaxed-

- Hello?
- And revitalized.

Your call is important to us.

- You bitch.

You win, you win.

All right.

Okay!

Come on.

Come on!

Come on, come on.

Hey!

Help!

Help!

Help!

Help!

Can anybody hear me?

Help!

You!

Sir!

Sir!

Help!

Yeah!

Yeah, you!

Help!

Help!

Help!

You, sir!

Help!

Can you see me?

Yeah!

The Dolphin Hotel!

Call the police!

Help!

Help!

Hey, look out!

Hey!

I'm losing my mind.

/ can see you, Dad.

Daddy?

Daddy, where are you?

I'm gonna get you.

Ready or not, here | come.

Here you are.

/ see you, Daddy.

- Get ahold of yourself.

You're running to
places that aren't real.

Get up.

Get up.

You're losing the plot.

You're losing the whole
goddamn structure.

Daddy!

Find me.

- Psychokinetic fibrillations.

A tired mind among classic
haunted-house powers

of suggestion.

Gaslit features, faded rugs,
like that motel in Kansas.

There's a reason for everything.

Just think.

What's that?

What is that?

Is that a spycam?

Who is that?

Are you enjoying this?

Is that the sadistic owner
of the hotel or is that Olin?

Wait a minute.

He gave me booze.

He gave me booze.

Did he take a sip?

| can't remember.

He dosed me!

It was the booze or the chocolates.

Never take candy from strangers.

All right, all right.

I'm just hallucinating.

I'm just hallucinating.

I've just got to ride this out.

I've got to ride this out
for four or five hours

and I'm straight.

Okay.

You can do this.

Oh, man. I'm gonna get
you.

- You are finished.

Come here.

Come here!
- Dad!

- Sit down!

You want me to sit
down?

Oh Shit.

You want me to sit down?

- Yes!
- Okay, hold on, hold on.

Let me find a good, let
me find a good frame here.

- Ladies and gentlemen,

welcome to the Most
Ugliest Person Competition.

Fifth and fourth place goes to
Boris and Doris the goldfish.

Ladies and gentlemen!

Let's get a closeup of those guys.

Let's have a closeup of Boris and Doris.

Look at that.

Those are some ugly fish.

They're so ugly they're
running from you.

- Third place goes to Mike Enslin.

- Surprise surprise.

Right, how's this for ugly?

Second place goes to Lily Enslin.

- That was good.
- That's scary.

That's kind of like
Beowulf meets a redneck.

- And first place goes to Katie Ensliin.

- That is a terror.

That is, oh, God!

Don't show me that face!’

Oh, | can't look at it again.

Whatever you do, don't turn
around.

Whatever you do,
don't show us that face.

- Ma'am, can you hear me?

Ma'am, | need your help.

Please, ma'am, can you hear me?

Kid, be quiet.

Please, ma'am.

Quiet!

- | wish | was dead.

Where's my garden?

| can't smell anything.

| hate this place.

How did | get here?

- Pop.

Dad.

It's Michael.

- As you are,

| was.

As | am,

you will be.

- Maybe I'm not real.

Maybe I'm just having a nightmare,

an incredibly vivid lucid nightmare.

When is the last time |
remember going to bed?

| flew In yesterday.

Or was that today?

| can't remember.

Was | on a train?

| woke up somewhere and | had breakfast.

Where was |?

What did | eat?

Here it comes.

They say you can't die in your dreams.

Is that true?

The shock would wake you up.

So you couldn't really die.

All right, what are our options?

Got the hallway, got guest
rooms on either side,

stairwell, fire exits.

And that's the next
window, the next room.

How many feet across is that?

One,

three, four, five, six,
seven, eight, nine.

Nine, nine, 18 feet across.

Okay.

| can do this.

If something should happen,

If | should slip and fall,
| want it to be known

that it was an accident.

The room did not win.

Okay.

Okay, | can do this.

18 little steps.

Don't look down.

Five.

Keep moving.

Number nine, eight,

SIX.

Where is it?

Where is it?

Get ahold of yourself.

You're running to
places that aren't real.

Hotel rooms are naturally creepy places.

Strangely, the bedroom has no window.

Strangely, the bedroom has no window.

Dr. Edwards to Oncology.

- Please, please.

No.

No.

Doctors don't know everything.

We can get another opinion,
look for other treatment

You hear about-
- Look at me.

- Miracle cures.

- Lily.
- Oh God.

Please, something.

- What kind of god would
do this to a little girl?

Katie.

Daddy, | can't see
you.

Daddy, | can't find you.

Daddy, I'm scared.

- Katie.
- I'm scared, Daddy.

Daddy, help me.

- Okay, how about the wireless?

Come on.

Give me a signal.

Give me a signal.

Good evening,
Mike.

Oh!

Yes!

- Mike?

Mike, is that, is that you?

/ can barely see you.

- Yes yes.

- It's like seeing a ghost.

- No no no.

Yes, it's me.

It's
me.

It's Mike.

- This Is a little bizarre.

I mean, | haven't
talked to you in a year

and suddenly you pop up
in a box on my computer.

- I'm sorry, Lily.

Listen to me, please, quickly.

- Look, I'm at work, okay?

So why don’t you call
me at home tonight?

- I'm trapped in this room, this place.

- Mike, you're always
trapped in weird places.

That's your job.

- No no, please, Lily.

Listen to me, please.

- Lily Enslin.

HI.

Yeah yeah.
- Lily!

- I've got those.

I'll be right down.

- No, Lily!

Lily, please!

Call the cops.

Send them to the Dolphin Hotel.

- I'll call you back.

- You're in the city?

- Yes!

2254 Lexington.

- What are you doing in New York?

- I'll tell you later.

The Dolphin Hotel, room 1408.

- That's just perfect.
- Please.

- You walk out, you disappear.

Leaving me what?

Not divorced.

Separated?

/ don't know, it's not clear.

Suddenly you need me?

- Lily, I'm in a real bad spot here.

I'm
IN
d
ang
e
Ir

You understand?
- Okay, Mike.

Slow down.

You're not making any sense.

- There's something trying
to kill me right now.

No, Lily!

NO no no!

I've got a knife!

That's the way out.

Or that way.

Or that way.

All right, that's the way out.

Lady, let me in!

Help!

Please, sleep.

- Lady, I'm coming through!
- Mike!

Mike, can you help me?

Where'd you go?

| got to get some cigarettes.

You want something?

- Jesus Christ!

I've got to go.

I'll be in California.

- Mike, you can't do this.

She needs you.

She lost a kid too.

You've got an amazing talent

for stating the obvious, Pop.

- You think | don't know that?

I'm trying to talk some
sense into your head!

Don't put your hands
on me, old man!

- Mike!
- Talk?

Why change what appears to be
the habit of a lifetime, Pop?

You were always great at passing
judgment, but the problem

IS you never gave a shit.

- | never gave a shit because
you're a bullshit writer!

- Shit!

Hello!

Kevin O'Malley.

- Help me.

- No.

NO nO no nO no no.

- Help me.
- | can't help you.

| can't help you.

No!

It's good to be back.

That's enough of that.

Alcohol.

- | was just checking to
see If the accommodations

are exceeding your expectations.

- You know goddamn well they are!

What do you want from me?

- No no no.

What do you want?

What do you want, Mr. Enslin?

You sought this room.

- It was a job.

| was doing the job.

- | beg your pardon?

- My job!

I'm
2
Ww
rite
r

- Oh, that's right.

You don't believe in anything.

You like shattering people's hopes.

- Oh, that's bullshit!

- Why do you think
people believe in ghosts?

For fun?

No.

It's the prospect of
something after death.

How many spirits have you broken?

She was in so much pain.

I'm
S
u
re
sh
e's
&
m
il
In
9)
down on us right now.

- What do you want from me?

Huh?

What do you want from me?

You, you little...

What do you want?

What?

| want my drink!

You win.

You win.

Mommy?

Hmm?

Why is the Bible
purple?

- | don't know why it's purple.

It was a wedding present.

My grandmother brought it
all the way from Hungary.

Someday it'll be yours.

- Are there people where I'm going?

- Hey, you're not going anywhere, kiddo.

You're gonna stay right here with us.

- Daddy, everyone dies.

- When they're old.

- When they're much older.

- Okay, and then they
go to a better place.

And it's beautiful there.

And all your friends will be there.

- Is God there?

- Yes.

- Do you really believe that, Daddy?

- Yes.

You know what | think!

We should have done more!

- We did everything we could!

- No, we didn't!

We should have helped her fight-

- Oh my God.

- Instead of filling her
head full of these stories

about heavens and the clouds and nirvana

and all that bullshit!

- Those stories, she liked them.

- I'm going to get
some cigarettes, okay?

We ponder the situation.

I'm trying to accurately describe

Orpheus on the Orpheum
Circuit bathed in tango light,

the kind of light that makes the dead

get out of their graves and tango.

Now this is level nine,

the deepest level of hell,

furthest removed from
all light and warmth.

This Is SIX.

It's goddamn five.

| think | see the pattern.

Yes, | can see the pattern.

Mike.

Mike, can you hear me?

Michael, where the hell are you?

- Lily.
- Michael?

Mike.

- Lily.

Michael, can you hear me?

Lily.

- Oh my God.

Thank God.

Jesus, I've been trying to get through!

- Did you call the cops?

- Yeah yeah, they're at the hotel.

Didn't you say the Dolphin?

- Yes.
- You're
sure?

- Yes yes, 1408.

- Mike, they're in 1406.

The room's empty.

Mike?

Michael, can you hear me?

Michael?

Michael, where the hell are you?

- I'm
af
ra
id
C
an
"t
e
X
p
re
&
g
myself in this climate.

- Calm down, okay?

We'll figure this out.

Don't panic.

- I'm supposed to die here.

- Michael, stop it!

You're not gonna die, okay?

Don't move.

[ can be there in 15 minutes.

Mike?

Michael?

- 15 minutes isn't enough time.

It'll be too late.

- No, it won't be too late.

- Lily.

Actually, 15 minutes is perfect.

It's perfect.

Just come up.

- Come now,
- Good, yes.

- | need you.

You've always been someone
/ can count on, Lily.

| know we haven't talked
a lot since Katie died,

but | need you, sweelie.

Wait!

/ can’t explain it here.

You just have to come
here and talk to me.

- | miss you too, but-

- When you get here,
don't talk to anybody.

Just come straight up to the 14th floor.

Walk through the door:

Shut up, shut up!

It's life or death, sweelie.

Do not come up to the room!
- Okay.

- Don't come up to the room!

I need to talk to you about Katie.

Shut up!

Lily, don't listen to him!

- Yes, good.
- It's a trick!

Don't come up here!
- I'll be right there.

- Lily!

Lily!

My baby!

My baby!

She's heading for the
rocks!

Man overboard!

- Are you okay, buddy?

Hey, are you breathing?

Come on, talk to me.

You guys, give me a hand here!

- Hey.

How are you feeling?

- Am | out?
- You're okay.

You're okay.

Lie down, lie down, lie down.

Lie down, lie down, lie down.

You're okay.

You're in the hospital.

- Hospital where?

In New York?

- New York?

No no, you're in LA.

You got hit on the head with your board.

| can't believe you still surf.

- You flew here just for me?

- Yeah.

Yeah, | was worried.

They called.

| think I'm still listed
as your next of Kin.

- Okay, I'm not in New York.

I'm
out

- Why do you keep saying that?

- | was in New York.

| was trapped.

In New York, | was dying
In this Kafkaesque hotel,

the Dolphin.

- What?

- The Dolphin Hotel on 45th and Lex.

| spoke with you there.

- 45th and Lex?
- | called you.

- I've never heard of it.

You're gonna be okay.

You just need to rest.

- Oh, we have a winner.

600 bucks.

- Unbelievable.

| can see why you live here.

Why did you leave?

- Because every time | looked
at you, | saw her face.

- | think it's pretty clear.

/ think in the dream the
room's your subconscious

and it brought up a lot of stuff.

That's a good thing for you.

- But this was, | mean, |
was down the rabbit hole.

| was rattled.

| was shook up.

And | can't shake it.

| think after dinner
you should drive me back

to the hospital, check
me Into the psych unit.

You look really great.

| can't believe I'm
sitting here with you.

- Tell me about it.

Is everything all right?

Can | get you anything else?

- I'll have another
glass of wine, please.

The same.

Mike?

- Yeah, I'll have another tequila.

Patron, chilled, double.

Be right back.

- Katie was there.

- Mmm-hm.

- Can you imagine what it feels
like to have the sensation?

| mean, the very real
sensation that | talked to her,

like, two days ago?

| talked to her, saw her, touched her.

- Yeah.

| see her every night
when | shut my eyes.

- Yeah, but it was so vivid.

It was so real.

- Maybe you should write about it.

- About Katie?

Shit.

You always were tougher than me.

- Why not?

Seriously, it sounds like you're ready

to deal with this stuff.

- Can you stay?

- I'm
S
orry.

- Okay, we have got 148.

148 is gonna be right about, uh-huh.

So if you'd like to sign on the line.

Hey!

Hey, man!

You've been gone a while.

Oh, by the way, dude, | read your book.

What is it?

"10 Most Haunted Motels," right?

That's some scary shit.

See you around.

Did | drop a postcard?

- What?
- Did 1?

Huh?

A postcard.

- Uh, no, | think | would have seen it.

But if | find it, I'll
put it in your mailbox.

Okay?

My experience
In the room was terrifying,

a fragmented loop of unease and despair.

1408 was a horrible dream,

yet somehow | awoke from it renewed.

Mikey!

You sound happy.

You're scaring me.

- | wouldn't go that far,
but | must say that the work

Is just pouring out of me.

| think I've actually reinvented myself

in the form of a kind
of a fictional memoir.

"Autobiography of a Nightmare:

Truman Capote meets H. R. Giger."

What do you think?

- | love it!

"'In Cold Blood' with 'Aliens!"’

That's sexy.

| wanna put it out to
auction, start a bidding war.

When can | read it?

- Easy, tiger.

Any day now.

You're gonna get it as soon as | finish.

- Okay, Mike.

Less talking, more writing.

Hey, where's that decaf?

I'm dying here.

Hey, pop.

How are you doing, old boy?

Can you hear me?

| don't think so.

| know | haven't been
here in a few months,

but | just wanted to come
by and see how you're doing

and tell you | was doing okay.

Doing pretty good, actually.

| started talking to Lily again.

And | wrote a new book,

which | actually think you
would like believe it or not.

- Michael.

- Dad.

Michael.

- Yeah.

Yeah.

So...

- Hey, | got a package
| need to overnight.

Is this the right form?

| got to get this to New
York by tomorrow morning.

- I'm sorry, sir, but we're closed.

Very well.

- | was out.

Is that Katie?

Is that Katie?

| was out.

| was out!

| was out.

Please, God.

| know | was out.

Open it.

Are yawning
up widely in our path.

We know the way of the righteous man.

Daddy.

Daddy?

- No.

You're not Katie.

- | need help.

Please.
- You're not real.

- I'm
C
old

- You're not Katie.
- So cold.

| love you, Daddy.

Don't you love me anymore?

- Of course | do, sweetheart.

There we go.

| got you now.

| got you now, Katie.

Oh my God.

- They won't let me stay.
- Yes, they will.

- They won't let me stay.

- What?
- They won't let me stay.

- NO nO no no no.

Nobody's ever going to
take you away again.

| got you now, Katie.

Oh my God.

I'm not gonna let you go.

- Do you love me, Daddy?

- Of course | do.

| love you more than
anything in the world.

- | wish we could stay
together, you, me, and Mommy.

- We can, we can.

| got you right here.

| got you right here, sweetie.

Everything's fine.

Everything is fine.

No.

No.

No.

No.

You can't take her twice.

You can't.

Not again.

Please, God.

You can't.

Please.

No!

No.

You bastard.

PL We fly )

J So many roads to choose J)

Jp We start out walking
and learn to run

JL And yet we've just begun J

- You little, where is it?

Where?

Where?

LD We'll find a place where
there's room to grow J»

Jp And yes, we've just begun

J Sharing horizons that are new to us J

J Watching the signs along the way J»

Jp Talking it over, just the two of us >

Why don't you just kill me?

Because all guests

of this hotel enjoy
free will, Mr. Enslin.

You can choose fo relive
this hour over and over,

or you can take advantage of
our express checkout system.

Mr. Enslin?

Are you ready to check out, Mr. Enslin?

- No.

Not your way.

l understand.

By the way, Mr. Enslin,
your wife just called.

She'll be here in five minutes

and we'll send her straight up.

- She's not involved.

You can't have her.

I'm done arguing with you.

I'm gonna end this.

Five.

This is five.

Ignore the siren.

Even if you leave this room,
you can never leave this room.

Eight.

This is eight.

We have killed your friends.

Every friend is now dead.

- | lived the life of a selfish man.

But | don't have to die that way.

If I'm going down,
I'm taking you with me.

This may not all be real,
and | may not even be real,

but this fire,

that's got to be real.

Go to hell!

Get out onto the street!

Out the doors and
onto the street, please.

Everyone stay calm.

What's going on?

| don't know, lady.

This might take a while.

Something must have happened.

Thanks.

- Keep quiet, you bastard.

- Please, you've gotta help me.

No, help me.

- Calm down.
- My husband's inside.

My husband's inside.

You've gotta help him.

You've gotta help him, please!

- What floor?

What floor?

- 14th floor, 1408.

Mike Enslin.

Please come here.

- You're wasting your time.

We're here to do the
job, and we don't rattle.

The decor is In tatters
and the staff surly.

But on the Shiver Scale, |
award the Dolphin 10 skulls!

Never kill more than you can eat.

Daddy, everyone dies.

- We commend to
Almighty God our brother,

and we commit his body to
the ground, earth to earth,

ashes to ashes, dust to dust.

May you rest in peace.

Amen.

Amen.

- Well, they're together now.

Let's go.

- Mrs. Enslin?

| am sorry to intrude
at such a delicate time,

but | knew your husband.

| worked at the Dolphin.

- Oh.

- While we were cleaning up,

we came across some of his belongings.

- No, thank you.

- They are of such a
personal nature, ma'am.

| figured maybe you would want to-

- No, please.

It's not how | want to remember him.

I'm
S
u
re
y
(0)
u
und
e
rs
t
a
n
d

- Oh yes, yes.

Of course | understand.

But it's important that you
know that he did a great thing.

He did not die in vain.

- What are you talking about?

- Because of him, the room won't reopen.

It's been-
- All right, okay, stop.

Just give the lady some air.

She's been through
enough, don't you think?

I'll see you later.

Round one goes to the hideous Mr. Olin

for effective aggressiveness.

/ have to admit, he had me going.

Get ahold of yourself.

You're running to
places that aren't real.

Daddy, don't you love me anymore?

Of course | do, sweetheart.

Don't you love me, Daddy?

Of course | do, honey,
more than anything.

/ got you now.

/ got you right here, sweetie.

Everything's fine.

/ got you, Katie.

Nobody's ever gonna take you away again.

Daddy?

Daddy!

Daddy!

Daddy!

- Hey, sweetie.

Daddy! Daddy!

Yes, of course.