to escape the hotel before it explodes due to a defective boiler, killing him. The film ends with the hotel still standing. More broadly, the defective boiler is a major element of the novel's plot, entirely missing from the film version. Because of the limitations of special effects at the time, the living topiary animals of the novel were omitted and a hedge maze was added, acting as a final trap for Jack Torrance as well as a refuge for Danny. In the film, the hotel possibly derives its malevolent energy from being built on a Native American burial ground. In the novel, the reason for the hotel's manifestation of evil is possibly explained by a theme present in King's previous novel Salem's Lot as well as Shirley Jackson's The Haunting of Hill House: a physical place may absorb the evils that transpire there and manifest them as a vaguely sentient malevolence. The film's Hallorann speaks to Danny about that phenomenon occurring at the Overlook. In the novel, Jack does a great deal of investigation of the hotel's past through a scrapbook, a subplot almost omitted from the film aside from two touches: a brief appearance of the scrapbook beside the typewriter, and Jack's statement to the ghost of Grady that he knows his face from an old newspaper article describing the latter's horrific acts. Kubrick in fact shot a scene where Jack discovers the scrapbook but removed it during post-production, a decision which co-screenwriter Diane Johnson lamented. Some of the film's most iconic scenes, such as the ghost girls in the hallway, the torrent of blood from the elevators, and typewritten pages Wendy discovers on Jack's desk, are unique to the film. Similarly, many of the most memorable lines of dialogue ("Words of wisdom" and "Here's Johnny!") are heard exclusively in the film. Film adaptation commentary Although Stephen King fans were critical of the novel's adaptation on the grounds that Kubrick altered and reduced the novel's themes, a defense of Kubrick's approach was made in Steve Biodrowski's review of the film. He argues that as in earlier films, Kubrick stripped out the back story of the film, reducing it to a "basic narrative line", making the characters more like archetypes. His review of the film is one of the few to go into detailed comparison with the novel. He writes, "The result ... [is] a brilliant, ambitious attempt to