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 1999 Stanley Kubrick & Federic Raphael, All Rights Reserved.


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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.
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			     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.
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			       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..
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				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.
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			       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...
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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.
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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.
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				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?
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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?
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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.
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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
----------------------------------------------------------------------------