Original subtitles

Oh!

Booked up.

Hello? Yes.

I'm booked tonight.

Timmy, how are you?

Very well, thank you.

See you tomorrow morning, Shelley.

No, I'm being called out the door.

What's up?

Cook a little rice with it or something, will you?

Something, you know.

Either rice or noodles.

Okay, Timmy.

I'll talk to you later.

Bye.

Why do you have to know about my rice and noodles, Viv?

I didn't know what you were going to say.

Rice and noodles.

What if you'd walked in here, and I was talking...

business?

Or personal matters, Jack, possibly.

You look cute today in your red shirt, huh?

All right, now, what have I got to do?

It's 8 o'clock.

Why are we starting now? Is he crazy?

They're trying to finish you, Jack, but--

Well, let's get them finished.

Let's get them out of here.

Huh?

Finished with the assignment.

Beautiful.

Excellent work.

Great work.

Can I have a look in your bathroom?

Yeah, you want to go in with me while I go?

No.

This is Jack's.

I do have to go.

It's pretty neat, huh?

See?

Does it work, Jack?

No.

Toothbrush-- I'll brush my teeth for you, Viv.

Turn your light on.

Okay.

I always brush my teeth before I report back in for work.

Why?

Consideration for my coworkers.

It's grueling enough without a face full of lamb cutlets.

Hm.

They'll be so grateful to me now.

What?

They'll be so grateful.

They'll say, look at that Jack.

Let him come down...

even though it's midnight.

That's not true. It's 8 o'clock.

And Lord knows what he's been doing.

He's down here, and he has a fresh and sparkling breath.

You see?

Now, you'll have to excuse me now because I'm going to take a piss.

Thank you.

God, why don't you get some shots of me when I'm great looking and everything?

You're looking fine.

You better get first cut on this film, Jack.

Let me ask you a question, Ter.

We're indoors, I don't need the big coat, do I?

- Nice and warm. - Good job.

Good show.

There's some lights out here.

Oh, I keep wanting to let you go ahead of me.

♪ Every little breeze seems to whisper Louise ♪

♪ Come on, Louise, give me a hug and a squeeze ♪

♪ Every little breeze that I feel in my heart ♪

There?

I don't think you told me the truth.

It's quite chilly in here.

Well, there's a lot of just plain sweater men in here,

so we're probably all right.

We're straight through here.

Straight on through.

This will no doubt be a little lurk-age.

Look, look.

Lurk-age is right.

Thank you.

Merci.

Jimmy Durante's walk all the way from my toilet.

What do you think of it?

Looks good.

Beautiful.

Let me explain this to you, Jack.

Okay.

It's hard for me to jump up and down.

But I gotta-- what do you got on?

- Are we ready? - Yeah.

All right. Let's go.

Come on, you can jump.

Come on!

Come on!

Ryan, are you ready outside?

We're waiting for Shelley.

Shelley, would you like to go--

Die. Axe murder. Kill!

All right, you just say "turn over" when you're ready, Stanley.

♪♪

Danny, I can't get out.

Run!

Run and hide!

Run! Quick!

Little pigs, little pigs, let me come in.

♪♪

Not by the hair on your chinny-chin-chin?

Then I'll huff, and I'll puff, and I'll blow your house in.

Jack, please!

No!

No!

You're really scared. All right, okay.

Good boy.

Yes, Stanley.

- You're on video. - Okay.

Tell Danny to listen to me, Leon.

Yeah, okay. Danny, you got to listen to Stanley.

Vivian, look out.

Vivian, get out of there.

He's coming.

Come on, scared!

Look back again, Danny.

Scared, Danny.

Look back, Danny, look back.

Scared.

Look back, Danny.

Start to slow down. Start to slow down.

See the door. See the door.

Look at the cupboard.

Quickly, get in the cupboard.

As fast as you can.

Good.

I find his last three were quite good.

I think the last two were the better, the previous two.

Okay, let him go.

Let's play back the last four tapes.

All right, Dan.

Come on, Dan, let's see you--

Look out.

Get out of the way.

Yee-haw!

All I thought about is--

What?

What did you think about?

All I thought about was what my mom

and my dad was going to buy me.

Going to buy you?For what?

With all that money.

Uh-huh.

And did you-- do you know how much--

did you know how much

you were going to be earning per week?

No. Really, I didn't know--

Did they tell you?

I didn't know really how much I was going to--

I didn't know really.

I was going to earn any money.

No, I just thought I would just get a $2 or so.

A bit of pocket money.

Yeah.

Yeah, right.

And so now I know

I probably have $500 or $600.

How did you find working with this little guy, Danny Lloyd?

And was it enjoyable?

Was it--

It was beautiful, just like my son.

If you see tears, it will be tears of joy.

Because I thank the Lord I'm here,

and was able to work with such beautiful people.

I'll never forget this.

Is there something bad here?

Well...

You know, Doc, when something happens, it can leave a trace of itself behind.

Say, like, if someone burns toast.

Well, maybe things that happen leave other kind of traces behind.

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.

This is the way that I saw Boris Karloff marks his lines.

I've copied it ever since.

And...

simply by picking them up and reading,

it turns me into a frigging monster. Ah!

That's the interjection, right?

Yep.

I'm going to go now.

I'll-- I'll be back by tomorrow morning at the latest.

Wendy?

Yes.

You've got a surprise coming to you.

You're not going anywhere.

Try the snowcat and the radio,

and you'll see what I mean.

Jack, I'm sorry. I had to do it.

There's something wrong with you, and I had to lock you in.

Wendy, open the goddamn door.

I'm sorry.

I really am.

But I can't.

Wendy, listen to me.

Let me out of here,

and I'll forget the whole damn thing.

Wendy, listen to me.

Let me out of here, and I'll forget the whole damn thing.

It might be better to just play it as a medium shot with the situation.

And the other thing, maybe--

let me see if I can-- let's do this.

Can you do it with your head down?

Yeah, well, that's not bad.

Let's do that.

Try that, Jack.

Wendy, listen to me.

Let me out of here, and I'll forget the whole damn thing.

It'll be like it never happened.

You couldn't-- you couldn't find some way of sort of not looking at her

and looking down as you say the line?

Wendy, listen!

Let me out of here, and I'll forget the whole goddamn thing.

It'll be just like nothing ever happened.

Wendy, baby, I think you hurt my head real bad.

I'm dizzy.

I need a doctor.

Honey...

Don't leave me in here.

I'm going to go now.

I'm going to try to get Danny down to Sidewinder

in the snowcat today.

I'll bring back a doctor.

Wendy.

I'm going to go now.

Wendy.

Yes?

You got a big surprise coming to you.

You're not going anywhere.

Go check out the snowcat and the radio, and you'll see what I mean.

Go check it out.

Go check it out!

Go check it out.

Very good, Jack. Excellent.

Right. Check the gate, Doug.

Now, it's not the script.

But I've given it to Philip.

He's going to mull over it, you see?

And would you like to mull over it?

I'd love to mull over it, Junie.

- You're not even-- - No, no, no.

I mean, I have some time this evening.

No, no. The thing is, this won't--

I wasn't planning on doing anything between midnight and 2:00.

No, what I'm trying to say is that's the not approved script.

It's just an idea of what you do.

An idea to get started on.

Very good.

Filmmaking.

Get these things-- we make it up as we go along.

Don't we, Viv?

And why is the script in multi-colored pages?

Anything--

Because each time you make a new version--

at first you get very methodical.

And each time you make a new version,

you put it in a different color.

After a while, you're lucky if people get copies of the changes.

It's so that you start with white, then you go to blue,

then pink, then green, then yellow.

I just wondered.

It's so that when everybody's got their script out, you can look right over

and know if they've got the latest version.

But of course, you never have the latest version.

Blue or yellow isn't significant--

No.

It's just colors.

I quit using my script.

I just take the ones they type up each day.

Aren't you exaggerating a little bit?

- No. - No.

The average celebrity meets in one year 10 times

the amount of people that the average person meets in his entire life.

And Mr. and Mrs. Piggott-- Mr. Kubrick. And Mr. Willis.

- Hello. - And that's Miss Duvall.

- Shelley Duvall. - How do you do?

Hi. Nice to meet you.

Just incredible.

- Well, this is just supposed to be-- - How do you do?

Hi, Mr. Nicholson. How are you?

Very nice to meet you.

And this is all our gang.

How do you do?

And Katie and Liza.

They're so excited.

And Mr. and Mrs. Piggott.

How do you do?

And Mr. Willis and Mr. Piggott.

Jack's such a big star, such a famous personality,

that people do tend to...

be a bit sycophantic with him.

But it wasn't everyone.

But some people did.

And it wasn't entirely ineffectual.

I mean, I-- I did get jealous sometimes, I must admit.

Why was that?

Well, it was mostly between takes.

Not during work.

I mean, when we were actually working on a scene, that did not interfere at all.

But on occasions when we were just sitting around,

or about to come to work,

or standing by in our rooms, whatever, I mean,

there were times where I felt a bit jealous

because he got very, very much attention.

And I suppose I like attention.

No, it's okay. Wait.

No, I don't want you on the cold floor.

Oh, don't-- it's okay.

Don't--

It's fine, darling. Boys, go away.

No, no. It's okay.

All right, off you go, boys.

It comes and goes.

And I've just been trying to stand.

Oh, dear.

- And it just got so bad. - Yes.

Oh, god.

Thank god I came out.

Why didn't you shout or something?

Oh, well, I just--

I tried to go to the bathroom.

Yeah.

Yeah.

And this is your friendly first assistant being friendly.

Is it in your dressing room?

Excuse me.

It'll go away.

I just have to take Mylanta.

From May until October, I was really in and out of ill health

because the stress of the role was so great.

And the stress of being away from home just uprooted and moved somewhere else,

and I had just gotten out of a relationship,

and so, for me, it was just tumultuous.

Look at this.

Pulled all my hair.

I pulled hunks of hair out

on the windowsill, and the back got cut.

- Hunks of hair? - No, look.

Okay.

It just comes out.

Okay, right now, fellas.

There's more to come, Shell, come on.

Come on. I'm right here.

I was gonna set up anyway now, boys.

Let's go, come on, Shell.

Get the dummy.

- No, she isn't carrying him. - That's right.

Okay. Let's go.

Can I have a finder, please? The 18.

18 in the tube.

Swing it all back in.

It's got to go outside.

What's the time?

It is 25 to 1:00.

I don't sympathize with Shelley.

You don't sympathize with Shelley?

Why not?

It doesn't help you when you--

- Yes, it does. - No, it doesn't.

It does.

--being a film star, Shelley.

- Yes, I know. - Come on, let's go.

Right, okay.

Boys, the video's going to be around here.

Get this all set up.

We'll get us in there first, and then you lead.

If that's true, Jack will come in from this end and stop over here.

It's this side? Okay.

Yeah, he'd run past in that direction.

Lead us in first. Come in, Garrett.

- You want Danny in first. - Yeah.

Now take the 25 in your pocket or something.

Because I don't know what lens we're going to want.

The 18 on the camera.

The 25 in your pocket.

We'll bring Jack straight in, Stanley.

And the 14.5 in somebody else's pocket.

Stanley, what should we do, bring Jack straight through?

Liz has to bring him in.

We've got to his hand, and all that we've got to do, Stanley.

Do it right now. Come on. Get him in.

Let anybody do it, Brian.

Just get him in.

Let him realize we're out of time.

Harry, can you check the smoke in the center, please?

Looking at the smoke--

Are we going the right way, Len?

Yeah.

--and it's not bad.

we're coming around, all right?

We're on our way in.

Don't let him run.

He's liable to run into me.

Okay?

Here we go.

Roll video.

All right, turn over please.

Roll video.

Speed, Stanley.

And don't look at your hands, Danny.

Don't look at your hands when you come around.

Keep it low.

Come on.

Slowly, slowly, slowly.

Keep coming.

Be more scared, Danny.

Now, go.

Look over your shoulder.

Run now, run.

Look back, Danny.

♪♪

Your mom has said that when you're at home playing with your friends,

you like to play movie making.

Is that true?

Right.

And also my friends like to play it,

but they don't really understand.

What do you understand about movie making?

Well, they say you think you're smart, don't you?

You know?

You know, and I admit--

I admit that I do think I am.

Well--

When I come up against a director who has a concept

that maybe I don't agree with it, maybe I just hadn't thought of it

or whatever, I'd be more prone to go with them than my own

because I want to be out of control as an actor.

I want them to have the control.

Otherwise, it's going to become, predictably, my work.

And that's not fun.

Well, many parts of that were good.

There were quite a few hiccups, but many parts of it were very good.

Let's look at it.

I want to play it back, please.

Let's break it up, boys.

You didn't do it--

through here, I couldn't--

I didn't think you got mean enough

at the beginning when you said--

At the beginning-- at the--

On the transition point, yeah.

But so many parts that-- the only thing--

come and look at this thing.

The only part clearly wrong was at the end when you said,

"We've got to get him out of here."

Because you got strong at the end,

and I think it has to be a last, desperate begging, you know?

And I still think you shouldn't jump

on every single emphatic line.

It looks fake.

It really does.

It looks like you--

When I'm that nervous, it's a--

Shelley, I'm telling you, it's too many times.

Every time he speaks emphatically, you're jumping.

It looks phony.

So, he says, I'll put on my Superman suit for--

No, I think that line is right.

When he lays down.

No, I think that line's in the right place.

- Okay. - Okay, Shelley.

So you say, "What's the matter with you?" first.

Because "what's the matter with you"

means "why are you so angry, what is the matter with you?"

It doesn't mean "what are you talking about?"

Well, this is where he lays down, though.

That's the only thing I was thinking.

You know when he flops back on the bed.

Since that is new, I thought it fit, you know?

"What's the matter with you?"

If you say this right--

And then he blows up.

--I'd rather say it here.

- Okay. - All right?

I honestly don't think the lines are going to make an awful lot of difference

if you get the right attitude.

I think you're worrying about the wrong thing.

Can we just have a quick chat about it once more, Shelley?

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!

Are you out of your fucking mind?

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 bathtub.

She tried to strangle him!

Which room was it?

It's on side one.

Yeah.

Now, this is really a nicer sound for the sort of--

♪♪

Around then, clockwise.

♪♪

Is that tight enough?

Morning, Viv.

How's that?

Just get that where it's comfortable and then--

Sorry to interrupt.

Can we have a man and a woman to go

and sit in the back there by the dancers?

- Whichever two of you would like to go. - Which ones?

A man and a woman back there.

Yeah, John.

And-- sorry, could you just go to one of the empty tables

up there on the top there, John, please?

Up on the left.

If you go with John.

Thank you.

On the conversations, everybody, just mouth them.

Don't speak.

And don't--

Joe, turn that down, please.

--don't nod your heads when you're talking.

Just talk naturally to each other.

Okay, right.

Let's have a big clearance in the set, then, please.

Okay, number one.

Only people who should be there.

♪♪

Good evening, Mr. Torrance.

Good evening.

♪♪

Hi, Lloyd.

Been away, but now I'm back.

There's that pressure on almost every movie set, and it's here as well.

It's just Stanley doesn't relate to it,

because he is doing exactly what he thinks he should be doing

at that moment about it,

sort of very single mindedly.

He's emotional on the set, you know.

Tell him to reduce the snow.

Alan, stand over here.

Alan!

Alan, reduce the snow a bit, Al.

You can't even hear us.

Reduce the snow.

I can hear you--

- They can hear you-- - What?

Knife.

Do I have that stuff in my hair?

I've got it out.

Stand by, boys.

Okay, Malcolm?

All right, roll video.

Video speed.

Video speed, Stanley.

Right. Clear back, boys.

- Okay, turning, Doug? - Hold the snow.

Wait a minute. Forget it. Hold it.

Keep it rolling?

Keep the video rolling.

Keep video rolling.

Reduce the smoke a little, Alan.

Reduce the smoke a little bit, Al.

Okay, turn over.

Okay, turn over.

Roll video, and action, Shelley.

Action, Shelley!

Cut it. Cut it, Alan.

So goddamn--

Nobody even said roll video.

There's no despera-- Oh come on, what do you mean roll video?

Two seconds!

We're killing ourselves out here, you've got to be ready.

- I am too. I'm standing right by the door. - Should we play mood music?

- No, I can't hear. - But when you came out like this--

We're sitting there because they say, wait a minute.

And then you say on the radio, go.

But when you do it, you've got to look desperate, Shelley.

You're just wasting everybody's time now.

I can't even get this door open.

On the record, I got such a bollocking because they said, turn over,

and they said, video rolling and all that, and I got all ready,

and jumped up and down.

And then they said, never mind, cut it.

And then I went to take a bite of soup.

The next thing I know, action, Shelley.

If it hadn't been for that volley of ideas

and sometimes butting of heads together,

it wouldn't have come out as good as it did.

And it also helps get the emotion up and the concentration up

because it builds up anger, actually.

And you-- you get more out of yourself.

And he knew that.

And he knew he was getting

more out of me by doing that.

So it was sort of like a game.

Anything you do as many times as a successful actor,

you can't have one set of theories.

You know, you can go for years saying, I'm going to get this thing real

because they really haven't seen it real.

You know, they just keep seeing one fashion of unreal

after the other that passes as real.

And you, you know, you go mad with realism

and then you come up against someone like Stanley who says,

yeah, it's real, but it's not interesting.

Has it ever occurred to you what would happen to my future

if I were to fail to live up to my responsibilities?

Has it ever occurred to you?

Has it?

Get away from me.

Why?

I just want to go back to my room.

Why?

Well...

I'm very confused.

I just need a chance to think things over.

You've had your whole fucking life to think things over.

What good's a few minutes more going to do you now?

Stay away from me.

Please.

Don't hurt me.

I'm not going to hurt you.

- Stay away from me! - Wendy.

Stay away!

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.

You just-- you appreciate all the pain.

I mean, you always dislike whatever the cause is of pain.

You always resent it.

So I resented Stanley at times because he pushed me, and it hurt.

And I resented him for it.

I thought, why do you want to do this to me?

How can you do this to me?

You know, you agonize over it.

And it's just the necessary turmoil to get out of it what you want out of it.

I mean, we had the same end in mind.

It was just that sometimes we differed in our means.

And by the end, the means met.

And I find I really respect him and really like him both as a person

and as a director.

I mean, I'm--

I'm amazed.

He's taught me more than I've learned

on all the other pictures I've done

within one year's time on one picture.

♪♪