Eyes Wide Shut

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 in the couch in the living room, watching TV, are seven
year-old , HELENA, and the BABY-SITTER, a young college girl.

BEDROOM
BILL and ALICE HARFORD, an attractive couple in their thirties, are
in evening clothes preparing to leave for a party.

ALICE (looking in mirror)
How do I look?
BILL
You look great.
ALICE
My hair okay?
BILL
Perfect.
ALICE
You're not even looking at it.
Bill kisses her neck.
BILL
It's absolutely beautiful. You always
look beautiful.
ALICE
Oh, shut up... OK, let's go.
They walk into the living room. The baby sitter gets to her feet.

BABY-SITTER
Oh, you look so-ooo lovely, Mrs.
Harford.
ALICE (laughs)
Thank you, Roz.
(to Helena)
All ready for bed?
HELENA
Yes, Mommy. I took my bath and
brushed my teeth.
BABY-SITTER
What time do you want Helena to go to
bed?
HELENA
Please, Mommy, can I stay up late
tonight and watch “The Nutcracker” Ple-eease.
ALICE
When is it on?
HELENA
Ten-thirty.
ALICE
Okay, darling, but just for tonight.
HELENA
Thank you, Mommy.
The house intercom rings. BILL goes to answer it.
DOORMAN (VOICE)
Doctor Harford?
BILL
Yes.

DOORMAN
The car is here.
BILL
OK, we'll be right down.

Bill returns to sitting room.
BILL
OK the car's here - let's go.
(to Baby-sitter)
Roz, we might be late tonight but I'll
hold the car to take you home.
BABY-SITTER
Oh, that's great, Doctor Harford.
Thanks very much.


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,

ZIEGLER
And Alice, my dear, forgive the pitiful
understatement
but you look totally
beautiful.

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 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?
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 a
polite smile.
NICK
Okay, we're off again. Listen, if I don't
catch you later, I'm down in the
Village for the next two weeks, at the
Cafe Sonata. Come by if you get a
chance.
BILL (nods)
Cafe Sonata, right. Okay, and listen, it
was great seeing you again.
NICK
Same here. Take care.
The band starts up again.
The ballroom is crowded and BILL starts to make his way around the
dance floor to the bar.
ALICE is at the bar waiting for him.
She reaches absently for her champagne glass...
and finds she is holding - or touching - a man's hand.
ALICE (smiles)
I think that's my glass.
SZABO
I'm absolutely certain of it.
SZABO is a handsome man, in his mid-forties with a slight Central
European accent.
He drinks slowly from ALICE'S glass and looks directly into her eyes
as he does so.
SZABO
Did you ever read the Latin poet Ovid
on The Art of Love?
ALICE
Didn't he wind up all by himself, crying
his eyes out
in some place with a very
bad climate?
SZABO
But he also had a good time first. A
very good time.
SZABO
By the way, my name is Sandor Szabo.
I'm Hungarian.
ALICE
Pleased to meet you. My name is Alice.
I'm American.
SZABO
Would you like to dance, Alice?
ALICE notices BILL across the room talking to two beautiful models.
ALICE
Why not? - Sandor.

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
Why not?
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 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.

VOCABULARY

absently- nieobecnie
actually - rzeczywiście, faktycznie
antique- zabytkowy
bandstand- estrada, podium dla orkiestry
catch one’s attention- przyciągnąć uwagę
come by - wpaść z wizytą, odwiedzić, zajść (w jakieś miejsce)
confirm - potwierdzać
cry one’s eyes out - wypłakiwać sobie oczy
drop out (of school, university, etc) - porzucać szkołę, uczelnię
editor - redaktor
entrance - wejście
fabulous - bajeczny, fantastyczny
get to one’s feet - wsta ć, podnieść się, zerwać się na nogi
glitterati- osobistości
in progress - w toku
intercom - domofon
magnificent - świetny, wspaniały
make one’s way through - przechodzić
ornament - ozdoba
osteopath - osteopata, kręgarz
pitiful - żałosny
publishing house - wydawnictwo
roster - lista, spis nazwisk
serve - serw
stay up - nie kłaść się spać, być na nogach
sun-tanned - opalony
trim - ozdabiać, przystrajać
understatement - umniejszenie
walk away - odchodzić, porzucać
wind up - (pot.) skończyć gdzieś, skończyć jako (ktoś)


GRAMMAR

Konstrukcja „used to + czasownik” odnosi się do czynności lub zdarzeń, które miały kiedyś miejsce, ale od pewnego czasu nie zdarzają się. Stąd „ women used to get married …” przetłumaczymy jako “Kobiety kiedyś wychodziły za mąż…”. Zdanie „Sally used to smoke ten cigarettes a day.” oznacza natomiast, że Sally kiedyś paliła 10 papierosów dziennie, ale w chwili obecnej już tego nie robi.




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