MONDAY (Literally means "moon-day").

Two sequences follow another that begin with full-screen TV's, here and Halloran's awakening. Television connects to The Summer of ’42 , an older child than Danny and a younger woman than Wendy flirt in a kitchen. It is a breakast scene mirroring Jack's breakfast in bed earlier, even coffee is poured (this TV is a mirror).  42 is doubling of 21, the year of the July 4th ball Jack attends in film’s last shot. Image is lit by same light as Jack’s transfixed solo previously (in black sweater), reverse on Danny and Wendy is no less contrasted hinting at black and white possibilities (if they're not careful, the hotel can absorb them as well), with TV replacing fireplace. Watch reversal cutting in TV-film. The TV is a phantom of the hotel, a shining it provides: there are no cables that connect it to power source and in pre-VCR, pre-cable era, there was no signal this clear and possible at this remote a location. Notice reflection on floor, and the rug both TV and Danny lie upon.

Despite having a plethora of toys, Danny insists on entering the apartment to retrieve a firetruck.  Entering, splitting the center-frame through the front door, stylistically like the character on his sweater, a ballgame playing Mickey Mouse, he discovers his dad awakened, staring into oblivion. Whip cut is Looney Tune resonant.  Spotting Danny he beckons him. Dialogue is now a blending of sarcasm and directness, the ambiguity indicates an increase in malevolance brokered by resolute calmness: Danny's. Danny seems to be pressing his father on, you would never try to hurt us would you, Dad? Jack is tired since he cannot sleep in contrast to what Wendy perceives (this is not the same Jack we watch eating breakfast). He wants to stay here forever and ever. Notice doorway Danny stands inside, it appears subtly framed as a doorway to a doorway (Danny's bedroom entrance.). Look closely, Kubrick frames both yellow lighting ceiling fixtures above their heads in reverses both have sun-shapes annoiting them, with reflective shine. In a film composed of horizon lines, the bathroom here is the only room still possessing one. Shine emits from windows to glossy door (where REDRUM will be written), floor and refrigerator.

Jack is doubled in bedroom mirror. The jeans on dressing chair even offer morphic legs. His expression is even different in this mirror reversal. Kubrick removes the oval lake-scape, the opening-scene portal image above the master bed as an insistence that Jack's linear life out here on this side of the mirror is over and proves we began the scene inside the continuum mirror. It's a break with the past that assures Jack enters an alternate past (that is in the film's future). Staircase at apartment entrance means the doors leading to the hallway from the master bedroom are both false. Kubrick shows us these double doors in full-frame and in partial elements of the door to its left. Initial corridor established earlier in film revealed no doors are exterior here. They are impossibilities. Danny remains staring at the mirror, keeping tabs on his side (the other side) of the mirror, not unlike how he travelled in the TV at film's beginning.

All lens flares posses a hexagonal refraction (above, lower right) from the aperture, Kubrick's most uncanny connection within the film. Notice both scenes above have cars, yellow balls and hexagons.

Notice blue of sweater and yellow stars, colors and forms pulled from establish of snowbound Overlook.  Danny has transitioned scales from his tricycle vehicle (to drive) to using the patterns on the floor as miniature roads for his die cast vehicles (the maze) and with this movement in scale, the Hotel boldly invites him via yellow tennis ball.  His use of the hotel (miniature cars) approaches the maze model’s scale and intersects with our initial view of the Beetle's journey skyward, condensing the film inward. The ball that is thrown just before Jack stares into the maze reappears when Danny accepts this seemingly god-like scale of control. Danny plays directly in front of an elevator, behavior not indicating any sense of fear of the emitting blood he has witnessed. Is this fearlessness or foolishness or both? Kubrick avoids any direct overlap of Danny and elevator scrupulously to make our association with this boldness unconscious.

Notice the floor pattern reverses after the ball arrives.  Kubrick reverses from where Danny was, in a mirror-world that Danny has broken through, over our plane, to be conscious inside, not unlike travelling in The Matrix's dream world while your real body is inert in reality. Notice the words over as a choice pattern: it allows us only a horizon-based switch when the very nature of a horizon-based plane is limiting our comprehension of where Danny is now. English does not possess nouns that can describe this shift. In order to be where he is he would have to be facing the opposite direction since the center knob-arrow-form only points in one direction, think carefully: just from a filmmaking point-of-view, how is this achieved? If you stare long enough at the set's design, the answer is quite simple. Kubrick shows us an edge of the elevator before the switch. (How is this logic even deduced? Remember the primer of the first shots, an upper and lower mirror that evolves into the hotel's floor.) This might be the same world missing the portal above the bed (missing that first mirror, it traps him in this continuum). And it appears as we exit this side of the mirror when Jack looks at himself holding the hag. We depart this other side back to our plane at that moment, spinning in his view.  This floor pattern is an animation from the lamat carpet of the Gold Ballroom blended with the outdoor (shined) maze not unlike how patterns transform in the stargate sequence in 2001. This scene: cars, yellow ball, hexagon, occurs exactly at the same apparent scale during the title sequence's lens flare. Notice differences between lamat and hotel-corridor's:  curved/squared, symmetrical/bilaterally symmetrical. A bilaterally symmetric pattern cannot hide inherent mirrors from you, the lamat's symmetry can (it is mirror-able). As colorforms go the carpeting here is simple, the cube shape in the center of each pattern is blood-red, golden yellow surrounds each form which has a neck and a head that interconnect.  Standing erect, he displays the Apollo moon launch vehicle (another  2001 reference), the moon as a point of discovery for men that conquer it. He sends the letters upwards exactly like the opening credits send blue to the sky. If the film works logically in reverse: he is animating the floor pattern into the sky with his weaving and the move to conquer the moon is a devolutionary move for our species like his father's desire to kill him. The west's (European descendant) tribe wishes and continues to place a flag of domination on sky symbols; an extension in time from this hotel's 1921 conquering of symbolic locales. Kubrick is subtly dissing the space program as phenomena hunting and magic-stealing. Apollo-USA animates upwards (not N-S-W-E, a fifth direction) from these floor symbols, extruding from the right angle tips of both woven knob-shape in floor and rocket-tip. USA-Bugs Bunny t-shirt to woven Mickey Mouse to woven Apollo launch vehicle. Apollo is the sun god and the hotel rolls the mesoamerican symbol of it at/to him.  Mayan ballcourt game (1000BC: actually Olmec named but no ballcourts survive), ostensibly the first recorded game involving rubber spheres, was a spiritual exchange between the living and the symbolic world. Players kept the ball in air as proof of the sun's continual journey. An omen portal.  English import rubber as colonial result and confine play to racket-game, coloring their balls yellow in unconscious extension of sun-game. Notice the glossy paint job on the walls here, it shines all the way down the hall and the brown door is particularly brightly-shining. A pronounced streak of glare above the knob.

The key shot above gives away the meaning of the hallway-carpet pattern. The door's colors are red (key tag), yellow (keys, knob) and brown (door), exactly like the floor carpet, which is made of interconnected knob shapes, the woven carpet is a mirror to the doors. These are doorways to other dimensions. The patterns have all animated from the beginning. Vision into hotel bedroom is the split mirror doorway into another broken mirror doorway pair (mirror) split apart, the carpeting of 237's master-bedroom on the floor is visible only for inches, the room is to the left of this anteroom. Luring us into a new modern pattern (Gold Ballroom, Hotel Corridor now Bedroom). Purple and green: summary colors (dual blends in a symposium: red/blue + yellow/blue). He calls repeatedly for 'Mom' who he suspects is playing with him, oedipal occlusion since the female he finds in here is not her (to toy with us he dissolves her into the mirrored door, look above right). Pattern animates flow-direction in reverse, up steps to bathroom, the direction we are about to walk. Purple and green are summaries of red/blue and yellow/blue. They are the colors of death: the decay of bodies. The forms on the carpet: look at them carefully: they're eyes.  These radial patterns appear first in poster then in elevator's 'eyes' now animate into room and appear in a moment on the boiler power board.

As counterpoint we find Wendy in the basement testing the boiler (that seems strangely silent, as if the boiler's heat is magical not real). She moves left from a vertical mirror to a vertical interview, similar to her crossing to receive call at film's beginning, a move she has made many times before. In the vertical interview: left is a trio of square and radial forms (they are also the floor indicator on the elevator face which we spot above Jack seated after his awakening), a non luminious representation of the Gold Ballroom Bar that Jack is about to face, later that she will run to at this sequence's ending; right-frame, there is a desk/office set, a chair is pulled back and in the cut we see Jack, finally sleeping (on a desk in a chair pulled back), is heaving harrowing screams (which Wendy can hear over a boiler) from an unconscious that is weaving with the hotel, it shines into his dream. Wendy presses a switch and this seems to jolt Jack to scream far away, though seemingly inert, the Hotel is clearly alive. Wendy wakens him and he falls to the floor and he retells the auto-suggested nightmare from the hotel (“I dreamt I killed you and Danny”) and the dream serves its purpose, it sets up Danny’s reunion with the family, the victim of apparent abuse. The urn/acorn shapes that are carved into the desk's AND chair's support-decoration are also in 2-D on Jack's headstand, painted in gold.  They assist in absorbing anyone unaware of what side of a mirror they're on since they employ symmetry. This is the moment the mirror consciousness of all parties meet, it is the central mirror act inside the film. Jack is ‘dreaming’ with hotel, its rage is his. The scene also switches Wendy’s attention from Jack to Danny, a mirror is transcended, Wendy recognizes Danny requires her attention over Jack: she walks to him. Notice image: she looks through Jack at Danny.  It prompts a rage overload that catapults Jack deeper into the hotel.

Jack enters ballroom's entrance corridor, behind him an array of B&W images. Logic of entrance is a mutation, structurally (in relationship to the lobby) there is no possible way for the ballroom to be where it is.  Kubrick carefully composes him passing in the left mirror. Entering an empty Gold Ballroom, twitching in fury, he saunters to the triptych mirror bar and duplicates Danny’s hand cleanse of the twins. (Covering of eyes by hands). In this inversion, Jack conjurs the apparition instead of erasing it, he stares at us in the audience directly, into a mirror. We are the mirror, we are the ghosts on this side of the mirror. Little slow tonight, huh, Lloyd? Laughing manically.  Both Lloyd and Jack are dressed in blood-red fabric. Jack is poured yellow fluid. Jack missing his 2 10's and 2 20's is a little memory game, Jack has forgotten his money exists only on the other side of the mirror he's on. It is implied but never verifed that Jack recognizes Lloyd from photographs, obviously black and white that illustrate the history of the hotel ("you always were the best goddamn bartender..."), and even better, Jack has probably been spotting Lloyd on the walls, framed. To Jack, Lloyd is animating from B&W to B&W + red.

The liquor transfixes him, the bourbon he requests is a reference to Europe, what he receives, Jack Daniels, is not bourbon. Instead it's a conflation of father's and son's names.  Notice mirroring of shined objects (the liquor bottles) that reference first objects in Boulder apartment. The near comic dialogue is filled with strange aphorisms about a gender-war (he refers to Wendy as a "sperm bank") mixed with race-war defined by Protestant banking systems, he seems to be using Wilsonian era ethics. “White man’s burden.”  Jack’s using phraseology from 1921, he’s telegraphing to the photo he'll be enshrined in. Notions of credit and accountability address what capitalism signifies in a room covered in gold. He places the gender-war somewhere between comedy and rage, an infernal sense that takes aim at his wife and child as dependants that require teaching. Aphorism: "Women: can't live with them, can't live without them" hints at murder or suicide as the only solution. This is the reverse of the Doctor-Wendy interview, now inversely staged and entirely lit by artificial light and liquor replacing cigarette, a barroom confessional. Wendy’s arrival is shown from the side of the mirror where Wendy is conscious inside (she doesn't see the liquor), and she claims there’s a crazy woman in a hotel room.  Which room?  Danny’s ploy has worked, Jack is being lured to the Hotel’s one-sided portal he initiated but turning the knob.
 

continues