Are you out of your fucking mind?  Like Jack's eye-contact - camera taunt earlier, a little slow tonight, Lloyd? had a second meaning to the audience, a taunt to their lack of comprehension, this is a comedic aside to himself since he's the one out of his fucking mind.

In a real time cut, we turn on with Halloran’s TV, a broadcast that informs us a winter storm has struck Colorado with 10 inches (on channel 10 news).  The TV broadcast is subtle: it appears to come out of a dead signal, a cut to black begins it, as if Halloran or Danny has shined it on, somehow avoiding commercials.  The graphics have subtleties, a winged thing moves overhead, a thunderbird of modern times, with continual asymmetry in the animating boxes, an off-center logo made of an antenna tower that has a pair of 10's that appear mirrored, typed keys that cut/animate to multiple newsroom monitors, and finally an asymmetrical newscaster all inside a subtly asymmetrical TV that appears symmetric (like Ullman's office). Even the Pan Am logo peeks above palm trees, a millisecond gesture with 2001's Orion spaceline. Everything in the TV (blue hued) and the TV itself is asymmetrically matched. In mirror to the Boulder apartment, he has a worship tree made out of his LPs, a pair of lamps, the TV and a painting of a nude woman. Halloran is not ruled by the Torrance's text, or monochromatic graphics but by bold, colorful images. See above stills, there are ratios and frames between TV and framed image that overlap during the zoom, the move is acutely complex if watched carefully.  His walls are the same color as Ullman's office. A reverse on his bed reveals a similar female image above his bed frame.  Halloran worships halo-ed women. They are above all other images/devices. Cut into deeper image of Halloran on his bed once the shining has begun and the painting behind his bed has disappeared. Are these images shined? Does Danny's signal interrupt them? Or is he now on a side of a mirror where these images are not. Kubrick uses these two nudes of differing women as a mirror to the two nudes Jack and Danny are about to encounter, one is a future occurance, Jack's, while Danny's has already occured. It's a memory replayed. Notice Halloran wearing almost same pattern of the bed in 237's bedroom (below), except his is banded in inner and outer arrows that flow at angles. It's also similar to the TV's patterns magnified. The Chinle design on 237's bed is an animmation/transformation of both TV-pattern and Halloran's pajama weaving.

Music cue indicates a shining is occuring and his vision enters Danny's gaze (the key shot is his eye level) cutting quickly into Jack’s gaze (editing them together) who is entering 237's deeper parts, the room past the mirrored double-doors that were to the left of the exterior doors (the ones labeled 237). If you study the radial floor pattern's origins in the first entrance of 237 by Danny this floor pattern makes sense, but our orientation leads us to unconsciously realize the outdoor corridor and this room overlap in layout logic. A door outside in the corridor is false, it has no corollary in here.  Danny shines his mind and Jack’s into Halloran, he’s broadcasting. 237 is a mimic of the hotel setting that ends 2001 (and weirdly there is a logic: if Danny descends from the starchild, the hotel is slyly duplicating the memory of Bowman's that induced alien intelligence to conjure the ending bathroom of 2001).  The monolith, by layout and orientation opposite the bed, has become 'the window' covered by Navajo Chinle weaving (the Chinle pattern is regional, their locale is geologically unusual and it dominates their storytelling systems: dense angled asymmetries that are triassic in origin). Non-linear lightning.  The pattern consumes an entire wall inset perfectly. It also has an animated version of itself on the bed. Walking between this: it is a portal, a gateway. Kubrick shows us this unusual room carefully to tell us us: there are no other doors in here, this has a critical focal point. Even the tiled floor in the bathroom ends all patterns here: the tile pattern is both the outline of the mirror Jack sleep's across from and the road's double yellow line finally meeting. He steps into his mirror, literally as a form in the floor. Mirrors focus into the center of the room, as if this is the blasting point for the absorption of the soul. Jack pauses at bathroom's edge (in contrast to Danny who later exposes he completed the journey to the tub, avoiding being captured by the mirror).

Jack pauses at bathroom edge in fear since Danny's experience predicts a violent assault mirroring Jack's against his son, referenced during the Doctor's interview.  Mirrored lightning form capped by a glowing ball dominates the bathroom's ceiling, this room is a portal of energy transference.  A woman peers at Jack and stands, naked, then walks to the center of the bathroom and pauses. Third nude female image comes to life, conjured. She clearly is a reference to Halloran's nudes.  Standing in the center of a focal point that contains several mirrors, she awaits Jack's death twist. Look at the asymmetrical, squared defocused room behind him and the curved, seductive, sharply focused portal he faces, Kubrick's metaphorics extend continuously to photographic qualities.

Once he begins kissing, he pauses to spot himself in a mirror holding no longer a beautiful woman but the old hag, and in a stroke of storytelling nuance that defines the film, the camera whip-pans: we find ourselves now outside the mirror world of the hotel, his soul now separated with the nude beauty inside the mirror and trapped by the hotel - it no longer needs to fool him: because he doesn't know himself. As Jack departs, he no longer recognizes which side of the hotel's mirrors he occupies since he is a ghost like the others now, Danny shows us/Halloran his original view (he is djing them in contrast) and it reveals the ugly woman rising from the tub (a cross angle to her standing for Jack - it is clear this POV is from Danny's eye-level). Danny was not fooled. Distance in ages between inner mirror (the beauty: she exists in the past that the partygoers inhabit) and outer mirror, where we exist, our plane (the hag, she is nearer to the actual age of her decaying body) are differing scales of time/timelessness. Ever and Forever. Who is she? She's The Changing Woman, "the most revered Navajo deity Estánatlehi. She is so called because, it is supposed, she never remains in one condition, but that she grows to be an old woman, and in the course of time becomes young again, and so passes through an endless course of lives, changing but never dying." [Navaho Legends Matthews 1897] That she emerges from water links her to our first view of water, the mirror where Jack is headed.  The room and its bathroom have an interior color scheme unseen in the film as of yet (and never seen again), and carpeting that aims towards the commode, a reverse flow up altar stairs is animation of hallway forms. It has the same color schema as the opening scene's road: in fact the double yellow line ends in the floor at a meeting point, the sun's 'flare' made as a mirrored form is now at top and the green of the forest surrounds the walls. It does have the same format as the Boulder apartment's bathroom. Think carefully, if color schema green and purple (summaries of yellow blue and red blue) flows into yellow and green Bathroom, what are two missing colors? Red and blue, what Jack is wearing. Add his skin color and he is red white and blue.  He walks backward from this mirror. Hallway is now darkly lit unlike previously, an unseen light angles across hallway from behind corner. It keeps a shining on the door and the door alone. Were we playing in the other mirror with the ball's taunt-like arrival? Or does the Hotel no longer need to light the carpet, its lure has worked, its shine unnecessary since Jack is now a walking murder-suicide in the final stages of a soul-entrapment.  Dissolve makes it seem as if Halloran's light is the source of the shine on the 237 door. Ceiling of Halloran den is same angle as Summer of 42's kitchen, a portal with the TV.  An Ibex trophy head stares down upon the room. Look at B&W tomb Wendy has that Halloran does not: her bathroom.

Jack backs away from the Hotel’s door apelike.  First of film's backwards moves physically.   Halloran’s call to the Overlook is impossible, all circuits are down.

Jack returns to the apartment and lies about the room’s occupant. We've caught him hiding behind sarcasm now duplicity. Lying enforces an internal mirror. A place where the truth seems possible. Kubrick is employing English to this purposefully, he decays its meaning and usefulness, obviously aware this is a clever component to horror.  To further the mirroring nuance: Jack appears for a split-second as the door to the apartment opens in the mirror before being seen as corporeal.  Once you rule out his version there is no other answer. Wendy wants to leave the Overlook, Jack does not and flies into his primordial rage. "I could really write my ticket." Danny stares at us in the audience, shining against our plane. Seeing the Interview, he witnesses his own future scrawl and two Jack’s between the blood frothing elevators (similarly framed as its first shot but from a POV that has shifted left) , his eyes shown carefully missing a lower stretch of white, Danny's eyes are shaping like the elevator's radial floor indicators. He is connecting to the two crucial red elements that end the film. In full disengagement, Jack departs the apartment, not before he glances audienceward, at us, menacingly. He scatters very shiny ringed objects on the floor. The kitchen appears to have many illogical access points illustrated by his entrance into the lobby's perimeter. He stops at the first pattern his head originally crossed in the first scene, the Navajo double-diamond pattern, is mirrored. This wall image itself duplicates the opening shot of the lake's reflection. To the left of frame is a corridor that shouldn't be there, where Ullman's window should be accessing outdoor light and fauna, proving the window's image is conjured.  He hears distant music and sees the physical evidence of a party, dull, unshiny balloons and party favors are scattered across the lobby like his scattering a moment ago. Moonlight appears for the first time and it appears to connect Danny and Halloran. They share it.

Entering the ballroom, he appears unseen, merely glanced at, by the wealthy partiers, recognized by Lloyd, who pours another stiff round of yellow fluid. Remembering to bring his money this time (the money exists in this mirror), he's promptly told his money's no good here "orders from the house" is a poke to the audience that the house is alive, thinking, aware. Lloyd finally names the Hotel as a character and offers it a consciousness in the language's label.  Jack joins the soiree and is promptly covered with advocat, a yellow colored cocktail (the reverse of the yellow-Jack throwing ball).  The hotel uses yellow, and in reverse of him dipping bacon in yolk, he is dipped. Look at both shots of the ballroom above, they are R-L interviews, the waiter wipes Jack from the right side of the interview. The waiter beckons him to the men’s room to cleanse.  Jack recognizes him from the hotel’s lore, he is Grady the caretaker that murdered his family (the girls) described in detail by Ullman.   Grady who is visibly from a black and white world, claims no knowledge of his own history but does know that he has ‘always’ been here. Delbert Grady is virtually a parody of the English origin of the hotel, a character destined for archetype-casting in a Warner Bros cartoon. Performing his duty as a messenger, Grady now has no separate consciousness from the hotel’s. Except Grady is dead, Jack is still alive in one of his halves.  Like Jack’s pending entrance, there are two Gradys, Delbert and Charles Grady.  Jack is to become an infinite blankness in servitude to a nightmare of spiritual control split into two known identities. The name he is called by, Jack, is about to be shared, which is why the hotel addresses him only by his last name, Mr. Torrance (Jack and Dad are more able descriptions). The hotel gets the use of his name, like a marriage, then gives his other self a new first name. The party is a ghost production the hotel creates as luring atmosphere, yet it does not have to cater to any class warfare illusion, Mr. Torrance is invisible to the revelers because he is a servant, he is a slave. Notice entrance door logic, the fact that Jack seems to know where he's going to be cleaned, and the first moments of the bathroom entrance. Its layout, an illusion, the floors of the ante-room we see beyond the ballroom don't even match with the bathroom's ante-room, its spatial logic extends illusorily into the space of the ballroom. And look carefully, its ceiling has the exact same linear activity as the ceiling of the gold ballroom at center point, compare them. This bathroom is unusual since it infers a T shape, the stalls extend left and right, a pure right angle made out of banded red. There are no doors to the stalls: there are no portals even as stalls, composed of red rectangles at right angles to one another.

This could be labelled Jack's second death scene. The spilling and cleaning is clearly a ritual to remove Jack's color and yellow does band around every possible frame of the previous bathroom, this is just the next color animation in still-motion with Jack heading towards black and white. Consider the yellow world, its gauzy luminosity and indirectly diffused lighting they came from seconds earlier and this glaring red and white room in contrast:  the gold ballroom purified into this color extremity from ancient forms to this modern commode. The Shining is an animated film in our memories. The red bathroom is also the next animation-state of the blood red that pours from the elevator in the future.  Porcelain and tile are white, ceramic, the red is painted (it was a fluid) up to a line.  A men's room unused by any of the participants in the ballroom (who are clearly drinking), the scene is flooded with reversals and mirrors that back Grady.  Squared while the bedroom's bathroom is all facing curves and inset squares, pattern building like the lamat carpet to the knob-key pattern of the hallway. Again a mirror, Jack is not looking at Grady, he is staring at himself or the Grady in the mirror. Since he may no longer know himself. Trapped but still alive.  Grady in contrast no longer has a live person (his name was Charles) in that mirror standing there with the real Jack, which means if we were to look inside that mirror, there would be no Grady.  Or there is a decrepit ghoul, like the hag. A corpse with its head blown off; the unseen-offscreen conjuring of Ullman's story, the place where Jack is still trapped, running from the hag. Look at Jack looking at the mirror's occupants.  He's stunned by what he sees.  Diamond pattern moves from wall of anteroom to floor of bathroom, blood red versions of the Navajo mirroring patterns in the Lobby opening's corridor and floor. This bathroom behaves like the bathroom in the death-scene, it has no alternate escapes, it's a focal point, and ending like The Overlook on its dead-end road. As a film that uses terms carefully, Grady renames his murdering with the propagandic term correction "I corrected them" and equates Jack's murdering to "talking."

continues