Professional Documents
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Roman Holiday Script
Roman Holiday Script
Roman Holiday Script
ROMAN HOLIDAY
Directors of Photography
Art Directors
SIR HUGO [shaking her hand] Good evening, Your Royal Highness.
ANN [shaking the Rajkumari's hand] I'm so glad that you could
come.
THE MAHARAJA [shaking Ann's hand] Thank you, madame. [The Master
of Ceremonies announes the next couple, in German].
ANN [hidden beneath her dress, she takes her right foot out of
its shoe and stretches it] Guten aben.
MASTER OF CEREMONIES [as Ann puts her foot back] Prince Istvan
Barossy Nagyavaros.
ANN. How do you do? [he kisses her hand] The Master of
Ceremonies announces the long German name and title of the next
guest.
ANN [holding the woman's hand as she curtsies] Guten aben. [She
greets the man as he kisses her hand]. The Master of Ceremonies
announces the next couple. As she greets them, Ann rubs her tired
right foot against her leg. Much later on and Ann is still
greeting the guests.
ANN. Good evening, Countess [holding her hand the woman curtsies.
To the Count]. Good evening.
ANN [she tries to manipulate her shoe back into position which
has been knocked over and she greets the couple, disguising her
discomfort] Good evening [the man kisses her hand]. The Master
of Ceremonies announces the next guest as Ann pushes her shoe
again in an effort to right it.
ANN [as the man bends, gesturing with his hand in greeting] How
do you do? As the last guest moves back Ann looks around
anxiously, trying again to right her shoe, resulting in her
pushing it further away. The Ambassador then motions her to sit
down. As she sits back into the chair with the Ambassador and the
Countess on either side her dress pulls back, revealing the shoe.
The orchestra starts playing a waltz. Ann tries as
inconspicuously as possible to drag her shoe back with her foot.
The General, standing behind her frowning, motions to the
Countess to look at the shoe. She looks down at it and closes her
eyes in horror. The Princess stirs in her seat trying to get her
shoe back, fiddling with her gloves as cover. A man standing
behind the Ambassador motions to him and he shrugs and gets up,
bowing and presenting his arm to the Princess. The Princess rises
and, pausing for time to regather her shoe, is lead onto the
ballroom floor by the Ambassador. Taking her up to dance he looks
at the area in front of the eat and, relieved that the shoe isn't
to be seen, continues dancing with her as the other guests watch.
Later on and the dance floor is filled people. Princess Ann
dances with a short, lively gentleman who rattles off rapid
Spanish phrases to her. She listens, nodding and smiling
politely. Still later and she dances with a short, elderly
gentlemen. They smile and nod to each other silently. Later again
and Ann dances with a somewhat remote gentlemen. She almost
speaks so as to strike up a conversation, but thinks better of
it.
ANN. But I'm not two hundred years old! [Dropping down on the
bed] Why can't I sleep in pyjamas?
ANN. Just the top half. [The Countess takes off her glasses,
shocked, then walks over to the window. Ann pulls the covers over
her, sitting up] Did you know there are people who sleep with
absolutely nothing on at all?
COUNTESS. Oh, and your slippers. [She goes to fetch them from
beside the bed as Ann looks out with pleasure at the dancing
going on far below in the distance] Please put on your slippers
and come away at the window. [Ann walks back to the bed,
dejected, as the Countess shuts the window. The Countess holds a
tray] Your milk and crackers.
ANN [taking the tray; as the Countess helps her pull the covers
over her] Everything we do is so wholesome.
COUNTESS. Yes.
COUNTESS. One o'clock sharp, lunch with the Foreign Ministry. You
will wear your white lace and carry a small bouquet of (& ANN)
very small pink roses. [The Countess looks up, unimpressed.
Continuing, as Ann drinks her milk from a glass] Three-o five,
presentation of a plaque. (ANN [to an imagined guest] Thank you.)
Four-ten, review special guard of * Police. (ANN. No, thank you.)
Four forty-five (ANN. How do you do?) back here to change (ANN
[becoming distressed] Charmed.) to your uniform (ANN. So happy.)
to meet the international-.
ANN [turning over, facing the opposite way] I don't want Doctor
Bonnachoven; please let me die in peace!
COUNTESS. You're not dying.
ANN [facing the Countess] Leave me. [Sitting up, shouting at her]
Leave me!
DOCTOR [he puts his Doctor's bag on the table and bends over to
her; quietly] Are you asleep, ma'am?
DOCTOR. Oh. [He feels her forehead then takes a thermometer from
his bag] I'll only disturb Your Royal Highness a moment, ah?
GENERAL. It most important she be calm and relaxed for the press
conference, Doctor.
DOCTOR. Sleep and calm. This will relax you and make Your
Highness feel a little happy. It's a new drug, quite harmless.
[As he injects her the General faints behind them, unnoticed]
There.
DOCTOR. You will; it may take a little time to take hold. Just
now, lie back, ah?
DOCTOR. Oh!
ANN [sitting up] Hah! [she puts her hand over her mouth, covering
her smile].
Inside the room are sat Joe Bradley, Irving Radovich, and several
other men around a poker table.
JOE [placing his bet down, firmly] Five hundred. How many?
IRVING [placing his bet] One. The others still in the game place
theirs.
JOE. Fool, boy. [Checks his cards; bets more] Two for papa.
IRVING. Er, a nervous straight [lays his cards down; Then, with
relish] Come home, you beauties. [Counting his money as he picks
it up; Joe looks on grimly] Now, look at that: six thousand five
hundred-ah, not bad, that's ten bucks. [As the dealer gathers the
cards back and Joe does up his tie] Er, one more round and I'm
gonna throw you gents right out in the snow... The remaining
players objective to his leaving: Say-; what-; wait a minute-,
etc.
IRVING. I got to get up early: date with Her Royal Highness who
will [dramatically] graciously pose for some pictures.
JOE. It works out fine for me: this is my last five thousand and
you hyenas are not gonna get it. [Putting his money in his
pocket, patting Irving on the back] Thanks a lot, Irving.
IRVING. Yeah.
JOE [getting up] See you at Annie's little party in the morning.
JOE [picking up his jacket off the back of the chair] Yeah, ciao.
[The other men say goodbye: Goodnight, Joe; Ciao; Stay sober,
etc.
JOE [rushing over to prevent her from falling off] Hey! hey, hey,
hey. [Turning her on her back] Hey, wake up!
ANN. No, thank you. [Raising her gloved hand to him] Charmed.
JOE. I think you better sit up; much too young to get picked up
by the police.
ANN [as he straightens her] Police?
JOE [putting a foot up on the bench] You know: people who can't
handle liquor shouldn't drink it.
ANN [she looks up at him] If I were dead and buried and I heard
your voice beneath the sod my heart of dust would still rejoice.
Do you know that poem?
JOE [he takes his money from his breast pocket and puts it into
his trouser one] Yeah, I er, couldn't agree with you more, but
erm-[hears a car approaches and whistles. A taxi pulls up. Joe
gets up, pats her on the shoulder]. Get yourself some coffee;
you'll be alright. [He goes over to the cab, looks back to see
her lying back down. The driver notices too and looks away
innocently when he sees Joe looking at him. Joe goes back over to
Ann, trying to stir her] Look: you take the cab.
ANN [without stirring] Mmmmm. Joe looks back at the driver who
rests his arm against the window, impatiently.
JOE. Come on; [takes her up by the arm] climb in the cab and go
home.
ANN. Mm.
JOE. Alright, I'll drop you off; come on. [He leads her to the
taxi].
JOE. Well, it's not the superchief. [He follows her into the
cab].
CAB DRIVER [says something in Italian] Where are we going?
ANN [laughing] If you're so smart I'm not drunk at all. I'm just
being [her head falls against his chest] verrrrry haaaappy......
JOE. Look, now where do you wanna to go? Hmmm? Where shall I take
you? [Holding her jaw, shaking her head; Ann moans in annoyance]
Where do- where do- where do you live? Huh? huh? Come on. Come
on, [lightly slapping her face with his hand] where do you live?
[The driver looks back, unimpressed] Come on, where do you live?!
CAB DRIVER [shakes his head] It's wrong address. Now look, senor:
for me it is very late tonight ... [some Italian] ... wife ...
[more Italian] ... I have three bambinos-three bambinos, you
know, bambino? [he pretends to cry like a small child] My- my
taxi go home, I- I go home er to- together. Senor-.
CAB DRIVER. One, two, three, four mila*. [Gives him back some].
JOE. Ok. [Says something in Italian then gives him back the
money. The driver thanks him in Italian]. Ok, ok. Now look: take
a little bit of that; take her wherever she wants to go. [The
cabbie thinks for a moment, unsure] Hmmm? Capito? Capito. [Some
Italian. The driver nods and they say goodbye to each other. The
driver takes one look at Ann sitting asleep and quickly calls out
to Joe as he leaves].
CAB DRIVER. Oh- no, no; moment, moment, moment! No, no, no [the
cabbie pulls him over by the arm] (JOE. Alright). No, no, no.
JOE [leaning down to the window] Alright, alright; look: as soon
as she wakes up, see? she tell you where she want to go. Ok.
JOE. Look, look, pal: this is not my problem, see? I never see
her before. Huh? Ok.
CAB DRIVER. It's not your problem, it's not my problem. What you
want: you don't want girl, yeah? Me don't want girl-. Police:
maybe she want girl.
JOE [he relents] Stay calmo, stay calmo, ok, ok, ok. [some
Italian, reassuring him as he opens the cab door and drags Ann
out].
Joe walks up the steps, followed by Ann, head down barely able
to keep awake. He arrives at the front door. As he stops, leaning
forward to open it, Ann rests her head on his shoulder. Before
going through he straightens causing her to stand up, balancing
herself, and then goes through; Ann follows. He shuts the door
behind her, taking her by the hand up the steps. Without thinking
she walks around the outside of the small spiral stairwell
instead of following him up so Joe turns her around with his
hand, leaning over the railing from above (ANN [blissfully
unaware as he leads her around] So happy.), and leads her back
around to the bottom of the steps (ANN. So happy.) and up the
right way. She staggers up steps after him, stopping by a door
as Joe goes to unlock his one a few steps up. In her stupor, she
raises her hand and is about to knock on the neighbour's door
when Joe sees her, running over to catch her hand just in time.
He leads her to the door and unlocks it. He goes in and turns on
the light.
JOE [muttering as Ann follows him in] Out of my head. [He shuts
the door behind her].
JOE [offended] It's my room. [He turns on a lamp at the other end
of the room, by the bathroom door].
ANN [she almost topples over, walking to the bed and putting a
gloved hand on the endboard to steady herself] I'm terribly sorry
to mention it, but the dizziness is getting worse. [Looking
around] Can I sleep here?
JOE. That's the general idea. [He walks over and opens a wardrobe
on the landing next to the front door].
JOE [walking over to Ann, presenting her with some pyjamas] I'm
afraid you'll have to rough it tonight-in these.
ANN [with delight, taking them] Pyjamas!
ANN. Will you help me get undressed, please? [she stands ready,
head raised expectantly].
JOE [pauses, unsure, then goes to her] Er...ok. [He undoes her
necktie, sliding it away fom her neck; presenting it to her] Er,
there you are; you can handle the rest. [She looks at it,
blankly, then takes it]. Joe walks over to the table by the
front door, pouring a drink into a glass from a bottle, and
swallowing it.
ANN [just putting down her last glove] May I have some?
JOE [firmly] No. [Puts his glass down, going over to her] Now
look-.
JOE [pulling out a pillow from the bed] You'd better get to
sleep. [She starts to sink onto the bed (ANN. Hm?); he catches
her] Oh, no, no; [pointing to the ottoman at the side, leading
her over] on this one.
JOE. Hey, hey: [bringing the pyjamas from the bed, presenting
them to her] these are pyjamas; they're to sleep in; you're to
climb into them, you understand?
JOE. And you do your sleeping on the couch, see?-not on the bed,
not on the chair: on the couch; is that clear?
JOE. Ah, you already recited that for me. [He goes to get some
blankets from the bed].
ANN [as he lays them out on the ottoman] I refuse a* rose from a
couch of snows in the Aquasaromian* Mountains. Keats.
JOE. Shelley.
ANN. Keats!
JOE. If you just keep your mind off the poetry and on the
pyjamas, everything'll be alright; see?
JOE. I'll be- it's Shelley. I'll be back in about ten minutes.
ANN [to her back as he goes to the door] Keats. [She shakes her
head, looking at the pyjamas slightly confused. Thinking better
of it, Joe takes the bottle and places it on top of the tall
cupboard on the other side of the door. He opens the door and
goes through. Ann turns to face him] You have my permission to
[her skirt slides down] withdraw.
JOE [stopping in the doorway] Thank you very much. [He goes out;
Ann resumes her task of getting undressed].
AMBASSADOR. Well?
AMBASSADOR. Very well. [The man turns and marches out. He turns
to the other two]. Now we must notify Their Majesties. The
General looks up at him, worried; the Countess looks up at the
General, standing, and turning to the Ambassador who looks at
them, waiting for an affirmation. Receiving none, he stands up
himself and walks from behind the desk.
JOE. The pleasure's mine. [He puts the pillow on the other end of
the bed, muttering as he goes to get undressed] Ah, screwball.
The newspapers are turning out reports. A machine types out the
following bulletin: "A SPECIAL EMBASSY BULLETIN REPORTS THE
SUDDEN ILLNESS OF HER ROYAL HIGHNESS THE PRINCESS ANN."
JOE. Uh-oh. [He takes some bread from her desk, ripping off a
piece and giving it to her, keeping the rest] Thanks a lot, hon.
[He knocks on the door behind the secretary].
HENNESSY. Tell me, tell me: did she answer all the questions on
the list?
JOE [seeing the need to flesh it out, leaning against the desk in
thought] Well, she thought that there'd be...two effects.
HENNESSY. Two.
JOE. Youth.
HENNESSY. Yep?
JOE [he pauses blankly] Oh, you mean what did she have on?
JOE [walking back to the front of the desk] No, no, I just
hurried over here.
HENNESSY. Oh, I think I know the dress you mean; it has a gold
collar-.
JOE. That's the one, that's the one (HENNESSY [smiling, sitting
back in agreement] That's it.) Yeah, I didn't know exactly how to
describe it but that's it, yeah.
HENNESSY. In view of the fact that you just left her, of course.
But here it is, Mr. Bradley [picking up a paper]: all over the
front page of every newspaper in Rome! [he hands him the paper].
HENNESSY. No, you're not fired. When I wanna fire you you won't
have to ask! [Joe looks back and forth and walks straight out of
the office, carrying the paper]-you'll know you're fired! [Joe
walks to the other end of the newsroom, stopping. Shaking his
head, seeing that Joe has left the office] The man's mad. Joe
opens the other door, closing it carefully behind him and dials
the wall-phone in the small foyer. Someone comes in from the
front door and Joe watches him nervously until the man goes into
the office.
GIOVANNI [amused] A-ha! Say, Mr. Joe: I look; [some Italian] you
wait. [Some Italian]. [He walks to the door as Joe looks back and
forth, impatiently. A few moments later Giovanni walks back to
his desk, smiling. He sits down] Mr. Joe?
GIOVANNI. Bellisimo.
JOE [he looks up, very relieved] Giovanni: I love you. Now,
listen...
JOE [walking over he leans on the side of his desk] How much
would a real interview with this dame be worth?
JOE. I'm not referring to Annie (& HENNESSY [repeating his words,
overtaking him] Oakley, Dorothy Lamour, or Madame....)-How much?
JOE. Dollars?
HENNESSY. Dollars.
JOE. Yep.
HENNESSY. Ah, now I'd like to make a little side-bet with you:
five hundred says you don't come up with the story. [Joe takes
out the paper, unfolding it and taking a good look at the front
page again] What are you lookin' at that for?
HENNESSY. Huh?
JOE. Er, what day it is, er-[puts the paper away] It's a deal!
HENNESSY. Now I'd [offering his hand] you to shake. [Joe pauses
then shakes. Hennessy laughs and Joe smiles with him] Now, let's
see, you're into me for about five hundred; when you lose this
bet you'll owe me a thousand. [Laughing] Why, you poor sucker,
I'll practically own you!
JOE. You have practically owned me for a couple of years now, but
that's all over. [As Hennessy continues laughing, leaning on the
desk] I'm gonna win that money and with it I'm gonna buy me a one
way ticket back to New York!
JOE. And when I'm in a real newsroom I'll enjoy thinking about
you, sitting here with an empty leash in your hands and nobody to
twitch for you!
GIOVANNI. Money?
Joe goes through his front door, seeing Princess Ann still asleep
in his bed. He shuts the door quietly, fastening the chain
across, also. Joe stands looking at her for a moment then moves
round to the other side of the bed-the side she is facing lying
down. He stands above her, looking at her face then looking again
at the newspaper picture to compare them. He sits down beside her
and moves a lock of her out of the way to get a better view of
her face. He holds the picture up beside her but her hand still
partially covers her face. He tickles her hand and she moves it
restlessly. He leans closer to her:
ANN [turning to her other side, sighing] Yes... what is it? Joe
sits up in delight, the fact of her identity passing through his
mind. He stands up, excitedly putting the newspaper back in his
pocket, and walks around the bed. Seeing the alarm clock on the
cupboard missing he picks it up from the bed and replaces it. He
replaces the pillow in its proper place, smoothing out the sheets
then walks back around to Princess Ann. He carefully picks up her
left arm, putting it around his neck, then slides his arms under
her head and legs and carries her-blankets included-around to the
other side of the bed. He is about to put her down but sees that
she is holding her the wrong way. All of a sudden he hears police
sirens sound outside and stops for a moment, then, still holding
her, picks up the pillow with one hand and puts it at the other
end of the bed, laying her down gently. She continues sleeping as
he goes over to the window and looks down at the street at some
police cars coming into view around a corner. Looking back
anxiously at the Princess he goes back in.
JOE [not sure what to do] Hmm? [Playing along, not wanting to
disturb her] Oh, oh, sure, yes. Well, er...er, you're fine; much
better. Is there anything you want?
JOE. Yes? well tell the doctor (ANN. So many-). Tell the good
doctor everything.
ANN [without opening her eyes, stirring in the bed, spreading her
arm] Mmmmm, I dreamt and I dreamt...
JOE. Yes? Well, er, what did you dream? [Holding her wrist as a
doctor might].
ANN. I dreamt I was asleep on the street and... young man came
and he was tall and strong and-[screwing her face up] he was so
mean to me.
ANN. Mmmm. [Blissfully; putting her arm over her eyes] It was
wonderful. She opens her arms, stretching a little. Lying face-
up, not quite awake yet, she looks at the ceiling, seeing the
plumbing visible in the corner-quite different to the
ornamentation of the Embassy bedchamber. Then she looks at Joe
standing over her. She closes her eyes, smiling, then opens them
again, her expression becoming severe as she stares at him.
JOE. No.
JOE. Yeah, [bending down to her] perfect [he lifts her pillow
back and helps her sit up, leaning against it. She looks at him
all the while, not fully trusting of him]. Joe leans against the
cupboard at the foot of the bed.
ANN. Thank you [he smiles back. She looks down at her pyjamas
then to Joe] Are these yours? He nods. Ann, suddenly panicked,
feels under the sheets for her pyjama bottoms.
ANN. Delighted.
ANN [gesturing to the chair to her left] You may sit down.
JOE. Well, thank you very much [he sits down on the bed instead;
she pulls back her legs, looking back at him like a frightened
gazelle]. What's your name?
ANN [panicked] One thirty! [Jumping out of bed towards the door]
I must get dressed and go! [remembering, she grabs the blankets
to cover herself].
ANN. Oh no, there isn't and I've- I've been quite enough trouble
to you as it is.
JOE [going to the bathroom door] I'll run a bath for you. [As he
goes in to turn on the taps on the bath, Ann picks up her clothes
from the floor near the bathroom door, holding them to her chest.
After laying a towel out on the floor next to the bath he comes
back out, gesturing with his arm to her to go in] There you are.
Ann walks to the bathroom, keeping him in front of herself,
turning round to go through the door, then quickly turning around
so as to be able to see him as she shuts the door behind her. As
soon as the door shuts, Joe goes over to the door and in trying
to open it gently, forgets the chain and causes a noise. He
undoes the chain and goes out and down the steps.
IRVING [aiming his camera] Here we go now. [He takes the picture]
There you are; that does it. [Pulling himself off his back] Oh.
[To the model, trying to put his leg down to untie the string as
she playfully pulls at the rod] Gimme a little slack, will ya?
[He answers the phone] Pronto?
IRVING [sitting back; the model dangles the line around his head]
Oh no, I can't come now, Joe; I'm busy. Oh no-[playfully biting
at the end of the line] Joe: I'm up to my ears in work. [To the
model; covering the mouthpiece of the phone] Go on, get into your
next outfit, will you, Honey?-the canoe. What kind of a scoop,
Joe?
JOE. Look, Irving, I can't talk over the telephone; one word in
the wrong quarter and this whole thing might blow sky-high. It's
front page stuff, that's all I can tell you. It might be
political ro it might be a sensational scandal-I'm not sure
which, but it's a big story and it's got to have pictures!
IRVING. But I can't come now, Joe; I'm busy. [Looking up where
the model is, in a lower tone to the phone] I'm busy now and I'm
meeting Francesca at Rocca's in a half an hour and-.
CHARWOMAN. Capito?
Joe runs up the stairwell and goes into his apartment. Looking
around, he doesn't see Ann-only his empty apartment tidied and
the bed made. He realises the balcony door is open and goes out
into the sun, finding Princess Ann looking out over the city.
ANN. I was looking at all the people out here. [Smiling, looking
around the buildings] It must be fun to live in a place like
this.
JOE. Hmm?
JOE. Goodbye?-But we've only just met. How about some breakfast?
ANN. It is.
JOE [walking her back to the apartment] Well, I'll go along with
you, wherever you are going.
ANN. That's alright, thank you; I can find the place. [They walk
back inside] Thank you for letting me sleep in your bed.
JOE. No, no-do it all the time. [She smiles as he turns to open
the door].
ANN [as she goes out she turns to shake his hand] Goodbye, Mr.
Bradley.
JOE [shaking her hand] Goodbye. [Seeing her unsure about which
way to go he points to the way out] Oh: go right through there
and down all the steps. She walks down the stairs and he goes
back inside and shuts the door, walking out to the balcony again.
Ann goes through the outside door, watched from above by Joe as
she walks away. He runs back inside and out his front door.
Part-way down the outside steps, Ann stops and turns to run back
up. Joe, running to follow her almost runs into her.
ANN. Mmm.
JOE [as he reaches for his money he sees Giovanni watching] How
much-[looking back up at Giovanni, uncomfortably] how much was it
that you wanted?
ANN. Well, I don't know how much I need. How much have you got?
GIOVANNI. Ah, double my money, eh? You tell me you want double my
money (JOE [waving his hand up at him, reassuring him] Tomorrow,
tomorrow, tomorrow.) that way? [Repeating to himself, after Joe
has walked past] Eh, tomorrow.
Ann walks out onto the busy city street, dodging a motorbike as
she arrives from a side-street. She looks out fascinated at all
the activity, momentarily intimidated, but then venturing out
confidently as she enjoys the bustle of the city around her. Joe
peers down the street after her, running between the people in
order to keep within sight. He follows her into a market as Ann
wanders along, taking her time, just enjoying herself. She walks
past several vendors offering her their goods. As Ann stops to
look at a stall Joe has to back off, and is instantly targetted
by the nearest vendor who offers him some of his huge melons. He
shakes his head at him, more interested in keeping an eye on Ann
who tries on a pair of shoes at the stall, then pays the woman
vendor for them. Joe's vendor persists and Joe finally buys the
melon off him, which at once quietens him down. So, carrying the
melon, he follows Ann down to another street where she stops,
looking out at the Fontana di Trevi: a magnificent facade
ornamented with statues, fronted by a pool. Ann continues down
the street that runs beside the fountain, stopping outside a
salon to look at the drawings of hairstyles in the window which
surround a mirror. She appears disappointed at the way she looks
in the mirror and, after smiling at the hair of someone who walks
past, decides to go inside. Joe walks up the the shop, smiling
when he sees where she has gone.
Inside the hair salon Ann sits on one of the seats in front of
the large mirror, holding up her long hair as the hairdresser
(Mario Delani) fastens the cover around her.
MARIO DELANI. Just cut? [Takes the scissors from his hair] Well
then, cut, er, so? [he holds the hair at a certain length].
ANN. Higher.
MARIO DELANI. Higher? [He holds the hair further up] Here?
ANN. More.
MARIO DELANI [he turns he round in the chair, taking her hair in
his hand] All off?
ANN. All off. Joe peers in them through the beaded curtain,
still holding his melon. (MARIO DELANI [uncomfortable as he
starts cutting off her long hair] Off.) Joe goes outside, looking
round, then walks away down the street. Ann sits in the salon
still, her hair covering her face.
MARIO DELANI [pulling apart her hair to see her] Are you sure?
MARIO DELANI [dropping her hair back over her face] Yes. [As he
cuts her locks off, working his way round] Off! off; off...[wipes
his forehead with his arm]. Joe finds a public phone down the
street opposite the fountain. Joe waits impatiently, studying his
melon, as another person speaks on the phone, in Italian. Then,
seeing a group of children playing on the statue, goes over to
one of them, passing his melon to a boy. Back in the salon, the
hairdresser cuts of the last lock of her hair.
MARIO DELANI. Off! [He stands to the side of her as they both
study the end result as Ann moves her head slightly from side to
side. She looks down at something but, engrossed in her, the
hairdresser jerks her head back to the centre to get a better
view]. Outside, Joe sees a group of American schoolgirls,
playing and talking around the fountain. He approaches one who
carries a camera.
ANN. Oh.
MARIO DELANI [as the hairdresser turns her round from side to
side, looking in the mirror] Y-y-you be nice without long hair.
Now, it's cool, hmm? Cool?
ANN [turning her head to the side, playing with the ends] Yes,
it's, it's just what I wanted.
MARIO DELANI. Grazzi. [As she looks in the mirror] Now, why you
not come dancing tonight with me? You should see, it's so nice:
it's on a boat on the Tibérine, Tiber-the river by Saint Angelo-
[dramatically] moonlight, music, romantico! It's very,
very...[his English vocab runs out] very. Please, you come?
MARIO DELANI [disappointed] Oh. [As Ann gets up, taking out her
money] But, but, your friend: I think they not recognise you.
ANN. No, I don't think they will! [She gives him the money].
MARIO DELANI [as she leaves he rushes out the door after her] Ah,
er, senorina. [Standing in the doorway as she turns to him] After
nine o'clock, I'll be there. Dancing on river-remember: Saint
Angelo. If you come, you will me most pretty of all girl!
MARIO DELANI [as she leaves] Goodbye. Joe, watching from across
the square, sees her leave and follows her. She passes by a shop
window, stopping to look, and seeing her reflection checks her
new hair. Joe follows her down the street towards the Spanish
Steps. He keeps a safe distance as she waits for a gap in the
traffic, dashing across. She walks up to an icecream vendor
nearby, presenting him with some money.
ANN [taking her icecream] Thank you. [She pays him the money].
ANN. Oh! grazzi. She walks away, licking her icecream. A flower
seller catches her attention as she walks past.
ANN. No. [He replies further, in Italian]. I'm sorry, I've really
no money.
JOE [Sitting down beside her] Yeah... very much. So that was your
mysterious appointment?
JOE. Confession?
JOE. Oh, what was the matter: trouble with the teacher?
JOE. Well, you don't just run away from school for nothing.
ANN. Well, it were only meant to be for an hour or two. They gave
me something last night to make me sleep.
JOE. Well, look: before you do, why don't you take a little time
for yourself?
ANN. Oh, you can't imagine... I'd, I'd like to do just whatever
I'd like, the whole day long! [She laughs].
JOE. You mean, things like having your hair cut? Eating gelato?
ANN. Yes, and I'd, [looking down to the street] I'd like to sit
at a sidewalk cafe; and look in shop windows; walk in the rain!
[Joe looks at the blue sky doubtfully] Have fun, and maybe some
excitement. It doesn't seem much to you, does it?
JOE. It's great. Tell you what: why don't we do all those things-
together.
JOE [taking her hand] Don't I? First wish: one sidewalk cafe,
coming right up-I know just the place: [he gently pulls her up,
setting off down the steps] Rocca's.
JOE. What'll the people at school say when they see your new
haircut?
ANN [laughing] They'll have a fit. What would they say if they
knew I'd spent the night in your room?
JOE. Wedding?
JOE [as the waiter delivers the drinks] Uh-huh. Well, here's to
his health then.
ANN [the waiter places a straw by her wine glass] You know:
that's what everybody says.
ANN [sitting back in her chair, relaxing, playing with the straw]
Yes, thank you. What is your work?
JOE [now he stammers nervously] Oh, I'm er, in the selling game.
JOE. Uh-huh.
JOE [he looks blank for a moment then, on hearing a horse in the
street passing by, looks up at it; turning to her] Er,
fertilizer; er, chemicals, you know? Chemicals-stuff like that.
[Ann is somewhat unconvinced then, putting the straw in her
mouth, blows the wrapper off. Joe looks up as it flies over the
table. He smiles at Ann who laughs, very pleased with herself,
holding the straw in her mouth. Joe looks up, brightly; stands
up, shaking Irving's hand as he comes over] Irving! Well, am I
glad to see you.
JOE [without laughing] Er, pull up a chair, Irving; sit down with
us here.
ANN. Smith.
IRVING [sitting down] Hey, er, anybody tell you you're a dead
ringer for-[Joe kicks him in the leg, under the table. In pain]
Oh! [Joe secretly points a finger to Ann. Confused, Irving stands
up] Well er, I guess I'll be going.
JOE. Oh, don't do a thing like that, Irving. Sit down; [pacifying
him] join us, join us, join us.
IRVING [not sure] Well er, just till Fransesca gets here.
ANN. Tell me, Mr. er, er, Radovich: er, what is a ringer?
JOE. (IRVING [to the waiter as he passes] Oh, er, waiter.) It's
an (IRVING. Whiskey, please.) American term and er, (IRVING.
Yeah.) and it means er, anybody who has a great deal of charm.
[Irving's look turns to puzzlement, responding with a questioning
Hmm?].
ANN. Mr. Bradley's just been telling me all about his work.
IRVING. I'm the same rank as [Joe starts coughing, holding his
glass closer to Irving] Joe only I'm a photo-[Joe spills his
glass over Irving. He stands up angry as Ann tries to dry him
with a napkin].
JOE. I'm awfully sorry, Irving!
IRVING [to Joe] Look, I can take a hint! [Bowing and smiling,
presenting his hand to Ann] I'll see you around.
ANN. Oh, but your drink's just here; please sit down.
JOE. Yes, here's your drink right now, Irving; take it easy
[Irving looks at Joe, unsure about trusting him]. I'm sorry about
that. Sit down, that's a good fellow [the waiter puts down
Irving's drink and leaves] (Something*).
JOE. You.
IRVING. Me?!
IRVING [to Ann] Where did you find this looney? [Smiling at her,
remembering his manners; holding his glass up to her] You're ok;
here's to you, huh? Here's hopin' for the best. [Pausing, looking
between Ann and Joe] If it, if it wasn't for that hair, I- I- I'd
swear that-[Joe kicks his chair back and Irving falls to the
ground. Ann screams in shock. Two men help him up, muttering
words in Italian].
JOE [as he and Ann rush over to help] You slipped, Irving.
Slipped?-you almost hurt yourself that time!
JOE [leading him away from Ann, pretending to examine his neck]
...got a bad sprain there.
IRVING [pushing his arms away] Never mind I got a bad sprain,
Joe.
IRVING [going with him willingly] Well, yeah, I'd like to-.
JOE [back to Ann; walking to the door, his arm around Irving's
shoulder as if he needs help] Will you excuse us for a minute?
IRVING. Now wait, now wait; just a minute; let-; look, Joe, what
are you tryin' to do? now take your hands off-!
JOE [as they reach a private corner in the cafe] Have you got
your letter?
JOE [firmly, as Irving tries to pull his arm away] Listen: what
would you do for five grand?
JOE. Yeah. [Pulling him down into a seat, reaching for a chair
himself and sitting down; speaking in a low tone] Now, she
doesn't know who I am or what I do. Look, Irving, this is my
story; I dug it up, I gotta protect it!
JOE [shaking his hand as they stand up] Ok, now, lend me thirty
thousand.
IRVING. Thirty th-? That's fifty bucks; you gonna buy the crown
jewels?
JOE. She's out there now drinking champagne that I can't pay for.
We got to entertain her, don't we?
IRVING. Joe: we can't go running around town with a... hot
princess!
IRVING [his gives him the money] This I want back Saturday.
JOE. Ok, now where's your lighter? [Irving pulls it out] Let's go
to work. Irving and Joe walk out of the cafe and back to the
table where Ann sits drinking her champagne, observing the waiter
who clears the table.
ANN [hearing them come back out, exchanging smiles with Joe]
Better now?
IRVING. Huh?
IRVING [as Joe sits; holding his ear] My ear? Oh, yeah, er, Joe
fixed it. [He sits; offering her a cigarette from a packet] Er,
would you care for a cigarette?
ANN. Yes, please. [She takes one; smiling to Joe] You won't
believe this but it's my very first.
ANN. Mm-hm.
JOE [to the waiter at the next table] Er, commerierie, [he says
something in Italian to the waiter, taking out some money].
ANN [to Irving] Hm. [She takes another puff of the cigarette].
JOE [as Irving takes a cigarette himself] I'll pick this one up,
Irving.
IRVING [under his breath] Yeah, you can afford it [he holds the
lighter in position again, waiting].
JOE [as he pays the waiter] Well, what shall we do next? Shall
we, er, make out a little schedule?
IRVING [as Ann puts the cigarette back in her mouth Irving flicks
something on the lighter again] Er, yeah.
JOE [he and Irving rise] Let's go [Ann puts out the cigarette in
the tray and rises also]. As Irving pulls Ann's chair out for
her a woman comes up behind him and greets him in Italian.
IRVING [he takes out his cigarette to greet her] Francesca. Oh,
er, this is...
ANN. Smithy.
IRVING. Honey, I got to work. I'll call you at night [he kisses
her, and runs across the road to catch up to Joe and Ann].
JOE [putting his hands on the handlebars] Let me take this; let
me take over.
ANN [pushing his hands out of the way, putting hers on top] No,
no, no; I- I can do it. The scooter drives head-on into the
traffic, delicately missing a car and bicycle. A tram, swerving
to avoid them, honks at them as they drive across its path. With
difficulty, Irving follows them through the traffic, his
visibility becoming impaired as he passes through a stream of
water coming from a hydrant. Ann mounts the pavement, driving
between some people at a stall and straight through the painting
one of them is showing to the others. They drive through a
sidewalk cafe, weaving between the tables as the diners get up,
outraged at the disturbance. Ann continues on, knocking over a
builder's workbench where a large man is setting up his
equipment. Children run in to help him pick the materials up,
blocking Irving's car in the process. Ann drives chaotically
around a roundabout, scaring a woman who screams and jumps out of
the way, dropping her groceries. Police whistles ring out as the
Polizia get into their cars, joining two motorbikes which give
chase to Ann and Joe's scooter. Ann and Joe tear away down the
street, followed the motorbikes, their sirens wailing. Sometime
later and Ann, Joe, and Irving stand in a room before a judge
sitting at a table. In front of the judge are arranged the
various victims of Ann and Joe's escapade, giving their
testimonies and presenting their damaged goods as evidence. Ann
and Joe answer the various questions of the judge then Joe
presents him with his I.D., holding his head awkwardly back for
the judge since that way it better matches the photo. The judge
looks at the front of the I.D.: it says American News Service.
Joe tells the judge something, putting his arm around Ann to
perhaps better convince him. Irving intervenes, telling the judge
something or other, although the judge looks unimpressed with
what he has to say. Joe points out something to the judge on what
he is looking at on his desk to which the judge reacts favorably.
Irving, Ann and Joe-hand-in-hand, leave; Joe telling them
something or other, saying goodbye to the witnesses and they
smile back.
JOE. Huh? Oh, well, you know: say you're with the Press and you
can get away with anything.
ANN [to Joe] You don't have to look so worried; I won't hold you
to it.
JOE [smiling] Ok, I won't [in good humour, they walk away].
JOE. The Mouth of Truth. [He stands on one side, Ann the other.
Irving watches from behind, taking out another cigarette] The
legend is that if you're given to lying, you put you're hand in
there [points to the mouth] it'll be bitten off.
JOE. Let's see you do it. She looks up worried, but seeing Joe
looking at her feels a resolve and, tentatively, she puts her
hand towards the mouth. Irving, "lighting" his cigarette, looks
on. Ann moves her hand, closer and closer but, losing her nerve
at the last minute with a giggle, she pulls it back.
JOE [he looks worried for a moment, then finds his nerve] Sure.
Joe takes a step forward, moving his hand onto the lip of the
mouth. Ann, unblinking, leans foward from the tension. Joe slides
his fingers into the mouth and then his hand up to the wrist.
Suddenly he gives out a loud cry, pulling back, as if the mouth
has hold of his hand and won't let go. Ann screams and rushes to
his side, pulling at him from behind. Joe takes out his hand,
apparently severed at the wrist and Ann screams in fright,
putting her hands over her face. Smiling, he lets his hand spring
open, out of his sleeve.
ANN [laughing, as Joe takes her in his arms as she throws herself
toward him, playfully beating her fists at him] You beast! it was
perfectly alright! You've never hurt your hand!
JOE [letting her go] I'm sorry, it was just a joke! Alright?
JOE. Alright, let's go. [They turn to leave and he cries out,
jumping away from the Mouth] Look out! Ann screams, running out
of the building. Joe follows her, laughing, followed by Irving.
Later on, Irving pulls up on a quiet street.
IRVING [to Joe as he stands up to climb out of the car] I'll park
at the corner. Joe opens Ann's door and she climbs out. Joe is
about to climb out of the open-roofed car but seeing Ann holding
the door for him bends down under the rim of the door, barely
squeezing through. Ann smiles at him as he struggles out. As
Irving drives away, Joe follows Ann as she walks across the wide
footpath, stopping before the huge wall covered top to bottom
with small plaques. A little further up the footpath there is a
woman kneeling down at a small prayer bench who stands up,
crossing herself before leaving.
JOE [walking with her alongside the wall] Well, each one
represents a wish fulfilled. All started during the war when
there was an air raid-right out here. A man with his four
children was caught in the street. They ran over against the
wall, [pointing behind them] right there, for shelter; prayed for
safety. Bombs fell very close but no one was hurt. Later on, the
man came back and he put up the first of these tablets. Since
then it's become sort of a shrine: people come, and whenever
their wishes are granted [stopping, turning round to look back]
they put up another one of these little plaques.
JOE [taking her arm, directing her over to the wall] Read some of
the inscriptions. [Irving stands beside the wall, holding his
camera, "lighting" another cigarette. She walks over and looks at
some of the plaques for a moment]. Make a wish [looking down, she
nods]. Tell the doctor?
ANN. And at midnight I'll turn into a pumpkin and drive away in
my glass slipper.
JOE. And that'll be the end of the fairytale. [To Irving] Well, I
guess, er, Irving has to go now.
IRVING. I do?
JOE. Yes, you know, that big business development of yours that
you have to attend to.
IRVING. Yeah. Er, I'll, er, [shaking her hand] see ya later,
Smithy.
ANN. Good luck for the big development.
Evening, it is dark. Music greets Joe and Ann as they walk down
the steps on the way to the barges. He pays the ticketseller as
Ann stands, watching the dancing across the river.
JOE [to the ticketseller] Grazzi. [He walks over to Ann, smiling
to her and they continue]. They walk onto the dance floor and
start dancing. Two men in black suits and hats (Secret Service
men) watch out over the people. One of them turns to watch the
dance floor and notices Joe and Ann, watching them as they dance.
The Secret Service man stands on his feet and the other looks
over at what he is watching. As the music stops for the next
song, the man speaks some Italian to the other who leaves, and
continues watching as the next dance starts. The other man runs
back towards the steps, away from the dancers. Joe and Ann
continue dancing-closer now as it is a slower song. She rests her
head on his shoulder, her eyes closed and smiling. She looks up
at him.
ANN. Hello.
JOE [as they look at each other] Hello. Joe smiles as she rests
her head against his chest and they continue. The band finishes
the dance and the audience claps, the dancers on the floor
dispersing. Joe and Ann walk over to the side of the floor.
ANN. You spent the whole day doing things I've always wanted to.
Why?
JOE [he looks down, hiding his guilt] Wasn't any trouble.
JOE [Joe looks over to the other side of the barge, motioning to
Ann] Let's have a drink at the bar. [Joe takes her hand and they
walk over].
JOE [to Mario] Wha- what did you say the name was?
MARIO DELANI [the band starts playing again] Me too. [To Ann,
using his hands, unsure of his English] Oh, may I enjoy myself,
er, the pleasure? [To Joe] Do you mind?
MARIO DELANI. Thank you. Ann takes his hand and they go out on
the floor to dance. Joe, watches them dancing for a moment then
takes out a notebook, quickly writing something down. Irving
arrives at the bottom of the steps, saying something in Italian
and holding up his camera as he walks past. He walks towards the
barges. The Secret Service man watches Ann as she dances with
Mario.
IRVING [to Joe, at the bar] Ciao, Joe. Did I miss anything?
JOE. Barber-cut her hair this afternoon, made a date for tonight.
MARIO DELANI. Moment. [He stops, thinking, and then, taking out a
comb, brushes her fringe apart which he delicately curls around
with his comb into two neat tufts. He puts his comb away,
satisfied. Ann moves to touch her hair but Mario quickly motions
her to leave it alone and they continue dancing. One of the
Secret Service men stands leaning against a structure, swinging
his hand to the beat, smiling. The man watching behind rebukes
him with a word and his expression turns serious as he pulls his
hat down, putting his hands in his pockets, looking out again
over the dancing. The music stops and everyone applauds the
musicians.
MARIO DELANI. Thank you. [The first Secret Service man comes over
to Ann then Mario, seeing him, says something to Ann in Italian,
then "Bye", and leaves her to him]. Ann smiles slightly but
nervously to the man and they start to dance. They turn several
times, then the man speaks in her ear.
ANN [as he forces her over to the side] You- you've made a
mistake. [Tells him in Italian, pretending, that she doesn't
speak English] Let me go. [Loudly] Will you let me go! [Shouting]
Mr. Bradley! [Joe looks up and starts toward her, looking for her
in the dancers] Let me go, will you? Mr. Bradley! Irving looks
around from his drink and, seeing the problem, rushes after Joe.
Two of the Secret Service men drag Ann away from the barges but
Joe catches them and pushes them away, pushing one of them down,
and taking Ann by the arm. Joe punches one man who tries to pull
Ann the other way but the other one manages to push Irving over
the railing of the gangway and almost into the water. Joe and Ann
run to the other side of the floor, where the dancers have
dispersed and are watching the action. Joe sees more Secret
Service coming from the other side so he runs back the other way.
Cornered, he confronts them head-on as they close, Ann standing
to the side as he throws one over the side. Ann has the presence
of mind to throw him a life belt to him and the crowd cheers.
Irving meanwhile struggles with one of the men, having his beard
pulled, but responds to this with an angry punch to the face.
Mario runs over his hair with his comb, muttering some Italian to
the people near him before rushing in to the fray to help Joe.
The conductor of the band motions to the musicians to start
playing and they respond with an energetic tune. The scene of
chaos continues, Joe and Irving and Mario laying into the Secret
Service men. Distracted, two of the men manage to grab Ann and
drag her away. Joe runs after, Irving following with his camera.
Joe pushes one of the men to the ground and the other responds
with a punch, freeing Ann. Ann looks around her for a way to
help, picking up a bottles and throws it weakly at Joe's man. Joe
keeps fighting with the man as Ann picks up a guitar lying near
the band and stands behind him, on a chair. One of the men starts
towards her and there is drum roll as she lifts the guitar over
her head, then swings it down, hitting him full on the head,
stunning him for a moment.
JOE. Alright?
JOE. Oh, fine! [They laugh out loud for several moments. He looks
at her] Say, you know, you were great back there.
Joe enters his apartment, takes off his jacket and closes the
door. Inside, the radio is on, playing soft piano music. An
announcer comes on: "This is the American Hour from Rome,
continuing our musical selections". In the bathroom, Ann gets
herself ready, dressed in a bedrobe. Looking in the mirror, she
smooths her hair over. She goes outside, standing beside the
closed door. Joe, preparing a drink, greets her with a smile.
JOE. Tired?
ANN. A little.
JOE. Yes.
ANN [she walks to him] May I have a little more wine? [He pours
her some more] Sorry I couldn't cook us some dinner.
JOE [as Ann drinks from the glass] Did you learn how in school?
ANN. Mmmm, I'm a good cook; I could earn my living at it. I can
sew too, and clean a house, and iron-I learned to do all those
things, I just haven't had the chance [slowing, turning away] to
do it for anyone.
JOE. Well, looks like I'll have to move; and get myself a place
with a kitchen.
ANN. No, please [she looks at him and kisses him] nothing. [They
hold each other for a moment then Ann looks down] I must go and
get dressed. Ann walks to the bathroom. Joe stands with his back
to her, heart-broken. He walks over to pick up his jacket and
puts it on.
JOE. 'K. [He slows down, stopping at a corner and leans forward
to see the Embassy gate visible down the street] Here?
ANN [looking out her window] Yes. [Looking down, without looking
at him] I have to leave you now. I'm going to that corner [she
looks out], there, and turn. You must stay in the car and drive
away. Promise not to watch me go beyond the corner. Just drive
away and leave me, as I leave you.
ANN [keeping back the tears] I don't know how to say goodbye. I
can't think of any words.
JOE. Don't try. They look at each other and she throws her self
into his arms, holding her tight. They kiss, passionately, then
hold each other for a few more moments and Ann cries against his
shoulder. They release, enough for her to turn around to look
back down the street, then she looks at back him. They manage a
smile at each other and then Ann looks down, unable to stay the
inevitable. Turning away from him, she opens the door and gets
out. Without looking back she starts off down the street, her
walk turning into a run. Joe watches her as she disappears round
the corner. Joe looks out at the empty street toward the gate and
looking as if he might go after her but, after a pause he looks
away, glumly, then switches on the engine and drives off. In the
Embassy. Princess Ann stands in a large room across from the
others in their bedclothes: Ambassador; the Countess, who is
upset, wiping her nose with a handkerchief; and the General, who
stands grim-faced.
The next day, Joe sits in his apartment, looking out of his
window over the town. There is a knock at the door and Joe looks
up, hopefully. The knocking persists and he walks to the door
slowly and opens it, then turns around in disappointment.
HENNESSY [bursting in] Joe, is it true: did you really get it?
HENNESSY. The Princess story, the exclusive: did you get it?
HENNESSY [waving his finger at him] Joe, you can't hold out on
me.
HENNESSY. I know too much: First you come into my office and ask
about an exclusive on the Princess; next, you disappear; then I
get the rumour from my contact at the Embassy that the Princess
isn't sick at all and she's out on the town.
JOE. What kind of a newspaper man are you? You believe every two-
bit rumour that comes your way?
JOE. I have no story [he pushes past him, walking to the table
with the wine on]
HENNESSY [as Joe pours a drink] Then what was the idea of-.
JOE. Irving.
JOE. What do you mean, charging in and spilling things all over
my place.
JOE. You did-I spoke to you about that once before, don't you
remember?
JOE [pulling him by the arm to the bathroom] Yeah, you better
come in here and dry 'em off, Irving.
JOE. Irving.
HENNESSY. Smithy?
JOE. Hey, alright, save that till later; you're here early
anyway. Why don't you go home and shave!
JOE. Yeah, or else keep quiet till Mr. Hennessy and I are
finished talking.
HENNESSY [walking over, putting his hat on] Hey, what kind of a
routine is that? What are you guys up to? [Hands on hips] Who's
Smithy?
JOE [quickly] Oh, he's a guy that we met; you wouldn't care for
him.
HENNESSY [stopping him] Don't change the subject! When you came
back into my office, yesterday-.
HENNESSY. Ok; she's holding the press interview today, same time,
same place-maybe that's one story you can get. [He walks to the
door, turning back, pointing a finger at him] And you owe me five
hundred bucks!
JOE. Irving... I, I don't know just how to tell you this, but-.
JOE. Well, in regard to the story that goes with these: there is
no story.
JOE [walking away to pour another drink] I mean not as far as I'm
concerned.
JOE [laughing] Yeah. [Joe picks some pictures up] Ha, that's her
first cigarette, huh?
IRVING. Oh yeah, at Rocca's. [Joe displays the next one] Hey, the
Mouth of Truth. [looking at the next one they laugh. It's of Ann
and Mario, dancing] Oh, you wanna know the caption I had in mind,
there? 'Barber cuts in'-huh?
JOE [taking another from the bed] Well, here's the one I figured
would be the key shot for the whole layout: [the picture is of
Ann looking at the plaques] 'The Wall Where Wishes Come True',
hmm?
IRVING. Joe, that's good. Lead off with that then follow up on
the wishes?
JOE. Yeah.
IRVING [handing him the next one, of Ann in custody after the
scooter ride] 'Police Inspects Princess'. Huh? [They laugh] How
about that?
JOE. Yeah. [Laughing] Pretty good, pretty good. [Irving hands him
the next one: of Ann smashing the Secret Service man over the
head with the guitar] Wow!
IRVING. Oh, I get it- That- Joe, you got-[Joe face loses its
humour and Irving's enthusiasm fades]. She's fair game, Joe. It's
always open season on princesses. [Shaking his shoulder] You must
be out of your mind!
JOE. Yeah, I know but, er, look I can't prevent you from selling
the pictures if you want to. You'll get a good price for 'em.
IRVING. Yeah! [he bends over the bed to gather the pictures up].
The huge Embassy hall. The floor teams with journalists and
photographers, milling around. Joe and Irving enter, standing at
the entrance.
GENERAL. Thank you, ladies and gentlemen. Thank you very much.
ANN [to the Ambassador, who is slightly taken aback] I would now
like to meet some of the ladies and gentlemen of the Press. Ann
walks down the steps, stopping as the Countess and the General
walk down to accompany her. When they stop, she continues,
walking down the steps and to the left of the gathering, smiling
as she walks to up to the journalists.
ANN [as she shakes his hand] I'm so happy to see you, Mr.
Hitchcock.
IRVING [reaching into his pocket, then giving her the envelope]
Er, may I present Your Highness with some commemorative photos of
your visit to Rome?
ANN [she takes the envelope, opening it, and removing one of the
photos slightly to see. It is the one of her hitting the man with
the guitar. She suppresses her amusement] Thank you so very much
[she pauses slightly before she turns look at Joe].
JOE [as she walks across to him] Joe Bradley, American News
Service.
ANN [she shakes his hand and he smiles back, Ann with more
suppressed emotion] So happy, Mr. Bradley.