(A newsreel begins:) --PARAMOUNT NEWS-- NEWS FLASH (A commentator describes the newsreel showing Princess Ann at veral ceremonies in various European locations.) NEWSREEL Paramount News brings you a special coverage of Princess Ann's visit to London, 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 of Europe's oldest ruling families. After three days of continuous activity and a visit to Buckingham Palace, Ann flew to Amsterdam where Her Royal Highness dedicated the new International Aid Building and christened an ocean liner. Then went to Paris where she attended many official functions designed to cement trade relations between her country and the Western European nations. And so to Rome, the eternal city, where the Princess' visit was marked by a spectacular military parade highlighted by the band of the crack Piersa Yeri Regiment. 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 to Italy. (The Embassy ballroom. People fill the floor of the room. A fanfare sounds. The Master of Ceremonies appears and the people clear a path down the middle of the hall in front of him. The Master of Ceremonies announces "Her Royal Highness"--first in Italian, then in English.) (The orchestra starts playing as the Master of Ceremonies walks down the newly-formed aisle. Princess Ann, resplendent in her ballgown, diamond tiara, and necklace, appears at the door accompanied by the Ambassador in formal military dress. Behind them follow together the Countess Vereberg and General Provno, and others. As the company walks slowly down the aisle, Princess Ann smiles and nods her head to acknowledge the guests who line their path. They bow as the Princess walks past them.) (As they reach the front, the Princess and the others step onto the dais as the orchestra finishes playing. The dais is furnished with chairs--a large one in the center. The Princess and the others stand, facing the guests. Princess Ann is about to sit when the Ambassador discreetly stops her with a hand on her arm.) (As they stand waiting, the guests form in a line in front. The Master of Ceremonies announces them as they walk forward to greet her, in turn.) MASTER OF CEREMONIES His Excellency, the Papal Nuntius, Monsignor Altomonto. (Ann greets him warmly in Italian, shaking his hand; he replies, in Italian.) MASTER OF CEREMONIES Sir Hugo Macy de Farmington. ANN (he bows to her) Good evening, Sir Hugo. SIR HUGO (shaking her hand) Good evening, Your Royal Highness. MASTER OF CEREMONIES His Highness, The Maharajah of Kalipur; and The Rajkumari. ANN (shaking the Rajkumari's hand) I'm so glad that you could come. THE RAJKUMARI Thank you. 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 Abend. MASTER OF CEREMONIES (as Ann puts her foot back) Prince Istvan Barossy Nagyavaros. ANN How do you do? (he kiss 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 Abend. (She greets the man as he kiss 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 (greeting another couple) So happy. MASTER OF CEREMONIES The Count and Countess von Marstrand. ANN Good evening, Countess (holding her hand the woman curtsies. To the Count.) Good evening. COUNT (kissing her hand) Good evening. (Suddenly, Princess Ann los her balance as her foot slips over her shoe, knocking it over. The Count's eyeglass pops out in surpri and he smiles back as she regathers herlf. The Ambassador looks down in disappointment at her error. The Master of Ceremonies introduces the next couple--a Senor and Senora.) 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 kiss 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 clos her eyes in horror. The Princess stirs in her at 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 prenting his arm to the Princess. The Princess ris 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 en, 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 phras 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.) (Later that night in Princess Ann's bedchamber. She stands on her bed dresd in her nightgown, her hair let down. She picks up the skirt of her nightgown and drops it.) ANN (brushing her hair) I hate this nightgown. I hate all my nightgowns. And I hate all my underwear too. COUNTESS (coming over to tend to her bed, dresd in a bedrobe and wearing glass) My dear, you have lovely things. ANN But I'm not two hundred years old! (Dropping down on the bed) Why can't I sleep in pyjamas? COUNTESS (looking up as she folds the sheets into place) Pyjamas! ANN (Just) the top half. (The Countess takes off her glass, 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 (opening the window) I rejoice to say that I did not. ANN (lying against the headboard, smiling as she hears distant music coming in through the window) Listen. (She jumps up out of bed and runs over to the window, looking out.) 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) Plea 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 They'll help you to sleep. ANN cad比例怎么调(stubbornly) I'm too tired to sleep--can't sleep a wink. COUNTESS (putting on her glass, taking a diary from the bedtable) Now my dear, if you don't mind: tomorrow's schedule--or schedule ((skedule),) whichever you prefer--both are correct. (Running through the items with a pen) Eight thirty, breakfast here with the Embassy staff; nine o'clock, we leave for the Polinory Automotive Works where you'll be prented with a small car. ANN (disinterested; abntly playing with a napkin) Thank you. COUNTESS Which you will not accept. ANN No, thank you. COUNTESS Ten thirty-five, inspection of food and agricultural organisation will prent you with an olive tree. ANN No, thank you. COUNTESS Which you (will) accept. ANN Thank you. COUNTESS Ten fifty-five, the Newfoundling Home For Orphans. You will preside over the laying of the cornerstone; same speech as last Monday. ANN Trade relations? COUNTESS Yes. ANN (chewing a cracker) For the orphans? COUNTESS No, no, the other one. ANN 'Youth and progress'. COUNTESS Precily. Eleven forty-five, back here to rest. No, that' eleven forty-five, conference here with the press. ANN 'Sweetness and decency' (she rolls her eyes.) 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 ros. (The Countess looks up, unimpresd. Continuing, as Ann drinks her milk from a glass) Three-o five, prentation 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 distresd) Charmed.) to your uniform (ANN So happy.) to meet the international--. ANN (screaming at the Countess) STOP!!! (Looking away, her hair covering her face) Plea stop! ! COUNTESS (retrieving the tray) It's alright, dear, it didn't spill (she places the tray on the table.) ANN I don't care if it's spilled or not. I don't care if I (throws her head into the pillow) drown in it! COUNTESS (putting her hands on her shoulders to comfort her) My dear, you're ill. I'll nd for Doctor Bonnachoven. ANN (turning over, facing the opposite way) I don't want Doctor Bonnachoven; plea let me die in peace! COUNTESS You're not dying. ANN (facing the Countess) Leave me. (Sitting up, shouting at her) Leave me! COUNTESS It's nerves; control yourlf Ann. ANN (throwing herlf on the pillow, beating it with her fist) I don't want to! COUNTESS (standing up straight, speaking with authority) Your Highness (Ann continues blubbing.) I'll get Doctor Bonnachoven (she heads for the door.) ANN (looking up as she leaves) It's no u; I'll be dead before he gets here (she gives a defiant blub.) (Later, the Countess enters the bedchamber, followed by Doctor Bonnachoven and the General. They walk to her bed and the doctor looks at Ann, who doesn't move.) DOCTOR (to the Countess, puzzled) She is asleep. COUNTESS She was in hysterics three minutes ago, Doctor. DOCTOR (he puts his Doctor's bag on the table and bends over to her; quietly) Are you asleep, ma'am? ANN (without moving) No! DOCTOR Oh. (He feels her forehead then takes a thermometer from his bag) I'll only disturb Your Royal Highness a moment, ah? ANN I'm very ashamed, Doctor Bonnachoven; I- (the Doctor places the thermometer in her mouth) suddenly I was crying. DOCTOR (reassuring) To cry--a perfectly normal thing to do. GENERAL It most important she be calm and relaxed for the press conference, Doctor. ANN Don't worry, Doctor: I- (takes the thermometer out) I'll be calm and relaxed and I-I'll bow and I'll smile and- I'll improve trade relations and I, and I will.. (she throws herlf onto the pillow, in hysterics again.) COUNTESS There she goes again. Give her something, Doctor, plea. DOCTOR (holding up a syringe from the bag) Uncover her arm, plea, hmm? (The Countess uncovers her arm as the General looks away.) ANN (calming down; without looking up) What's that? 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. ANN I don't feel any different. DOCTOR You will; it may take a little time to take hold. Just now, lie back, ah? ANN Can I keep just one light on? DOCTOR Of cour. Best thing I know is to do exactly what you wish for a while. ANN (smiling) Thank you, Doctor. COUNTESS (the Countess looks round at the General on the floor) Oh, the General! Doctor, quick! DOCTOR Oh! ANN (sitting up) Hah! (she puts her hand over her mouth, covering her smile.) GENERAL (embarrasd; straightening his bedrobe) I'm perfectly alright. (To the Princess) Goodnight, ma'am. (He bows and leaves.) DOCTOR (bowing, smiling at the Princess) Goodnight, ma'am. ANN Goodnight, Doctor. (The Doctor leaves, followed by the Countess, who turns off the light and, looking back at the Princess, shuts the door behind her.) (Alone, the Princess looks around the large room at the lavish, ancient ornamentation on the ceiling and the huge sculpted headboard. She lies back, and then, remembering, eagerly climbs out of bed and runs to the window. She looks out longingly at the dancing below, the breeze blowing in her face then out over the city, the buildings lit up in the night far in the distance. Thinking, she looks back at the door and then back out the window, then she runs to her wardrobe, and starts rummaging in the clothes hung there.) (Later, dresd in a plain white blou and skirt and picking up her gloves from the dresr, she peers out the door of the bedchambers. She es a guard sat at the end of the wall stir in his mi-sleep. Pausing as she clos the door, she goes out of the side window onto the balcony outside. She walks along to the edge of the adjacent balcony, jumping down with a slight noi onto the ground. Glancing furtively around she goes inside to a large, empty room. She paus for moment to look around on either side and then continues. Going through the door she finds herlf on a corridor upstairs, encircling the large central area. She runs along to the end, turning the corner and then onto the other side. She continues on, reaches a stairca and goes down it towards the exit.) (Outside, still in the grounds of the Embassy, she runs along a courtyard area. The shadow of a man walking appears where she has just come from but she reaches safety at the other end before he can e her.) (Running through the buildings further she paus, her back against a wall. Looking round the corner she es a man jump out of a small supply truck. While he is gone she runs over and quietly hops into the back of the truck. The man comes back and throws a couple of bags into the back where she is hiding. He then gets in, starts the motor, and drives off. Guards at the entrace of the Embassy grounds open the doors and the little truck drives out. Ann peers back over the top of a bag to e the guards closing the doors again as the Embassy recede into the distance. She looks round with delight, moving the bag out of the way, leaning her arm on some goods to e out the back better. She watches the truck go past a sidewalk cafe, busy with people, then waves to a couple driving behind on a scooter; the woman waves back at her. The goods rattle in the back as the truck bounces around, and Ann rests on a box, closing her eyes.) (The truck continues through the city but Ann is awakened when the truck stops for a couple walking across the street in front. As it is stopped she hops out, running to the footpath as the truck screeches away. She leans against a tree, yawning then continues on.) (Crossing a street, she walks straight across the pasnger cabin of a hor-drawn carriage parked alongside the pavement, to the bewilderment of the pasngers and driver. The cab drives away as Ann continues on.) (A light pours from the window of a room on the cond floor of the building the carriage was parked in ) (Inside the room are sat Joe Bradley, Irving Radovich, and veral other men around a poker table.) CARD PLAYER 1 Bet five hundred. JOE (placing his bet down, firmly) Five hundred. How many? IRVING (placing his bet) One. (The others still in the game place theirs.) CARD PLAYER 1 I'll take one. CARD PLAYER 2 Three. JOE Fool, boy. (Checks his cards; bets more) Two for papa. CARD PLAYER 1 (places a note in the pool) Five hundred more. JOE (following) Without lookin'. IRVING Five hundred; and, er (clears his throat,) rai you a thousand. (Joe looks at him suspiciously. Irving rubs his beard but stays unemotional. Joe places his money in the pool.) CARD PLAYER 1 (laying his cards down) Two pairs. JOE Oh, well I got three (shy) little vens. 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 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 po for some pictures. JOE What do you mean, early? My personal invitation says eleven forty-five. CARD PLAYER 1 Couldn't be anything to do with the fact that you're ahead? IRVING (smiling) It could. 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. IRVING Ciao, Joe. JOE (picking up his jacket off the back of the chair) Yeah, ciao. (The other men say goodbye: ) Goodnight, Joe; Ciao; Stay sober, etc. IRVING (as Joe leaves) Alright! a little ven card stud. CARD PLAYER 1 Ok with me. (Joe Bradley walks along the street, hands in pockets. He slows down by a park bench. Princess Ann is lying on it and Joe glances at her curiously as he walks by.) ANN (sounding drunk becau of the drug's effect) Sooooo happy. (Joe stops, turning round to look at her. Interrupting, as Joe almost walks on) How are you this evening? (She stirs on the bench, luxuriously) " JOE (rushing over to prevent her from falling off) Hey! hey, hey, hey. (Turning her on her back) Hey, wake up! ANN Thank you very much, delighted. JOE Wake up. ANN No, thank you. (Raising her gloved hand to him) Charmed. JOE (tentatively, shaking her hand) Charmed too. ANN (after a pau) You may sit down. JOE I think you better sit up; much too young to get picked up by the police. ANN (as he straightens her) Police? JOE Yep, po-lice. ANN Two-fifteen and back here to change. Two forty-five.. (she wavers slightly, not fully awake.) 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 Huh, what do you know? (Sitting down) You're well-read, well-dresd; you're snoozing away in a public street. Would you care to make a statement? ANN What the world needs is a return to sweetness and decency in the souls of its young men and-- (unable to support it, her head falls on his shoulder) JOE (he takes his money from his breast pocket and puts it into his trour 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 yourlf some coffee; you'll be alright. (He goes over to the cab, looks back to e her lying back down. The driver notices too and looks away innocently when he es 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 (as she drags herlf to her feet, helped by Joe) mm, so happy. JOE You got any money? ANN Never carry money. JOE That's a bad habit. ANN Mm. JOE Alright, I'll drop you off; come on. (He leads her to the taxi.) ANN (brightly; noticing it for the first time) It's a taxi! JOE Well, it's not the superchief. (He follows her into the cab.) CAB DRIVER (says something in Italian) Where are we going? JOE (to Ann) Where do you live? ANN Mmmmmm? (Closing her eyes) Collium. JOE Now, come on, you're not that drunk. ANN (laughing) If you're so smart I'm not drunk at all. I'm just being (her head falls against his chest) JOE Hey, now, don't fall asleep again. CAB DRIVER (first speaks something in Italian) Where are we- we going? (Joe says something in Italian, impatiently.) Ok. (Turns back around.) 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, unimpresd) Come on, where do you live?! ANN (mumbling, half-asleep) I....Collium. JOE (hopelessy; to the cab driver) She lives in the Collium. CAB DRIVER (shakes his head) It's wrong address. Now look, nor: 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--. JOE (giving up, sitting back) Villa Marguta, fifty-one. CAB DRIVER (plead, finally) Villa Marguta, fifty-one. (Plead) Oh, some Italian! (The taxi drives off. The cab arrives outside the address.) CAB DRIVER Yes, Villa Marguta fifty-one. some Italian I am very happy. (Joe looks grimly at Ann, asleep beside him) Thousand lira some Italian. (Joe responds in Italian. He reaches into his breast pocket then, remembering, his trour one and gives the driver the money.) 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, e? she tell you where she want to go. Ok. CAB DRIVER Moment, moment: my taxi not for sleep; my taxi--no sleep. You understand? you understand? JOE Look, look, pal: this is not my problem, e? I never e 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 herlf, 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 rais her hand and is about to knock on the neighbour's door when Joe es 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.) ANN Is this the elevator? 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 herlf) I'm terribly sorry to mention it, but the dizziness is getting wor. (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.) ANN (poetically) Can I have a silk nightgown with robuds on it? JOE (walking over to Ann, prenting her with some pyjamas) I'm afraid you'll have to rough it tonight--in the. ANN (with delight, taking them) Pyjamas! JOE Sorry, honey, but I haven't worn a nightgown in years. (He goes over to open another cupboard by the lamp.) ANN Will you help me get undresd, plea? (she stands ready, head raid expectantly.) JOE (paus, unsure, then goes to her) Er...ok. (He undoes her necktie, sliding it away fom her neck; prenting 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--. ANN (shaking her head) This is very unusual. (Unbuttoning her cuffs, then the bottom button of her blou) I've never been alone with a man before, even with my dress on. (Pulling up her blou out of her skirt) With my dress off it's most unusual. (With a half-laugh) Hm, I don't em to mind. (Smiling at him as she starts to open the remaining buttons) Do you? JOE I think I'll go out for a cup of coffee. ANN (amud) Hm. 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. ANN (still working on her buttons) How terribly nice. JOE Hey, hey: (bringing the pyjamas from the bed, prenting them to her) the are pyjamas; they're to sleep in; you're to climb into them, you understand? ANN (taking them) Thank you. JOE And you do your sleeping on the couch, e?--not on the bed, not on the chair: on the couch; is that clear? ANN Do you know my favorite poem? JOE Ah, you already recited that for me. (He goes to get some blankets from the bed.) ANN 录音电话(as he lays them out on the ottoman) Aritheuso* ro 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; e? ANN It's Keats. 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 confud. 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 undresd.) (At the Embassy. The Ambassador is sat at a table, the Countess in a chair in front and the General standing next to her. All are in their bedclothes. A man marches to the desk.) AMBASSADOR Well? SERVANT No trace, Your Excellency. AMBASSADOR Have you arched the grounds? SERVANT Every inch, Sir, from the attics to the cellar. AMBASSADOR I must put you on your honor not to speak of this to anyone. I must remind you that the Princess is the direct heir to the throne. This must be classified as top-crisis cret. Have I your pledge? SERVANT Yes, Sir. 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 himlf and walks from behind the desk.) (Joe arrives back at his apartment building, clos the outside door, and walks up the stairwell. He unlocks the front door and walks in.) JOE (about to say something) A--. (Disappointed on eing her asleep in his bed) Oh... (Looking at her, he slams the door shut, hard, but she doesn't move a muscle. He goes over to the other side of the bed and moves the table out of the way, making room. Then brings the ottoman over and places it next to her. He takes off his jacket, puts it down and loons his tie. Then he grabs the undersheet beneath her and then, calculating, lifts it up quickly, throwing her from the bed and onto the ottoman. She stirs slightly after the disturbance, resuming her comfortable position.) ANN (muttering) So happy. JOE The pleasure's mine. (He puts the pillow on the other end of the bed, muttering as he goes to get undresd) 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.") (Daytime. A clock in the city strikes 12 noon. Waken by the clock, Joe stirs in his bed. As the clock continues to ring he ris in bed, looking out the window as the sunlight streams in. He grabs an alarm clock, looking at the time, and shaking it.) JOE Holy smoke, the Princess interview-- (Ann stirs, half-asleep, with a questioning "hmmm?") eleven forty-five. (Ann makes annoyed nois as she buries herlf back into the pillow) Oh, shut up. (Joe jumps up, pulling the curtain back to e outside. He rushes to the wardrobe but stops, going through his clothes laid over the chair, retrieving a piece of paper. He puts it back as goes back to the wardrobe to get his clothes.) (Outside the window of an American News Service office. Mr. Hennessy comes to the window, looking down onto the street veral stories down to e Joe getting out of a taxi, hurriedly paying the driver. He then sits at his desk, looking through the morning papers. The headline of the Rome American article, accompanied by a picture of the Princess, reads: "Princess Ann Taken Ill: Press Interview Cancelled". Another paper, in Italian, has an article, also with a picture of the Princess.) (Joe arrives in the newsroom, reaching for a phone on a desk.) NEWSMAN Hi, Joe. SECRETARY Good morning, Joe. JOE Hello, honey. (He goes over to the cretary, borrowing a drink of her coffee as she holds it.) SECRETARY Mr. Hennessy has been looking for you. 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 cretary.) HENNESSY (from inside, angrily) Come in. (Joe braces himlf, exchanging a worried glance with the cretary, and then marches confidently into the office.) JOE (taking a mouthful as he shuts the door behind him; walking to Hennessy's desk) You've been looking for me? HENNESSY Just coming to work? JOE (innocently) Who, me? HENNESSY We start our days at eight-thirty in this office; we pick up our assignments--. JOE I picked up mine last night. HENNESSY What assignment was that? JOE The Princess, eleven forty-five. HENNESSY (mouth open) You've already been to the interview? JOE Well, sure; I just got back. (Taking another mouthful.) HENNESSY Well, well, well; all my apologies. JOE (turning to leave) 'S alright. HENNESSY (stopping him) Er, this is very interesting. JOE (trying to get away again) Nah, just routine. HENNESSY Tell me, tell me: did she answer all the questions on the list? JOE Well, of cour she did. (Rummaging through his pockets) I've got 'em right here, somewhere. HENNESSY Er, don't disturb yourlf; I have a copy here. (Looking at the piece of paper) How did Her Highness react to the idea of a European Federation? JOE She thought it was just fine. HENNESSY She did? JOE (eing the need to flesh it out, leaning against the desk in thought) Well, she thought that there'wo effects. HENNESSY Two. JOE The er, direct indirect. HENNESSY Oh, remarkable. JOE Naturally she thought that the indirect would not as the direct. That is, not right away. Later on, of cour, well, nobody knows. HENNESSY Well, well, well; that was a shrewd obrvation! They fool you you know, the royal kids; they've got a lot more on the ball than we suspect. (Looking at the paper again) How did she feel about the future friendship of nations? JOE Youth. HENNESSY Yep? JOE She felt that, er (nervously walking around the desk, sitting on the corner,) the youth of the world must lead the way to a better.. (he nervously slides a piece of Hennessy's desk equipment a few inches) world. HENNESSY Hmm-hmm, (sliding it back) original. Er, by the way, what was she wearing? JOE (he paus blankly) Oh, you mean what did she have on? HENNESSY (chuckling) Well, that's usually what it means. (Joe nervously adjusts his collar, getting up off the desk again) Er, what's the matter, is it a little warm in here for you? JOE (walking back to the front of the desk) No, no, I just hurried over here. HENNESSY Oh, naturally, with a story of the dimensions. Did you say she was wearing gray? JOE No, I didn't say that. HENNESSY Well, she usually wears gray. JOE Oh well, er, it kind of a gray. 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 I think you described it very well. (His expression changes as he sits forward, standing up dramatically) --In view of the fact that Her Highness was taken violently ill at three o'clock this morning, put to bed with a high fever, and has had all her appointments for today cancelled in toto! JOE (helplessly) In toto? HENNESSY Yes, Mr. Bradley: in toto. JOE (swallows audibly) Certainly pretty hard to swallow. HENNESSY In view of the fact that you just left her, of cour. 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.) JOE Alright, alright; I overslept. It can happen to anybody! HENNESSY If you ever get up early enough to read a morning paper you might discover little news events (pointing to the article in the paper) --little items of general interest (Joe looks at the paper and stares at the picture of the Princess--the same woman as in his apartment but in a regal gown, necklace and tiara) that might prevent you in the future from getting immerd in such a gold-plated, triple-decked, star-spangled lies as you have just told me! (As Joe continues to stare at the picture, open-mouthed) If I was you, I would try some other line of business--like mattress testing. JOE Is this the Princess? HENNESSY Yes, Mr. Bradley, (pointing to the picture) that is the Princess. It isn't Annie Oakley, Dorothy Lamour, or Madame Chiang Kai-Shek. Take a good look at her (Joe clos his eyes in disbelief:) you might be interviewing her again some day! JOE (looking at Mr. Hennessy) Am I fired? 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, eing 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.) (An old man, Giovanni, sits down at the desk in his caretaker's room, picking up the phone. He greets Joe in Italian.) JOE Giovanni, it's Joe Bradley. Now, listen carefully: I want you to hurry up to my place and e if there's asleep. GIOVANNI (amud) 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? JOE (almost shouting) Yeah! (Repeating, quietly) Er, yeah, yeah, yeah, tell me, tell me! GIOVANNI Bellisimo. JOE (he looks up, very relieved) Giovanni: I love you. Now, GIOVANNI Yes, Mr. Joe. A gun? No! JOE Yes, a gun, a knife--anything! But nobody goes in and nobody goes out! Capito? GIOVANNI Ok. (He hangs up, getting up to obey Joe's instructions.) (Joe Bradley, stealing another look at the paper, puts it in his pocket and walks back into the newsroom on his way to Mr. Hennessy's office. The cretary looks up, puzzled, and Joe gestures to her, reassuringly. He strides back into Mr. Hennessy's office.) HENNESSY You still here? JOE (walking over he leans on the side of his desk) How much would a real interview with this dame be worth? HENNESSY Are you referring to Her Highness? JOE I'm not referring to Annie (& HENNESSY repeating his words, overtaking him Oakley, Dorothy Lamour, )--How much? HENNESSY What do you care? you've got about as much chance of getting--. JOE I know, but if I did, how much would it be worth? HENNESSY Oh, just a plain talk about world conditions, it might be worth two hundred and fifty. Her views on clothes of cour would be worth a lot more--maybe a thousand. JOE Dollars? HENNESSY Dollars. JOE I'm talking about her views on everything: (dramatically, walking over to the front of Hennessy's desk) 'The Private and Secret Longings (pointing to the layout of an imagined heading in the air) of a Princess'; her innermost thoughts as revealed to your own correspondent in a (leaning over Mr. Hennessy's desk, clor and clor) private, personal, exclusive (in a loud whisper) interview. (Hennessy looks at him open-mouthed, in a kind of daze) Can't u it, huh? I didn't think you'd like it. (Joe walks to the door, opening it and slamming it shut, waking Mr. Hennessy from his daze.) HENNESSY (shaking his head, as if waking; firmly) Come here! (Joe, satisfied, walks back over) Love angle too, I suppo? JOE Practically all love angle. HENNESSY With pictures. JOE (pausing, thinking) Could be. How much? HENNESSY That particular story would be worth five grand to any news rvice. But, er, tell me Mr. Bradley--if you are sober--just how are you going to obtain this fantastic interview? JOE (confidentially) I plan to enter her sick room disguid as a thermometer. You said five grand? I want you to (prents his hand) shake on that. (Hennessy shakes his hand.) HENNESSY (as Joe rushes off to the door impatiently, stopping him) Ah, you reali, of cour, Her Highness is in bed today and leaves for Athens tomorrow. 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? JOE Oh, I just wanna e what time it is. 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 paus then shakes. Hennessy laughs and Joe smiles with him) Now, let's e, you're into me for about five hundred; when you lo 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!) HENNESSY Go on, go on--I'll love to hear you whine! 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! HENNESSY (stopping Joe, who stops in the doorway to face him) So long, (rais his right hand, his finger and thumb in an 'O') Peachy. (Joe leaves.) (Outside Joe's apartment. Giovanni paces outside the door, a gun strapped to him, copying the actions of a ntry. A crowd of children sitting on the stairwell make fun of him. He goes after them, telling them off and they back away, shouting and laughing. As the children sit back down on the stairs Joe enters the open door leading outside and walks up the stairs, carefully avoiding the children, playfully batting one of them on the head with his newspaper.) GIOVANNI (as Joe arrives at the top) What's your problem? JOE Everything ok, Giovanni? GIOVANNI (reassuring him, proudly) Listen here, Joe: er, nobody is come, nobody is go; absolutely nobody. JOE Swell! thanks a lot. (He is about to go into his apartment but stops, turning to Giovanni) Oh er, Giovanni, er... (Putting his arm round him, leading him to the side) How would you like to make some money? GIOVANNI Money? JOE Yeah. (Giovanni responds in agreement in Italian.) That's the stuff. Now look, I've got a sure thing: double your money back in two days. GIOVANNI (suspiciously) Double my money? JOE Yeah well, I need a little investment capital to swing the deal. Now, if you'll just lend me a little cash, I--. GIOVANNI (says some Italian.) You owing me tomorrow's rent (JOE I know, I know, I know.) and you want me to lend you money? (JOE Yeah.) (Emphatically) No, (Some Italian) no! JOE (pointing his paper at him) Tomorrow, you'll be sorry! (Joe goes through his front door, eing 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 clor to her:) JOE (quietly) Your Highness? (She stirs with a "Mmmm-mmmmm".) Your (Royal) Highness? ANN (turning to her other side, sighing) 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 es 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.) ANN (stirring slightly) Dear Doctor Bonnachoven. 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? ANN Hmm? So many things. 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 JOE Yes? Well, er, what did you dream? (Holding her wrist as a doctor might.) ANN I dreamt I was asleep on the young man came and he was tall and strong and-- (screwing her face up) he was so mean to me. JOE He was? (He lets her arm down.) 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, eing the plumbing visible in the corner--quite different to the ornamentation of the Embassy bedchamber. Then she looks at Joe standing over her. She clos her eyes, smiling, then opens them again, her expression becoming vere as she stares at him.) JOE (cheerfully) Good morning. ANN (she starts; in a low, worried tone) Where's Doctor Bonnachoven? JOE (unbothered) Er, I'm afraid I don't know anybody by that name. ANN (puzzled) Wasn't I talking to him just now? JOE 'Fraid not. ANN (suddenly frightened; feeling herlf beneath the sheets) Have- have I had an accident? JOE No. ANN (reassured) Quite safe for me to sit up, huh? 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 the yours? (He nods. Ann, suddenly panicked, feels under the sheets for her pyjama bottoms.) JOE Er, did- did you lo something? ANN (smiling, relieved) No. No. (Politely, suppressing her anxiety) W-would you be so kind as tell me w-where I am? JOE Well, this is what is laughingly known as my apartment. ANN (concerned; rising suddenly) Did you bring me here by force? JOE No, no, no... (smiling) quite the contrary. ANN Have I been here alone? JOE (smiling) If you don't count me, yes. ANN (riously) So I've spent the night here--with you. JOE (hurrying to reassure her) Oh, well, now, I- I don't know if I'd u tho words exactly, but er, from a certain angle, yes. (Ann looks down, thinking. After a moment, reassured that everything is alright afterall, laughs.) ANN (prenting her hand) How do you do? JOE (shaking her hand) 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 (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 (she paus, stalling) Er...you may call me Anya. JOE Thank you, Anya. (Cheerfully; rising to go to the table) Would you like a cup of coffee? ANN What time is it? JOE Oh, about one thirty. ANN (panicked) One thirty! (Jumping out of bed towards the door) I must get dresd and go! (remembering, she grabs the blankets to cover herlf.) JOE (casually; continuing to prepare the coffee) Why? what's your hurry?--there's lots of time. ANN Oh no, there isn't and I've- I've been quite enough trouble to you as it is. JOE Trouble? (Smiling) You're not what I'd call trouble. ANN (plead) I'm not? 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 herlf, turning round to go through the door, then quickly turning around so as to be able to e 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 caus a noi. He undoes the chain and goes out and down the steps.) (Joe goes into a workshop full of people working on sculptures. He asks one of the men, in Italian, if he can u the phone. Joe thanks him then dials. As he waits for the phone to be answered Joe takes out the paper to look at the picture again.) (The phone rings in Irving Radovich's studio. He is lying on his back holding a camera, next to a tub filled with water which produces a ripple effect on the ceiling. On his leg is attached a piece of string which runs up to a fishing rod, held by a model who sits on the upper level of the studio, her legs sticking out through the balcony.) IRVING (aiming his camera) Here we go now. (He takes the picture) There you are; that does it. (Pulling himlf 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? JOE (impatiently) Irving! why won't you answer the phone? (Calmer) Look, this is Joe. Irving: can you get over here in about five minutes? 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 nsational 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--. (A charwoman enters Joe's apartment, carrying a bucket and mop. She puts them down inside and clos the door, muttering a disdainful "Ah!" at the sight of the bed in a mess. She walks to the window and opens the curtains. Hearing the sound of water coming from the bathroom she rushes over and opens the door, revealing Ann just getting out of the bath, covered in a towel. She emits a scream of surpri at the intrusion, pulling the towel up, as the charwoman stands in the doorway, hands on hips. Ann tries to excu herlf in Italian, shutting the door, but the charwoman will have none of it and orders her outside, waving her finger at Ann and strongly reprimanding her in Italian.) CHARWOMAN Capito? ANN No capito--don't understand. CHARWOMAN Don't understand? (Ann runs back to the bathroom and the charwoman mutters more Italian after her.) (Joe runs up the stairwell and goes into his apartment. Looking around, he doesn't e Ann--only his empty apartment tidied and the bed made. He realis the balcony door is open and goes out into the sun, finding Princess Ann looking out over the city.) JOE There you are! (She turns to meet him.) 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 Yeah, it has its moments. I can give you a running commentary on each apartment. ANN (she turns to him, riously) I must go. JOE Hmm? ANN I only waited to say goodbye. JOE Goodbye?--But we've only just met. How about some breakfast? ANN I'm sorry, I haven't time. JOE Must be a pretty important date to run off without eating. 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 Oh, that's alright; think nothing of it. ANN It was very considerate of you-- (motioning to the ottoman) you must have been awfully uncomfortable on that couch. 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.) JOE (laughing as they stop on the steps) Well, small world. ANN Yes- I- I almost forgot: can you lend me some money? JOE (as Giovanni appears in the window of the building overlooking the steps, opposite them) Oh, yeah; that's right, you didn't have any last night did you? ANN Mmm. JOE (as he reaches for his money he es 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? JOE Well, er (looks quickly up at Giovanni,) suppo we just split this fifty-fifty: here's a thousand lira. ANN A thousand?! Can you really spare all that? JOE It's about a dollar and a half. ANN Oh... Well, I- I'll arrange for it to be nt back to you. What is your address? JOE Er, Villa Marguta, fifty-one. ANN Villa Marguta, fifty-one. (Smiling) Joe Bradley. Goodbye; thank you. (She walks down the steps.) (Joe watches her from the top of the steps, exchanging glances with Giovanni. As Ann reaches the bottom he heads down after her, watched by Giovanni.) 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 himlf, 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 herlf. She walks past veral 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 es where she has gone.) (Inside the hair salon Ann sits on one of the ats in front of the large mirror, holding up her long hair as the hairdresr (Mario Delani) fastens the cover around her.) MARIO DELANI (speaking rather hesitant English) What a wonderful er, hair you have. (He asks her something in Italian.) ANN Just cut, thank you. 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 Here? ANN Even more. MARIO DELANI (impatiently) Where? ANN (she holds her hair at the shoulders) There. MARIO DELANI There. (Snapping his scissors nervously) Are you sure, Miss? ANN (emphatically) I'm quite sure, thank you. 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 e her) Are you sure? ANN (impatiently) Yes. 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, eing 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 hairdresr 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, engrosd in her, the hairdresr jerks her head back to the centre to get a better view.) (Outside, Joe es a group of American schoolgirls, playing and talking around the fountain. He approaches one who carries a camera.) JOE (gently coaxing her to get a look at the camera) That's a nice little camera you have there. Ah, it's nice. Mmmm. Er, you don't mind if I just borrow it, do you? (He tries to coax it off her but the strap is around her neck.) SCHOOLGIRL 1 (calling out; putting her hand up) Miss Weber! JOE I'll give just for a couple of minutes. SCHOOLGIRL 2 (trying to resist him) No. Go, it's my camera. (Their teacher comes over, looking over Joe darkly. He lets go of the camera as the teacher leads the student away, then holds his head in his hand, embarrasd.) (In the salon someone sweeps the hair up off the floor. Mario Delani is combing her hair, touching up the ends.) MARIO DELANI You musician, maybe? You artist, aha? ? I know: you model! (She smiles, flattered) Model, hah? ANN Thank you. MARIO DELANI (says some Italian) Finito. It's perfect. ANN Oh. MARIO DELANI (as the hairdresr 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 e, 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. Plea, you come? ANN I wish I could. MARIO DELANI (disappointed) Oh. (As Ann gets up, taking out her money) But, but, your friend: I think they not recogni you. ANN No, I don't think they will! (She gives him the money.) MARIO DELANI Oh, thank you very much. ANN Thank you. MARIO DELANI (as she leaves he rushes out the door after her) Ah, er, norina. (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! ANN (she smiles, surprid and flattered) Thank you. Goodbye. MARIO DELANI (as she leaves) Goodbye. (Joe, watching from across the square, es her leave and follows her. She pass by a shop window, stopping to look, and eing 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, prenting him with some money.) ANN Er, (unsure of the word) Gelato? ICECREAM SELLER (nodding) Gelato. (He bends down to scoop up her icecream, all of this watched by Joe from the opposite side of the street.) ANN (taking her icecream) Thank you. (She pays him the money.) ICECREAM SELLER (calling after her) Senorina. (Hands her her change, speaking some Italian.) ANN Oh! grazzi. (She walks away, licking her icecream. A flower ller catches her attention as she walks past.) FLOWER MAN (speaks some Italilan, prenting her with some flowers) It is (some Italian) beautiful lady. (Speaks in Italian, eagerly trying to make the ll, handing her the flowers. She shakes his hand in thanks but he waves his hand, speaking more Italian.) ..five thousand lira! ANN (trying to hand them back) No money. FLOWER MAN No? ANN No. (He replies further, in Italian.) I'm sorry, I've really no money. FLOWER MAN (Some Italian,) if you no, eh? (Some Italian.) ANN Look (she reaches for her money, showing it to him. Reluctantly, he takes the flowers back) I'm sorry. (Feeling sorry for her, the flower man pulls a flower out and gives it to her. She offers him her money but he waves his hand, telling her in Italian that she can keep it.) ANN (thanking him) Grazzi, grazzi. (She walks away.) (As Joe watches her from across the street she sits down on one of the ornamentations which divide the width of the steps, licking her icecream. Joe runs up the opposite side, out of view, and then walks across the width of the steps, behind her. He walks down the steps towards her, and walking past her, looks round pretending that he has just noticed her.) JOE Weeell, it's you! ANN looking up at him, smiling) Yes, Mr. Bradley! JOE (looking at her hair) Or is it? ANN Do you like it? JOE (Sitting down beside her) very much. So that was your mysterious appointment? ANN Mr. Bradley: I have a confession to make. JOE Confession? ANN Yes, 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 Well, it were only meant to be for an hour or two. They gave me something last night to make me sleep. JOE (he smiles, realising) Oh, I e. ANN (looking down at the street she finishes her icecream, rubbing her hands clean) 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 yourlf? ANN (shaking her head, unsure) It may be another hour. JOE (enthusiastically) 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' 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 em much to you, does it? JOE It's great. Tell you what: why don't we do all tho things--together. ANN But don't you have to work? JOE Work? (Standing up) No! Today's gonna be a holiday. ANN (playfully) But you'll want to do a lot of silly things. 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, tting off down the steps) Rocca's. (Joe and Ann sit at a table at Rocca's, watching the traffic go past. Joe sits watching as she eats a bread roll.) JOE What'll the people at school say when they e 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 (he looks around lf-consciously, leaning clor, playfully) Well, er, I'll tell you what: you don't tell your folks and I won't tell mine. ANN (smiling) It's a pact. JOE Now, what would you like to drink? ANN (casually) Champagne, plea. JOE (pausing, slightly taken aback at her extravagance; to the waiter walking past) Er, commerierie*, er... WAITER (bending down, inbetween Joe and Ann) [Italian], nor? JOE Champagne. (He says something in Italian.) Well, er, champagne (Italian) for the norina and er, cold coffee for me. (The waiter acknowledges in Italian, bows then leaves.) JOE Must be quite a life you have in that school--champagne for lunch. ANN Only on special occasions. JOE For instance? ANN The last was my father's anniversary. JOE Wedding? ANN No, it was.. (hesitating) the fortieth anniversary he day he got his job. 检查方案JOE Forty years on the job; what do you know (Probing her further) What does he do? ANN (thinking, cautiously) stly you might public relations. JOE Oh, well, that's hard work. ANN Yes, I wouldn't care for it. JOE Does he? ANN heard him complain about it. JOE Why doesn't he quit? ANN Well, people in that line of work almost never do quit--unless it's actually unhealthy for them to continue. 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. JOE (after they drink) It's alright? 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 lling game. ANN Really? how interesting. JOE Uh-huh. ANN What do you ll? JOE (he looks blank for a moment then, on hearing a hor 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 plead with herlf, holding the wrapper in her mouth. Joe looks up, brightly; standing up, shaking his hand as irving comes over.) Irving! Well, am I glad to e you. IRVING (jokingly) Why, did you forget your wallet? JOE (without laughing) Er, pull up a chair, Irving; sit down with us here. IRVING Aren't you gonna introduce me? JOE Er, yes, this is a very good friend of mine, Irving Radovich; (she prents her hand; they shake) Anya: Irving. IRVING (still holding her hand) ? ANN Smith. IRVING (playfully; pulling up a chair from the next table to u) Oh, hiya Smithy. ANN (politely) Charmed (she looks at Joe a little nervously as he puts the chair down next to her; Irving nods to Joe, impresd at her manner.) IRVING (sitting down) Hey, er, anybody tell you you're a dead ringer for-- (Joe kicks him in the shin under the table. In pain) Oh! (Confidentially, Joe points a finger at Ann. Confud, 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 Fransca gets here. ANN Tell me, Mr. er, er, Radovich: er, what is a ringer? JOE (IRVING to the waiter Oh, er, waiter.) It's an (IRVING Whiskey, plea.) 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 Oh. (Politely; interjecting before Irving can ask Joe what he's talking about) Thank you. IRVING You're welcome. (Irving is about to probe Joe again when two women walk past--one puts a hand on his shoulder and the other runs her hand through his hair as they walk past. They greet him with a "Ciao"..) IRVING (smiling back at them) Er, ciao. ANN Er, M--. IRVING (to Ann) Cousins. ANN Mr. Bradley's just been telling me all about his work. IRVING Mmm, I'd like to have heard that. ANN What do you do? IRVING I'm the same rank as (Joe starts coughing, holding his glass clor 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 (barely keeping his manners) W-w-wha-? What are you--? JOE I'm sorry, Irving. IRVING (to Joe) Look, I can take a hint! (Bowing, smiling, prenting his hand to Ann) I'll e you around. ANN Oh, but your drink's just here; plea 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*). IRVING (sitting down) You're t-- (sitting down; stopping to wipe the chair dry) You're twisting my arm, you know. JOE (trying to communicate to Irving what can't say aloud) Just- just be a little more careful not IRVING Spill?! Who's been doin' the spilling? JOE You. IRVING Me?! JOE (with a half-laugh) Yeah. IRVING (to Ann) Where did you find this looney? (Smiling at her, remembering his manners, holding his glass up to toast) 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.) IRVING (as they pull him up) Thanks. JOE (as him and Ann rush over to help) You slipped, Irving. Slipped?--you almost hurt yourlf that time! IRVING (losing control) I slipped?! ( JOE Yes.), I almost hurt mylf?! Joe, I didn't slip! JOE (leading him away from Ann, pretending to examine his neck) ...got a bad sprain there. IRVING (pushing his arms of him) Never mind I got a bad sprain, Joe. JOE (motioning to the cafe building) You'd better go in here and get it fixed up. 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 excu us for a minute? ANN (standing helpless) Yes, of cour; I- I'm so sorry. (Joe leads him to the back of the cafe, holding him around the shoulders, as Irving continues to argue.) IRVING Now wait, now wait; just a minute; let--; look, Joe, what are you tryin' to do? now take your hands off--! JOE (reaching the back, in some privacy) Have you got your letter? IRVING What's that got to do with it? JOE Have you got it? IRVING Yeah! but what are you tryin' to do to me? JOE (firmly, as Irving tries to pull his arm away) Listen: what would you do for five grand? IRVING (he ceas struggling) Five grand? JOE Yeah. (Pulling him down into a at, reaching for a chair for himlf, sitting down. Speaking in low tones) 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! IRVING She's really the--? JOE (looking around anxiously) Ssssh! (Quietly) Your tin-types are gonna make this little epic twice as valuable. IRVING (musing) 'The Princess Goes Slumming'. JOE You're in for twenty-five percent of the take. IRVING And it takes five G? JOE Minimum--Henesy shook hands on it. IRVING (counting in his head) ...ven, five; that's- that's fifteen hundred dollars! JOE (sternly) It's twelve-fifty. IRVING Ok, now you shake. 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 hot princess! JOE Ssh, you want in on this deal or don't you? 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 file out of the cafe and back out to the table where Ann sits drinking her champagne, obrving the waiter who clears the table.) ANN (hearing them come back out, exchanging smiles with Joe) Better now? IRVING Huh? ANN (to Irving) Your ear. 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, plea. (She takes one; smiling to Joe) You won't believe this but it's my very first. JOE (knowingly to Irving) Your very first? ANN Mm-hm. IRVING (nodding to Joe) Oh. JOE No, er, smoking in school, hmm? IRVING Your first cigarette.. (he flicks a switch on the lighter, turning a tiny wheel on the top. After a pau he switches the lighter on.) There; gizmo works (he lights Ann's cigarette and she puffs.) JOE Well, what's the verdict, er... ok? ANN (she takes the cigarette out; smiling) Nothing to it. IRVING (laughing) That's right: nothing to it. JOE (to the waiter at the next table) Er, commerierie, (he says something in Italian to the waiter, taking out some money.) IRVING (moving his chair round slightly to be more in front of Ann) Stretch my legs a little, here. ANN (to Irving) Hm. (She takes another puff of the cigarette.) JOE (as Irving takes a cigarette himlf) I'll pick this one up, Irving. IRVING 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? ANN (turning to Joe) Oh, not that word, plea. JOE (he thanks the waiter in Italian; to Ann, quickly) Oh, I didn't work sche- school schedule--I meant, er, fun schedule. ANN (laughs) Yes, let's just go, huh? JOE How about you, Irving: are you ready? IRVING (as Ann puts the cigarette back in her mouth Irving flicks something on the lighter again) Er, yeah. JOE (he and Irving ri) Let's go (Ann puts out the cigarette in the tray and ris 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, ANN Smithy. JOE She's a grand girl, Irving (shakes Francesca's hand,) grand--Er, five grand, Irving. (He takes Ann by the hand, leading her away) Ciao. IRVING (calling to him as he leaves) Joe! FRANCESCA But where are you going now? IRVING Honey, I got to work. I'll call you at night (he kiss her, and runs across the road to catch up to Joe and Ann.) (The airport. A large four-engined plane with a Royal crest on its side taxis in. It is obrved nervously by the General and the Ambassador who watch, sitting down, from an obrvation room. A stair opens out at the rear of the plane and some men start leaving the plane, one after the other, greeted at the bottom as they walk by by some officials. Suddenly, the Ambassador jumps to his feet, then the General stands up. They look out at the runway, frowning, at a long line of a dozen or more of the men filing away from the plane, dresd in black suits and hats.) AMBASSADOR Look at tho men! They were suppod to be inconspicuous. GENERAL You asked for plain clothes. (The Ambassador glances at him with raid eyebrows.) (In the city, Joe drives along the streets on a little Vespa scooter; Princess Ann riding side-saddle on the back, her arms wrapped around his waist. She looks out smiling at the sights as they drive to the Collium, looming up before them.) (They walk inside the Collium, accompanied by a guide who points to the structure, instructing Ann. Joe follows just behind them, being joined now by Irving. They walk to the edge, looking down over the centre of the structure. Ann listens to guide, watched on by Joe and Irving who lights up a cigarette. Holding the lighter, Irving signals cretly to Joe who acknowledges him with a private signal of his own.) (Back on the streets of Rome and Joe and Ann ride along on the scooter, followed by Irving in a small open-topped car. Irving overtakes them and, as Joe points out the sights to Ann, he takes pictures out of the back of the vehicle, barely regaining control of the vehicle afterwards.) (Joe and Ann drive to a large interction, where the traffic is directed by a warden who blows his whistle at them. Nearby, Irving pulls up, his eye on Joe and Ann. Joe and Ann get off the scooter as Joe goes to talk to the warden. Irving gets out of his car, peering round a streeet corner at them, a camera in hand.) (Seeing Joe busy, Ann gets back onto the scooter herlf, curious to test out the feel of the handlebars. Irving snaps a picture of her as she gingerly tests the controls. Suddenly, Ann lets out a shriek of fright as the scooter takes off. Joe turns round and, excusing himlf from the warden, goes after her. Irving looks on, helpless.) (Ann drives the scooter erratically along the side of the road, scaring some pedestrians who are crossing the road who leap back onto the pavement. Joe, running after her, calls out to her to stop. Irving runs back to the car. Ann, in sheer delight, keeps driving as Joe, laughing, jumps on the back of the scooter. The scooter suddenly goes at speed down the street, turning a corner, scaring more pedestrians out of the way.) 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, going slower now, and delicately missing a car and bicycle. A tram honks at them as they drive across its path and it swerves to avoid them. Irving follows them with difficulty through the traffic, his visibility impaired as he pass through a stream of water coming from a hydrant.) (Ann mounts the pavement, driving between some people at a stall through a 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 tting 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 cha 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 prenting their damaged goods as evidence. Ann and Joe answer the various questions of the judge then Joe prents 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 unimpresd 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 witness and they smile back.) (The three leave the police station laughing, stopping quickly on eing the guard posted outside.) IRVING (as they walk by the guard) Oh.. (coughs) I'm going straight from now on. (They walk out of earshot then stop, Ann turning to Joe, puzzled.) ANN American News Service? What did he mean? JOE Huh? Oh, well, you know: say you're with the Press and you can get away with anything. IRVING (laughing) ha! go to church to get married on a scooter--that's a hot one. Joe's a wonderful liar! (Ann looks at them, puzzled.) (The witness come out of the station together, congratulating them, shaking Joe's and Ann's hands as they pass. The large man kiss Ann on the mouth and then turns to Joe, kissing him on each cheek. He turns to Irving but, on eing Irving's beard and thinking better of it, shakes his hand instead.) IRVING (slightly taken aback; as the man leaves, following the others) ANN (to Joe) You don't have to look so worried; I won't hold you to it. JOE Thank you very much. ANN You don't have to be too grateful! JOE (smiling) Ok, I won't (in good spirits, they walk away.) ANN (stopping) I'm a good liar too, aren't I, Mr. Bradley? JOE The best I ever met. IRVING (dramatically) Uh-huh! ANN Thank you very much. JOE (looking over at a building in the distance) come with me. (Joe takes her arm, leading her away.) (They arrive in a small, dark building. They walk inside and up to a large stone carving of a face in the wall.) 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. ANN Ooh, what a horrid idea. JOE Let's e you do it. (She looks up worried, but eing 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, clor and clor but, losing her nerve at the last minute with a giggle, she pulls it back.) ANN Let's e you do it. 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, apprently vered 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 herlf 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? ANN (laughing still) You've never hurt your hand. JOE (calming her) I'm sorry, I'm sorry. Ok? ANN (regaining her composure) Yes. 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 eing 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 herlf before leaving.) ANN What do they mean, all the inscriptions? JOE (walking with her alongside the wall) Well, each one reprents 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 clo, but no one was hurt. Later on, the man came back and he put up the first of the 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 the little plaques. ANN (looking back along the wall) Lovely story. 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 (turning around) Anyway, the chances of it being granted are very slight. IRVING (walking to them) Well, what now? ANN (hopefully) I've heard of a wonderful place for dancing on a boat. JOE Oh, you mean the barges down by Saint Angelo. ANN (excitedly) Yes! couldn't we go over tonight? IRVING Hey, why not? JOE Anything you wish. 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 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) e ya later, Smithy. ANN Good luck for the big development. IRVING (waving as he leaves) Yeah, thanks. (Ann smiles after Irving as he leaves. They hear the sound of hors' 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 ticketller as Ann stands, watching the dancing across the river.) JOE (to the ticketller) 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--clor now as it is a slower song. She rests her head on his shoulder, her eyes clod 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 (confud) 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 unlfish. 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 paus, 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 mylf, 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. 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 (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.) (Irving walks 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 but Irving reassures him, keeping his eyes on Ann. Irving watches, waiting, and then, with a signal, Joe jumps away and the bulb flashes as Irving takes the picture. In an instant Joe jumps back, nonchalantly looking up at the sky while Irving takes his glass, doing the same.) (Ann looks out across the floor and then, eing Joe and Irving, waves. Irving lifts his glass in acknowledgement.) (On the bridge, up above the dancing, veral 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 rious 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, eing 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 veral times, then the man speaks in her ear.) SECRET SERVICE MAN 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 SERVICE MAN Your Highness, plea. 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, eing 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 disperd and are watching the action.) (Joe es more Secret Service coming from the other side so he runs back the other way. Cornered, he confronts them head-on as they clo, Ann standing to the side as he throws one over the side. Ann has the prence 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.) IRVING (excitedly, trying to get his camera ready, having misd 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 (to Irving; he stops, pointing at the police) Police, police. IRVING (eing them arrive in numbers they change their direction) The other side of the bridge. (As Joe and Ann run across the barges, Irving tries 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 boathou and on reaching the other end walk along the outside edge, just above the water.) (Unen, a Secret Service man covers the outside of the boathou as they double back. Joe peers round the corner and the man surpris 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 no 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 veral moments. He looks at her) Say, you know, you were great back there. ANN You weren't so bad yourlf-- (she stops suddenly, looking into his eyes. He leans forward and kiss her--a long, steady kiss. They look at each other for a moment.) JOE (after a pau) I... I guess we'd better get Irving's car, and get out of here. (They stand up and hurry on their way.) (Joe enters his apartment, takes off his jacket and clos 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 lections".) (In the bathroom, Ann gets herlf ready, dresd in a bedrobe. Looking in the mirror, she smooths her hair over.) (She goes outside, standing beside the clod 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-- (paus) 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, from Rome, 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 ri to rumours that her condition may be rious, 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 w too, and clean a hou, and iron--I learned to do all tho 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 mylf 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) something that I want to tell you. ANN No, plea (she looks at him and kiss him) nothing. (They hold each other for a moment then Ann looks down) I must go and get dresd. (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 through Rome.) ANN (looking straight ahead) Stop at the next corner, plea. JOE 'K. (He slows down, stopping at a corner and leans forward to e 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. Promi 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 lf 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 relea, 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 pau 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 upt, wiping her no 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 indispod. 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 u 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 pau, 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 rvant) 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 (abntly, pretending to busy himlf 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 raid 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 e the! JOE Irving. IRVING (walking to Mr. Hennessy, holding out the packet) Hiya, Mr. Henne-- oh, you got here at the right time. ( JOE 写月亮的古诗Irving.) Wait till you get a look at-- (Joe discreetly throws his drink, all over Irving.) 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 el 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 from Irving) What am I suppod to look at? JOE (quickly, grabbing the envelope back) Oh, just a couple of Irving's dames; you, you wouldn't like 'em. (Smiling; opening the envelope) Er, maybe 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 (Irving looks 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 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 the: 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, paus 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. (Irving hands 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八年级英语上册 Oh, I get it-- That-- Joe, you got-- (Joe face los its humour and Irving's enthusiasm fades.) She's fair game, Joe. It's always open ason on princess. (Shaking his shoulder) You must be out of your mind! JOE Yeah, I know but, er, look I can't prevent you from lling 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. (Irving clos 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 e 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: plea 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 outt, 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 to Europe's economic problems? ANN I am in favour of any measure which would lead to clor cooperation in Europe. CORRESPONDENT And what, in the opinion of Your Highness, is the outlook for Friendship Among Nations? ANN I have 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 rvice) 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 paus as she looks at Joe.) GENERAL (quietly, prompting her) Each in its ANN Each in its own unforgettable. It would be difficult to-- (she stops, then her face softens.) Rome; by all means, Rome. (The press stirs, muttering to themlves 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, Irving steps 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 realis what is it that he is using as a camera. Irving smiles at her and Ann looks over at Joe who also smiles back. The last of the photographers retreats behind the rope. Irving rejoins 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 *, Chicago Daily News. ANN (as she shakes his hand) I'm so happy to e you, Mr. *. AMERICAN CORRESPONDENT Thank you. (Princess Ann walks walks along to meet the next one.) CORRESPONDENT European Correspondent (bowing slightly) * de La Switch* (she shakes his hand.) GERMAN CORRESPONDENT Deutsche Press *. ANN (shaking his hand) *. CORRESPONDENT *, Le Figaro* (he bends forward, kissing her hand.) DUTCH CORRESPONDENT (Woman) (curtsies) *, * Amsterdam. ANN (shaking her hand) * (the woman curtsies again.) CORRESPONDENT Correspondent. Jacques *, *. ANN (shaking his hand) Enchanter. (Irving looks a Joe, shifting nervously as she comes clor.) CORRESPONDENT *, * (he bows and shakes her hand.) CORRESPONDENT *, *. ANN (smiling as he kiss her hand) Incontada. CORRESPONDENT *, New York Herald Tribune. ANN Good afternoon (she shakes his hand) 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 prent 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 e. It is the one of her hitting the man with the guitar. She suppress her amument) Thank you so very much (she paus 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 suppresd 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.) CORRESPONDENT Steven Haun, The London Exchange Telegraph. ANN (shaking his hand) Good afternoon. CORRESPONDENT *, * 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 himlf, Irving looks to Joe, but eing 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 paus for a moment to look down the long hall back at the empty stage. Then, he turns and walks away.) A Paramount Picture prenting GREGORY PECK and introducing AUDREY HEPBURN in WILLIAM WYLER'S Production ROMAN HOLIDAY with EDDIE ALBERT HARTLEY POWER HARCOURT WILLIAMS MARGARET RAWLINGS and TULLIO CARMINATI PAOLO CALINI CLAUDIO ERMELLI PAOLA BORBONI ALFREDO RIZZO LAURA SCOLARI GORELLA GORI Screenplay by IAN McLELLAN HUNTER and JOHN DIGHTON Story by IAN McLELLAN HUNTER This film was photographed and recorded in its entirety in Rome, Italy Directors of Photography FRANK F.PLANER A.S.C HENRI ALEKAN Art Directors HAL PEREIRA WALTER TYLER Edited by ROBERT SWINK A.C.E. Costumes. . . . . . . . . . . . . EDITH HEAD Assistant Directors . . . . HERBERT COLEMAN PIERO MUSSETTA Make-up Supervision. . . ALBERTO DE ROSSI WALLY WESTMORE Sound Recording by . . . JOESEPH DE BRETAGNE Western Electric RECORDING Filmed at CINICITTA STUDIOS-Rome, Italy 测试工作Associate Producer ROBERT WYLER Music Score by GEORGES AURIC Produced and Directed by WILLIAM WYLER | 号外，派氏新闻社，现在插播一段新闻 快报： 安妮公主此刻正在访问伦敦，在首都她受到群众的夹道欢迎。下来的几站将是欧洲各国的首都，她受到英国皇室热诚的欢迎。安妮公主正在接受群众为其皇族的热烈欢呼。在接下来的三天行程里，她参观了白金汉宫，接下来便飞往阿姆斯特丹。她将皇家贵族的风范显示在国际大厦以及国际游轮的首航上。接着她又来到了巴黎，她会与许多官方机构研讨加强其与西欧各政府的关系，当然也包括了罗马——这古老永恒的城市。公主的来访受到了壮观的军仪队沿途护驾。精彩的是有一支军乐队正快速通过，公主正显示出其迷人的微笑。虽然连续不断地公开露面，她也面无倦容，是夜，在其驻地大使馆举办了接待公主的正式舞会。 （大使馆会客厅） 侍 官：泰丝·瑞昂妮克公主殿下驾到。这是罗马主教阁下蒙西尔·奥特蒙。 安 妮：见到您很高兴，阁下。 主 教：衷心感谢公主殿下的恩德，谢谢。 侍 官：雨果爵士。 安 妮：晚上好，雨果爵士。 爵 士：晚上好，公主殿下。 侍 官：卡尼罗邦主和夫人。 安 妮：您能光临我很高兴。 大 使：谢谢。 侍 官：三位叶瑞尼卡公司的代表。 安 妮：你好。 侍 官：俄国大使。 安 妮：你好。 侍 官：西汉公爵阁下晋见公主。 安 妮：您好。 侍 官：哈山·丁·帕夏先生。 ……… 侍 官：安康特·马瑟夫妇。 安 妮：晚上好。 侍 官：瑟约拉·瑟安大使。 安 妮：很高兴见到你。 侍 官：桑帕沙先生。 安 妮：您好。 将 军：坐下吧。 贵 宾：早就听说公主的聪颖高贵，今天相见真是感到万分荣幸。 （公主卧室） 安 妮：我讨厌这睡袍，我讨厌所有的睡袍。我也不愿意穿着这些东西睡觉。 女 官：亲爱的，您这些哪样不是好东西？ 安 妮：但我还没成老太婆呢！为什么不能让我穿睡衣裤？ 女 官：睡衣裤？ 安 妮：对，只露出上面的一半！你知道吗？有人睡觉还一丝不挂呢！ 女 官：禀告公主，我没听说过。 安 妮：你听！ 女 官：唉呀！穿上您的鞋，您穿上鞋，别在窗口站着了！您的牛奶和饼干。 安 妮：对，我们做什么事都要有益身心健康。 女 官：这对您的睡眠有好处。 安 妮：我太累了睡不着，也不想睡。 女 官：如果您允许我的话我们谈谈，明天的节目或是日程吧。明早八点半您和使馆人员共进早餐，九点出发参观汽车制造厂，他们将赠送您一辆小型汽车。 安 妮：谢谢。 女 官：这汽车您不能接受。 安 妮：不接受。 女 官：十点三十五分视察食品和农业机构，他们将赠送橄榄树一棵。 安 妮：不接受。 女 官：这棵树您要接受。 安 妮：谢谢。 女 官：十点五十五分在新孤儿院主持奠基典礼，发表演说，用上星期一的讲稿。 安 妮：贸易关系？ 女 官：是的。 安 妮：给孤儿听？ 女 官：不不，是为了一个另外的原因。 安 妮：是促进进步吗？ 女 官：对对！十一点四十五分回来休息，不，又弄错了，是举行记者招待会。 安 妮：要亲切得体。 女 官：一点整与外交部长午餐，穿白色花边衣裙，手中拿（叠）小巧的红玫瑰。 安 妮：（叠）小巧的红玫瑰。 女 官：三点五分受荣誉勋章。 安 妮：谢谢。 女 官：四点五分检阅警察仪仗队。 扫一室与扫天下安 妮：不必了…… 女 官：四点二十分回使馆跟…… 安 妮：别说了…… 女 官：你将在广场上接受…… 安 雅：别说了！别说了！ 女 官：没关系，还没砸锅呢，您哭什么？ 安 妮：砸不砸锅，我才不管呢！这些事和我有什么关系？ 女 官：亲爱的，我看您是病了。我叫波那大夫来看看你。 安 妮：我不要，让我安静的死掉算了。 女 官：您现在还不会死。 安 妮：你走！你走！别来管我。 女 官：您这是神经紧张了。 安 妮：不是不是。 女 官：克制一下！安妮。 安 妮：就不。 女 官：殿下！我去找大夫过来。 安 妮：没用，不等他来，我就死了。 大 夫：她睡着了？ 女 官：她歇斯底理大发作，大夫。 大 夫：您睡着了吗？公主。 安 妮：没有。 大 夫：请容我打扰公主殿下一小会儿。 安 妮：真不好意思，大夫，不知怎么我哭起来了。 大 夫：哭，是人的一种本能嘛。 将 军：大夫，最要紧的是让她安静下来，好稳稳当当的参加记者招待会。 安 妮：您不用着急，我会稳稳当当的。我会招手微笑，我会改善贸易关系的，我会做到的…… 女 官：瞧！她又来了。大夫，给她来一针吧。 安 妮：不，我会做到的。 大 夫：把袖子挽起来。 女 官：来吧。 安 妮：那是什么？ 大 夫：这是一种新药。它能安静公主殿下的神经，使您睡觉，您能感到愉快。 安 妮：我没感到有什么不一样啊？ 大 夫：是吗？等过一会儿药才能起作用。好，您好好休息吧。 安 妮：我只要开一个灯行不行？ 大 夫：当然可以，现在您想干什么就可以干什么。 安 妮：谢谢，大夫。 大 夫：晚安，公主殿下。 安 妮：晚安，大夫。 女 官：哦，将军！大夫你快看。 将 军：我不小心摔倒的。晚安，公主。 大 夫：晚安。 安 妮：晚安，大夫。 公主翻窗后靠垃圾车逃了出来. （小楼） 记者甲：我叫500元。 乔 ：跟500。 俄 宾：1张。 乔 ：1张。 记者甲：3张。 乔 ：4张。2张给我。 俄 宾：先下500。 乔 ：我跟了。 俄 宾：500元下，再下1000，快。 记者甲：两对。 乔 ：我有三张漂亮的7 俄 宾：我的是顺。哈哈！来吧，你们这些大呆子。6500里拉不坏呀，那是10美元。我看就是再玩一把的话，诸位你们可能要输得脱裤子啦。行了行了，明天早上，我还得去为公主拍照片，我得费尽心机呀。诸位，我先走了。 乔 ：你说早是什么意思？记者招待会请柬说的是十一点四十五分。 记者乙：你该不会赢了就想走吧？ 俄 宾：真好。 乔 ：我输惨啦！这是我最后仅有的钱，你们还想玩的话我可要保住它了。谢谢，俄宾，明早见。诸位，再见。 众 人：再见，乔。 俄 宾：好了，现在我们再玩几把吧，好，各位，下牌。 （水泥长凳边） 安 妮：幸会，今晚你怎么样？你好吗？ 乔 ：喂，喂喂，醒醒，快醒醒吧！ 安 妮：谢谢，谢谢……很高兴。幸会。 乔 ：幸会。 安 妮：不必居礼，坐下吧。 乔 ：我看最好还是你坐起来吧，别让警察把你抓去。 安 妮：警察？ 乔 ：这么年轻。 安 妮：两点一刻回去更衣，两点四十五分…… 乔 ：我说小姐不会喝酒就趁早别喝。 安 妮：“我虽已离开人世，但你的声音会使我这颗埋在九泉之下的心跳跃”知道这首诗吗？ 乔 ：哼！肚子里还有点墨水，打扮也不错，却在大街上睡觉，你还要说什么？ 安 妮：当今世界最迫切的问题是要使年轻人的头脑里装着友爱和文明…… 乔 ：这我完全同意。可是……我要去喝杯咖啡，你一会儿就好了。嘿！快起来，得了，快起来吧，上车回家。 安 妮：很高兴。 乔 ：带着钱了吗？ 安 妮：从来不带钱。 乔 ：这可不是个好习惯。别再睡了，快醒醒。 司 机：先生，要我往哪开呀？你们去哪？ 乔 ：一会儿我告诉你在哪停，你要上哪？送到什么地方？你住在哪？说呀，说，唉呀！你倒是说话呀，你住在哪？ 安 妮：竞技场…… 乔 ：她住在竞技场。 司 机：这地址不对，我说先生，现在已经很晚了，总不能在这儿磨蹭吧。我家里有老婆，还有三个孩子这么高。我不回去他们就要“哇”哭起来是没完没了，先生，我要回家…… 乔 ：上马格大街51号。 司 机：好的，马格大街51号。好的，马上就到。 （乔的家门口） 司 机：马格大街51号，到了。我很高兴。1千里拉。 乔 ：1000？这是5000。 司 机：1，2，3，4，4千里拉。 乔 ：好，另外再给你1千里拉是小费。 司 机：给我？ 乔 ：是。 司 机：谢谢啦。 乔 ：好了好了，用这钱再请你做一件事，把她送到她该去的地方。好吗？明白了吗？好，晚安。 司 机：晚安。哦？等一等，不行啊先生，不行。 乔 ：没关系，听我说她一醒过来会告诉你上哪去的，走吧。 司 机：哦不……不！我的车不是睡觉用的，不能睡觉，你懂吗先生？ 乔 ：我说老兄，这不是我的事儿，你明白？我根本就不认识她，懂了吧？ 司 机：不是你的事儿，也不是我的事儿，我说先生，您知道吗？你，不要这个姑娘，那我也不要这个姑娘。啊！警察！他要这个姑娘。 乔 ：好吧好吧，别激动别激动，还是我自己来吧。 （乔的房间） 乔 ：好了，进来吧。 安 妮：这儿是电梯吗？ 乔 ：这是我的房间。 安 妮：非常抱歉，我头昏得厉害，能在这儿睡觉吗？ 乔 ：你是指通常意义上的睡觉吧？ 安 妮：给我那件丝绸睡袍，睡衣上有印花饰物的。 乔 ：我看今晚你得将就一下啦，在这儿。 安 妮：是普通睡衣吗？ 乔 ：抱歉，宝贝，我穿这睡衣已经一年了。 安 妮：麻烦请帮我脱衣服。 乔 ：好呀，好的。好了，其它的你可以自己来了 安 妮：我也可以喝一点吗？ 乔 ：不行！ 安 妮：这实在是很奇怪，我从没有单独和一个男人在一起，就算是穿着衣服也没有，而不穿衣服就是更加稀奇的事了。但是，我似乎也不太介意。你介意吗？ 乔 ：我要出去喝杯咖啡。你还是快睡觉，不，不是这儿，在那张躺椅上。 安 妮：你真好。 乔 ：睡吧！这是睡衣睡裤，你还是把它换上吧。 安 妮：谢谢。 乔 ：你在躺椅上睡觉，不是在床上，睡在椅子上，清楚了吗？ 安 妮：知道我最喜欢的诗吗？ 乔 ：好了，你已经背给我听过了。 安 妮：“我会拒绝尊贵，在优雅的躺椅中，在灵魂绝妙的山里”，济慈的诗。 乔 ：是雪莱的。 安 妮：济慈！ 乔 ：我说你的脑袋瓜别竟想着诗了，穿上你的睡衣睡裤就行了，明白吗？ 安 妮：是济慈！ 乔 ：不，是雪莱。呆会儿大约十分钟我就回来。 安 妮：是济慈的！现在你可以退下去了。 乔 ：非常感谢。 （大使馆） 将 军：怎么样？ 保 镖：没有，阁下。 将 军：楼下你有没有去找？ 保 镖：每个地方都找过了，包括地下室。 将 军：我相信你不会对外泄露消息的！我得告诉你，公主是王位的直接继承人，这件事必须列为最高机密，你可以发誓吗？不透露消息给任何人？ 保 镖：是的，将军。 将 军：很好，现在我们得向皇上陛下报告此事了. （乔的房间） 安 妮：好快乐。 乔 ：我也一样。真倒霉！ （第二天中午） 乔 ：哦！和公主的见面吹了。十一点四十五分…… （主编办公室） 乔 ：您找我吗？ 主 编：你刚来上班吗？ 乔 ：您说谁？我？ 主 编：我们这儿办公的时间是八点半开始，安排好的任务是…… 乔 ：昨晚我就有了。 主 编：什么任务？ 乔 ：采访公主啊？十一点四十五分。 主 编：这么说你采访完了？ 乔 ：那当然了，刚回来。 主 编：好好好，我向你道歉。 乔 ：算了。 主 编：这次采访有趣吗？ 乔 ：例行的公事嘛…… 主 编：她对我们提出的问题都回答了吗？ 乔 ：那当然，就在我这哪。 主 编：你别找了，我这有一份采访提纲。公主殿下对欧洲联盟这个提法有什么反应呢？ 乔 ：她认为……挺好。 主 编：是真的？ 乔 ：是啊，她认为可能有两方面的影响，一个是直接的，一个是间接的。 主 编：哼，真是见解深刻。 乔 ：自然她认为间接的效果不会像直接的那么直接，也就是说…不是马上奏效的。以后嘛……当然就不知道了。 主 编：好，哈哈，这个看法很精辟。是啊，这些皇室子弟他们能把你唬得一楞一楞的，他们的鬼点子还是很不少的，那么她对各国之间发展友好关系有什么看法呢？ 乔 ：年轻人。她认为要创造未来的美好世界，要由各国的青年来带头！ 主 编：哼哼！相当有创意。对了，顺便再问一下，她今天穿了什么？ 乔 ：你是说她穿了什么式样的衣服？ 主 编：是的，通常应该是这个意思。你怎么了？这房间里是不是有点热？ 乔 ：不不不，我只是走得急了一点。 主 编：当然了，采访这么重要的新闻嘛，你说她穿灰色的衣服？ 乔 ：没有。 主 编：她经常穿灰色的呀。 乔 ：啊？是的，是一种灰溜溜的……有一点。 主 编：我知道了你指的是那件，领子周围带金色的，对吗？ 乔 ：对，就是那一种。刚才我形容不出来。 主 编：我看你形容得挺好，根据使馆发出的特别公报，公主殿下今晨3时突患重病 ，发高烧，需要卧床休息，今天她所有的会见全部取消！ 乔 ：全部？全部活动？ 主 编：是的，白莱德记者先生，全部……取消！ 乔 ：真是难以下咽。 主 编：你刚从她那来，当然咽不下去了。白莱德先生，今日罗马各报的头版整版都是！看看吧！ 乔 ：得了得了，是我睡过头了，这谁也难免的嘛。 主 编：你要是早一点从床上爬起来，看看早报，你就会发现人人都感兴趣的新闻。这样你就不至于像刚才那样胡说八道，编造一套连鬼都不相信的鬼话！我要是你的话，就换一个行当干干，比如说，卖耗子药！ 乔 ：你说这就是公主？ 主 编：是的，那就是公主，那不是电影明星格丽泰·嘉宝，更不是宋美龄。你好好的看一看吧！说不定你哪一天还会去采访她呢。 乔 ：我被开除了吗？ 主 编：不，你没有被开除。我要开除你的时候，用不着你来问，我会告诉你的！他是不是疯了？ （外屋电话前） 房 东：喂，我是管理员。 乔 ：我是白莱德，你仔细给我听好，我要你赶快赶到我住的地方，并且查看是不是有个人正在睡觉，是个女的。你马上去看！ 房 东：好的先生，很愿意为你效劳。你等一下，别放下。……乔先生？ 乔 ：是的，现在快告诉我！ 房 东：睡得很熟。 乔 ：齐瓦里先生，我爱死你了，现在你给我听好…… 房 东：是的，乔先生。拿枪？不！ 乔 ：不管用枪还是用刀子，任何东西都可以，不能让人进去，也不能让人出来！懂吗？ 房 东：好吧。 （主编办公室） 主 编：你还没走？ 乔 ：对这个小丫头进行单独采访，你看值多少钱？ 主 编：你是指公主殿下？ 乔 ：反正不是指电影明星格丽泰·嘉宝或是宋美龄。 主 编：你管它多少钱？反正大家都一样…… 乔 ：知道，但是我要单独采访她。 主 编：一般的只谈谈世界形势可能值250元，她对衣着的看法嘛可能值1000元。 乔 ：美元？ 主 编：是美元。 乔 ：我指的是，她对所有问题的看法，一位公主从来没有透露过的，对！她在私下单独会见你的驻罗马记者时在他的面前暴露出的内心世界，不能用吗？我知道，你是不想用的。 主 编：你给我回来！是从爱情的角度，是吗？ 乔 ：也可以这么说吧。 主 编：有照片吗？ 乔 ：给多少钱吧？ 主 编：我认为这篇报道无论给哪个报社都值5000美元。如果你头脑清醒的话，请你告诉我，你将怎么进行这次异想天开的采访啊？ 乔 ：我打算变成一支体温表，潜入她的病房去。好了你说好5000美元？那我们一言为定！ 主 编：我想你是知道的，公主殿下明天就要到雅典去了，我还想要和你打个小赌，如果你拿不出这篇报道我罚你500元。 乔 ：就这么定了。 主 编：握手成交！哈哈，你知道你原本就欠我500元，加上这次你要是赌输了，你就欠我1000元，你这个傻瓜蛋，你现在攥在我的手里啦！ 乔 ：我已经在你手里攥了几年了，但是这种窝囊日子到头了，我要把这笔钱赢回来，而且买张单程票回纽约，再也不回来啦！ 主 编：我喜欢听你的嚎叫。 乔 ：等我找到一个像样的报社，我会想念你的。想念你手里空拿着皮带圈没有狗再被你牵啦！ 主 编：再会吧，我的傻瓜蛋！ （公寓楼道） 小孩们：进攻呀！ 房 东：滚开！你们这些小鬼。 小孩们：开枪呀。 房 东：滚开！离开这！真讨厌。 小孩们：你好，白莱德先生。 乔 ：让我过去。齐瓦里先生，一切都还好吧？ 房 东：很好，没有人进来，也没有人出去，放心吧！ 乔 ：太好了，谢谢你。齐瓦里先生，你想挣点外块吗？ 房 东：外块？ 乔 ：是的。 房 东：当然想。 乔 ：太好了，听着，我跟你说在两天内可获利两倍，两倍的钱！ 房 东：两倍的钱？ 乔 ：对，我需要一点投资，一点资金来周转一下，只要你先借给我一点现金就可以。 房 东：你还想怎么样？你已经欠了我两个月的房租了，而现在又要我借钱给你？ 乔 ：对。 房 东：不行！这绝对不行，不行！ 乔 ：到明天你一定会后悔的。 （乔的房间） 乔 ：殿下？公主殿下？ 安 妮：有什么事？我做了一个梦，我梦见…… 乔 ：说呀，你梦到些什么？ 安 妮：梦见我睡在大街上，走过来一个年轻人，他的个儿高高的，对我可粗野了。 乔 ：他怎么……？ 安 妮：太讨人喜欢了！ 剧照3 乔 ：早上好！ 安 妮：波那大夫，他人呢？ 乔 ：我不知道他是谁？ 安 妮：刚才和我说话的人是你吧？ 乔 ：我想恐怕是的。 安 妮：我是不是出事故了？ 乔 ：没有。 安 妮：我想起来，没危险吧？ 乔 ：一点也没有。 安 妮：睡衣是你的？ 乔 ：你是丢了什么东西吗？ 安 妮：没有。能不能请你告诉我，这是什么地方？ 乔 ：请不要见笑，这是我的寒舍。 安 妮：是你把我劫持来的吗？ 乔 ：不！不！恰恰相反。 安 妮：我一晚上都在这儿，一个人？ 乔 ：如果不把我算进去的话。 安 妮：那我是和你过了一夜？ 乔 ：确切的来说……话不好这么讲，可是从某种角度上来说，是这么回事。 安 妮：幸会。 乔 ：幸会。 安 妮：那你是……？ 乔 ：乔·白莱德。 安 妮：很高兴。 乔 ：您不知道我认识你有多高兴。 安 妮：你可以坐下说话了。 乔 ：谢谢。你叫什么名字？ 安 妮：你可以叫我……安妮。 乔 ：谢谢，安妮。你要喝咖啡？ 安 妮：现在什么时候了？ 乔 ：一点半左右了。 安 妮：一点半？我得穿好衣服马上走了。 乔 ：不要着急，忙什么？有的是时间呢！ 安 妮：不行，没有时间了，我已经够麻烦你的了。 乔 ：麻烦？你这人对我来说不算麻烦。 安 妮：我不麻烦？ 乔 ：我去给你准备洗澡水。请吧！ 乔 ：好了，请！借我用一下电话。 （俄宾家） 俄 宾：准备好要拍了。你先休息一下。喂，安图摄影社。 乔 ：俄宾，你怎么半天不接电话？我是乔。你能在5分钟内赶过来吗？ 俄 宾：不行，我现在有事不能去。我现在忙得焦头烂额呀。什么事嘛？ 乔 ：我不能在电话跟你说，只要是走露了一个字，就全部砸啦。这是个头条新闻。我只能跟你说这么多了，可能是政治性的，也可能是轰动的桃色新闻，反正是重大新闻，有几张照片就行。 俄 宾：可是我不能去，我有事！半小时后我约好弗朗溪丝卡在罗科咖啡馆见面…… （乔的房间） 女保姆：你是谁呀？ 安 妮：对不起。 女保姆：什么对不起？你给我出来！你给我到那去，快去！你来寻欢作乐，是不是？要是你妈知道的话，她一定会骂你，麻你给她丢脸，你简直是不知廉耻！你是从都市来的？ 安 妮：不不，我不是从都市来的，你了解吗？ 女保姆：了解？还知道不好意思呢！ （阳台） 乔 ：原来你在这。 安 妮：我在看外面这些人，住在这样的地方一定很有意思。 乔 ：是啊，很有意嘶。让我把没一家的情况给你简单介绍一下吧。 安 妮：我得走了，我是等你回来跟你告别。 乔 ：告别？怎么了？我们才认识呀？吃早饭去吗？ 安 妮：对不起，没时间了。 乔 ：准是一个重要的约会吧？饭都没吃就要走？ 安 妮：是的。 乔 ：好吧，不管你上哪，我送你一起去。 安 妮：不用了，谢谢你，我能找到地方的。感谢你让我睡你的床。 乔 ：不用谢……这算不了什么。 安 妮：你把床让给了我，自己睡躺椅上一定很不舒服吧？ 乔 ：哦不，我……总是那么睡。 安 妮：再见，白莱德先生。 乔 ：再见。你从这出去再下台阶。 安 妮：谢谢。 （公寓楼道） 乔 ：真是低头不见……抬头见哪！ 安 妮：是呀，我差点忘了，你可以借我点钱吗？ 乔 ：我想起来了，昨天晚上你就没钱。你看，你要多少？ 安 妮：我也不知道我需要多少，你有多少？ 乔 ：这样吧，这有1000里拉，我们俩一人一半。 安 妮：1000里拉？你给我这么多？ 乔 ：也就值一点五美元。 安 妮：我会叫人送还你的。你这的住址是……？ 乔 ：马格大街51号。 安 妮：马格大街51号，乔·白莱德。再见，谢谢你。 乔 ：没什么，再见。 房 东：嘿，大情圣！你把我的房钱送给别人？ 乔 ：明天再说。 房 东：又是明天。 （理发店） 理发匠：小姐，您的头发真好看，要剪一剪吗？ 安 妮：要剪一剪，谢谢。 理发匠：要剪一剪？剪这儿？ 安 妮：短点。 理发匠：短一点？这儿？ 安 妮：再短一点。 理发匠：这儿？ 安 妮：还要短。 理发匠：哪儿？ 安 妮：这儿。 理发匠：那儿？小姐，您是真的？ 安 妮：是真的，谢谢你。 理发匠：我可剪了？ 安 妮：剪吧。 理发匠：剪掉！通通剪掉！小姐，您一定是个跳舞的吧？艺术家？画画的？哦，对对，您一定是当模特的，对吗？ 安 妮：谢谢。 理发匠：剪好了，看这，怎么样？嘿！真棒！你理短发好极了。你短发是又好看又凉爽。怎么样？ 安 妮：是啊，我就是要理成这个样子。 理发匠：谢谢。小姐，今天晚上请您跳舞好吗？您应该去，太美啦！在河上，在圣安基罗旁边的那条河上。那里有月光，有音乐，多么多么有罗曼蒂克，今晚来，好吗？ 安 妮：我但愿能去。 理发匠：不过现在你理这种头，您的朋友，他们……他们现在会认不出你的。 安 妮：是的，他们会认不出我的。谢谢你。 理发匠：小姐，您记住，今天晚上9点钟以后去就可以了。舞会是设在舰艇上，在圣安基罗，我的朋友们都去。您去的话您就是他们当中最美的一个！ 安 妮：谢谢，再见。 （冰淇淋店） 安 妮：10里拉吗？ 卖 主：10里拉。 安 妮：谢谢。 卖 主：找钱。 安 妮：哦？谢谢。 （花店） 花 商：啊，鲜花配美人，小姐。这么好看的花配上小姐的容貌真是再好看不过了。真是美极了。 安 妮：谢谢。 花 商：1000里拉，要1000里拉！1000！ 安 妮：我没钱了。 花 商：那样……800里拉怎么样？ 安 妮：报歉我真的没钱了。 花 商：算了算了，那么700里拉！别再划价了小姐，别划价了。 安 妮：报歉。 花 商：拿着。不！鲜花配美人！ 安 妮：谢谢。 花 商：再见。 （广场） 乔 ：是你在这啊？ 安 妮：是的，白莱德先生。 乔 ：变样啦？ 安 妮：好看吗？ 乔 ：很好看。你说的约会原来是干这个来了。 安 妮：我有一件事要向你坦白。 乔 ：坦白？ 安 妮：是的，昨晚上我是从学校里逃出来的。 乔 ：哦？是怎么回事呢？和老师闹别扭啦？ 安 妮：不，不是的。 乔 ：那你不会无故从学校里逃出来吧？ 安 妮：本来我只打算溜出来一两个钟头，他们让我吃了药，让我睡着了。 乔 ：明白了。 安 妮：我还是叫出租车回去吧。 乔 ：我说呀，不如先不回去。自己放自己的假。 安 妮：那再玩一个小时吧。 乔 ：索性豁出去吧，玩它个一天！ 安 妮：我真想做我想做的事。 乔 ：什么事？ 安 妮：你是猜不着的，我真想痛痛快快的想做什么就做什么。 乔 ：你是说去把头发剪短，吃冰淇淋啦？ 安 妮：是的，我想在路边的咖啡馆里坐坐，看看橱窗，在雨里走走，好好的玩玩，玩它个痛快。这对你算不了什么吧？ 乔 ：这太棒了！这样吧，还不如我们俩一起去玩呢。你说呢？ 安 妮：你不是还有工作吗？ 乔 ：工作？什么工作，，今天放假。 安 妮：可这太浪费你的时间了。 乔 ：真是这样吗？来吧，第一个愿望，露天咖啡座。跟我来，我带你去找一个。 （露天咖啡座） 乔 ：要是学校里的人看见你的头发会怎么说？ 安 妮：会笑的要死。要是他们知道我在你那睡了一夜会怎么想呢？ 乔 ：这个……我看好办，你别对别人讲，我也什么都不会说。 安 妮：一言为定？ 乔 ：好了，你要喝点什么？ 安 妮：香槟酒。 乔 ：啊？……喂，我说。 侍 者：什么事，先生？ 乔 ：有香槟吗？ 侍 者：有。 乔 ：给这位小姐来杯香槟，我要一杯冰咖啡。 侍 者：好的，先生。 帐户查询 乔 ：你在学校的生活够高级的，午饭喝香槟酒。 安 妮：特殊情况才这样。 乔 ：比方说？ 安 妮：上次是我父亲的纪念日。 乔 ：结婚纪念？ 安 妮：不是，是42周年纪念，他工作42年了。 乔 ：工作42年了，那么你对他的工作有些什么了解呢？ 安 妮：他的工作可以叫……公共关系吧。 乔 ：干那工作是很辛苦的。 安 妮：我可不愿意做那个。 乔 ：他呢？ 安 妮：我听他发过牢骚。 乔 ：那为什么不辞职呢？ 安 妮：做那个工作的从来没人辞职，除非因为健康原因干不下去了。 乔 ：那就祝他健康。 安 妮：你知道，人人都祝他健康。 乔 ：这酒行吧？ 安 妮：还行。你做什么的？ 乔 ：我是……搞推销的。 安 妮：真的？你推销什么？你卖什么呢？ 乔 ：肥料，化肥，就是化学制品一类的。俄宾！看见你太高兴了 俄 宾：嘿，怎么你忘了带钱包了？ 乔 ：俄宾，和我们一起坐吧。 俄 宾：给我介绍一下吧。 乔 ：对对。这是我的朋友俄宾，这是安妮。 俄 宾：安妮？ 安 妮：史密斯。 俄 宾：很高兴。 安 妮：你好。 俄 宾：你可以当一个人的替身，没人对你说过？……我现在还有点事，我得走了。 乔 ：千万别走，俄宾，一块坐坐。 俄 宾：好吧，我坐到弗朗西丝卡来再走吧。 安 妮：请问，先生，你说的替身是什么意思？ 乔 ：啊来杯威士忌，那是个美国字眼，意思是说一个特别有魅力的人。 安 妮：谢谢。 俄 宾：别客气。 安 妮：白莱德先生刚才正讲他的工作呢。 俄 宾：他怎么说？ 安 妮：你是做什么的？ 俄 宾：我和乔干同样工作，只不过我…… （乔把酒泼到俄宾身上） 乔 ：真对不起，俄宾。 俄 宾：真是太糟了，你在干什么你？我顶得住吗？行了，改天再见，小姐。 安 妮：你的饮料来了，拜托你坐下来吧。 乔 ：俄宾，别慌，我很报歉，坐下，请坐，轻松点。 俄 宾：你别找麻烦。 乔 ：以后小心不要再弄出来了。 俄 宾：到底是谁弄的？ 乔 ：是你。 俄 宾：我？ 乔 ：当然。 俄 宾：你是怎么找到这么一个怪人的？不过你是好人。为你干杯，祝你交好运。要不是你这头发，你真…… （乔把俄宾的椅子踢倒） 侍 者：先生你摔着了吧？ 乔 ：不要紧，他只是滑倒了。 俄 宾：走开！我滑倒啦？我摔伤啦？我没有滑倒！ 乔 ：我看看你的耳朵怎么了？ 俄 宾：行了，你别管我的耳朵是不是伤了…… 乔 ：抱歉，你过来一下，我有话对你说。 俄 宾：你到底想干什么？ 乔 ：对不起安妮，我们一会就回来。 安 妮：好的，去吧。 （咖啡店里间） 俄 宾：你别拽我！放开我！放开我！ 乔 ：你带着打火机了吗？ 俄 宾：带打火机干什么？带着呢你又怎么样？ 乔 ：听着，现在有个机会赚它5000美元，干不干？ 俄 宾：5000美元？ 乔 ：她不知道我是谁，也不知道我是干什么的，这可是个大新闻，是我搞到的，不能让别人抢走。 俄 宾：她是真的……？ 乔 ：你那小像即能使这篇报道的身价加倍。 俄 宾：公主流浪记？ 乔 ：你拿百分之二十五。 俄 宾：总数是5000？ 乔 ：是的，一笔不小的数目。 俄 宾：那就是1500元啊！ 乔 ：1250。 俄 宾：好，一言为定。 乔 ：你先借我30000里拉。 俄 宾：30000？是50美元啊！你想买皇冠上的明珠啊？ 乔 ：她现在在那喝香槟得我们付钱，可我一个钱也没有。 俄 宾：乔，我们总不能带着公主满街跑呀？ 乔 ：你到底想干还是不想干？ 俄 宾：这钱星期六你得还我。 乔 ：行，打火机呢？开始行动。 安 妮：好一点了吗？你的耳朵？ 俄 宾：我的耳朵？乔给弄了一下。来支烟吗？ 安 妮：好的。可能你不会相信，这是我第一次抽烟。 乔 ：第一次抽烟？学校里不许抽烟是，吗？ 俄 宾：第一次抽烟！这玩意儿挺管用的。 乔 ：味道怎么样？行吗？ 安 妮：没觉得怎么样。 俄 宾：没觉得怎么样？ 乔 ：喂，现在结账，我来付这个账。 俄 宾：这份账你付的起。 乔 ：那么下面干什么？是不是定个日程表什么的？ 安 妮：我不要用这个字眼。 乔 ：我不是说工作日程表，而是说玩的日程！ 安 妮：是的，让我们出发吧。 乔 ：你怎么样？俄宾，一起走？ 俄 宾：好了。 乔 ：走吧。 （警察局） 俄 宾：从现在起我想我可以直来直往了。 安 妮：美国新闻社，这是怎么回事？ 乔 ：如果你说是记者，人家就不来麻烦你了。 俄 宾：骑着摩拖上教堂结婚？乔，你可真能说瞎话骗人。 众 人：祝贺你们，祝你们新婚快乐！祝你们尽快添个大胖小子！ 安 妮：你不必有顾虑，我不会把这当真的。 乔 ：太谢谢你啦。 安 妮：你也不必感谢我。 乔 ：好吧，不感谢你。 安 妮：我也很会骗人吧？ 乔 ：是啊，你很高明。 安 妮：非常感谢。 乔 ：来吧，跟我来。 （“真理之嘴”前） 乔 ：这是“真理之嘴”，传说撒谎以后把手伸进去，就会被咬掉。 安 妮：太可怕了！ 乔 ：你来试试？ 安 妮：你来试吧。 乔 ：没问题。 （乔开了个玩笑） 乔 ：在这呢！ 安 妮：啊！你真坏！你怎么可以吓我呢？ 乔 ：是好好的，对不起。 安 妮：你一点事也没有吧？ 乔 ：是开玩笑。我们走吧！ （许愿墙前） 安 妮：刻在这上面的东西代表什么意思呢？ 乔 ：代表了对未来的祈求。在战争年代这里曾遭空袭，就在前面。一位父亲背着孩子被困在大街上，他们逃到了这里，倚着墙壁避难，祈求安全能够降临。炸弹虽然投得很近，但没有人受伤。后来的人便在这里献上这些碑，于是这里就成了一个纪念地，以后要许愿的人，便放上一块碑，就这样。 安 妮：真是耐人寻味。 乔 ：咱们去读读那些碑文。你在许愿？能不能告诉我呢？ 安 妮：其实这些典故也并不很真实的。 俄 宾：现在什么节目？ 安 妮：我知道今晚有个水上舞会。 乔 ：你说的是圣安基罗的游艇吧？ 安 妮：是的，今晚能去吗？ 乔 ：当然，只要是你的愿望。 安 妮：到半夜12点，我穿着玻璃舞鞋坐着南瓜变的马车走了。 乔 ：童话故事到此结束。我说俄宾，你是不是该走了？ 俄 宾：走？ 乔 ：是呀，你忘了你还有笔大买卖要做呢。 俄 宾：啊对对，大买卖。 乔 ：赚钱的买卖，能不管吗？ 俄 宾：那好，回头见。小姐。 安 妮：祝你生意兴隆。 （船上） 便衣甲：是不是很像公主？ 安 妮：白莱德先生，我说这话别见怪，我看你是个“替身”。 乔 ：什么？哦，非常感谢。 安 妮：你整天陪我做我想做的事情，为什么呢？ 乔 ：这是我该做的。 安 妮：我从没见过有人这么好心。 乔 ：这算不了什么。 安 妮：我没听过有那么无私的人。 乔 ：我们去喝一杯吧。 理发匠：啊，我正盼着您呢，没想到您真来了，我还以为你不会来了，我找了你好一会儿了。剪了，通通剪掉！ 安 妮：剪了挺舒服的。 理发匠：是很好，相当好。 安 妮：这是白莱德先生。 理发匠：我是马里奥·第兰尼。 乔 ：是老朋友？ 安 妮：是的，他今天下午帮我剪头发，并且晚上请我到这来。 乔 ：是这样，你叫什么明字来着？ 理发匠：马里奥·第兰尼。 乔 ：能认识你很高兴。 理发匠：我想请这位小姐……一起跳跳舞，可以吗？ 俄 宾：乔，我没漏掉什么吧？ 乔 ：她在里面跳舞。 俄 宾：她和谁跳舞？ 乔 ：理发匠。下午她去理了个发，晚上便约她出来了。 俄 宾：公主和理发匠？ 理发匠：太好了。 安 妮：呵呵。 便衣甲：可以吗？ 理发匠：好，失陪了。再见。 便衣甲：殿下。请殿下不要声张，我们慢慢的舞向出口，外面有部车在等您。 安 妮：我不去！ 便衣甲：走吧，公主殿下！ 安 妮：你弄错了，我不会说英语，放开我！你放开我！白莱德先生！白莱德先生！ （一群人打成一团，乔与安妮跳入河里） 乔吻了安妮 （乔的房间） 乔 ：衣服都不能穿了？ 安 妮：不，一会儿就干。 乔 ：穿这个挺合适，你应该总穿我的衣服。 安 妮：看来是这样。 乔 ：喝点酒可能会好一些。 安 妮：我做点什么吃的吧。 乔 ：没有厨房，也没有东西可做。我总是在外边吃饭。 安 妮：你喜欢这样吗？ 乔 ：没办法，由不得自己，是吗？ 安 妮：是的，由不得自己！ 乔 ：累了？ 安 妮：有一点。 乔 ：不寻常的一天？ 安 妮：真痛快！（广播：这里是罗马广播电台，现在播放美国一小时节目，先请听英语和意大利语的特别公告。关于在罗马访问的安妮公主的病情没有进一步的消息，安妮公主在昨天到达罗马时患病卧床，据说公主可能病情严重，此事已在公主国内人民中引起焦虑和不安……）不听这个，明天再说。再来点酒好吗？很遗憾，我不能为你做晚餐。 乔 ：在学校里学的烹调吗？ 安 妮：是个好厨子。我还可以靠这个赚钱呢，我还会做针线，收拾屋子，烫衣服，这些我都学过。就是没机会……在什么人身上实践一回。 乔 ：看样子我该搬家了，换一个有厨房的地方。 安 妮：对。我……我得走了。 （两人拥抱） 乔 ：安妮，不，我有句话想跟你说。 安 妮：不，别说了，别再说了。我得换衣服走了。 吻别 （大使馆拐角处） 安 妮：请在前面拐角停下来。 乔 ：是这儿？ 安 妮：是的。现在我得走了。我到前面那个角上拐弯，答应我，请你不要马上就开车，不要看见我走了你就离开。我们就此分手，也须永远也见不着了。 乔 ：是啊 安 妮：我不知道怎么和你告别，真是千言万语…… 乔 ：别再说了。 （公主卧室） 将 军：公主殿下，24个小时，它们实在无法一笔带过呀！ 安 妮：它们没有虚度。 将 军：我怎么才能向国王陛下解释呢？ 安 妮：我在被治疗之中，现在病情好转了。 将 军：公主殿下，陛下命令我来执行保护你的任务。但是要听到你……你这样，他…… 安 妮：阁下，我允许你再次使用这必要的演辞，我要是…不完全明了我对国家及家族的责任，今晚我就不会回来，或是再继续逃避下去。我想我今天的行程一定也很紧凑，我允许你们可以退下了，现在我要休息了。不要牛奶和饼。谢谢你伯爵夫人，没事了。 （乔的房间） 主 编：乔，真的弄到手了吗？ 乔 ：弄到手什么？ 主 编：关于公主的报道的内部新闻哪？ 乔 ：没有，我并没有弄到。 主 编：什么？没有。那不可能的。 乔 ：要喝杯咖啡还是要别的？ 主 编：乔！你可别跟我耍花招。 乔 ：谁跟你耍花招了？ 主 编：你呀。 乔 ：你在胡说些什么？ 主 编：是你到我的办公室来，说要写一篇公主的内幕新闻报道。后来你就不见了，我也从使馆那边得到小道消息说公主她根本没有病，她上城里逛去啦…… 乔 ：你算哪一号的记者，说风就是雨，什么小道你都相信吗？ 主 编：你昨天到我办公室来的时候……是的，我还听到了更多的消息，关于在船上舞会的事，还有8个身份不明的情报局人员，接着突然公主神奇的康复了，这完全又联系上了。那篇报道你可千万不要狮子大开口呀，说好的买卖可是不能变的！好了好了，行了行了，现在把那篇报道交出来吧，快点！ 乔 ：是啊，昨天我以为可以写一篇精彩的报道，可是我错了，没有什么好写。 主 编：你不是有个什么构想吗？ 俄 宾：乔！我等着你来看呢，来！正好你们都在。 乔 ：俄宾！ 俄 宾：怎么了你！ 乔 ：算了吧，你怎么老在我这儿弄翻东西？你怎么搞的？ 俄 宾：谁弄的？ 乔 ：是你呀，你怎么老是这样子，你忘了吗？ 俄 宾：乔，你看我的裤子，你看看。 乔 ：是呀，你最好来把它弄干。 俄 宾：嘿！你有没有说我们和史密斯的事？ 乔 ：俄宾！你看看你老是这样子。 俄 宾：乔！你…… 乔 ：我看现在时间还太早，你为什么不先回去刮刮脸呢？对，刮刮脸，你要安静一点。我和韩得森先生还有话要谈。 主 编：你们在弄什么名堂？谁是史密斯？ 乔 ：是一个家伙，你不会在意的。 主 编：我倒想看看。 乔 ：只不过是俄宾的一些破玩艺儿，你不会喜欢的。 主 编：让我看一下。 乔 ：你不会喜欢的，只是一些破玩艺儿，也许你想看看。 主 编：好吧，公主今天要开记者招待会，地点不变，这回你总可以写篇报道了吧？你记住，输了我500美元。 乔 ：每周从我薪水里扣50美元吧。 主 编：你以为我不会扣吗？ 俄 宾：是不是有更好的价钱？ 乔 ：俄宾，我不知道该怎么跟你说。 俄 宾：先让我坐下。 乔 ：关于和这些有关的新闻报道……不写了。 俄 宾：不过，这些照片很不错的，你不想看看吗？看！从这么小的底片里弄出来，很不错的。 乔 ：这是她第一支烟。 俄 宾：是的。这是真理之嘴。你知道我心中想的附图说明吗？“理发师中途的介入”。 乔 ：这个标题应该叫做“许愿壁前的愿望终于成真”。 俄 宾：乔，这太棒了。从这个标题起顺次下来这些愿望。这个我都想好了，“公主视察警察局”，“警检训公主”怎么样？ 乔：很好。 俄 宾：看这个。 乔 ：哇！ 俄 宾：是不是惊人之作？这叫做“贴身护卫反被主人揍”。 乔 ：这个名字怎么样？叫“皇冠一击”？ 俄 宾：简直无可挑剃，太棒了，简直……她是我们的……公主可是我们猎取新闻的对象。你知道吗？到任何时候有关公主的题材都是抢手的。你要是不写才傻呢！ 乔 ：是呀，我知道，这些照片如果你要卖我也不能阻拦，能卖一笔大价钱呢！你也会去记者招待会吗？ 俄 宾：你要去？ 乔 ：是呀，这是我的任务，不是吗？ 俄 宾：好吧。呆会儿见。 （大使馆） 侍 官：女士们，先生们，公主殿下到。 将 军：公主殿下，这些都是新闻界的朋友。 侍 官：各位先生小姐，公主殿下现在可以回答你们提出的问题。 记者甲：我想代表大家，对公主的康复表示祝贺之意，并同感欢欣。 安 妮：谢谢。 记者乙：公主殿下，您认为联盟关系是否能为经济问题提出解决之道？ 安 妮：我想喝欧洲紧密的合作关系是可以解决经济上的问题的。 记者乙：我想请问公主殿下对于其它友邦国家之间未来关系的展望。 安 妮：我对外交展望相当有信心，就如同我和朋友之间的友谊一样。 乔 ：我可以代表我的新闻社说一句话，我们相信公主的判断是不会错的。 安 妮：我很高兴听见你这么说。 记者丙：公主殿下，您对所访问的城市中印象最深的是哪一个呢？ 安 妮：每个城市都另人难忘，要想选择哪个城市，实在是太难了。罗马！无疑是罗马！这里的一切记忆，我都会珍惜，直到永远！ 记者丙：即使您在这病倒也毫不在乎吗？ 安 妮：是的,在所不惜。 侍 官：现在你们可以拍照了。 将 军：谢谢各位先生小姐，非常感谢你们…… 安 妮：我想会见一些新闻界的朋友。 记者散去，摄影师拍拍派克的肩膀要他离开；派克不动，似乎这一刻留有余香，然后一定是天上人间，此去经年甚或就是终生不见。 然而终有一别，于是派克离开；他的西装有一些旧，然而在公主那里是永远记得那里的体温吧；他的脸上还是萧索或是玩世；谁也无法理解他此刻的心情，一步一步向外走，大厅无比空旷，脚步声的空寂回响，大大的厅和他渺小的背影一起演绎着人世的空寂和无奈… ------全剧终 |
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