Rome holiday(台词）

Roman Holiday (1953) is a delightful, captivating fairy-tale romance shot entirely on本地in Rome, and produced and directed by one of Hollywood's most skillful, distinguished, professional and eminent directors - William Wyler.

The film's bittersweet story is a charming romantic-comedy, a kind of Cinderella tale in reverse (with an April-October romance). A runaway princess (Hepburn) rebels against her royal obligations and escapes the insulated confines of her royal prison to find a 'Prince Charming' commoner - an American reporter (Peck) covering the royal tour in Rome. The story was reportedly based on the real-life Italian adventures of British Princess Margaret.

Wyler was known for other great films including Dodsworth (1936), Jezebel (1938),WutheringHeights(1939), The Letter (1940), Mrs. Miniver (1942), The Best Years of Our Lives (1946), The Heiress (1949), Friendly Persuasion (1956), Ben-Hur (1959) and Funny Girl (1968). Wyler's well-crafted, stylish films that cover a wide range of film genres (family dramas, westerns, epics, romantic comedies, and even one musical) always included down-to-earth characters in real-life situations.

The film received a phenomenal ten Academy Award nominations for a comedy. It won a Best Actress Oscar for its under-experienced British (Belgium-born) actress named Audrey Hepburn - it was her first American film, although she had previously appeared in six European movies and on Broadway in an adaptation of Colette's Gigi. Another of the film's three Oscar awards, the one for Best Original Story was given to Ian McLellan Hunter. In 1993, a posthumous Oscar was properly credited and given to blacklisted Hollywood Ten author Dalton Trumbo, who actually wrote the screenplay. The third Oscar it received was for Best B/W Costume Design (Edith Head). The other seven nominations included: Best Picture, Best Supporting Actor (Eddie Albert), Best Director, Best Screenplay (Ian McClellan Hunter and John Dighton), Best B/W Cinematography, Best B/W Art Direction/Set Decoration, and Best Film Editing.




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In the opening moments of the film, a Paramount News NEWS FLASH announces, with newsreel footage, the goodwill tour of a royal princess, Princess Ann (Audrey Hepburn), a member of the royal family of an unnamed European country. During her formal tour, she waves at the crowds who line the streets for parades, motorcades, and other ceremonial processions:


Paramount News brings you a special coverage of Princess Ann's visit toLondon, the first stop on her much-publicized, goodwill tour of European capitals. She gets a royal welcome from the British, as thousands cheer the gracious young member of one ofEurope's oldest ruling families. After three days of continuous activity and a visit toBuckinghamPalace, Ann flew toAmsterdam, where her Highness dedicated the newInternationalAidBuildingand christened an ocean liner. Then went toParis, where she attended many official functions designed to cement trade relations between her country and the Western European nation. And so toRome, theEternalCity, where the Princess' visit was marked by a spectacular military parade...The smiling young Princess showed no sign of the strain of the week's continuous public appearances. And at her country's Embassy that evening, a formal reception and ball in her honor was given by her country's Ambassador toItaly.
During her royal state visit toRome,Italy, she is presented to the guests during the extravagant ball, escorted into the room wearing a beautiful gown and crown of jewels. Performing her expected diplomatic duties, she appropriately greets the Papal Nuncio, Monsignor Altomonto (Giacomo Penza), Sir Hugo Macy de Farmington (Eric Oulton), the Maharajah of Khanipur (Rapindranath Mitter) and Rajkumari (Princess Lilamani), Prince Istvan Barossy Nagyavaros (Cesare Viori) and many others, but the young foreign Princess reveals her weariness of the proceedings. Under her long gown, she wiggles and itches her foot and then embarrasses herself by losing her high heeled shoe. She retrieves it when she stands to dance with a steady procession of admirers and guests.

Her girlish naivete and modern-day leanings are expressed when she is tucked primly into her bed in an old-fashioned nightgown by her lady-in-waiting chaperone, Countess Vereberg (Margaret Rawlings):


Ann: I hate this nightgown. I hate all my nightgowns, and I hate all my underwear too.
Countess: My dear, you have lovely things.
Ann: But I'm not two hundred years old. Why can't I sleep in pajamas?
Countess: Pajamas!?
Ann: Just the top part. Did you know that there are people who sleep with absolutely nothing on at all?
Looking out her window, she catches a glimpse of how the other half lives, a scene of Roman nightlife. When she is brought warm milk and crackers before retiring, she scoffs: "Everything we do is so wholesome!" The review of her tightly-arranged royal schedule for the next day (including rules of decorum, how she will act and what she will wear) reveals ceremonial visits to a car factory, a food and agricultural inspection organization and an orphanage, followed by a press conference, lunch with the foreign ministry, and even more affairs of state later in the day. The Princess screams: "STOP!", hysterically exasperated and depressed by the constant control and regimentation of her life. As she is given a sedative by a doctor, she tells her guardians: "...I'll be calm and relaxed, I-I'll bow and I'll smile and improve trade relations and I'll..." In reality, she is determined to seeRomefor herself and on her own terms.

To escape the endless tedium of the many ceremonial occasions, to find adventure and to experience life beyond the claustrophobic confines of her royal position - without royal control - she slips out of the palatial Embassy that night. Unseen, Ann climbs into the back of an open supply truck (Domenico Pizzatti - Rinfreschi -) that is allowed to leave the Embassy grounds. For the first time, unescorted and unchaperoned, she smiles as she watches her liberating passage through the Embassy's gates. When the truck stops, she jumps out and finds herself in the middle ofRome, becoming increasingly drowsy from the effects of the sleep-inducing sedative. She falls asleep on a low park wall.

On his walk home following a late-night card game which has impoverished him with his pals, street-smart American newspaperman Joe Bradley (Gregory Peck), one of the many reporters who was planning to interview the Princess the next day, walks by the sleeping beauty. She is singing to herself: "So happy." He finds it ironic that she is "well-read, well-dressed" and "snoozing away on a public street" like a drunk. Taking pity on her because she has no money ("Never carry money"), the protective journalist signals a taxi and they climb in the back seat. Perplexed that she sleepily responds that she lives "at the Coliseum," he directs the taxi to his own apartment and then realizes that she must spend the night there.

In an exquisite scene, he leads her up steps and ushers her into his apartment while muttering to himself: "I ought to have my head examined." Preparing to sleep at his place, she comments dizzingly about all the new experiences, while he包含ucts her on sleeping arrangements:


Ann: Can I sleep here?
Joe: Well, that's the general idea.
Ann: Can I have a silk nightgown with rosebuds on it?
Joe: I'm afraid you'll have to rough it tonight - in these. (He presents her with his own oversized pajamas.)
Ann: Pajamas!
Joe: Sorry honey, but I haven't worn a nightgown in years.
Ann: (regally) Will you help me get undressed, please?
Joe: (after hesitating a moment and being taken aback) Uh, OK. (He removes one small article of clothing - her necktie) There you are, you can handle the rest. (He pours himself a glass of wine and rapidly downs it.)
Ann: May I have some?
Joe: (firmly) No. Now look.
Ann: This is very unusual. I've never been alone with a man before - even with my dress on. (She begins unbuttoning and removing her blouse) With my dress off, it's most unusual. I don't seem to mind. (She gazes directly at him.) Do you?
Joe: (stony-faced) I think I'll go out for a cup of coffee. You'd better get to sleep. (She flops on his bed.) No, no, no. (He leads her toward the couch.) On this one.
Ann: How terribly nice.
Joe: Hey - these are pajamas. They're to sleep in. You're to climb into them, you understand?...Then you do your sleeping on the couch, see. Not on the bed, not on the chair, on the couch. Is that clear?
Ann: Do you know my favorite poem?
Joe: You already recited that for me.
Ann: "Arethusa rose from her couch of snows in the Acroceraunian mountains" - Keats.
Joe: Shelley.
Ann: Keats!
Joe: Now, you just keep your mind off the poetry and on the pajamas, and everything'll be all right, see.
Ann: It's Keats.
Joe: Now, I'll be - it's Shelley - I'll be back in about ten minutes.
Ann: Keats. (He approaches his front door and hides his wine bottle on the top of the mantelpiece.) You have my permission to withdraw.
Joe: Thank you very much...
When Joe returns to his small apartment about ten minutes later, he finds the princess in his own bed - not on the chair or couch as he had包含ucted. He rolls her off his bed onto the couch.

The princess' disappearance is classified as a "Top Crisis Secret" when it is discovered that the "direct heir to the throne" is missing at the Embassy. A diplomatic cover-up conceals the real facts: "A SPECIAL EMBASSY BULLETIN REPORTS THE SUDDEN ILLNESS OF HER ROYAL HIGHNESS THE PRINCESS ANN."

The next morning when he awakens, he has overslept past the scheduled 11:45 am interview with the princess. The Rome American newspaper reports:


Princess Ann Taken Ill; Press Interview Cancelled - Embassy Reports Princess Confined to Bed by Sudden Illness: Day's Schedule Cancelled
Joe frantically dresses and arrives late at the American News Service where he ineptly tells his boss Mr. Hennessey (Hartley Powers) that he has just left the interview with the princess - a paradoxically true statement, but a gross lie ("a gold-plated, triple-decked, star-spangled lie") in his superior's view:


Hennessey: In view of the fact that our Highness was taken violently ill at three o'clock this morning, put to bed with a high fever, and has ordered all her appointments for the day cancelled in toto...
Joe: That's certainly pretty hard to swallow.
Hennessey: In view of the fact that you just left her, of course.
Hennessey points out Princess Ann's picture printed in the paper: "It isn't Annie Oakley, Dorothy Lamour, or Madame Chiang Kai-shek. Take a good look at her. You might be interviewing her again some day." Joe immediately discovers that he has a major scoop in the works. After discovering the identity of the mysterious girl in his apartment, he hopes to get an exclusive story that will help him with his career advancement that would take him back to the States:


Joe: How much would a real interview with this dame be worth?
Hennessey: Are you referring to Her Highness?
Joe: I'm not referring to Annie Oakley, Dorothy Lamour, or Madame ... How much?
Hennessey: What do you care? You've got about as much chance...
Joe: I know, but if I did? How much would it be worth?
Hennessey: Oh, just a plain talk on world issues, it would probably be worth two hundred and fifty. Her views on clothes, of course, would be worth a lot more, maybe a thousand...dollars.
Joe: I'm talking about her views on everything!...The private and secret longings of a Princess. Her innermost thoughts as revealed to your own correspondent in a private, personal, exclusive interview. (His boss' mouth drops, awe-struck by the thought) Can't use it, huh? I didn't think you'd like it.
Hennessey: Come here! Love angle too, I suppose.
Joe: Practically all love angle.
Hennessey: With pictures.
Joe: Could be. How much?
Hennessey: That particular story will be worth five grand to any news service....
Joe: ...You said five grand? I want you to shake on that.
（非常长啊！很辛苦啊）
Back at his apartment, Ann finally awakens at about 1:30 in the afternoon, but she is thoroughly disoriented:


Ann: Would you be so kind as to tell me where I am?
Joe: Well, this is what is laughingly known as my apartment.
Ann: Did you bring me here by force?
Joe: No, no. Quite the contrary.
Ann: Have I been here all night, alone?
Joe: If you don't count me, yes.
Ann: So I've spent the night here - with you?
Joe: Well now, I-I don't know that I'd use those words exactly, but uh, from a certain angle, yes.
Ann: (beaming with a smile) How do you do? (She extends her hand for a handshake)
Joe: How do you do?
Ann: And you are - ?
Joe: Bradley, Joe Bradley.
Ann: Delighted.
Joe: You don't know how delighted I am to meet you.
Ann: You may sit down.
Joe: (sitting on the bed) Thank you very much. What's your name?
Ann: You may call me Anya.
The newspaper reporter pretends ignorance of her identity, initially having a strictly mercenary interest in the Princess. While she takes a bath, he phones his carefree, bearded photographer friend Irving Radovich (Eddie Albert), hinting: "It's front-page stuff. That's all I can tell ya. It might be political or it might be a sensational scam. I'm not sure which. But it's a big story, and it's gotta have pictures."

Everything is exciting for Ann: "It must be fun to live in a place like this." But she feels compelled to leave and wander around. After lending her a little money, he follows her through the crowded streets and marketplace filled with small motorcycles, bicycles, vendors, and pedestrians. She walks the streets ofRomeincognito, experiencing things as an ordinary commoner and doing things exactly the way she wants to. At a salon, she has her hair drastically cut shorter after ordering the Italian haircutter (Paolo Carlini): "All off." Afterwards, she tells the flirtatious barbiere who cropped her hair to make her unrecognizable: "It's just what I wanted."

She begins her day of freedom by ordering a gelati cone at a roadside stand and accepting a single flower from a flower vendor. Joe accidentally runs into her to keep in contact with her and get the inside information for his story. She confesses her predicament of playing hookey from school and her desire to "live dangerously":


Ann: I ran away last night, from school.
Joe: Oh, what was the matter? Trouble with the teacher?
Ann: No, nothing like that.
Joe: Well, you don't just run away from school for nothing.
Ann: It was only meant to be for an hour or two. They gave me something last night to make me sleep.
Joe: Oh, I see.
Ann: Now, I'd better get a taxi and go back.
Joe: Well look, before you do, why don't you take a little time for yourself?
Ann: Maybe another hour.
Joe: Live dangerously. Take the whole day.
Ann: I could do some of the things I've always wanted to.
Joe: Like what?
Ann: Oh, you can't imagine. I-I'd do just whatever I liked all day long.
Joe: You mean things like having your hair cut, eating gelati...
Ann: Yes, and I'd sit at a sidewalk cafe and look in shop windows. Walk in the rain, have fun and maybe some excitement. Doesn't seem much to you, does it?
Joe proposes to spend the day with her and experience everything she has always wanted to:


Joe: Tell you what. Why don't we do all those things, together?
Ann: But don't you have to work?
Joe: Work? No. Today's gonna be a holiday.
Ann: But you want to do a lot of silly things?
Joe: (He takes her hand) ...First wish? One sidewalk cafe, comin' right up. I know just the place. Rocca's.
At the cafe, Ann orders costly champagne for lunch, and then describes, in disguised terms, her father's fortieth anniversary of the day he got his job:


Ann: Well, mostly you might call it public relations.
Joe: Oh, well, that's hard work.
Ann: Yes. I wouldn't care for it.
Joe: Does he?
Ann: I heard him complain about it.
Joe: Why doesn't he quit?
Ann: Oh, people in that line of work almost never do quit, unless it's actually unhealthy for them to continue.
To conceal his own identity to her, Joe describes his own line of work:


Ann: What is your work?
Joe: Oh, I'm, ah, in the selling game.
Ann: Really? How interesting. What do you sell?
Joe: Fertilizer. Chemicals. You know, chemicals. Stuff like that.
WhenIrvingarrives, he repeatedly tries to mention that Ann is a "ringer" for the Princess, but Joe blocks him by kicking him under the table, dumping a drink in his lap, and finally by knocking his chair over. When Joe gets Irving away for a few moments, he tells his photographer friend about Anya Smith's ("Smitty's") real identity and the promise of five grand (including a percentage of the take if there are pictures): "She doesn't know who I am or what I do. LookIrving, this is my story. I dug it up. I've got to protect it...Your tin无效s are gonna make this little epic twice as valuable...You're in for twenty-five percent of the take." Then, he asks his friend to loan him thirty thousand lira ("that's fifty bucks") so that he can entertain the Princess for the rest of the day.

Ann smokes her "very first" cigarette, whileIrvingsurreptitiously takes pictures of her with his hidden-camera cigarette lighter. Meanwhile, "plain-clothes" men are retained to search the city for the missing princess, as Joe, Ann, and Irving begin their carefree tour of the city on a "fun schedule." She rides on the back of Joe's motorcycle to see the famous sights, including the ruins of the Coliseum. After Ann recklessly drives them through the streets, they are arrested by the polizia but released after Joe's clever alibi: "Going to church to get married on a scooter." Ann brags about her own deceitfulness:


Ann: I'm a good liar too, aren't I, Mr. Bradley?
Joe: The best I ever met.
In a memorable scene, Joe shows the Princess a sculpture which he names 'The Mouth of Truth.' He tests the legend with her:


Joe: The Mouth of Truth. Legend is that if you're given to lying, you put your hand in there, it'll be bitten off.
Ann: Oh, what a hard idea.
Joe: Let's see you do it.
Ann: (she nervously moves her hand toward the mouth, but then pulls back) Let's see you do it!
Joe scares the Princess into believing he has lost his hand inside the sculpture's mouth. Later during her guided tour, they visit a wall covered with in脚本ions:


Joe: Each one represents a wish fulfilled. It all started during the war. 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, right there, for shelter and prayed for safety. Bombs fell very close, but no one was hurt. Later on, the man came back and put up the first of these tablets. Since then, it's become a sort of a shirine. People come and whenever their wishes are granted, they put up another one of these little plaques.
Ann: Lovely story.
Joe: Read some of the in脚本ions. (Ann moves closer toward the wall) Make a wish? (Ann nods). Tell the doctor?
Ann: (declining) Anyway, the chances of it being granted are very slight.
Ann suggests going dancing that evening on a barge down by Sant' Angelo on theTiberRiver, where she was invited to meet the salon barber:


Ann: At midnight, I'll turn into a pumpkin and drive away in my glass slipper.
Joe: And that will be the end of the fairy tale. [ToIrving] Well, I guess, er,Irvinghas to go now.

IRVING. I do?

JOE. Yes, you know, that big business development of yours that you have to attend to.
IRVING. Ah-[he remembers] oh, the development.
JOE. Yes, can't afford not to take care of that.
IRVING. Yeah. Er, I'll, er, [shaking her hand] see ya later, Smithy.

ANN. Good luck for the big development.

IRVING[waving as he leaves] Yeah, thanks. Ann smiles after
Irvingas he leaves. They hear the sound of horses' hooves on the road approaching and turn round to look. Joe looks back at her, asking, then she nods, smiling. Joe whistles at the driver and they walk over to the carriage as it stops, getting on.

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 [looking up to him as she sits down] Mr. Bradley: if you don't mind my saying so, I think you are a ringer.

JOE [confused] Oh- wha-? [Understanding, smiling; sitting down] Oh. Thanks very much.

ANN. You spent the whole day doing things I've always wanted to. Why?

JOE [guiltily] I don't know. Seemed the thing to do.

ANN. I never heard of anybody so kind.

JOE [he looks down, hiding his guilt] Wasn't any trouble.

ANN. Also completely unselfish.

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].

MARIO DELANI [turns to Ann, smiling] Oh! Finalmentez: there you are! [Remembering his manners to the woman apparently accompanying him] Er, scusatmitanto. [Turning immediately back to Ann] I look for you long time-I think maybe you not come [he
pauses, noticing Joe standing just behind her, watching. He motions to her hair]. Ah, off; all off!

ANN. Oh, it's nice without, isn't it? Cool.

MARIO DELANI. Oh, very, very good.

ANN [introducing him] Mr. Bradley.

MARIO DELANI. I, Mario Delani.

JOE. Old friends?

ANN. Oh, yes; he cut my hair this afternoon. He invited me here, tonight.

JOE [to Mario] Wha- what did you say the name was?

MARIO DELANI [shaking Joe's hand] Delani, Mario Delani.

JOE. Mario Delani, I'm very glad to know you.

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?

JOE. No, no; go right ahead.

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.Irvingarrives 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 [quietly] You're just in time, pal.

IRVING. Who's Smithy dancing with?

JOE. Barber-cut her hair this afternoon, made a date for tonight.

IRVING[musing as he watches them] 'The Princess and the Barber'. [Mario and Ann continue dancing, having a great time.]Irvingwalks around the other side of the bar, his camera placed on the table, Joe hiding it from the view of the floor. The barman protests butIrvingreassures him, keeping his eyes on Ann.
Irving watches, waiting, and then, with a signal, Joe jumps away and the bulb flashes asIrvingtakes the picture. In an instant Joe jumps back, nonchalantly looking up at the sky whileIrvingtakes his glass, doing the same. Ann looks out across the floor and then, seeing Joe and Irving, waves.Irvinglifts his glass in acknowledgement. On the bridge, up above the dancing, several cars pull up. Several men climb out, rushing over to the steps.
The first Secret Service man, smoking a cigarette, watches the men approach. The men walk over to the tables. Ann continues dancing with Mario who suddenly stops, looking at her hair.

ANN. What is it?

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.

SECRET SERVICEMAN.Your Highness. [She looks at up him sharply, and tries to pull away but he holds her] You'll dance quietly towards the entrance. There is a car waiting. ANN [desperately; trying to pull away] No.

SECRET SERVICEMAN.Your Highness, please.

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!Irvinglooks 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 pushIrvingover 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.
Irvingmeanwhile 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,Irvingfollowing 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.

IRVING[excitedly, trying to get his camera ready, having missed the shot the first time] Hit him again, Smithy! The drummer rolls again as Ann swings the guitar back, then releasing it and smashing it over the man's head-the camera flashing as she does so. Police sirens sound and the Polizia arrive, packed into their cars. As they spill out, Joe, Ann, and Irving start to leave the scene, leaving the Secret Service men staggering or lying about the dance floor, dazed.

IRVING. Joe, give me my car keys.

JOE [toIrving; he stops, pointing at the police] Police, police.

IRVING[seeing them arrive in numbers they change their direction] The other side of the bridge. As Joe and Ann run across the barges,Irvingtries stalling the men who try to follow with a life belt but they make it past him, running to follow Ann. Joe and Ann run through a boathouse and on reaching the other end walk along the outside edge, just above the water. Unseen, a Secret Service man covers the outside of the boathouse as they double back. Joe peers round the corner and the man surprises him with a punch to the face, knocking him into the water. Ann knees him in the groin and pushes him away. She holds her nose and dives in after Joe, just escaping the reach of the man as he tries to stop her. The Polizia arrest the remaining Secret Service men and take them away, one of them being dragged by a guitar around his neck, his head clean through the guitar. The band starts up again and people replace the fallen furniture as the crowd waves across the water, apparently after Joe and Ann as they swim away. Joe and Ann stagger out of the water, completely wet through. Joe leads her to a rock where they sit down, Joe rubbing her around the shoulders as she shivers.

JOE. Alright?

ANN. Fine. How are you?

JOE. Oh, fine! [They laugh out loud for several moments. He looks at her] Say, you know, you were great back there.

ANN. You weren't so bad yourself-[she stops suddenly, looking into his eyes. He leans forward and kisses her. They stop several moments later and look into each other's eyes].

JOE [after a pause] Well.... I... I guess we'd better getIrving's car, and get out of here. They stand up and hurry on their way.

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 fromRome, 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 [with a laugh] Everything ruined?

ANN. No. They'll be dry in a minute.

JOE. Suits you-you should always wear my clothes.

ANN. Seems I do [Joe laughs].

JOE [giving a her a glass of wine] I thought a little wine might be good.

ANN. Shall I cook something?

JOE. No kitchen; nothing to cook; I always eat out.

ANN. Do you like that?

JOE. Well, life isn't always what one likes-[pauses] is it?

ANN. No, it isn't [Ann sits down].

JOE. Tired?

ANN. A little.

JOE. You've had quite a day.

ANN. A wonderful day [she smiles as the radio announcer comes on].

RADIO ANNOUNCER. This is the American Hour, fromRome, broadcasting a special news bulletin in English and Italian. Tonight there is no further word [Ann stands up, walking to the radio; Joe stands still, his back to her] from the bedside of Princess Ann in Rome, where she was taken ill yesterday, on the last leg of her European goodwill tour. This has given rise to rumours that her condition may be serious, which is causing alarm
and anxiety among the people in her country. [The radio starts to repeat the bulletin in Italian so Ann switches it off].

ANN. The news can wait till tomorrow.

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 [she turns around to look at him, heart-broken] Yes [they look at each other for a moment then Ann looks down and drinks the rest of her wine. Ann chokes back her sorrow] I... will have to go now. [She stands for a moment, Joe looking at her, then runs into his arms, crying on his shoulder].

JOE [comforting her] Anya... there's... something that I want to tell you.

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.

Solemnly, without speaking, Joe drives Ann throughRome.

ANN [looking straight ahead] Stop at the next corner, please.

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.

JOE [solemnly] Alright.
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.

AMBASSADOR. Your Royal Highness: twenty-four hours-they can't all be blank.

ANN. They are not.

AMBASSADOR. But what explanation am I to offer Their Majesties?

ANN. I was indisposed. I am better.

AMBASSADOR. Ma'am: you must appreciate that I have my duty to perform, just as Your Royal Highness has Her duty-.

ANN. Your Excellency: I trust you will not find it necessary to use that word again. Were I not completely aware of my duty to my family and my country, I would not have come tonight. [The look at her, in silence; after a pause, grimly] Or indeed ever again.
[Ann walks across the room] Now, since I understand we have a very full schedule today, you have my permission to withdraw. [They stand for a moment, then bow and walk away. At the door, the Countess takes a tray from a servant] No milk and crackers. [The Countess gives them back, about to shut the door] That will be all, thank you, Countess. [The Countess bows in respect and then goes out, closing the door]. Alone in the room the Princess walks slowly over to a window, looking out over the city in silence.

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?

JOE [turning back to him, hands in pockets] Did I get what?

HENNESSY. The Princess story, the exclusive: did you get it?

JOE. No, no, I didn't get it [he turns away].

HENNESSY. What? But that's impossible!

JOE. Have a cup of coffee or something?

HENNESSY [waving his finger at him] Joe, you can't hold out on me.

JOE. Who's holding out on you?

HENNESSY. You are.

JOE [absently, pretending to busy himself with something on the desk] What are you talking about?

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?

HENNESSY. Yeah? And a lot of other rumours: about a shindig at a barge down by the river [Joe looks up, his eyes brightening at the recollection] and the arrest of eight Secret Service men from a country which shall be nameless. And then comes of news of the lady's miraculous recovery. It all adds up! And don't think by playing hard-to-get that you're raised the price of that story: a deal's a deal! [Pushing him out of the way, rummaging through the papers on his desk] Now, come on, come on, come on: where is that story?

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-.
IRVING[loudly, approaching from outside] Joe! [He bursts in, carrying a large envelope] Man, wait till you see these!

JOE.Irving.

IRVING[walking to Mr. Hennessy, holding out the packet] Hiya, Mr. Henne- oh, you got here at the right time. (JOE.Irving.) Wait till you get a look at-[Joe discreetly throws his drink, all overIrving]. What's the idea?!

JOE. What do you mean, charging in and spilling things all over my place.
IRVING. Who's spilling?

JOE. You did-I spoke to you about that once before, don't you remember?

IRVING. Joe, look at my pants!

JOE [pulling him by the arm to the bathroom] Yeah, you better come in here and dry 'em off,Irving.

IRVING[protesting, pulling away from him] Aww, knackers to that. [Smiling] Hey, did you tell him about Smithy?
JOE.Irving.
HENNESSY. Smithy?

IRVING. Oh ho! Mr. Hennessy (JOE. Irving.), wait till you-[Joe trips him as he walks to Mr. Hennessy].

JOE. There you go again,Irving.

IRVING[getting up, steaming] Joe. Listen, th-.

JOE. Hey, alright, save that till later; you're here early anyway. Why don't you go home and shave!

IRVING[putting a hand on his beard] 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 [grabbing the envelope fromIrving] What am I supposed to look at?

JOE [quickly, grabbing the envelope back] Oh, just a couple ofIrving's dames; you, you wouldn't like 'em. [Smiling; opening the envelope] Er, maybe you would...

HENNESSY [stopping him] Don't change the subject! When you came back into my office, yesterday-.

JOE. Yeah, I know, yesterday at noon I thought I had a lead, but I was wrong! That's all there is to it; there is no story [Irvinglooks at him, perplexed].

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. Take it out of my salary, fifty bucks a week.

HENNESSY. Don't think I won't! [He leaves].

IRVING. Hey, what gives? Have we had a better offer?

JOE.Irving... I, I don't know just how to tell you this, but-.

IRVING. Wait till I sit down [he sits].

JOE. Well, in regard to the story that goes with these: there is no story.

IRVING[pausing] W-why not?

JOE [walking away to pour another drink] I mean not as far as I'm concerned.

IRVING[he looks at Joe and, understanding, pauses for a moment] Er, well, the er, pictures came out pretty well. You wanna have a look at 'em? [he goes to the bed, spreading the pictures out. He holds one up to Joe as he comes over] Huh? [Enthusiastically; as Joe takes it, smiling] How about a blow-up from a negative that size, huh?

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[he picks up another one] I dug that up out of a file: 'Princess Inspects Police'.

JOE. Yeah, but-.

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. [Irvinghands him the next one: of Ann smashing the Secret Service man over the head with the guitar] Wow!

IRVING. Is that a shot?

JOE. What a picture!

IRVING. Is that a shot, Joe? 'Body Guard Gets Body Blow'!

JOE. Yeah. No, no, how 'bout this: 'Crowned Head'-huh?

IRVING. Oh, I get it- That- Joe, you got-[Joe face loses its humour andIrving'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].

JOE. You going to the interview?

IRVING. You goin'?

JOE. Yeah. Well, it's an assignment, isn't it?

IRVING. Yeah. [Irvingcloses the envelope, noticing his soaking pants. He lifts them off his wet leg, looking at Joe, annoyed. He goes out the door, talking back to Joe, disappointed] I'll see you. Joe stands and watches him leave.

The huge Embassy hall. The floor teams with journalists and photographers, milling around. Joe and Irving enter, standing at the entrance.

IRVING[looking up at the incredible ornation in the building] It ain't much, but it's home. They walk into the crowd. A man approaches at the front of the room, on top of the landing and walks to right of the ornate chair sat in the centre. Several steps lead up to the landing from the floor and are carpeted down the centre. Standing motionless at the top of the steps the man claps twice, loudly.

EMBASSY ANNOUNCER. Ladies and Gentlemen: please approach. The crowd moves forward, pressing to the front behind the rope that marks the boundary. Joe and Irving move to the front, towards the right side of the gathering. The Master of Ceremonies approaches from the back also, walking to the other side of the first man, standing still. The Master of Ceremonies announces, in Italian, "Her Royal Highness", then again in English. He then stands sideways and waits. In a moment, the Princess emerges accompanied by the Ambassador, the Countess, the General, and many others behind. Joe smiles slightly as she approaches. Princess Ann stands in front of the chair.

AMBASSADOR. Your Royal Highness: the ladies and gentlemen of the Press [he motions with his hand]. Princess Ann turns to the gathering, raising and lowering her head in acknowledgement to them. As she looks over them her eyes fall on Joe and she starts just slightly, her expression hardening a little. She looks down as the Ambassador motions to the chair with his hand. She sits back gracefully, looking back up at Joe. They exchange looks. Ann turns her head, nodding to the Master of Ceremonies.

MASTER OF CEREMONIES [he bows, then turns to the group] Ladies and Gentlemen: Her Royal Highness will now answer your questions.

CHIEF OF CORRESPONDENTS [standing in the crowd of journalists; speaking slowly, formally] I believe at the outset, Your Highness, that I should express the pleasure of all of us at your recovery from the recent illness.
ANN. Thank you.

AMERICAN CORRESPONDENT [speaking from the crowd] Does Your Highness believe that Federation would be a possible solution toEurope's economic problems?

ANN. I am in favour of any measure which would lead to closer cooperation inEurope.

CORRESPONDENT. And what, in the opinion of Your Highness, is the outlook for Friendship Among Nations?

ANN. Ihave every faith in it-[pausing; turning to look at Joe]as I have faith in relations between people[the people on the stage around her look about, slightly baffled; the press gathering stirs slightly].

JOE. May I say (speaking from my own press service) we believe that Your Highness's faith will not be unjustified.

ANN [looking at Joe; smiling very slightly to him] I am so glad to hear you say it.

CORRESPONDENT. Which of the cities visited did Your Highness enjoy the most? Ann pauses as she looks at Joe.

GENERAL [quietly, prompting her] Each in its own way...

ANN. Each in its own way was...unforgettable. It would be difficult to-[she stops, then her face softens].Rome; by all means,Rome. [The press stirs, muttering to themselves quietly. She turns to look at Joe]I will cherish my visit here, in memory, as long as I live.

CORRESPONDENT. Despite your indisposition, Your Highness?

ANN [turning to the correspondent] Despite that.

MASTER OF CEREMONIES. Photographs may now be taken. The photographers swarm out from both sides from under the rope, jostling before the steps as they photograph her. Princess Ann stands up for them, stepping forward. As the photographers finish,Irvingsteps up, smiling to Ann as he holds his small cigaretter lighter camera. He bends forward, looking into it, as Ann smiles at him from above. Her expression turns to astonishment when she realises what is it that he is using as a camera.Irvingsmiles at her and Ann looks over at Joe who also smiles back. The last of the photographers retreats behind the rope.Irvingrejoins Joe behind the rope.

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.

AMERICAN CORRESPONDENT. Hitchcock,ChicagoDaily News.
ANN [as she shakes his hand] I'm so happy to see you, Mr. Hitchcock.
AMERICAN CORRESPONDENT. Thank you. Princess Ann walks walks along to meet the next one.
CORRESPONDENT. European Correspondent [bowing slightly] Scanziani de La Suisse [she shakes his hand].
GERMAN CORRESPONDENT. Deutsche Presse Agend.
ANN [shaking his hand] Freutmichsehr!
BELGIAN CORRESPONDENT. Maurice Montaberis, le Figaro [he bends forward, kissing her hand].
DUTCH CORRESPONDENT (Woman) [curtsies] *, *Amsterdam.
ANN [shaking her hand] * [the woman curtsies again].
FRENCH CORRESPONDENT. Jacques Ferris, Ici Paris.
ANN [shaking his hand] Enchant?Irvinglooks a Joe, shifting nervously as she comes closer.
CORRESPONDENT. *, Tel Aviv [he bows and shakes her hand].
SPANISH CORRESPONDENT. Cortes Cavanias,Madrid.
ANN [smiling as he kisses her hand] Encantando!
AMERICAN CORRESPONDENT.Lampel,New YorkHerald Tribune.
ANN. Good afternoon [she shakes his hand]
AMERICAN CORRESPONDENT. Good afternoon.
IRVING. Irving Radovich, C.R. Photo Service.
ANN. How do you do? [she shakes his hand]
IRVING[reaching into his pocket, then giving her the envelope]
Er, may I present Your Highness with some commemorative photos of your visit toRome?

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.

CORRESPONDENT. *, * [he bows and they shakes hands. She appears to almost speak but doesn't, moving on to the next correspondent].

ENGLISH CORRESPONDENT. Steven Hausen, TheLondonExchange Telegraph.

ANN [shaking his hand] Good afternoon.

FRENCH CORRESPONDENT. *, * Agence Press [he shakes her hand]. Reaching the last of the front-row journalists, Ann turns and walks slowly up the steps. The press gathering applauds her warmly as she reaches the top, her back to them. Slowly, she turns to face them, smiling broadly to the the gathering as she looks over them. Inevitably, her eyes fall to Joe. He smiles back, then her expression grows sorrowful. She manages another slight smile then turns away from them, and walks slowly and gracefully towards the exit. The officials step aside for her to pass and then file after her through the door. As she leaves, Joe watches her solemnly, the press turning to leave also. Before turning to go himself,Irvinglooks to Joe, but seeing his gaze unmoved walks away with the rest of them. The press, bustling and chattering behind him leave Joe alone, standing at the rope, looking at the empty spot where the Princess was last. Finally, Joe turns slowly to leave as the crowd disappears out of the entrance to the building. Alone but for the guards lining the room he walks slowly to the exit; hands in pockets, leaving the stage behind him; the huge room silent except for his slow footsteps. Stopping near the entrance, he pauses for a moment to look down the long hall back at the empty stage. Then, he turns and walks away.

Roman Holiday, Transcribed by Graham