The dialogue of actors hidden behind masks during the Somerton mansion sequence of Eyes Wide Shut was secretly dubbed over after Kubrick’s death. Leon Vitali admitted this 20 years after the fact to publicise the release of an anniversary disc-set he probably earnt residuals off. Dropping the name Cate Blanchett.

“AG: When all the other girls left, I was in this amazing position of being able to work with two incredible artists. I was on the set with Tom and Stanley, finding things on our own. Stanley asked my opinion a lot. Me and Tom were among the last people he ever filmed; Stanley died before the dubbing was done. And I always wondered before the film came out whether they were going to dub me, because I didn’t have an American accent.

LV: It was Cate Blanchett! That was her voice. We wanted something warm and sensual but that at the same time could be a part of a ritual. Stanley had talked about finding this voice and this quality that we needed. After he’d died, I was looking for someone. It was actually Tom and Nicole who came up with the idea of Cate. She was in England at the time, so she came into Pinewood and recorded the lines.”
- An Oral History of an Orgy Staging that scene from Eyes Wide Shut, Stanley Kubrick’s divisive final film.

The lines in question are that given by a masked prostitute referred to in the credits as 'Mysterious Woman', played by a British runway model named Abigail Good.

The 'Mysterious Woman' is generally considered to be the same character referred to separately in the credits as Mandy, the prostitute who overdoses in Ziegler’s bathroom at the beginning of the film. But Mandy is played by a different actress named Julienne Davis. As you can see, their titties are different.

A line spoken by the ‘Mysterious Woman’ is repeated as a voiceover during a shot of Mandy’s corpse, explicitly linking the two characters.

The thing is, the voiceover has been dubbed in by Cate Blanchett after Kubrick’s death. And the adjective here is, secretly, as this dubbing did not appear in the cut of the film Kubrick had shown to Warner Brothers executives 6 days before his death. A cut they claimed was final aside from minor adjustments to attain a tamer rating. A month after the film’s theatrical release both Abigail Good and Julienne Davis are found taking credit for the same role, leading to confusion as to what had been Kubrick’s intention.

“So how did the confusion arise? Thanks to Warners obsession with keeping the film's plot a secret, Julienne's comments on her role have all been vague. We quickly get her on the phone - did Abigail take over from Davis? 'No' she says, outraged, 'it's all me. Abigail Good was just an extra. And anyway, she's English.' (the mysterious woman has an American accent). 'It's hilarious,' says Julienne, sounding not at all amused, 'It happens a lot, people try to take credit for things they haven't done'.
For whatever reason, though both actresses were miked up, it was Abigail who got to play the mysterious woman and speak the lines. Julienne does appear at the orgy, but she's just one of the many masked women in the background. But it's definitely Julienne in the early scenes and in the morgue at the end? 'Yeah,' shrugs Abigail, 'all that had been shot months before. But I spent a year working on that movie. I was the one at the wrap. My scenes with Tom were the last Stanley ever shot and I got a credit, as the mysterious woman.' (Warners are prepared to confirm this). Stanley's nephew even signed a photograph of me on the back with the words `To the mysterious woman who was later revealed to be the wonderful Abigail'. And then we get another call from Abigail. She's been talking to Leon Vitali, Kubrick's assistant, and he's not happy about our little chat. 'They're all concerned it's bad publicity' says Abigail, 'and I really don't want to offend anybody. I don't want to be seen to be using Stanley, or trying to make him look bad.' She's really panicked. 'I'd rather get no publicity at all'."
- 'In Eyes Wide Shut, Abigail Good plays a `Mysterious Woman'. But that's not the half of it', The Independent, 27 August 1999

Leon Vitali is referred to in the credits as ‘Red Cloak’, no doubt the ceremonial priest found gently swinging a censer around the sacred prostitution ring as Bill first enters the Somerton Mansion. Leon Vitali is then also referenced by name in a close up of the New York Post article detailing Mandy’s death.

The article states Mandy was a former Miss New York and that, “After being hired for a series of magazine ads for London fashion designer Leon Vitali, rumours began circulating of an affair between the two. Soon after her hiring, Vitali empire insiders were reporting that their boss adored Curran — not for how she wore his stunning clothes in public, but for how she wowed him by taking them off in private, seductive solo performances.”

The article is written by veteran crime beat reporter Larry Celona, who would end up breaking a bunch of stories on Jeffrey Epstein. Given the context of Mandy's death, the article suggests fashion models and pageant contestants are prime recruits for high class prostitution rings, and that from these industries such as "London fashion designer Leon Vitali" facilitate this.

It turned out a modelling agency financed by Jeffrey Epstein was being used by Jean-Luc Brunel for exactly this purpose. Further more, in March 1993 Jeffrey Epstein and Donald Trump had travelled to Palm Beach with a passenger named Erin Nance. This was Miss Georgia 1993 and runner-up Miss USA that same year.

Erin Nance soon went on to marry Albert Hill III, an heir to the multi-billion dollar H. L. Hunt oil fortune in Dallas. Epstein appears to have remained in close contact with her as the private numbers he lists for her are vast.

Another fashion model and former Miss Sweden Eva Andersson is listed on the same page of the flight logs as Erin Nance. Supposedly Epstein's long term girlfriend, but the following year she was married to hedge fund manager and future billionaire Glenn Dubin.

A former model named Heather Mann flying around with Epstein in the mid 90s started to date the Duke of York in 1998, though nothing ever materialised.[1]

A personal assistant of Epstein’s named Claire Hazel can be found all over the flight logs, 23 flights between 1996-2001. In 2001 she became the Countess of Iveagh through her marriage to Edward Guinness, heir to the Guinness family fortune who inherited the title Earl of Iveagh from his father in 1992, and with it a mansion called Elveden Hall. Claire Hazel's new home.[2] Contact information for her at this estate can be found in Epstein's black book.

Look familiar?

How about now?

For the exterior shots of Somerton mansion Kubrick used the facade of Mentmore Towers, an old Rothschild estate where Marie-Helene de Rothschild hosted an infamous masked ball in 1972. The numerous links between members of this family and Epstein needn’t be repeated here.

After demonstrating technical ability in the 1950s through innocuous films like The Killing and Paths of Glory, Kubrick got his break as an organ grinder’s monkey with Spartacus and Lolita, allowing him to become trusted with the consequential zeitgeist flicks such as Dr Strangelove then Space Odyssey. Both these are establishment films.

Strangelove warns against the threat of the aerospace complex, which came into control of nuclear weapons delivery post WW2, making it just as much of a threat to Eastern Establishment elites as everyone else.

Space Odyssey is a tribute to the promethean ideal of evolution through technology, or gaining greater control over natural processes(which also means people). What has become termed ‘transhumanism’. Space Odyssey is a moderate expression of this however, not entirely rejecting of nature, which is why the Starchild returns to earth, and it also warns of our betrayal by AI. These moderate themes were replaced by ones much more extreme in the Nolan remake Interstellar, where earth is abandoned, AI is an ally, and we are betrayed by our fellow man. So relatively speaking, Space Odyssey had rather positive themes.

Both Strangelove and Space Odyssey merit their acclaim but they are establishment films. They quite obviously would’ve have been funded otherwise. After them, with the exception of Barry Lyndon, the rest of Kubrick’s films are dissident. He put the reputation he earnt to work by making his sets secretive, his narratives cryptic, and started to deviate from the scripts so that there wasn't really anyway to gauge what the actual movie being made was.

Clockwork Orange warns of the political agenda of behavioural science to abolish free will through simulus-response conditioning of the human nervous system.[3]

The Shining is too cryptic to pin down, other than the photo at the end and the music playing over it.[4]
Full Metal Jacket is self-explanatory.

Filming for Eyes Wide Shut wrapped in June 1998 and Kubrick spent 8 months in post-production. A cut of the film was then screened for Warner Brothers executives Terry Semel and Bob Daley on March 1 1999. Kubrick died a week later on March 7th. Terry Semel is quoted days later in the New York Times stating:

“Mr. Semel said the movie would be released as scheduled on July 16. ‘The film is totally finished’ except for ‘a couple of color corrections’ and ‘some technical things,’ he said. ‘What he showed was his final cut.’”
"When he showed the movie, it was his final version,'' said Mr. Semel, who met Mr. Kubrick while the director was making ''Barry Lyndon'' in 1975. He said Mr. Kubrick had agreed to make ''Eyes Wide Shut'' for an R rating. (No one under 17 may attend without an adult.) The film is believed to have numerous sexual situations, and there had been reports that it would be given a more restrictive NC-17 rating, barring all viewers under 17. But Mr. Semel said he expected that the film, which cost about $65 million, would receive an R rating. ''It was not only our deal, it was what Stanley wanted,'' Mr. Semel said. ''He wanted the film to be available to the masses.''
- All Eyes for a Peek at Kubrick's Final Film’, Bernard Weinraub, March 10, NYTimes

Rather bizarre CGI edits were then unnecessarily made to the orgy sequence, which now seem like a red herring. As sometime between March and June 1999 Cate Blanchett was brought in to also secretly dub over the lines for the ‘Mysterious Woman’. A cut of the film then premiered for wide release on July 16 1999. The day before this on July 15, Terry Semel and Bob Daley, the two executives who saw the private screening of Kubrick’s cut, both resigned from Warner Brothers.[5] And Roger Ebert relays an interesting rumour circulating at the time.

“That's what I wanted to talk with Semel about on July 13. Two days later, he and longtime colleague Robert Daly resigned as the top executives at Warner Bros., after a long partnership that had kept the studio atop Hollywood for years. Perhaps the idealism behind my questions seemed naive to Semel; if we can believe a report by Neal Travis in the New York Post, Semel and Daly resigned because big Warner's stockholder Ted Turner hated the movie. The well-connected columnist wrote on July 16: "My sources say that when Turner finally got to view the late Stanley Kubrick's last film . . . he exploded. I'm told he `couldn't believe' that Daly and Semel would give Kubrick final and absolute control of the movie, right down to the marketing strategy. One source claims that Ted . . . demanded of Daly and Semel that they have it drastically recut and shortened, arguing that since Kubrick was dead, all former agreements were canceled. They refused to go along with him - and now they are out."
- https://www.rogerebert.com/roger-ebert/a-marks-the-spot-where-ratings-fail

Except for a few lines all dialogue during the orgy sequence is hidden behind masks, with no way to tell see the lip sync. And whatever Kubrick intended these lines to be cannot be gleaned from the script, from which he was known to deviate heavily, and from which he did in Eyes Wide Shut.[6]

The scriptwriter Kubrick hired to adapt Traumnovelle stated Kubrick changed the protagonist from a Jew in Vienna to a “Harrison Ford-ish goy” in New York, who Kubrick named William ‘Bill’ Harford, the surname a concatenation of Har-rison Ford.[7] Kubrick created the character Victor Ziegler from scratch, a New York oligarch who Harford serves as a private physician.

Harvey Keitel was initially cast in the role, but Kubrick replaced him with Sidney Pollack, making the character more on the nose with ‘polack’ being slang for Polish person. Confirming this is an exterior shot of Victor Ziegler’s mansion just prior to Bill and Alice entering the Christmas party. This building is the Joseph Raphael De Lamar house at 233 Madison Avenue on the corner of 37th Street. Which had been the location of the Polish Consulate General in New York since 1973.

The Christmas party is decorated with the eight pointed Star of Ishtar. This is the Babylonian goddess of Venus, whose worship concerned a sacred prostitution ritual performed during a 12 day festival held in December called Zagmuk. This is what is being celebrated.

Ishtar’s other symbol was a lion, found decorated upon the Gate of Ishtar built in Babylon by Nebuchadnezzar II. If you don’t know who that is you should perhaps look him up, as his reign is pertinent to why Kubrick inserts Ziegler into the narrative.

We are shown lions twice in Eyes Wide Shut. Once on the bed of a prostitute, then once more at the toy store.

Bill and Alice’s daughter is named Helena. Helen of Troy was abducted by Paris of Troy as a preteen. The two men Helena follows in the toy store are also seen at Ziegler’s party, along with the bagman who appears as a waiter.

The two men are sitting beneath a statue of Cupid and Psyche. These are mythological figures from the Roman novel The Golden Ass by Lucious Apuleius, in which Psyche is a mortal embodiment of the Goddess of Venus in a more complex expansion of the Ishtar mythology.

Two figures are also seen standing beneath a statue at the Somerton mansion.

This statue was by Pietro Tenerani, who was commissioned by Henry Herbert, the 4th Earl of Carnarvon(also Freemason Grand Master), to craft a sculpture of his children.[8]

The boy is George Herbert, 5th Earl of Carnarvon, who was married off to the daughter of Alfred de Rothschild in 1895. Which means the scene is filmed in yet another estate of the Rothschild bloodline. Highclere Castle. Let us borrow from a recent Lady Carnarvon blogpost on cloak design.

“At Highclere you can see portraits of my husband’s earlier ancestors. Often they chose to be dressed in their parliamentary robes. These have changed little since the descriptions by the antiquary and barrister John Selden, published in 1614 in his helpful book ‘Titles of Honour’. Such robes are simply handed down through the generations and the portraits speak a rather different language to so many pictures today. Words such as respect, duty and honour. Apart from parliamentary robes, the aristocracy would also own carefully stored coronation robes. These are made of crimson silk velvet, extending to the feet, whilst the rank of the peer is indicated by rows of ermine tails on the miniver cape: 4 for a duke, 3½ for a marquess, 3 for an earl, 2½ for a viscount and 2 for a baron.”
- https://www.ladycarnarvon.com/the-coronation-robes/

And she whispers “You should have a cloak lined with ermine”.

[1] https://www.heraldscotland.com/news/12254410.dukes-date-introduced-by-his-wife/
[2] ‘https://www.dailymail.co.uk/news/article-9306473/Countess-Iveagh-splits-Guinness-heir-one-Britains-biggest-divorces.html
[3] See the legacy of work conducted by Ivan Pavlov, John B. Watson, and B.F Skinner.
[4] Look at connection between ’Midnight, the Stars and You’ to Ray Noble and his orchestra, and his connection to the Rainbow Room at 30 Rockefeller plaza.
[5] https://www.nytimes.com/1999/07/19/movies/behind-warner-bros-resignations-the-end-of-a-freewheeling-era.html
[6] https://thescriptsavant.com/movies/Eyes_Wide_Shut.pdf
[7] ‘Eyes Wide Open. A Memoir of Stanley Kubrick and Eyes Wide Shut’, Raphael Frederic.
[8] https://www.ladycarnarvon.com/form/