Roman Holiday Script
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
Associate Producer ROBERT WYLER Music Score by GEORGES AURIC
Produced and Directed by WILLIAM WYLER
Roman Holiday, Transcribed by Graham ()
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
publicid 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
故事长篇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
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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 感党恩
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 aben.
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 aben. [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
打羽毛球的英文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 awa
y. 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
鸡肉炒土豆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 [stubb
ornly] 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.
破伤风潜伏期[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, follow
ed 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 [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.
u盘的使用方法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 pee
rs 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] With
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