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.


Eyes Wide Shut screenplay: next -and last- page (8)
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