2000 [아이즈 와이드 셧] Eyes Wide Shut

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[아이즈 와이드 셧] Eyes Wide Shut

The Kubrick Site: The Eyes Wide Shut Screenplay

  Eyes Wide Shut

  A Screenplay by Stanley Kubrick & Frederic Raphael

  The following is a replication of the typescript copy. The typographic
  features, formatting, spacing, and spelling (including typographical errors)
  have been retained as closely as possible. Omissions in the original are
  noted. Page breaks in the typescript are represented here by dotted lines.
  Copyright   999 Stanley Kubrick & Federic Raphael, All Rights Reserved.

----------------------------------------------------------------------------
INT BILL & ALICE'S APT - LIVING ROOM - NIGHT
It is a week before Christmas.  The tree is decorated and Christmas
cards stand open everywhere in the comfortable Central Park West
apartment.
Settled into the couch in the living room, watching TV, are seven
year-old , HELENA, and the BABY-SITTER, a young college girl.
BEDROOM
BILL and ALICE HARFORD, an attractive couple in their thirties, are
in evening clothes preparing to leave for a party.
        ALICE (looking in mirror)
       How do I look?
     BILL
      You look great.
    ALICE
       My hair okay?
     BILL
          Perfect.
    ALICE
      You're not even looking at it.
Bill kisses her neck.
     BILL
  It's absolutely beautiful.  You always
      look beautiful.
    ALICE
      Oh, shut up...  OK, let's go.
They walk into the living room.  The baby sitter gets to her feet.
----------------------------------------------------------------------------
        BABY-SITTER
     Oh, you look so-ooo lovely, Mrs.
          Harford.
       ALICE (laughs)
      Thank you, Roz.
        (to Helena)
     All ready for bed?
    HELENA
     Yes, Mommy.  I took my bath and
     brushed my teeth.
AD-LIBS of praise as BILL and ALICE kiss HELENA goodnight.
        BABY-SITTER
  What time do you want Helena to go to
     bed?
    HELENA
    Please, Mommy, can I stay up late
    tonight and watch the (name of TV
     show)  Ple-eease.
    ALICE
       When is it on?
    HELENA
        Ten-thirty.
    ALICE
   Okay, darling, but just for tonight.
    HELENA
     Thank you, Mommy.
The house intercom rings.  BILL goes to answer it.
      DOORMAN (VOICE)
      Doctor Harford?
     BILL
     Yes.
----------------------------------------------------------------------------
          DOORMAN
      The car is here.
     BILL
         OK, we'll be right down.
Bill returns to sitting room.
     BILL
      OK the car's here - let's go.
      (to Baby-sitter)
  Roz, we might be late tonight but I'll
      hold the car to take you home.
        BABY-SITTER
    Oh, that's great, Doctor Harford.
     Thanks very much.
AD-LIBS of Good nights and have a good time.
EXT HIRED CAR DRIVE-BY (CPW TO 5TH) - NIGHT (2nd Unit)
INT CAR - NIGHT
BILL takes ALICE's hand and gives her a loving wink.
EXT ZIEGLER MIDTOWN MANSION - NIGHT
BILL'S car pulls up behind a stretch limo.
INT CAR - NIGHT
The driver hands Bill a clip board with a form attached to it.
    DRIVER
        Can you sign this, Doctor?
The doorman, carrying an umbrella, opens the car door.
       BILL (signing)
       Okay, thanks..
----------------------------------------------------------------------------
    DRIVER
        Thanks.  (handing his card)  Just phone
  about half hour before you want to be
         picked up.
     BILL
         OK.  Fine.
    DRIVER
    Have a good evening.
BILL and ALICE exit the car and enter the house.
INT ZIEGLER MANSION - NIGHT
Big party already in progress.
Sound of a dance band off.
Many guests still arriving.
Two ladies seated at a table confirm‎ that Doctor and Mrs Harford are
on the invitation roster.
Their coats are taken.
The hosts, VICTOR ZIEGLER, a fit, sun-tanned, man in his mid-fifties,
and his wife, ILLONA, a Hungarian beauty, stand to one side
greeting their guests in the large entrance hall.
    ZIEGLER (speaking above the noise)
        Bill!...Alice!...  I'm so glad you could
  come.  It's wonderful to see you both,
AD-LIBS of further greetings while they shake hands and kiss on both
cheeks.
          ZIEGLER
        And Alice, my dear, forgive the pitiful
   understatement but you look totally
         beautiful.
Victor and Alice exchange if-there-was-world-enough-and-time
smiles.
----------------------------------------------------------------------------
          ZIEGLER
   And Bill, that osteopath you sent me
  to?  He was wonderful.  You should see
       my serve now.
     BILL
   Yes, he's the top man in the world.
ANOTHER FABULOUS ROOM - A LITTLE LATER
BILL and ALICE, carrying champagne glasses make their way through
the glitterati.
They stop to admire the 17 foot Christmas tree trimmed with colored
lights and antique ornaments.
BALLROOM - BILL & ALICE DANCING
BILL's attention is caught by one of the musicians on the bandstand.
     BILL
    I don't believe it.
    ALICE
    What?
     BILL
    The guy at the piano.  That's Nick
  Nightingale, I went to medical school
         with him.
    ALICE
   He's plays pretty good for a doctor.
     BILL
        He's not a doctor.  He dropped out.  I'm
    going to have to say hello to him.
    ALICE
    Okay, I'll go and get us some more
         champagne.
----------------------------------------------------------------------------
     BILL
         I'll see you at the bar.
BILL walks over to the bandstand as they finish a set.
     BILL
        Nick!..  Nick Nightingale!
     NICK
  Hey!  Bill Harford!  What a surprise.
   How the hell are you?
AD LIBS of greetings as they shake hands.
     BILL
        God, how long has it been?
     NICK
         Ten years?
     BILL
       And a couple.
     NICK
      How's life been treating you?
     BILL
    Not too bad.  And you've become a
          pianist.
     NICK
         My friends call me that.
       BILL (laughs)
     And how do you happen to playing
       here tonight?
     NICK
     I know my Cole Porter and I work
    cheap.
They both laugh.
     NICK
   How about you.  Still in the doctor
         business?
----------------------------------------------------------------------------
     BILL
    You know how it is, once a doctor,
      always a doctor.
     NICK
   In my case, never a doctor, never a
  doctor.  You _don't_ know how that is.
     BILL
  I never did understand why you walked
    away.
     NICK
       No?  It's a nice feeling.  I do it a lot.
The BAND LEADER comes over and gives NICK a nod and BILL an
polite smile.
     NICK
       Okay, we're off again.  Listen, if I don't
     catch you later, I'm down in the
  Village for the next two weeks, at the
    Cafe Sonata.  Come by if you get a
          chance.
        BILL (nods)
       Cafe Sonata, right.  Okay, and listen, it
       was great seeing you again.
     NICK
   Same here.  Take care.
The band starts up again.
The ballroom is crowded and BILL starts to make his way around the
dance floor to the bar.
ALICE is at the bar waiting for him.
She reaches absently for her champagne glass...
----------------------------------------------------------------------------
and finds she is holding - or touching - a man's hand.
       ALICE (smiles)
         I think that's my glass.
    SZABO
      I'm absolutely certain of it.
SZABO is a handsome man, in his mid-forties with a slight Central
European accent.
He drinks slowly from ALICE'S glass and looks directly into her eyes
as he does so.
    SZABO
  Did you ever read the Latin poet Ovid
    on The Art of Love?
    ALICE
        Didn't he wind up all by himself, crying
  his eyes out in some place with a very
        bad climate.
    SZABO
  But he also had a good time first.  A
      very good time.
    SZABO
   By the way, my name is Sandor Szabo.
       I'm Hungarian.
    ALICE
        Pleased to meet you.  My name is Alice.
       I'm American.
    SZABO
     Would you like to dance, Alice?
ALICE notices BILL across the room talking to two beautiful models.

    ALICE
     Why not? - Sandor.
----------------------------------------------------------------------------
ACROSS THE ROOM - BILL & THE MODELS
GAYLE, the taller model, shouts to BILL above the music.
    GAYLE
     Nobody likes you?
          (louder)
    GAYLE
  Nobody likes you, is that the problem?
     BILL
        Put it this way, nobody _wants_ to admit
     how much they like me.  But I'm
      confident it can still happen.
       GAYLE (laughs)
        Do you know Nuala Windsor?
GAYLE asks, putting her arm around her friend's waist.
       BILL (smiles)
        Nuala...I certainly feel like I do.  How
    do you spell, Nuala?
    NUALA
       N..u..a..l..a.
     BILL
         Is that a Hawaiian name?
    NUALA
         No, it's an agency name.
They all laugh.
    GAYLE
     You were very kind to her once.
     BILL
     Only once?  That sounds like an
         oversight.
    NUALA
----------------------------------------------------------------------------
      I was on a shoot, modelling at
   Rockefeller Center, on a very windy
   day.  You happened to be passing by.
     BILL (remembering)
    And you got something in your eye?
    NUALA
   Just about half of 5th Avenue.  You
   were such a gentleman.
     BILL
     That can happen when you're in a
    hurry.
    NUALA
   You actually had a _handkerchief_ -
   which was also clean!
     BILL
     That's the kind of hero I can be
         sometimes!
ALICE is dancing with the Sandor.  He holds her close to him.
    SZABO
   What do you do, Alice?
    ALICE
        Well, actually, I'm looking for a job at
    the moment.  I was an editor at a
  publishing house but they went broke.
    SZABO
  Perhaps I can be of some help.  I know
       a few people in publishing.
Alice doesn't reply to this.
    SZABO
    And you're married?
ALICE shows him her wedding ring.
    SZABO
    And you're here tonight with your
          husband?
    ALICE
       I am, indeed..
    SZABO
          How sad.
Alice makes a that's-life face.
    SZABO
   But of course I should have guessed
        that.  If you weren't with your husband
   tonight you wouldn't be so careful.
ALICE laughs.
    SZABO
   May I ask why a beautiful woman who
  could have any man in this room wants
       to be married?
    ALICE
        You can ask.
    SZABO
      You know why women used to get
    married, don't you?
    ALICE
   Why don't you tell me.
    SZABO
   It was the only way they could lose
        their virginity's and be free to do what
  they wanted with other men.  The ones
    they really wanted.
----------------------------------------------------------------------------
    ALICE
        Fascinating.
    SZABO
  Victor and Illona have a fabulous art
        collection.
    ALICE
   They do, don't they.
    SZABO
   Have you ever seen the Impressionist
      stuff upstairs?
    ALICE
     I don't think so.
    SZABO
    There are a couple of magnificent
     Bonnards up there.
    ALICE
         Are there?
    
    SZABO
    Do you like Bonnard?
    ALICE
         Yes, I do.
    SZABO
    Would you like me to show them to
     you?
    ALICE
     Well, maybe not just right now.
    SZABO
   We won't be gone long.
ALICE smiles and shakes her head.
BILL AND THE MODELS
NUALA slowly leading BILL to the door.
----------------------------------------------------------------------------
    NUALA
     Do you know what's so nice about
          doctors?
     BILL
  Usually a lot less than people think.
    NUALA
      They look so...  knowledgable!
    
     BILL
   They are very knowledgeable - about
    all sorts of things.
    
    GAYLE
        But I'll bet they work too hard.  I bet
      they miss out on a lot of fun.
     BILL
    You're absolutely right.  Where we
       going, girls?
       NUALA (laughs)
         Where the rainbow ends.
BILL slows down a little.
    GAYLE
      Don't you want to go where the
       rainbow ends?
     BILL
    Do I want to go where the rainbow
    ends?
Before he can answer, a big man who looks like he stepped right
out of _The Godfather_ walks up - HARRIS, Ziegler's _personal
assistant_.
    HARRIS
    Excuse me, Doctor Harford.  May I
        trouble you for a moment?
     BILL
----------------------------------------------------------------------------
    Sure.
      HARRIS (nods towards the door)
    Could you spare a minute, please?
     BILL
         What's up?
    HARRIS
     Could you come with me, please?
       GAYLE (laughs)
        It's something for Me. Z.
     BILL
    Okay.
    GAYLE
      Come back soon.
The girls blow kisses.  Bill smiles.
ALICE AND SZABO DANCING
    SZABO
    Alice, you're a fascinating woman.
ALICE makes a can't-help-that face.
    SZABO
    I'd really like to see you again.
    ALICE
   I don't think that would really be a
         good idea.
    SZABO
       You _are_ cruel.  What about lunch, later
         this week?
----------------------------------------------------------------------------
BILL AND HARRIS - CORRIDORS AND STAIRCASE
Muffled sounds of the music echo from the ballroom below.
HARRIS stops in front of a large door and knocks quietly.
        ZIEGLER (os)
     Yes?
    HARRIS
     It's Harris, sir.
After a few seconds the key is turned in the lock and the door slowly
opens revealing a barefoot ZIEGLER wearing only his pants and
undershirt.
          ZIEGLER
  Thanks very much for coming up, Bill.
He gestures BILL in.  HARRIS waits outside.
A strikingly beautiful, half-naked woman in her late twenties, is
sprawled face up, her clothing scattered on the floor.
     BILL
       What happened?
          ZIEGLER
     She OD'd on coke.
ZIEGLER gestures to the cocaine paraphernalia on the night table.
        BILL (checking her pulse)
     How long has she been like this?
          ZIEGLER
     Maybe ten minutes?
BILL feels her carotid artery.
     BILL
        Has this happened before?
          ZIEGLER
         Not sure, but probably.
----------------------------------------------------------------------------
BILL turns her face to the light of a table lamp to check her pupils.
The woman stirs.
     BILL
      She's starting to come around.
The woman makes a few unintelligible sounds.
BILL takes her wrist again and looks at his watch.
     BILL
   Good...Well...I don't think there's
  really anything to worry about.  Coke
     wears off in half an hour or so.
ZIEGLER is visibly relieved.
BILL continues to watch her in silence.
     BILL
  Someone should stay with her, though,
     until she's fully herself again.
          ZIEGLER
    Okay.
     BILL
       Some cold towels on her face
         wouldn't be a bad idea.
          ZIEGLER
    Okay.
     BILL
     Anyone here with her to take her
    home?
          ZIEGLER
       I'll take care of that...She's a friend of
        the family.
Bill nods and watches her for a few moments longer.  The he makes
moves like he wants to go..
----------------------------------------------------------------------------
     BILL
        She'll be all right, Victor.  Okay if I
   leave the rest to you?
          ZIEGLER
        Sure...  And listen, Bill, I don't know
    how to thank you enough for this.
     BILL
   It was nothing.  Glad to be of help.
          ZIEGLER
  And, Bill - I know I don't have to say
       this but I trust this is just between the
         two of us.
     BILL
         Of course.
BALLROOM
BILL re-enters the ballroom and looks around for the two models but
he doesn't see them.
Then... a woman's arm slips through his.
He looks down at the wedding-ringed hand.
It's ALICE.
She is flushed and glad to have found him.
    ALICE
   Haven't I seen you someplace before?
    
     BILL
    Could be.  What's your name again?
She kisses him.
    ALICE
    Can we go home now?
----------------------------------------------------------------------------
BILL AND ALICE'S BEDROOM - NIGHT
ALICE stands naked in front of her dressing table mirror rubbing face
cream.  BILL comes up behind her, kisses her shoulder and runs his
hands lightly over her breasts.
     V.O.
  That night they were more blissful in
   their ardent love than they had been
      for a long time.
SHOTS TO ILLUSTRATE V.O.
Getting up.
Alice and Helena in the kitchen.
Bill in his office with patients.
     V.O.
    The gray of morning awakened them
       only too soon.
Alice had to take Helena to school.
      And Bill had a number of early
       appointments.
    So the evening hours passed in the
   predetermined daily routine of work,
    and the events of the night before
       began to fade.
BILL'S APARTMENT - HELENA'S BEDROOM - NIGHT
HELENA reading aloud to BILL and ALICE from "A Child's Garden of
Verses".  She finishes her poem and yawns.
     BILL
    And now, my darling, time for bed.
      What do you say?
HELENA smiles and puts her arms around BILL.
BILL and ALICE kiss her goodnight, turn out the lights and go into the
living room.
LIVING ROOM
ALICE sighs comfortably.
    ALICE
    So, how do you feel about wrapping
       some presents?
     BILL
     Kind of negative.  We can do it
         tomorrow.
Bill drops down on the couch, picks up the TV controller and starts
switching channels.
Alice snuggles up to him.
    ALICE
        Anything good on tonight?
     BILL
         Have you got the paper?
Alice puts her arms around him.
    ALICE
      I don't feel like watching TV.
They kiss.
    ALICE
    Let's break the law a little first
BATHROOM - A FEW MOMENTS LATER
Bill takes a Band-Aid box from the bathroom medicine cabinet and
removes a small plastic bag of pot.
----------------------------------------------------------------------------
BEDROOM
Alice skillfully rolls two joints.
MINUTES LATER
Bill and Alice sitting in bed, partly undressed and smoking the joints.
Alice inhales and leans back with an ashtray in her lap.
She is high.
    ALICE
        How about the truth game?
    
     BILL
     Always a bit dangerous with pot.
    ALICE
    Isn't that the fun?
     BILL
         I'm putty in your hands.
    ALICE
  Okay, let's start with who were those
     those two gorgeous women at the
     party last night?
     BILL
   Don't really know.  One of them just
   started talking to me.
    ALICE
    I thought they might be patients?
     BILL
  No such luck.  They're models.  One of
    them said I once removed something
      from her eyes on windy day in
     Rockefeller Plaza.
    ALICE
     Always on the job.
----------------------------------------------------------------------------
     BILL
         That's me.
    ALICE
   And what did they want from you this
    time?
     BILL
    My body - what else?
ALICE doesn't find the remark particularly amusing.
     BILL
   Hey, come on - all I did was talk to
  them...  Anyway, who was the guy _you_
     were dancing with?
BILL is not that interested and just wants to change the subject.
    ALICE
          Sandor?
     BILL
   Sandor...  Who is he?
    ALICE
        A friend of the Zieglers.
     BILL
    And what does he do?
    ALICE
       I never actually found out?
     BILL
    Rich?
    ALICE
    Talked like he was.
     BILL
   And what did he want?
----------------------------------------------------------------------------
    ALICE
     Sex.  Upstairs.  Then and there.
The pot makes ALICE think this is hilarious.
     BILL
   Well, I guess that's understandable.
    ALICE
      Understandable?
     BILL
     Well, you're a beautiful woman.
    ALICE
      Oh, I see.  So does exhaustive
   research show that every man I meet
     wants to screw me?
     BILL
     There might be some exceptions.
    ALICE
    Does that mean that all men, with
        _possibly_ _some_ _exceptions_, want to
  screw all beautiful women, married or
         otherwise?
    
     BILL
        I suppose, basically, yes.
    ALICE
     So does that mean you wanted to
   screw the two models?
     BILL
     I did say with some exceptions.
    ALICE
    And of course you're an exception?
     BILL
     Yes.
----------------------------------------------------------------------------
    ALICE
         How come?
     BILL
    Because I love you.
    ALICE
     Any other reasons?
     BILL
   Because we're married.
    ALICE
        Any others?
     BILL
   And because I wouldn't lie to you or
         hurt you.
    ALICE
  So basically what it comes down to is
     that you wouldn't screw the two
  models out of _consideration_ for me,
         but otherwise you would.
     BILL
     Hey, is this thing on Court TV?
BILL feigns looking around for cameras.
    ALICE
       Why don't you just give me a
      straight answer?
     BILL
     Hey, come on, honey.  The pot's
   making you aggressive.
He takes her cigarette and puts it out.
    ALICE
----------------------------------------------------------------------------
  I'm not being aggressive at all - and
     how about you not putting out my

     BILL
    Okay.  Okay.  Okay.
    ALICE
     Now try to be honest.  When some
  really great-looking woman comes in to
       your office to have her tits checked out,
   don't you ever think about screwing
     her?
     BILL
     Come on, give me a break.  I'm a
        doctor.  It's all very impersonal.  And
   anyway my insurance requires that a
         nurse is always present.
    ALICE
    You're being evasive.  When you're
  feeling her tits, is it never any more
       than sheer professionalism?
     BILL
       Basically, that's all it is.
    ALICE
      Just basically?
     BILL
   Oh, come on.  There are no absolutes
        in anything.
    ALICE
       No absolutes...  Okay.  Fine...  And does
   the same thing go for women?  While
  they're having their tits squeezed, do
   you suppose your lady patients ever
   wonder what your dick might be like?
     BILL
----------------------------------------------------------------------------
      Definitely not.
    ALICE
      And why is that?
       BILL (laughs)
    Because they're too worried about
     what I might find.
    ALICE
   You know what I mean.
     BILL
      No, again.  Not most of them.
    ALICE
     Why?
     BILL
   Well, I suppose that most women are
     programmed differently from men
    ALICE
        Oh, yes, I forgot.  Millions of years of
   evolution - right?  Men have to put
    their sperm into as many women as
     they can, but women stay at home
        with pretty pink things and take care of
       the children?
     BILL
        A bit oversimplified but something like
    that.
A dispirited smile passes over her face.
    ALICE
        Oh, if you men only knew.
The look in her eyes changes, becoming cool and impenetrable,
and BILL allows her hands to slip from his.
     BILL
----------------------------------------------------------------------------
     If we knew -?  What do you mean
          by that?
    ALICE (in a strangely harsh voice)
     About what you imagine, my dear.
     BILL
       Hey, Alice, hey, look at me...  The truth.
   Is there something you've kept from
     me?
ALICE looks down with a strange smile.
       BILL (laughs)
    You're just trying to wind me up.
    ALICE
       If you say so.
     BILL
  If I say so?  Wait a minute.  I'm not
  going to let you get away with that...
  Seriously...  Is there's something you
      haven't told me?
ALICE stops short of saying something.
     BILL
          Say it.
ALICE nods.
    ALICE
    Well, last summer at Cape Cod - I
   don't suppose you remember one night
  in the dining room, there was a young
  Naval officer sitting near us.  He was
         with two other officers.
----------------------------------------------------------------------------
     BILL
  As a matter of fact, I don't  But what
         about him?
    ALICE
     The waiter brought him a message
  during dinner, at which point he left
         the table?
Bill waits for her to continue.
    ALICE
  Well...I first saw him that morning in
  the lobby.  He was checking in and he
    was following the bellboy with his
         luggage to the elevator.
    He glanced at me as he walked past
        but didn't stop until he had gone a few
     more steps.  Then he turned and
       looked at me.
       He didn't say anything.  He didn't smile.
     In fact, it seemed to me that he
  scowled.  Maybe I did the same thing.
ALICE stops for a moment.
    ALICE
  I was very stirred by him.  That whole
        day I lay on the beach, lost in dreams.
She stops.
     BILL
    Go on.
ALICE thinks about how to continue.
BILL stares at her.
----------------------------------------------------------------------------
    ALICE
    That afternoon you and I made love
   and talked about our future, and our
    child.
  Later we were sitting on the balcony
      and he passed below us without
        looking up.
        Just the sight of him stirred me deeply
  and I thought if he wanted me, I could
   not have resisted.  I thought I was
   ready to give up you,
       the child, my whole future.
  And yet at the same time - if you can
  understand it - you were dearer to me
  than ever, and I stroked your forehead
    and kissed your hair, and at that
     moment my love for you was both
      tender and sad.
  At dinner I wore a white rose and you
        said I was very beautiful.  It might not
  have been just an accident that he and
         his friends sat near us.
     He didn't look up but I actually
  considered getting up, walking over to
     him and like someone in a movie,
  saying, 'Here I am, my love, for whom
        I have waited - take me.'
        Well, it was about then that the waiter
  brought him the envelope.  He read it,
        turned pale, said goodbye to his friends
  - and glancing at me mysteriously, he
       left the room.
ALICE stops for a moment.
    ALICE
----------------------------------------------------------------------------
  I barely slept that night and woke up
       the next morning very agitated.  I didn't
  know whether I was afraid that he had
      left or that he might still be there...  But
  by dinner I realised he was gone and I
        breathed a sigh of relief.
Long silence
     BILL
   And if he hadn't left?
Alice doesn't reply.
    ALICE
       I don't know.
BILL doesn't say anything but there is a scornful expression‎ around his
mouth.
The phone rings.
     BILL
  Hello?...Oh...  When did they call?...
  No, I have the address...If they call
         again say I'm on my way.
He hangs up the phone and starts to put on his shoes.
     BILL
         Lou Nathanson just died.
    ALICE
    Oh, that's too bade.  But you were
       expecting that, weren't you?
     BILL
    Yes..
Bill starts to get dressed.
     BILL
   I have to go over there for a while.
----------------------------------------------------------------------------
    ALICE
     Now?
     BILL
         I have to show my face.
BILL silently getting dressed.
    ALICE
        Obviously, it was a mistake to have told
     you.
       BILL (coldly)
  Not at all..  We must always tell each
     other everything.
    ALICE
      It was the pot.
       BILL (coldly)
    It doesn't really matter.  Nothing
     happened.  Just a passing fancy.
EXT MARION'S APARTMENT HOUSE - NIGHT
BILL's taxi pulls up to the stylish, lower 5th avenue apartment.
Doorman opens the door.
INT MARION'S LOBBY
Bill walks to the elevator
INT MARION's PRIVATE ELEVATOR LOBBY
Bill exits elevator and find's her door ajar.
He knocks softly and enters without waiting for a reply.
       BILL (softly)
          Marion?
He walks through the quiet apartment.
----------------------------------------------------------------------------
MASTER BEDROOM
The body of LOU NATHANSON lies on a large bed with an oxygen
cylinder and other medical paraphernalia on tables on each side of
the bed.
MARION, the dead man's daughter, a pretty girl in her late twenties,
sits at the foot of the bed, exhausted, her arms hanging limply at her
side.
She starts to get up but BILL stops her with a movement from his
hand, and she merely greets him with a nod, her eyes large and sad.
BILL moves to the head of the bed and mechanically places his hands
on the forehead of the dead man and on his arms.
He shakes his head a couple of times and his shoulders drop with a
slight expression‎ of regret.
     BILL
  I hope his last moments were peaceful.
Marion gives him a despairing look.
He puts his hands in his pockets and his eyes wander about the room
until they finally rest again on Marion.
     BILL
    Well, Marion, at least you weren't
      entirely unprepared for this.
She holds out her hand to him.  He takes it sympathetically.
Marion sighs, woefully.
    MARION
  Dad seemed pretty good today.  Around
       nine o'clock he said he felt like taking a
        nap.  So I went into the living room to
       watch television.  I don't think I was out
        of his room for more than half-an-hour.
----------------------------------------------------------------------------
Marion starts to weep.
    MARION
  When I went back, at first I though he
  was still asleep...  The I realized he
       wasn't breathing...  I did everything you
      had told me but..  he was....
She can't bring herself to say, dead, and she shakes her head,
despairingly.
    MARION
   I called the emergency people... But
   when they got here they just said he
      was...dead and asked whether I
      wanted them to take him away?
She breaks down sobbing.
BILL draws up a chair and sits down opposite her.
     BILL
    Marion, from what you've said, it
   sounds like your father died in his
    sleep.  He wouldn't have suffered.
    MARION
  Oh, God...I hope not...  I've been so
       afraid of the actual...  dying business...
    But he made it _so_ _easy_, just as he tried to
  make everything else in my life easy.
BILL takes her hands.
     BILL
      Have you notified any of your
         relatives?
    MARION
       I phoned Carl - my fiancee.
----------------------------------------------------------------------------
She does not look BILL straight in the eye when she says, fiancee/
    MARION
   He's going to make some calls for me
        and then he's coming over.
     BILL
      Oh, that's good.
    MARION
    I think you've met Carl here a few
  times?  We're planning to get married
         in April.
     BILL
  Oh, that's wonderful.  I'm very happy
          for you.
They sit for a few moments without speaking.
     V.O.
        I certainly do remember Carl.  So she's
   going to marry him, Bill thought to
   himself.  I wonder why?  She surely
        can't be in love with him.  He's nothing
    to look at, and he hasn't got any
   money...  He's just an assistant in
        professor of something or other...  But
      then it's none of my business.  Still... if
        she were my mistress, her hair would be
       less dry and her lips would be fuller and
          redder.
Marion suddenly starts to talk.
    MARION
       Dad had so many worries and
  disappointments.  My mother was never
       well...  And my _brother_...he was such a
   disappointment...  I don't even know
   where he is.  The last we heard from
     him was from some small town in
  Mexico.  I can't even remember where.
----------------------------------------------------------------------------
[POSSIBLE MISSING PAGE]
----------------------------------------------------------------------------
In spite of himself, BILL places his hand on her head, caressing it.  He
feels her body begin to tremble and her sobs become louder and
finally quite unrestrained.
All at once, she slips down from her chair and kneels in front of him,
clasping his legs with her arms and pressing her face into them.
She looks up at him with large eyes, wild with grief, and whispers
ardently:
    MARION
  I don't want to leave here...  Even if
       you never return...  Even if I am never to
      see you again...  I want, at least, to live
         near you.
BILL looks touched rather than surprised.
     BILL
         Please - get up, Marion.
He says this softly, and bending down he gently raises her up.
He glances at the dead man on the bed and only puts his arms
around her in a very hesitant embrace and kisses her on the
forehead.
At the same time, without knowing why, a sense of anger wells up
against ALICE.
_Jealous fantasy image of Alice and the Naval officer._
The door bell rings.
He hastily kisses Marion's cheek, as if in gratitude, and goes to the
door.
It's CARL standing there - a very ordinary looking man with an
umbrella in his hand and a serious face appropriate to the situation.
The two men greet each other much more cordially than is called for
by their actual state of acquaintance.
----------------------------------------------------------------------------
They walk to the bedroom and CARL has an embarrassed look at the
deceased.
     CARL
    Oh, my poor, dear Marion.  I am so
    sorry.
He puts his arms around her.
BILL goes into the next room to write out the death certificate.
When he finishes, he returns to the bedroom where the engaged
couple sit, hand in hand, by the bed of the dead man.
The door-bell rings.
     CARL
        I'll get it.
While he is out of the room, Marion, with her eyes on the floor, says,
almost inaudibly:
    MARION
        I love you.
BILL merely pronounces her name tenderly.
     BILL
          Marion.
CARL returns with Marion's UNCLE and AUNT and aunt, whose
presence gives BILL the opportunity to make his goodbyes and leave.
At the door.
     CARL
        I hope we'll see you soon.
EXT MARION'S APARTMENT - NIGHT
Bill walks outside.  It has become even milder.  A gentle breeze carries
[illegible] from the nearby park to the street.  BILL inhales the fresh air.
----------------------------------------------------------------------------
          DOORMAN
    Taxi?
     BILL
        No thanks.  I think I'll walk for a bit.
EXT STREET TO PARK - NIGHT
Bill walking.
EXT PARK - NIGHT
Walking through the park, BILL notices on some of the benches in the
shadows, that couples are kissing, just as if Spring had actually
arrived and no danger lurked in the deceptive warm air.
A tramp lies full length on a bench wrapped in newspapers with his
hat over his face.
     V.O.
  The image of the tramp made him think
    of the dead man he had just left,
    and he shuddered and felt slightly
   nauseated at the thought that decay
   and decomposition had already begun
   their work in the body he just left.
       He was glad he was still alive and in all
  probability that these ugly things were
        still far removed from him, and that he
       was, in fact, still in the prime of life,
   had a beautiful wife and could have
        several women in addition, if he wanted
   to, although doing so would require
       more free time than he had.
BILL notices a group of rowdy college boys coming towards him, six
of them taking up the whole walkway.
He moves aside to keep out of their way.
----------------------------------------------------------------------------
But as they pass, one of them, a tall boy with an open overcoat,
deliberately bumps into him with his raised elbow.
BILL involuntarily stops.
The tall student takes two more steps and turns.
They glare at each other for a moment with only a short distance
separating them.
Suddenly, BILL turns around again and walks.
He hears a short laugh behind him.
He wants to turn around and fight but he feels his heart beating
strangely.
     V.O.
     Had he become a coward, he asked
   himself, and noticed his knees were
        shaking a little bit.  Ridiculous!  Why
        should he get involved in a street fight
  with some drunken college student who
        had five friends with him.
BILL keeps walking without looking back.
  He, a man of thirty-five, a practising
  physician, a married man and father of
    a child.  He might wind up in the
   hospital or worse and tomorrow be in
   the same position as the man he just
    left..  Then he thought about his
        profession?  There were dangers lurking
       there, too, everywhere and at all times -
  except that one usually forgets about
    them.
EXT STREET - ON WAY DOMINO - NIGHT
BILL walking.
     V.O.
----------------------------------------------------------------------------
     Surely, it had been nothing but
    common sense to avoid a ridiculous
       fight with the student...  but if he ever
     meet the Naval officer with whom
          Alice...
JEALOUS FANTASY IMAGE - ALICE AND NAVAL OFFICER
     V.O.
  But what insanity!  After all, nothing
    happened...  What was he thinking
       about?...  But then, wasn't it really just
        as bad as if she had actually fucked him
       - she might just as well have.  Wasn't it
   even worse, in a way.  What a joy it
    would be to teach _him_ a lesson.
EXT STREET - DOMINO'S APARTMENT - NIGHT
Bill passes a young girl, DOMINO, who falls into step beside him.
    DOMINO
     Hi.
BILL slows down and looks at her.  She is very pretty with dark red
lips.
     BILL
     Hi.
    DOMINO
     How're you doing?
     BILL
        Fine.  How are you doing?
    DOMINO
        I'm doing great...Listen, how would you
        like to have a little fun?
     BILL
----------------------------------------------------------------------------
         I'm sorry?
    DOMINO
        Have a little fun.  Come inside with me?
         I just live over there.
She points to a nearby doorway.
BILL a little off balance.
     BILL
   Come inside with you?
    DOMINO
      Yes.  It's a lot nicer than it is out here.
     BILL
     Do you live there?
    DOMINO
     Yes.
     BILL
        By yourself?
    DOMINO
     I have a roommate but she's not
    home.
She gently takes his arm.
    DOMINO
    It's okay - no one will bother us.
BILL smiles, uncertainly.
    DOMINO
       Really, it's okay.  Come on.
BILL allows himself to be led to the door.
      DOMINO (gently)
          Come on.
----------------------------------------------------------------------------
INT DOMINO APARTMENT LOBBY - NIGHT
She leads BILL through the small, dingy entrance lobby lit by a
flickering fluorescent tube to a ground-floor rear apartment.
     BILL
     Should we talk about the money?
    DOMINO
   How does sixty sound?
BILL nods, a little uncomfortably.
     BILL
    Sixty.  Sounds good.
DOMINO laughs.
       DOMINO (laughs)
     I don't keep track of the time.
She unlocks the door and they go inside.
It's a clean, reasonably tidy, ex cold-water railway flat.
The girl smiles sweetly, and walks ahead of BILL into the narrow
bedroom where there is a neatly made king-size bed without a
bedspread..
     BILL
      By the way, what's your name?
    DOMINO
          Domino.
     BILL
     Domino.  That's an unusual name.
    DOMINO
  Well, it's my, uh...professional name.
     BILL
    Right.
----------------------------------------------------------------------------
    DOMINO
   And what's your name?
Bill hesitates.
     BILL
    Bill.
    
    DOMINO
         Hi, Bill.
     BILL
        Hi, Domino.
    DOMINO
  Would you like a drink or some grass?
     BILL
   No thanks.  I'm fine.
She puts on some music.
     BILL
     Nice little place.
    DOMINO
      Yes, it's okay.
     BILL
        Is this really your place?
    DOMINO
    That's the second time you asked.
     BILL
     No, it just that I was under the
  impression that most girls didn't use
  their own apartment - too much hassle.
    DOMINO
   That's true but I don't do this that
    much.
     BILL
      Oh, how's that?
----------------------------------------------------------------------------
    DOMINO
  I only work when I get too far behind
   with my student loan.
BILL is a little surprised.
     BILL
  What are you school are you going to?
    DOMINO
     NYU.
     BILL
       NYU.  What are you studying?
    DOMINO
         Sociology.
     BILL
        Good sociology department?
    DOMINO
  Pretty good.  Ever hear of Pearlstein
        and Johnson?
     BILL
     To be honest, I'm not much into
         sociology.
She slowly starts to undress.
    DOMINO
      What do you do?
     BILL
       I'm a doctor?
    DOMINO
         A doctor?
     BILL
     Yes.
----------------------------------------------------------------------------
    DOMINO
     GP?
     BILL
     Yes.
    DOMINO
     My father's a GP.
       BILL (laughs)
  No kidding?  I hope I don't know him.
      DOMINO (laughs)
       He practises in New Jersey.
     BILL
        New Jersey..
She steps out of her panties and tosses them on the table.
     BILL
       Listen, I know it's a little late for this
   but do you mind if I ask how old you
     are?
She stands naked before him with her arms outstretched.
    DOMINO
   How old do you think?
     BILL
  Well, to be honest, I would have said
  sixteen or seventeen but obviously if
  you're going to college...  eighteen?
      DOMINO (laughs)
         Nineteen.
She puts her arms around his neck again and gazes into his eyes.
    DOMINO
      Well, shall we?
----------------------------------------------------------------------------
_Bleep-bleep_.
BILL's cellular phone.
_Bleep-bleep_
He fumbles in his pockets for the phone and DOMINO has to get off
his lap for him to get it out.
     BILL
    Hello?
It's ALICE.
     BILL
       Hi, honey.  Yes, everything's okay...  I'm
   not sure...  We're waiting for some
      relatives to show up...  It could be late...
        No, don't wait up.  Can't really talk...
  Okay, as soon as I can...  Same here.
He disconnects and puts the phone back in his pocket.
    DOMINO
        Was that Mrs Doctor Bill?
BILL thinks for a moment and nods.  Then he sighs and gets to his feet.
         DOMINO (not a question)
      You have to go.
     BILL
       I'm afraid so.
    DOMINO
       What a shame.
He gets out his wallet and starts to count out sixty dollars.
    DOMINO
      Oh, look, you don't have to...
     BILL
      No, that's all right, he says.
----------------------------------------------------------------------------
    DOMINO
    Really.  It's okay.
     BILL
    No, no.  Listen, we need more good sociologists.
They both laugh.
    DOMINO
     Okay but you've got a raincheck.
     BILL
        That's deal.
EXT STREET TO CAFE SONATA - NIGHT
BILL walks aimlessly through the wintry night.
     V.O.
        Where shall I go now, he asked himself?
    The obvious thing was home to bed.
  But he couldn't persuade himself to do
    that.
   He thought of going back to the girl
    but that somehow seemed ridiculous
     now.
   He was overcome with a sense that he
   was moving farther and farther away
    from his everyday existence into a
       completely different world.

By the chance, he passes a small nightclub, Cafe Sonata, and
notices Nick Nightingale's name and photograph outside.
He stops and looks at it.
The DOORMAN drifts over.
----------------------------------------------------------------------------
          DOORMAN
     The band's about to wind up but
   they're still serving.
BILL nods and goes in.
INT CAFE SONATA - NIGHT
The place is about a quarter full.  BILL sits down at a table near the
band.
Nick sees him and winks.
BILL gestures hello, orders a beer.
The band finishes their last number and take a perfunctory bow to a
scattering of applause.
NICK comes over to the table.
     NICK
         Hey, Bill!
They shake hands and ad-libs of greetings.
The WAITER swoops in with BILL's beer.
     BILL
   What are you drinking?
     NICK
      Scotch and soda.
The WAITER nods and hurries off.
     NICK
      So what brings you out at this
    hour?
     BILL
----------------------------------------------------------------------------
        Just happened to be passing by.  I have
     a patient in the neighbourhood.
     NICK
       Do you live in the Village?
     BILL
      No, we've got an apartment on
     Central Park West.
     NICK
      You're married?
     BILL
        Nine years.
     NICK
     That was the great looking woman
   you were dancing with at the party?
     BILL
     Yes.
     NICK
         Lucky man.
BILL nods.
     NICK
         Any kids?
     BILL
  An eight year old daughter.  How about
     you?
     NICK
       I've got a wife and four boys in Seattle.
     BILL
   That's great.  So is this your band?
     NICK
         No, I'm just filling in.
----------------------------------------------------------------------------
     BILL
      Who do you normally play with?
     NICK
   Anybody.  Anywhere.  As a matter of
       fact, I've got another gig later tonight.
     BILL
      You're playing somewhere else
         _tonight_?
       NICK (shrugs)
  They only get started there about two
     BILL
      In the village?
     NICK
  I don't actually know the address yet.
     BILL
         How come?
     NICK
      It's in a different place every time, and I
     only get it about an hour or so
        beforehand.
     BILL
      A different place every time?
     NICK
          So far.
       BILL (laughs)
         What's the big mystery?
Nick opens his palms in a parody of innocence.
     NICK
   I just play the piano.
     BILL
----------------------------------------------------------------------------
      What kind of a function is it?
     NICK
      What kind of a function is it?...  Well, to
  be completely honest, it's not easy to
         describe.
     BILL
     But you've worked there before?
     NICK
    True.
     BILL
      And it's not easy to describe?
     NICK
    I play blindfolded.
     BILL
    What?
     NICK
    I play blindfolded.
Something near the entrance door attracts Nick's attention.
      NICK (stands up)
     Back in a minute.
He walks to the front window of the club and looks out into the
snowy street.  He doesn't see what he's looking for and returns.
     NICK
        Sorry about that.  I'm supposed to meet
       somebody here.
     BILL
     With the address?
Nick shrugs, meaning, yes.
----------------------------------------------------------------------------
     BILL
    Listen, you're putting me on about
  that blindfolded business, aren't you.
     NICK
       No, that's the truth.  They're very strict
        about that.
     BILL
        This is getting curiouser and curiouser.
     NICK
   Maybe so, but listen, I was sworn to
        secrecy, and please, just forget I said
        anything at all about it.
     BILL
  Nick, you can trust me.  I won't say a
   word about this to anyone but since
   you've told me this much, you can't
         stop now.
     NICK
        No, really, this is not a joke.  I'm not
   saying anything else.
     BILL
   Nick, you can't do this to me.  I'll
   wonder about this for the rest of my
      life.  Trust me.
NICK is very uncomfortable about this but is also dying to talk about
it.
     NICK
   Okay, well this is just between us.
     BILL
        Absolutely.
     NICK
----------------------------------------------------------------------------
    Well...first of all, although I am
    blindfolded I can of course still
         hear...and the sounds...
NICK closes his eyes and lets the provocative innuendo sink in.
     NICK
       _And_...the last time the blindfold wasn't
     tied on that well.
NICK also lets that sink in.
     NICK
        Bill...I've seen a few things in my life
  but never anything like this...  And I
       have never seen such women.
     BILL
       What does it cost to get into this place?
     NICK
         Forget it.
     BILL
       What do you mean, forget it.

     NICK
         Forget it.
     BILL
    Look, I don't care what it costs.
     NICK
    It's not a matter of money.  These
        people aren't interested in money.  It's
       a completely closed affair.
     BILL
      _These_ _people_.  Who are _these_ _people_?
     NICK
----------------------------------------------------------------------------
       Put it this way - if I knew their names it
   would be worth more than my life to
     say them out loud.
     BILL
        Nick, don't you think you might just be
   over-dramatising this a little bit?
    There must be some way you can get
    me in.
   NICK (shakes his head)
        It would be too dangerous.
     BILL
         Dangerous?
     NICK
        These are not people you fuck with - if
   you'll pardon the pun.
Nick sees someone looking through the plate glass window.
     NICK
    I'll be right back.
He gets up and hurries outside to the street.
BILL watches him through the window, hunched up against the cold,
stamping his feet up and down, talking to a man and writing
something down.
Nick returns blowing on his hands.
Bill gives him and inquiring look.
     BILL
   Was that the address?
     NICK
     And the password.
     BILL
         Password?
----------------------------------------------------------------------------
     NICK
    Yes.  You can't get in without the
    password and they change it every
    time.
  And. listen, I'm going to have to get
    weaving pretty soon.
         BILL (said with a smile)
    Nick, you son-of-a-bitch, you know
        you are definitely going to have to take
   me with you tonight.  You know that,
         don't you.
Nick sighs and shakes his head.
     BILL
  Look, I'll tell you what - you give me
  the password and the address and I'll
        go there by myself.  There won't be the
      slightest connection with you,
        whatsoever.
NICK squirms.
     NICK
        Look, even if I were crazy enough to do
        that, you couldn't get in the way you're
      dressed, anyway.
     BILL
          Why not?
     NICK
   Everyone there is always masked and
        in costume.
     BILL
   Masked and in costume?
     NICK
          Always.
Bill looks at his watch.
----------------------------------------------------------------------------
     BILL
   Okay.  Point taken.  _But_ there's a
      possibility I know a place that might still
          be open.
     NICK
    Bill, you're out of your mind.  No
   costume place would be open at this
       time of night.
     BILL
        Look, Nick, what the hell.  Just give me
       a chance.  Let me try.  If I can't get the
        gear I'll forget about the whole thing.
       Scouts honour.
NICK looks ready to give in.
     BILL
    Okay?
NICK sighs in resignation.
     BILL
  Okay.  So, let me have the address and
   the password, and tell me what kind
     of costume I need?
EXT BUSY GREENWICH VILLAGE STREET - NIGHT
BILL's taxi pulls up in front of a costume shop.  A sign says: 'Formal
Dress and Costumes.
The place is closed.
     BILL
    Shit.
He thinks for a moment, pays the driver and gets out.
He notices a sign that says: "In case of emergency ring apartment 3."
----------------------------------------------------------------------------
He looks up and sees a light on in the apartment above the store.
He rings the bell for apartment 3, which has the name, Gibson..
After a couple of rings, a voice comes over the intercom.
    GIBSON
      Yes, what is it?
BILL talks to the TV security camera.
     BILL
       Mister Gibson?
    GIBSON
     What do you want?
     BILL
        Mister Gibson, I'm very sorry to disturb
   you at this hour.  I'm a Doctor.  My
       name is Harford.  I need to see you.  It's
         important.
Bill holds up his New York State Medical Board card to the doorway
TV security camera.
    GIBSON
       Somebody hurt?
     BILL
    No one's hurt but it's important.
    GIBSON
         What kind of important?
     BILL
       It would really be better if I could come
  upstairs for a moment and talk to you.
    GIBSON
      You better come back tomorrow.
     BILL
----------------------------------------------------------------------------
     Mr. Gibson, tomorrow will be too
        late.  I really need to see you now.  It
      won't take long.
Silence.
Then the door buzzer sounds.
BILL pushes open the door and goes upstairs two at a time.
A door opens on the chain and a man in his fifties, wearing flannel
pyjamas and a heavy bathrobe, who has the looks and manner of a
road-company ham actor peers out.
     BILL
        Mr. Gibson?
    GIBSON
     Yes.
BILL holds up his New York State medical card again.
    
     BILL
  Good evening, Mister Gibson.  This is
  my New York State Medical Board card,
        just so you know who I am.
Gibson looks at the card and at BILL.
    GIBSON
     Okay, so you're Doctor Harford.
   What's this all about?
     BILL
        Mister Gibson, you may not find it that
        easy to understand the urgency of this,
    but basically, uhm...  I need...a
    costume and a tux..
Gibson stares at him in disbelief.
    GIBSON
      You need a costume and a tux?
----------------------------------------------------------------------------
     BILL
     Yes.
    GIBSON
  I'm sorry, but do you honestly expect
   me to open my shop for you, at this
    hour?
     BILL
    I can imagine how this may seem to
       you, Mister Gibson, and I am
   prepared to pay an extra two hundred
      dollars for the inconvenience.
Gibson doesn't reply.
     BILL
       How does that sound to you?
Judging from his expression‎, this sounds pretty good to Mr. Gibson.
INT COSTUME SHOP - NIGHT
A short while later, Gibson leads BILL through the shop to the dimly lit
costume section.
    GIBSON
        Okay, now let me get this straight.  You
  want a tuxedo, a black monk's cassock
  and a mask that completely covers your
    face?
     BILL
         That's it.
    GIBSON
        I have to tell you doctor, I've had some
   very strange requests in my day and
      this is certainly one of them.
     BILL
   It's for a good cause.
    GIBSON
----------------------------------------------------------------------------
         Okay, you're the doctor.
GIBSON chuckles at his own witticism.
    GIBSON
        Now, let me get this straight.  You want
   a tuxedo, a monks cassock and a mask
    that completely covers your face?
     BILL
         That's it.
Suddenly BILL hears the clink of glasses from somewhere ahead of
him.
GIBSON flips a light switch.
A light come on in a little office at the end of the passage.
The desk is covered with plates, glasses and bottles.
Two JAPANESE MEN, wearing blonde female wigs, naked except for
Japanese kimonos, spring up from their chairs besides the desk.
At the same moment, the semi-naked figure of a graceful GIRL
disappears under the desk.
GIBSON rushes forward with long strides, reaches across the desk
and grabs one of the blond wigs.
Simultaneously, the young GIRL, maybe fourteen, wriggles out from
under the desk and runs along the passage to BILL who catches her in
his arms.
GIBSON drops the wig and grabs the two kimono garbed men.
At the same time he calls out to BILL.
    GIBSON
   Hold on to that girl for me, please.
----------------------------------------------------------------------------
The GIRL presses against BILL as if now sure of her protection.  Her
pretty little face covered with powder and a smile of impish desire in
her eyes.
      GIBSON (shouts)
  Gentlemen, you will stay here while I
      call the police.
          KIMONO 1
        Gibson, have you gone mad?
          KIMONO 2
    We were invited by the young lady.
    GIBSON
        You will have to explain this.  Couldn't
     you see the girl is unbalanced?
Then GIBSON he turns to BILL.
    GIBSON
        Sorry to keep you waiting.
     BILL
        That's okay.
BILL looks down with fascination at the GIRL, who looks up at him
with alluring and childlike eyes, as if spellbound.
The two KIMONO MEN start to argue with each other in Japanese..
GIBSON turns to BILL.
    GIBSON
        I'm sorry, did you say a brown or black
          cassock?
     BILL
    Black.
     YOUNG GIRL (with gleaming eyes)
----------------------------------------------------------------------------
   No.  You must give this gentleman a
  cloak lined with ermine and a doublet
        of red silk.
      GIBSON (to girl)
       Don't you budge from there.
         (to Bill)
     What size are you?
     BILL
    I take a 38 jacket.
GIBSON picks up a brown monk's cassock hanging nearby and holds
it up for BILL'S approval.
    GIBSON
     This will fit you.
     BILL
    Fine.
    GIBSON
   Okay, let's go and try on the tux..
The two Japanese men are still in the glass partitioned
office.
_GIBSON locks them in._
          KIMONO 1
        Gibson, this is preposterous!!  You will
       have to let us out at once.
    GIBSON
  I'm afraid that's out of the question,
        gentlemen.  This is now a police matter.
       You will kindly wait here until I return.
Ad-libs of further protest from the two men
The girl skips lightly up the stairs ahead of them.
----------------------------------------------------------------------------
    GIBSON
   Now go to bed at once, you depraved
      creature.  I'll talk to you as soon as I've
         settled with those two.
The girl gives BILL a sad shake of her head and exits.
INT FRONT OF COSTUME SHOP - A LITTLE LATER
Bill has changed into a black tuxedo and waits for Gibson to write up
the bill.  His clothes and the costume are in two large plastic shopping
bags.
    GIBSON
  Okay - that's a hundred and fifty for
        the rental.  Three hundred deposit.  And
   the two hundred inconvenience money.
   That's six hundred and fifty bucks..
     BILL
    Okay.
BILL hands him his credit card and his driver's license.
    GIBSON
      I'd prefer cash.
     BILL
    Sorry, I don't carry that kind of
    money.
Gibson takes the credit card.
     BILL
  Thanks.  And - by the way - I hope you
      wont be too hard on the child.
    GIBSON
  I'm sorry doctor but I'm not sure what
         business it is of yours.
     BILL
----------------------------------------------------------------------------
       Well, it's just that I first heard you say
  the girl was unbalanced, and then you
  called her depraved.  Those things are
         a little contradictory.
       GIBSON (a bit theatrically)
   Well, aren't insanity and depravity
       the same in the eyes of God?
The last thing BILL wants right now is to get into an argument with
GIBSON, so he replies in his most professional manner.
     BILL
  Well, in any event, there _are_ things
   that can be done that might help the
  situation.  Maybe we can have another
         talk about it tomorrow.
Gibson laughs mockingly without uttering a sound.
EXT STREET OUTSIDE COSTUME SHOP - NIGHT
Bill, carrying two plastic shopping bags with his clothes in them, hails
a taxi.
He checks at a slip of paper with the address on it.
     BILL
    How do you feel about going out to
         Sands Point Long Island?
The driver makes a face.
     BILL
     How about twenty bucks over the
    meter?
       CAB DRIVER (shakes his head)
      I'll have to come back empty.
     BILL
        How's fifty?
----------------------------------------------------------------------------
         CAB DRIVER
       Fifty's good.
EXT VARIOUS TAXI DRIVE-BYS - NIGHT (2ND UNIT)
Brooklyn bridge
L.I. Expressway
INT CAB BILL - NIGHT
     V.O.
       Bills Thoughts:  Variations of, "I must be
    mad."
EXT LONG ISLAND MANSION ROAD - NIGHT
The cab drives slowly down a wooded road.
INT CAB
BILL looking out for the house.
Up ahead, he sees a stretch-limo with darkened windows pulling into
a drive protected by iron gates flanked by two gatehouses.
As they drive slowly past the gates, BILL sees a sign that says,
'Bletchly Manor'.
     BILL
     Okay, driver - that's the place.
     Stop a little way down the road.
The car comes to a stop.
The meter says $75.50
BILL takes out his wallet.
     BILL
    Okay, here's eighty dollars and...
----------------------------------------------------------------------------
BILL carefully tears a hundred-dollar bill in half and gives one part to
the driver.
     BILL
  ...I promised you fifty bucks over the
        meter but I'll make it a hundred if you
   wait for me.  Let the meter run and
        you'll get the other half plus the meter
        when I come back...  Okay?
The driver gives BILL a wary look.
         CAB DRIVER
   How long will you be?
     BILL
   That's the thing - I'm not sure.  I
   could be ten minutes.  I could be an
       hour or so.  But look, I'm leaving all my
        stuff in the back.  Okay?
The cab driver takes half of the torn hundred-dollar bill.
         CAB DRIVER
    Okay.
BILL gets out of the cab, puts on the monk's cassock, throws his coat
over his shoulders and walks back to the gates.
EXT GATES - NIGHT
The iron gates are closed and no one is in sight.
Security cameras look at him.
The road leading to the Manor House curves away into a small wood
which covers the house.
BILL rings a bell at the side of the gate and two men promptly
come out of the gate house.
----------------------------------------------------------------------------
    GATEMAN 1 (polite and well-spoken)
     Good morning, sir.
     BILL
       Good morning.
         GATEMAN 1
        Can we be of any help you?
     BILL
    I suppose you'd like the password?
         GATEMAN 1
        If you wouldn't mind, sir.
       BILL (slowly)
     Fidelio Rainbow..
         GATEMAN 1
      Thank you, sir.
The gate is opened.
         GATEMAN 1
    Is that your taxi down there, sir?
     BILL
    Uh - yes.  Yes - my chauffeur came
  down with the flu at the last minute.
         GATEMAN 1
  The cabby could have driven you right
        to the door.
     BILL
       Listen, I'm lucky I got here at all.  The
      guy's straight from Bulgaria.
Bill laughs uncomfortably without getting a penny's change from the
men.
        GATEMAN 1 (pointing a car)
----------------------------------------------------------------------------
      If you'd like to get in the car, sir.  We'll
         run you up to the house.
     BILL
       Okay.  Thanks.
They get into the car.
Gateman 2 remains at the gate.
INT CAR
Bill sits silently next to the driver.
POV - THE LONG ISLAND - MANOR HOUSE - NIGHT
INT CAR
   GATEMAN 1 (tactfully)
   This might be a good time to put on
      your mask, sir.
      BILL (casually)
    Oh, yes.  Of course.
BILL takes the mask from his pocket and puts it on.
EXT MANOR HOUSE - NIGHT
The car pulls up and BILL gets out.
     BILL
          Thanks.
He walks up the stone steps and the front doors are opened before
he reaches them.
INT HOUSE
BILL enters a large, candlelit, mirrored vestibule where two servants
in black suits, their faces covered by grey masks, whisper in unison:
          SERVANTS
         Password?
----------------------------------------------------------------------------
     BILL
      Fidelio Rainbow.
         SERVANT 1
      Thank you, sir.
One of them takes his coat, while the other opens a door.
BILL enters a long room, dimly lit with candles, with high ceilings and
walls covered with black silk.
A line of mirrored doors on each side run the length of the room.
There are about fifty men and women dressed as monks and nuns,
their faces completely covered by masks.
Gently swelling strains of Italian liturgical music comes from an organ
playing somewhere.
As his eyes become accustomed to the dim light, BILL sees that the
women are naked beneath the full-length, black veils that flow down
from their head bands.
His eyes wander from voluptuous bodies to slender bodies, from
delicate to richly developed figures, and he is filled with inexpressible
desire.
Occasionally, eyes turn towards him but immediately look away as
soon as he notices them.
A monk brushes against him and nods a greeting, but from behind
the mask BILL sense a searching and penetrating glance.
A strange, heavy perfume, as of southern gardens, pervades the
room.
Again an arm brushes against him, but this time it is that of a nun.
Her face is fully masked, and like the others, naked under the black
transparent lace of her veil.
         THE WOMAN
----------------------------------------------------------------------------
        You don't belong here.  There's still a
       chance for you to get away.
BILL is momentarily unnerved by this but he is also completely
captivated by the beauty and sensuality of this woman.
     BILL
  I'm terribly sorry but I think you've
      mistaken me for someone else.
         THE WOMAN
        Please don't be foolish about this.  You
    must leave at once.
     BILL
        Who are you?
         THE WOMAN
     It doesn't matter.  You must go.
     BILL
   Will you come with me?
         THE WOMAN
     That's impossible.
     BILL
        Impossible?
         THE WOMAN
        Impossible.
     BILL
  Is there someplace else here we could
     go?
         THE WOMAN
  Absolutely not.  Please believe me, if
        you are discovered it will go hard with
     you.
BILL moves closer to her but she steps back.
----------------------------------------------------------------------------
       ANOTHER WOMAN
    What's the matter.  Why don't you
    dance?
BILL sees two men watching him from another corner and suspects
that this woman has been sent to put him to the test.
He smiles.
     BILL
   I would love to dance.
But just at that moment, THE WOMAN returns.
She pretends that she has just noticed him and says in a voice that
can be heard by the two men.
         THE WOMAN
     Returned at last.
        (she laughs)
       All your efforts are useless.  I know you.
Then turning to the other woman she whispers:
         THE WOMAN
       Let me have him first - just for a while.
The other woman smiles agreement, and with a light step goes to join
the two men who have been watching.
         THE WOMAN
  Don't ask any questions, and don't be
        surprised at anything.  I have tried to
   lead them astray but you can't fool
  them for much longer.  Go before it is
  too late, - and be careful that no one
    follows you.  No one must know who
     you are.  There would be no more
    peace for you.  Go!
     BILL
        [illegible]?
----------------------------------------------------------------------------
         THE WOMAN
      There is no way.
He takes her hand and draws her closer to him.
     BILL
   I must see you again.
She whispers, despairingly
         THE WOMAN
     Go.
     BILL
    Is there no way I can ever see you
    again.
         THE WOMAN
    No.  We must never meet again.  It
      could cost your life and mine.
Just at that moment, a tall man stops before them, and with a slight
bow, courteous but imperative, says:
          TALL MAN
         Will you dance with me?
THE WOMAN hesitates but the TALL MAN puts his arm around her
waist and leads her away the adjoining room.
A moment later, a voice whispers behind BILL.
        ELEGANT MAN
         Password!
BILL turns around and sees two men.
One, heavy-set, the other, slim and elegant.
        ELEGANT MAN
         Password!
     BILL
----------------------------------------------------------------------------
      Fidelio Rainbow.
        ELEGANT MAN
        That's right, sir.  That's the password
  for admittance, but may I ask what is
       the password for the house?
BILL is stuck.  He takes a deep breath..
        ELEGANT MAN
   Won't you be kind enough to tell me
        the password of the house?
This time it sounds like a threat.
BILL can't think of anything to say.  He shakes his head and shrugs.
     BILL
    Sorry.  It looks like I must have
       forgotten it.
The elegant man walks to the middle of the room and raises his hand.
Everything gradually comes to a stop.
Blindfolded, Nick stops playing when someone places a hand on his
shoulder and whispers something to him.
With all eyes on him, the two men walk back to BILL.
        ELEGANT MAN
  The password, sir!  I must demand that
        you give it.
     BILL
  Look, I'm terribly sorry but I've told
      you, I must have forgotten it.
        ELEGANT MAN
        That's unfortunate.  For here it doesn't
        matter whether you have forgotten it or
   if you never knew it.
----------------------------------------------------------------------------
The rest of the men slowly gather around BILL.
     BILL
    Well, gentlemen, I seem to owe you
      all an apology.
        ELEGANT MAN
      It is too late for apologies.
     BILL
   Well, be that as it may, you have my
       most sincere regrets for not
     remembering the second password.
        ELEGANT MAN
   I'm afraid this is not a question of
        regret but of _expiation_.
     BILL
   Well, gentlemen, you must excuse me
    now.  I am leaving.
        ELEGANT MAN
  I'm afraid that is no longer possible.
     BILL
  Gentlemen, don't you think this farce
    has gone far enough?
BILL looks for a way out but no one makes way for him.
        ELEGANT MAN
    You will kindly remove your mask.
BILL looks around at the masked faces surrounding him.
   ELEGANT MAN (sharply)
         Please remove your mask.
BILL slowly removes his mask and puts it in his pocket.
----------------------------------------------------------------------------
         THE WOMAN
        I am ready to redeem him.
There is a murmur of surprise in the room.
THE WOMAN reaches for the veil, which is wrapped around her
head, face and neck and unwinds it with a wonderful circular
movement.
It sinks to the floor, leaving her naked, her dark hair falling in great
profusion over her shoulders, breasts and hips.
        ELEGANT MAN
       You are ready to redeem him?
         THE WOMAN
         Yes, I am.
There is a low gasp from the assemblage.
        ELEGANT MAN
     You know what you're taking upon
         yourself in doing this?
         THE WOMAN
     Yes.
Another murmur from the room.
The elegant man turns back to BILL.
        ELEGANT MAN
    You are free.  Leave this house at
        once.  But first I must warn you that if
    you make any further inquiries or
    inform anyone about what you have
   seen here tonight, there will be the
  most serious consequences for yourself
   and your family.  Do you understand
    that?
BILL doesn't reply immediately.
----------------------------------------------------------------------------
     BILL
     How is this woman to redeem me?
        ELEGANT MAN
     That has nothing to do with you.
BILL shakes his head.
     BILL
    I can't let this woman pay for me.
        ELEGANT MAN
   You would be unable, in any case, to
   change her fate.  When a promise has
    been made here there is no turning
    back.
         THE WOMAN
        _Go!  You cannot save me._
As she says this, she tears off the mask, allowing BILL a momentary
glimpse of her face.
Then he is seized by irresistible arms and pushed out.
----------------------------------------------------------------------------
INT BILL'S APARTMENT - NIGHT
It is four o'clock in the morning.
BILL, now changed back into his own clothes, enters his apartment.
Everyone is asleep.
He goes into his study and locks the costume and tux in a closet.
In order not to wake ALICE, he undresses before going into the
bedroom.
BEDROOM
ALICE is asleep, lying with her arms folded under her head
Her lips are half open and painful shadows surround them.
It is a face BILL does not know.
He bends down over her, and at once her forehead becomes lined
with furrows, as though someone had touched it, and her features
seem strangely distorted.
Suddenly, still in her sleep, she laughs so shrilly that he becomes
alarmed.
    BILL (involuntarily)
    Alice.
She laughs again, as if in answer, in a strange, almost uncanny
manner.
     BILL
    Alice?
She opens her eyes, slowly and with difficulty.
She stares at him, as though she does not recognise him.
       BILL (softly)
    Alice?
----------------------------------------------------------------------------
As she wakes up, an expression‎ of fear, even of terror comes into her
eyes.
Half awake, and seemingly in despair, she raises her arms.
     BILL
     What's the matter?
ALICE stares at him, still frightened.
     BILL
      Alice, it's me.
ALICE breathes deeply, tries to smile, drops her arms on the blanket.
       ALICE (in a far away voice)
     Is it morning yet?
     BILL
       It will be very soon.  It's a little past
   four o'clock.  I've just come home.
She nods but barely seems to have heard or understood him.
She stares into space, as though she can see through him.
He bends over and touches her forehead.
She shudders slightly.
     BILL
     What's the matter?
She shakes her head slowly and he passes his hand gently over her
hair.
     BILL
     Alice, you laughed so strangely.
     What's the matter?
     ALICE (distantly)
----------------------------------------------------------------------------
    I've been dreaming.
       BILL (gently)
       What have you been dreaming?
    ALICE
        Oh, so much, I can't quite
         remember.
       BILL (gently)
    Perhaps if you try.
    ALICE
        It was all so confused - and I'm tired.
         You must be tired, too.
     BILL
  Not really.  I don't think I'll go to
  bed at all.  You know, sometimes when
        I come home so late it's better to just
    go straight to work.
ALICE nods without interest.
     BILL
     But why don't you tell me about
        your dream?
He smiles a little artificially.
    ALICE
     You really ought to lie down and
    take a little rest.
BILL hesitates a moment, then he stretches himself beside her, though
he is careful not to touch her.
They lie there silently with open eyes, and they feel both their
closeness and the distance that separates them.
----------------------------------------------------------------------------
After a while he raises his head on his arm and looks at her for a long
time, as though he can see much more than just the outlines of her
face.
     BILL
        Tell me about your dream.
Bill says this, once more, as if she had been waiting for his invitation.
She holds out her hand to him, he takes it, and as he had often done
before, he holds it and plays with her slender fingers, more absent-
mindedly than tenderly.
ALICE sighs and begins to speak uncertainly.
    ALICE
        I think it started in my parents house.
        They weren't there.  I was alone.  That
   surprised me because our wedding was
     the next day and I didn't have a
       wedding dress.
   Then you and I were floating above a
       ancient city.  It was a kind of crazy mix
     of ancient architectural styles.
   Oriental, Egyptian, Greek and Roman
   architecture.  And it was completely
  deserted.  The streets were empty - no
   people, no animals.  And I remember
   thinking, so this is our honeymoon.
   Then it was night and the sky was so
  full of stars, and so blue and wide it
        seemed like it was painted.  You said it
  was the ceiling of our bridal chamber
     and you took me in your arms and
    made love to me and said you would
      love me forever.
     BILL
        I hope you loved me, too.
----------------------------------------------------------------------------
BILL says this with an invisible, malicious smile.
    ALICE
      Even more than you did me.  We
     made love and it was wonderful,
        though there was a sadness to it, and a
   presentment of sorrow.
   Suddenly it was morning and we were
      somewhere in the strange city.
   We were still completely alone.  But
  something terrible had happened - our

        clothes were gone.  I was terrified as I
  had never been before, and felt such a
  burning shame that it almost consumed
     me.
   At the same time I was furious with
        you because I thought it was your fault.
        And this sensation of terror, shame and
      fury was more intense than any
     emotion I had ever felt before.
  You felt guilty and rushed away naked,
      to go and get clothes for us.
     As soon as you were gone I felt
       wonderful.  I neither felt sorry for you,
  or worried about you.  It was heavenly
        to be alone.
        I was lying in a lush garden, stretched
        out naked in the sunlight, and I was far
    more beautiful than I ever was in
          reality.
    And while I lay there, a young man
   walked out of the woods.  He was the
   young Naval officer I told you about
      from the hotel.
----------------------------------------------------------------------------
  He looked different but I knew it was
   him.  He stopped in front of me and
        looked at me searchingly.
  I laughed seductively and wantonly, as
        I have never laughed in my life, and he
  held out his arms to me and sank down
         beside me.
ALICE falls silent.  BILLS throat is parched.  In the darkness of the room
he can see she has concealed her face in her hands.
     BILL
   A strange dream, but that's not the
        end, is it?
ALICE doesn't reply.
     BILL
     Was that the end?
    ALICE
     No.
     BILL
  Then why don't you tell me the rest of
     it?
    ALICE
        It's not easy.  Some things are not easy
          to say.
     BILL
   It's was only a dream.
ALICE sighs and continues, hesitantly.
    ALICE
   He looked at me...and slowly took me
    in his arms...and we began making
    love.
----------------------------------------------------------------------------
     ALICE (continuing)
    I seemed to live through countless
   days and nights - there was neither
     time nor space.  And the more we
    made love the more our hunger for
   each other increased.
       And just as that earlier feeling of terror
   and shame went beyond anything I had
  ever felt, so nothing can be compared
    with the freedom and happiness and
     the..._desire_ that I now felt.
   Then I realized there other couples
    around us - hundreds of them, and
        they too were making love.
   Then I was making love to the other
    men, and as soon as my longing was
  satisfied with one, I wanted another.
     I can't say how many I was with.
  And yet I didn't for one moment forget
    you.  And all this time, you were
  buying the most beautiful clothes and
     jewellery you could find for me.
    Then you were being followed by a
    crowd of people who were shouting
    threats.  Then you were seized by
  soldiers, and there were also priests
    among them.  Somebody - a gigantic
        person, tied your hands.  You were still
    naked.
  I knew you were going to be crucified
        but I felt no sympathy for you.  I still
    blamed you for everything that had
         happened.
----------------------------------------------------------------------------
  I felt that I was far removed from you
   but I knew you could see me naked in
  the arms of countless men in this sea
     of nakedness which foamed around
     me.
    The soldiers began to whip you and
   blood flowed down you in streams.  I
  saw it without feeling any surprise or
    pity.
   Then you smiled at me as if to show
   you had fulfilled my wish and bought
  me everything I wanted.  But I thought
    your actions were ridiculous and I
        wanted to make fun of you - to laugh in
         your face.
   They began to nail you to the cross
  and I hoped that you would be able to
  hear my laughter.  And so I laughed as
        shrill and loud as I could...  That must
    have been the laugh that you heard
      when I woke up.
Neither of them moves or says anything.  Any remark at this moment
would seem futile.
BILL realizes he is still holding ALICE'S hand.
She remains silent and motionless.
Ready as he is to hate her, his feeling of tenderness for these slender,
cool fingers is unchanged except that it is more acute.
Involuntarily, he gently presses his lips on the familiar hand before
he lets it go.
ALICE'S eyes are closed and there is the trace of a happy, innocent
smile playing about her mouth.
He feels an incomprehensible desire to make love to her.
----------------------------------------------------------------------------
He rolls over and puts his arm around her but then checks himself.
He stretches himself out beside ALICE, who now seems asleep.
As he closes his eyes, he thinks:
     V.O.
    Whore of her dreams.
There is now a sword between us.
We are lying here like mortal enemies.
INT BILL'S APARTMENT - BEDROOM - DAWN
BILL rises at 6 o'clock and dresses while ALICE is still asleep.
He has only had a couple of hours sleep and looks awful.
HELENA'S BEDROOM
On his way out he stops off in his daughter's room.  She is asleep in
her bed.  He kisses her on the forehead.
STUDY
He collects his costume and leaves.
EXT CAFE SONATA - DAY
Taxi pulls up and BILL gets out.
He takes a cab to the Cafe Sonata where he met Nick Nightingale.
It is closed but he peers in through the window and sees the chairs
are stacked on the tables and the place is being cleaned.
He taps on the glass.
After a couple of "we're closed" wave-offs from the manageress
working at a table in the back, the door is finally opened by one of
the cleaners.
     BILL
----------------------------------------------------------------------------
        Good morning.  I'd like to have a quick
     word with the manager, if I may.
       CLEANING LADY
         Someone for you, Vicki.
         MANAGERESS
    Okay.
Bill walks to the table she is seated at.
     BILL
       Good morning.
         MANAGERESS
   What can I do for you?
     BILL
        It's very important that I get in touch
   with Nick Nightingale.
         MANAGERESS
    He'll be in tonight.
     BILL
  It's something I need to see him about
       this morning.
         MANAGERESS
       It's not our policy to give out employees
         addresses.
     BILL
       Of course.  I completely understand.  But
      I'm a doctor...
       (shows her his medical card)
        ...and this is a personal medical matter
    I know he'll want to know about as
     soon as possible.
----------------------------------------------------------------------------
EXT HOTEL JASON - DAY
BILL's taxi pulls up.  It's a small, mid-town hotel.
INT - LOBBY
There is no one in the lobby except for the DESK CLERK, a man in
his early thirties, reading a paperback.
     BILL
       Good morning.
         DESK CLERK
    Good morning, sir.  How can I help
     you?
     BILL
   Can you ring Mr. Nightingale's room
      for me, please?
The DESK CLERK gives him a strange look.
       BILL (smiles)
     Nick Nightingale?
         DESK CLERK
  I'm sorry, sir, but he's checked out.
The DESK CLERK has a slight, gay lisp.
     BILL
      He checked out?
         DESK CLERK
     Yes.
     BILL
    Did he leave a forwarding address?
         DESK CLERK
    No, I'm afraid not.
     BILL
   When did he check out?
         DESK CLERK
----------------------------------------------------------------------------
     About five o'clock this morning.
     BILL
   Five o'clock.  That's a pretty early
    check out, isn't it?
         DESK CLERK
  It is a little bit on the early side.
     BILL
     Did you happen to notice whether
     there was there anything strange
         about him when he left?
         DESK CLERK
  You aren't a detective, by any chance?
     BILL
  No, I'm a doctor.  Nick and I are old
          friends.
         DESK CLERK
     Well, since you ask, there _was_
   something very strange about the way
   Mr. Nightingale left.
     BILL
       What was that?
         DESK CLERK

     Well, he came in at about four-
   thirty a.m.  There were two men with
     him - _big-guys_.
The DESK CLERK bends his elbows and clenches his fists to
make a 'big-guy' gesture.
         DESK CLERK
   And I noticed he had a bruise on his
        cheek I'm sure he didn't have the night
          before.
        The two men with him were
----------------------------------------------------------------------------
  well-dressed and well-spoken, but they
  weren't the kind of people you'd want
        to fool around with, if you know what I
    mean.
     Mr. Nightingale said he would be
   checking out and went up to his room
    with one of the men.
  The other one stayed in the lobby and
        settled his bill, which was a couple of
       weeks overdue.
    When they came down, I thought Mr.
  Nightingale looked...well - _scared_.
       Very scared, if you ask me.
   He tried to pass me an envelope but
    they saw him and took it away and
    said any mail or messages for him
        would be collected by a person properly
   authorised to do so.  When they took
   him outside, I could see there was a
   car waiting for them.
     BILL
   No idea where they might have gone?
         DESK CLERK
        None at all.
EXT COSTUME SHOP - DAY
BILL enters.
INT COSTUME SHOP - DAY
    GIBSON
----------------------------------------------------------------------------
         Ah-hhh, the good doctor.
     BILL
      Good afternoon.
    
    GIBSON
       Did you enjoy your evening?
     BILL
     Yes, it was fine.
BILL hands him the clothes.  Gibson carefully takes the them out of
the bag and lays them out on the counter to check them.
    GIBSON
    I think you've forgotten the mask.
     BILL
    Oh - isn't it there?
    GIBSON
        It's not here.  Maybe you left it at the
          partly.
     BILL
       I don't know.  I must have lost it.  Just
    put it on the bill.
    GIBSON
        Okay and if it turns up just bring it in
       and I'll give you a refund?
     BILL
    Fine.
BILL watches as GIBSON writes up the bill.
     BILL
        I wonder if this might be a good time to
      have a word or two about your
         daughter?
The question a peculiar expression‎ about Gibson's nostrils.
----------------------------------------------------------------------------
    GIBSON
     A word or two about my daughter?
BILL speaks with outstretched fingers resting on the desk.
     BILL
      Well, it's just that last night I think you
  said that your daughter was not quite
   normal, mentally.  The situation in
  which we found her certainly suggests
  something like that.  And since I took
       part in it, or was at least a spectator, I
   feel I should recommend that you to
         get some medical advice.
GIBSON smiles at BILL, insolently.
    GIBSON
  And I suppose you yourself would like
     to take charge of the treatment?
At this moment, a door which leads to one of the inner rooms opens,
and a young man with a top-coat over his evening clothes steps out.
BILL recognises him as one of the KIMONO men from the night
before.
He also catches a glimpse of the YOUNG GIRL, in bra and panties
getting dressed, behind him before the door closes.
The KIMONO MAN
seems taken aback when he sees BILL, but he regains his composure
at once.
He lights a cigarette with a match from Gibson's counter, waves
goodbye and leaves the shop.
     BILL
    So that's how it is.
----------------------------------------------------------------------------
     GIBSON (with perfect equanimity)
     What did you say?
     BILL
  Last night you were going to call the
          police.
    GIBSON
    We've come to another arrangement.
Gibson slides the credit-card slip across the desk.
BILL looks it over.
    GIBSON
        Okay.  It's a hundred and fifty for the
    basic rental.  Two hundred for the
   inconvenience.  Twenty five for the
    mask.  And I've credited the three
         hundred deposit.  Okay?
BILL nods.
    GIBSON
    And if the doctor should ever want
     anything again...
          (smiles)
    ...it needn't be a monk's costume.
EXT BILL'S SURGERY - DAY
INT BILL'S SURGERY - DAY
_Possible scene_.
BILL'S colleague, MAX
In addition to whatever else they may talk about, BILL says he feels a
bit under the weather and asks MAX to take his appointments for the
afternoon.
----------------------------------------------------------------------------
EXT BILL'S SURGERY - DAY
BILL hails a taxi and makes a another deal to go to the house in Long
Island.
INT CAB - DAY
BILLS thoughts.
     V.O.
       To be written
EXT VARIOUS POV'S DAY
59th street Bridge.
L.I. Express way.
EXT LONG ISLAND MANSION - DAY
When the cab arrives there, nothing suspicious is in sight, no cars or
pedestrians.
It stops a little past the house and BILL get out and walks to the
gates.
The big gates are locked and there is no one in sight.
He hears the faint whine of the zoom lens motor on one of the
surveillance cameras.
He looks up anxiously but is determined to carry out his inquiry.
He rings the bell mounted on one of the gate pillars.
He hears the motor on another surveillance camera, as it pans on to
him.
He waits.
A few moments later, a car slowly approaches down the road from
the house and stops at the gate.
An elderly servant gets out and walks slowly to the gate.
----------------------------------------------------------------------------
He holds a letter and without a word pushes it through the iron bars
to BILL, whose heart is beating wildly.
     BILL
          For me?
The servant nods, walks back to the car and drives back up the road.
BILL looks at the envelope and sees: 'Dr. William Harford' written on
it in a neat, dignified handwriting.
_How did they know his name_?
He opens the envelope and unfolds a sheet of writing paper.
  Give up your inquiries which are completely useless, and consider
  these words a second warning.  We hope, for your own good, that
  this will be sufficient.
BILL stands there looking at the note.
EXT CAB - DAY
Driving back to New York
INT CAB - DAY
BILL looks up from the letter, thoughtfully.
     V.O.
    Second warning -?  Why the second
       warning - and not the last?.
    The tone of the note was strangely
   reserved and seemed to show that the
   people who sent it by no means felt
          secure.
        The note disappointed him, though, in a
    way, it reassured him, just why he
       couldn't say.
   But, at least, he now felt the woman
  had come to no real harm, and that it
----------------------------------------------------------------------------
        would be possible to find her if he went
    about it cautiously and cleverly.
INT BILL'S APARTMENT - NIGHT
BILL is eating.  ALICE and HELENA with him, keeping him company at
the table..
Some simple, natural dialog will be worked out for the action, over
which the V.O. will be heard.
     V.O.
    He had gone home, feeling a little
        tired but surprisingly cheerful, with a
     strange sense of security, which
        somehow seemed deceptive.
  He was in an excited and cheerful mood
        and he felt unusually fresh and clear in
  spite of spending the last two nights
       without sleep
        At the same time, he felt that all this
       order, this normality, all the security of
        his existence, was nothing but deception
       and delusion.
POV of ALICE smiling.
        And, he thought, there she sits with an
    angelic look, like a good wife and
   mother - the whore of her dreams who
      made love to a hundred men the
   preceding night and laughed when he
  was crucified, and to his surprise he
      didn't hate her.
    ALICE
      Do you have to go out tonight?
     BILL
----------------------------------------------------------------------------
       I'm afraid so.  I've got some patients to
    see in the hospital.
EXT MARION'S APARTMENT - NIGHT
BILL gets out of a cab..
INT MARION'S LOBBY - NIGHT
He meets, her fiance, Carl, on his way out.  Carl holds out his hand
cordially and they exchange greetings.
     BILL
       How is Marion?
     CARL
        Only so-so.
     BILL
   I was hoping she would have begun to
    come to terms with things by now.
Carl shakes his head..
     CARL
   She's taken it very hard.  And when
       came for the body...it was just terrible.
        BILL (nods)
   I suppose her relatives are with her
     now?
     CARL
        No, they won't be coming until tonight.
     She'll be very glad to have some
  company.  I'm taking her to stay with
    my mother in Connecticut tomorrow.
        BILL (nods)
   That's probably just what she needs.
       CARL (putting out his hand)
    Well, good to see you again.  It's
   unbelievable how much there is to do
   to arrange a funeral.
----------------------------------------------------------------------------
INT MARION'S APARTMENT - NIGHT
Marion opens the door.
She is dressed in black.  Her face becomes slightly flushed.
         MARION (smiling wearily)
      You made me wait a long time.
     BILL
      I'm sorry, Marion.  This was a
      particularly busy day for me.
In the living room, Marion smiles and offers him a seat on the couch,
sitting down next to him.
BILL takes her hand in his and looks at her warmly.
She makes little attempt to hide her desperate love.
     BILL
        I bumped into Carl downstairs.  He said
  you're going to Connecticut tomorrow.
She gazes into his eyes, mournfully.
    MARION
   I won't go if you don't want me to.
BILL gives her a long look, leans forward and kisses her on the lips.
They embrace and fall back on the couch.
    MARION
       Oh, Bill, I love you.  I love you so much.
He kisses her and starts to fondle her breasts and other regions.
     MARION (whimpers)
    Oh, Bill, I love you.  I love you.
     BILL
----------------------------------------------------------------------------
          Marion.
BILL just pronounces her name softly and continues to undo her
clothes.
Then she begins to weep.
BILL tries to ignore this but she doesn't stop.
      BILL (whispers)
       What's wrong?
At first, MARION doesn't reply.
     BILL
       What's wrong?
    MARION (smiling through her tears)
          Nothing.
       BILL (coldly)
          Nothing.
BILL sits up.
     BILL
       Martion, what is the matter?
    MARION
        Oh, Bill, it's just that it all seems so
         hopeless.
BILL frowns.
    MARION
      What's going to happen to us?
This is definitely not what BILL had in mind and he looks away.
    MARION
  Are you angry with me for saying that?
----------------------------------------------------------------------------
     BILL
     No, of course not.
    MARION
       You are angry.
     BILL
       I'm not angry.
She rests her chin on his shoulder.
    MARION
       Oh, Bill...  Say something nice to me.  I
      am so confused.
BILL doesn't move.
     BILL
        Marion, I guess this _is_ crazy.  I'm a
  happily married man with a child, and
         you are engaged to Carl.
Marion's shoulders droop.
    
     BILL
       I'm sure the best thing for your to do is
   to go Connecticut tomorrow with Carl
     as you had planned.  A complete
   change of environment and the fresh
     air will do you a world of good.
Marion sits motionless and tears begin to stream down her face.
BILL sits in silence for a few moments, feeling impatience rather than
sympathy.
Then he looks at his watch and gets to his feet.
     BILL
        Marion, my dear, much as I regret it...
He would gladly say something kinder to her, but finds it difficult to
do so.
----------------------------------------------------------------------------
     BILL
  If we don't see each other before the
    wedding, let me offer you my most
     sincere congratulations and best
          wishes.
She doesn't move, as though she understands neither his
congratulations nor his farewell.
He holds out his hand but she refuses it, and he says almost
reproachfully:
     BILL
  I hope you'll keep in touch and let me
     know how you are.
She sits there as if turned to stone.
     BILL
      Goodbye Marion.
He leaves the room, stopping for a second in the doorway, as though
giving her a last opportunity to call him back.
But she turns her head away.
EXT STREET - ON WAY TO DOMINO - NIGHT
BILL walks.
INT/EXT BAKERY - BILL BUYS A CAKE - NIGHT
Seen through the window.
EXT. DOMINO STREET - NIGHT
Bill walks down the street where he was picked up the night before
by the young prostitute, Domino.
He carries a small cake-box tied with a blue ribbon.
He finds the address and rings the bell.  The buzzer sounds and he
goes in.
INT DOMINO STAIRCASE CORRIDOR - NIGHT
An arty looking woman in her forties opens the door on the chain.
----------------------------------------------------------------------------
         ARTY WOMAN
       Hi.  What can I do for you?
     BILL
  Good evening.  I'm looking for Domino
         ARTY WOMAN
          Domino?
     BILL
      Yes.  Is she in by any chance?
An attractive girl in her twenties, wet hair and wrapped in a towel
robe, pokes her head out.
       SALLY (smiles)
    You're looking for Domino?  You'll
  have to excuse the way I look.  I just
   got out of the bath..
     BILL
      Yes.  Is she in?
SALLY takes the door off the chain.
    SALLY
   Come in for a minute.
INT DOMINO APARTMENT - NIGHT
Bill enters the apartment.
    SALLY
     Hi.  I'm Sally.  This is Pietra.
Ad-libs of hellos.
Bill looks around - no Domino.
    SALLY
   Well, as you can see, Domino's out.
     BILL
   Okay.  Do you expect her back soon?
----------------------------------------------------------------------------
    SALLY
     I don't think so.
         ARTY WOMAN
      Maybe tomorrow.
     BILL
       Okay.  Well, I'll just leave this cake for
       her, if I may.
        ARTY WOMAN (akes the cake)
       Okay.  Great.  We'll see that she gets it.
     BILL
    Is she out of town?
         ARTY WOMAN
        Uh--no, actually, she's in the hospital.
Sally gives her a look.
     BILL
        Oh, I'm sorry to hear that.  I hope it's
      nothing serious.
         ARTY WOMAN
        We're not really sure.  It was for some
       kind of tests.
Sally gives her another look and moves close to BILL, her towel robe
parting a little to show her naked underneath.
    SALLY
        Listen, I'm not sure what's was on your
    mind but if it was more than cake,
      there's nothing wrong with me.
BILL hesitates.
     BILL
  Look, I'd love to but some other time.
  Okay?  I was just passing by with the
    cake.
----------------------------------------------------------------------------
    SALLY
         You sure?
        BILL (nods)
   I've really got to go.
EXT DOMINO STREET - BILL WALKING - NIGHT
     V.O.
   Was this another and final sign that
    everything he put his hand to was
   bound to turn out a failure for him?
  But why should it be.  Wasn't the fact
       that he had just escaped a possibly fatal
   infection from the girl a good sign?
   Everything now seemed so unreal; his
       home, his wife, his child, his profession,
     and even himself.
        Bill felt choked with tears.  He had not
  slept for two days and his nerves were
   gradually giving way.
   He intentionally struck up a quicker
    pace than he was in the mood for.
EXT STREET - BILL FOLLOWED - NIGHT
Suddenly, BILL feels he is being followed.
He glances back and sees a man about half a block behind him
walking at the same rapid pace.
As soon as the man notices BILL has seen him, he stops and looks in
a shop window.
----------------------------------------------------------------------------
SHORT SEQUENCE OF THE MAN FOLLOWING BILL - SEVERAL
STREETS
STREET - NEWS-STAND NEAR COFFEE SHOP
BILL stops at the news-stand and buys a paper.
He looks back again.
The man is still there, walking slowly towards him.
BILL goes into a nearby Coffee Bar.
INT COFFEE BAR - NIGHT
Bill sits down at a table against the wall, keeping an eye on the door.
A waitress comes over with a glass of ice water and a plastic menu.
          WAITRESS
    Hi.  Would you like to order now?
     BILL
    Sure.
BILL manages a tired smile and looks at the menu.
     BILL
        I'll have...a cup of coffee and...maybe
      a cheese Danish.
          WAITRESS
        Okay, great.
She leaves, taking away the menu.
BILL opens his eyes as wide as possible, arches his neck and drinks
some water.  He looks terrible.
----------------------------------------------------------------------------
He idly picks up the newspaper he just bought and starts to look
through it.
A story catches his eye.
    EX-BEAUTY QUEEN IN HOTEL DRUGS OVERDOSE
    Kelly Curran, 30, a former Miss Wisconsin, was
  taken to New York Hospital this morning in critical
  condition after taking a drugs overdose.
    She was found unconscious when police broke into
  her room at the San Carlos hotel after she failed to
  respond to efforts to contact her.
    The night manager told police she had returned to
  the hotel at four o'clock in the morning accompanied
  by two unidentified men.
     V.O.
    Four o'clock in the morning!  The
       same time he returned home!
And accompanied by _two men_!
     Wasn't it two men who took Nick
        Nightingale from his hotel only an hour
    later?
    There was no compelling reason to
        believe that Kelly Curran and a certain
    other woman were one and the same.
   And yet - his heart throbbed and his
       hand trembled.
BILL looks for the waitress to get his check.
At the same time, he notices the man who had been following him
sitting at another table.
The man slowly raises a newspaper, partly covering his face.
BILL pays his check.
----------------------------------------------------------------------------
At the door, he turns to look for the suspicious character at the table
but he is already gone.
EXT HOSPITAL - NIGHT
Establishing shot
INT HOSPITAL
BILL the signs to the Emergency Room Waiting Area.
He walks up a young black woman at the information desk.
     BILL
  Good evening, I'm Doctor Harford.  I'd
   like to see a patient of mine who I
    believe was admitted this morning.
He shows her his identity card.
    CLERK
   Okay, thanks, Doctor.  What did you
     say the name was?
     BILL
   Curran, Kelly Curran.
    CLERK
     C..u..r..r..a..n?
     BILL
     Yes.
The woman keyboards the letters into her computer.
Something comes up on her screen that makes her stop.
    CLERK
----------------------------------------------------------------------------
    Kelly Curran, right?
     BILL
       That's right.
    CLERK
  I'm sorry, doctor, but I'm afraid she
    died this afternoon.
     BILL
    What?
    CLERK
      Yes, at three-forty five, p.m.
BILL stares at her.
He feels strangely relieved.
     BILL
   Is the body in the hospital morgue?
INT HOSPITAL CORRIDOR ON WAY TO MORGUE
BILL follows a black male orderly down a hospital corridor.
INT MORGUE
The morgue is a brightly lit, white-tiled room with six autopsy tables
and fifty numbered crypts.
There is no one else working in the room.
The black orderly checks a slip of paper and goes to that crypt.
He opens the door, slides out the pallet and pulls down the sheet
covering the body.
BILL stares down at the naked body of a young woman.
----------------------------------------------------------------------------
The orderly gives BILL an inquiring look.  BILL nods and the orderly
crosses the room and lights a cigarette.
BILL lifts the woman's head a little.
Her face is white.  Her half-closed eyes stare at him.  The lower jaw
hangs down limply, the narrow upper lip is drawn up, revealing bluish
gums and a beautiful set of white teeth.
He gently lays her head back on the pallet.
His eyes follow the lines of her body.
He touches her forehead and her cheeks, her shoulders and her arms,
doing so as if compelled and directed to by an invisible power.
He twines his fingers about those of the corpse, and rigid as they are,
they seem to make an effort to move, to seize his hand.
He bends over her, as if magically attracted.
     V.O.
    Was this the woman he was seeking?
  Were these the eyes that had shone at
     him the day before with so much
          passion?
  Was this the alluring body for which,
     only yesterday, he had felt such
     agonising desire?
  He bent lower, as if he could extract
    an answer from the rigid features.
   But he had only seen her face for an
   instant, and he knew that if it were
       _her_ face, and _her_ eyes, he would not,
        could not - and in reality did not want
          to know.
  He also realized that from the time he
----------------------------------------------------------------------------
  read the account in the newspaper, he
      had imagined her as having the
   features of his wife.
   And he shuddered to realise that his
  wife had constantly been in his mind's
       eye as the woman he had been
          seeking.
He frees his fingers from those of the corpse, and taking her thin
wrists, places the ice cold arms alongside the body very carefully.
He looks at the orderly.
     BILL
      Okay - thanks.  I'm finished.
Bill watches the orderly slide the pallet back into the crypt and close
the door.
          ORDERLY
   Want to wash up, Doc?
He gestures to a row of sinks.
     BILL
          Thanks.
BILL goes over and carefully washes his hands with disinfectant.
His cellular phone goes off.
     BILL
  Hello...  Yes...  That's perfectly all
   right...  Okay...  Oh, I guess about
   twenty minutes...  Okay...  Goodbye.
EXT ZIEGLER MANSION - NIGHT
BILL's taxi pulls up.
There are only a few lights on inside, giving the house a more
sombre appearance from the night of the Christmas party.
----------------------------------------------------------------------------
The butler opens the door and takes BILL's coat.
Ziegler's assistant, HARRIS, appears.
    HARRIS
        Good evening, Dr. Harford.
     BILL
       Good evening.
    HARRIS
  Thank you for coming over so quickly.
     BILL
      What seems to be the problem?
    HARRIS
       I'm afraid I don't know.  Will you follow
        me, please?
BILL follows HARRIS.  Their footsteps sound loud in the quiet house.
They stop in front of the library door and HARRIS knocks.
       ZIEGLER (o.s.)
          Come in.
HARRIS opens the door for BILL and closes it behind him, remaining
outside.
ZIEGLER gets up from an armchair and shakes hands.
          ZIEGLER
       Hi, Bill.  Sorry to drag you over here at
    this time of night.
     BILL
        No problem.
          ZIEGLER
   What are you drinking?
----------------------------------------------------------------------------
     BILL
    Well, I suppose a brandy would be
    nice.
        ZIEGLER (going to the bar)
  It was lovely to see you and Alice the
        other night.
     BILL
  It was a wonderful party and we had a
        great time.
          ZIEGLER
        It's a shame you had to leave so early.
     BILL
   We hated to go but I had a couple of
    early appointments.
ZIEGLER hands him his brandy and they touch glasses.
     BOTH
          Cheers.
     BILL
    Nice..
          ZIEGLER
      Napoleon, 1935.
BILL looks suitably impressed.
     BILL
    So - what seems to be the problem?
        Someone under the weather?
ZIEGLER looks into his brandy glass.
          ZIEGLER
   Can I be frank, Bill?
     BILL
----------------------------------------------------------------------------
         Of course.
          ZIEGLER
        I'm afraid what I've got to say is a bit
   awkward to talk about.
     BILL
      I'm your doctor.
ZIEGLER rotates his brandy.
          ZIEGLER
      This isn't a medical problem.
     BILL
     Oh.
          ZIEGLER
     No.
BILL looks at him, quizzically.
ZIEGLER nods and returns a tense smile.
          ZIEGLER
        I'm not exactly sure how to begin this.
  But maybe the best thing is to just to
        put the cards on the table and say that
    I happen to know quite a lot about
   what you've been doing for the past
     twenty-four hours.
He lets this sink in
     BILL
   Sorry, Victor but may I ask what the
      hell are you're talking about?
     ZIEGLER (quietly)
        Bill, please believe me, I know this is
     awkward - perhaps as awkward for
       me as it is for you.  Okay?
Bill says nothing.
----------------------------------------------------------------------------
          ZIEGLER
  Okay?...  Now, the reason I wanted to
  talk to you is that I think you may be
   harbouring one or two
    misapprehensions about last night,
     which I would like to clear up.
Silence
          ZIEGLER
       Okay.  I think I should also tell you that
       I was there.  At the house.
ZIEGLER says this in a very matter-of-fact way.
          ZIEGLER
     I saw everything that happened.
A long pause.
     BILL
    Well, what an amazing coincidence.
          ZIEGLER
  The words practically right out of my
     mouth.  An amazing coincidence.
        That's what I first thought.  But then I
      remembered seeing you and your
   musician friend, Nick, renewing old
       acquaintances at the party, and it didn't
  take me very long to realize that the
  rotten little prick was the reason you
        were there.
Bill gets to his feet.  There's no point in denying anything and he has
to protect Nick.
     BILL
       Look, Victor, this was all my fault.  Nick
    did his best to talk me out of it.
----------------------------------------------------------------------------
          ZIEGLER
        Yes, I know.  He told us.  But the fact
        remains that the little cocksucker told
        you in the first place and gave you the
        password and the address.
     BILL
        It was all down to me pressurising him.
          ZIEGLER
     Maybe so, but I recommended him
    to these people and he betrayed my
    trust.
BILL hesitates.
     BILL
    I went to his hotel this morning.
          ZIEGLER
          I know.
     BILL
        How's that?
          ZIEGLER
    That was my man following you.  He
         told me you spotted him.
BILL shakes his head incredulously.
     BILL
      Why did you have me followed?
          ZIEGLER
     For your own good?  To avoid any
        foolishness?
     BILL
  The hotel clerk said two men took him
    away at five-thirty this morning.
----------------------------------------------------------------------------
          ZIEGLER
        That's right.  They gave him an airline
        ticket and took him to the airport.  By
  now he's probably back with his family
        in Seattle.
     BILL
  The clerk said he had a bruise on his
    cheek.
          ZIEGLER
        Is that all?
     BILL
        Is he okay?
          ZIEGLER
  He's a lot better than he deserves to
     be.
     BILL
       Nothing else?
          ZIEGLER
   He's okay.  Phone him in Seattle if
   you're concerned.  I'll give you his
       phone number.
ZIEGLER pours more brandy.
     BILL
     Nick never said anything about a
   second password.  Was that what gave
          me away?
          ZIEGLER
    There was no second password.  You
    gave yourself away as soon as you
  arrived.  Invited guests come in limos
   not taxis, and they don't get out of
  their cars half a block from the gate.
----------------------------------------------------------------------------
  After the servants took your coat, one
     of our people went through your
  pockets and found the receipt for the
    rented tux and cassock made out to
   Doctor W. Harford, a name obviously
   not on the guest list.
ZIEGLER sips some brandy.
          ZIEGLER
   Bill, these were not just _ordinary_
        people.  I don't think you have any idea
  how fortunate you are to have got out
        of that situation as easily as you did.
    Someday you can thank me for that.
     BILL
   What about the woman?
          ZIEGLER
        Not at all what you think.
     BILL
       Why did she try to warn me?
ZIEGLER doesn't answer immediately.
     BILL
     Why was she willing to sacrifice
      herself for me?
          ZIEGLER
       Bill, are you so sure she was the kind of
      woman for whom the things you
   imagined were actually a sacrifice?
  If she attended these affairs and knew
   the rules so well, do you suppose it
  would have made any difference to her
    whether she belonged to one of the
         men, or to all of them?
----------------------------------------------------------------------------
    Bill, she was just a
   thousand-a-night- hooker - no more,
          no less.
BILL stares at him blankly.
          ZIEGLER
       Bill, tell me, did you never consider the
  possibility that the whole thing might
      have been nothing more than a
  charade?...  A charade played out for
    the benefit of someone who didn't
    belong - to frighten them and make
   sure they keep quiet?
BILL takes a deep breath and tries to absorb what he has just been
told
Then takes the newspaper from his pocket with the story about the
drugs overdose.
     BILL
      What about this?
          ZIEGLER
       What about it?
     BILL
  Is it her?  I went to the morgue but I
       couldn't tell.
          ZIEGLER
         It is her.
       BILL (quietly)
   Is this what she meant when she aid
    she would redeem me?
          ZIEGLER
   No - it wasn't  But I was afraid you
   might think it was, and that's why I
     wanted to see you.
----------------------------------------------------------------------------
     BILL
   You say it was a charade but isn't a
  but strange, a woman offers herself as
  a sacrifice and the next morning she's
    dead?
          ZIEGLER
  That _was_ a coincidence.  An amazing
    coincidence, perhaps but a genuine
        coincidence, nonetheless.
    
     Bill, please believe me, nothing
   happened to her that hadn't happened
       before.  She got a lot of attention, that
   was certainly true, but nothing she
     didn't want.  And later, when my
        people left her at the hotel, they said
     everything was absolutely okay.
   What then happened in her room, she
   did to herself, as she had done many
        times before.  But, sadly, this would be
       the last time.
    
    She OD'd on crack, like the papers
   said.  No chance for foul play.  Her
  door was locked from the _inside_ and
     the police had to break it down.
   No, I'm afraid for her it was always
        going to be just a matter of time - you
  said as much yourself when she passed
    out in my bedroom at the Christmas
    party.
     BILL
   My God, was that her?
ZIEGLER nods, yes.
Several moments of strained silence go by.
----------------------------------------------------------------------------
Then ZIEGLER stands up with a comfortable end-of-conversation-sigh.
          ZIEGLER
  So, Bill, I hope you understand why I
  thought it was important to tidy this
        up.  But now I think all the dishes are
   washed and put away.  Nobody killed
   anybody.  Someone died.  That's sad.
      But life goes on.  It always does.  Until it
      doesn't.  Okay?
INT BILL'S APARTMENT - NIGHT
Bill quietly enters and goes to his study to undress, as he did the night
before.
He enters the bedroom as quietly as possible.
He hears ALICE breathing softly and regularly and sees the outline of
her head on the pillow.
Unexpectedly, his heart is filled with a feeling of tenderness and even
of security.
Then he notices something dark quite near ALICE'S face.
It has definite outlines like the shadowy features of a human face,
and it is lying on his pillow.
For a moment his heart stops beating, but an instant later he sees
what it is, and stretching out his hand, picks up the MASK he had
worn the night before.
     V.O.
  He thought he must have dropped it in
      the morning when he packed the
   costume away, and Alice had found it
        and placed it on the pillow beside her,
      as though it signified _his_ face, the face
      of a husband who had become an
       enigma to her.
All at once he reaches the end of his strength.
Clutching the mask, he utters a loud and painful
----------------------------------------------------------------------------
sob - quite unexpectedly - and sinks down beside the bed, buries his
head in the pillows, and cries.
A minute later he feels a soft hand caressing his hair.
He looks into ALICE'S worried eyes.
     BILL
       I will tell you everything.
ALICE raises her hand, as if to stop him, but he takes it and holds it.
     BILL
     No, I will tell you everything.
BEDROOM - IT IS NOW DAWN
The grey light creeps through the curtains.
ALICE sits expression‎lessly at a small table near the window, finishing
a cigarette.  A full ashtray next to her.
BILL sits miserably on the edge of the bed staring at the carpet..
He sighs and looks at Alice.
She smiles at him sadly and reaches out her hand.
He gets up slowly and goes over to her.
     BILL
       What are we going to do now?
She gazes into his eyes.
    ALICE
        I think we should both be grateful that
   we have come unharmed out of all our
  adventures, whether they were real or
       only a dream.
BILL kneels down in front of her.
     BILL
----------------------------------------------------------------------------
        Are you really sure that?
She takes his hands in hers and looks at them.
    ALICE
  Only as sure as I am that the reality
        of one night, let alone that of a whole
    lifetime, is not the whole truth.
     BILL
    And no dream is entirely a dream.
She presses his head to her breast.
    ALICE
    But I think we're awake now..  And
         for a long time to come.
      BILL (whispers)
          Forever.
Almost before he finishes the word, ALICE lays her fingers on his
lips.
    ALICE (whispers as if to herself)
  We should never look into the future.
They kiss tenderly and lie down on the bed, dozing a little,
dreamlessly, close to one another - until with the usual noises from
the street, and a victorious ray of sunlight through the opening of the
curtain, there is a knock on the door and their seven-year-old
daughter, HELENA, runs into the room and, laughing, jumps into
their bed.  And a new day begins.

          The End
----------------------------------------------------------------------------

Eyes Wide Shut.txt