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Baby Moments - photo diary
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For LIMITED TIME only download Baby Moments for FREE, no ads, no in-app purchases!Featured in "New Apps We Love" by Apple in 60 countries.“Great application!!!! Helps to document every milestone of my baby” - Lusine, Baby Moments user“Excellent app. Helps you capture & tag those precious moments and steps. Three cheers!” - Sarav, Baby Moments user1600+ stickers for Pregnancy Milestones, Baby Milestones and beyond.Only app of its kind that let’s you use real object photo stickers to enhance your baby’s pics. Only app of its kind that let’s you type with real object fonts.Calling all mommies and daddies! Enhance your most priceless memories with your baby with Baby Moments! It’s the very first app of its kind to let you use object stickers and fonts for your baby’s photos. Never worry about missing a milestone, first step, or precious smile with our one-of-a-kind beautiful and memorable visuals for your baby.Want to add some 3D text on your baby’s birthday invitation cards? With dozens of Baby Moments’s unique fonts and artwork to choose from, you’ll have loads of fun making beautiful images of your precious child! Save your pennies on professional photographers and use our limitless collection of colorful stickers to turn your baby’s photos into real works of art!Some of Baby Moments exclusive features allows you to:- Capture every step of your pregnancy with colorful 3D stickers- Use our collection of over 1,600 stickers and artworks to enhance your baby’s pictures- Personalize your photos with a typography selection of 24 fun and witty fonts - Give your content some pizazz with 3D fonts- Use creative frames- Use professional grade editing tools and filters- Make beautiful greeting cards with your baby’s smile to send to family members- Send awesome birthday invites with merry messages anticipating your baby’s special day- Make a funny meme and share with your friends on social media- And so much more!***Download Baby Moments Now!***Never miss a chance to capture another precious milestone again! Download the innovative Baby Moments to take advantage this one-of-a-kind app and it’s one-of-a-kind features to create beautiful digital memories with your baby today!Join us on Instagram at @baby.moments and use the tag #mybabymoment for your chance to be featured!Visit our website at www.babymoments.ioSupport: support@babymoments.ioFacebook: /BabyMomentsAppOfficial/Pintrest: /babymoments_app/
What's New in Version 1.4
Enjoy our complete redesign! Numerous bug fixes & performance improvements under the hood! Want a new feature, or think something can be improved? Let us know by sending an email to support@babymoments.io. Thanks for using Baby Moments! Tell your friends to download Baby Moments completely for free!
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This app is designed for both iPhone and iPadOffers iMessage App for iOSFreeCategory: Version: 1.4Size: 241 MBLanguage: EnglishDeveloper: Qube LLCCompatibility: Requires iOS 9.0 or later. Compatible with iPhone, iPad and iPod touch.
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More Apps by QubeFacebook launches Moments app to find and share photos of your friends using facial recognition
Facebook has unveiled Moments, a new app that uses facial recognition software to scan your camera roll for faces to make sharing pics easier.
Here’s how it works: scanning your phone’s gallery, Moments finds faces of your Facebook friends, then offers them up for private sharing. If you’ve got pics of your bestie saved en masse, you can send them along as a bundle.
The pics are saved to a private album both you and the recipient can contribute to. So if you send along pics from a vacation they may have been tagged in, that person can also upload some landscapes to make it more of a vacation folder than a facial recognition photo dump.
If Moments recognizes more than one face, it will offer to let you share to a group.
Moments is launching today for
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1.76M followersProduced 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 several
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
publicised goodwill tour of European capitals. She gets a
welcome from the British as thousands cheer the gracious
member of one of Europe's oldest ruling families. After three
days of continuous activity and a visit to Buckingham Palace,
flew to Amsterdam where Her Royal Highness dedicated the new
International Aid Building and christened an ocean liner.
went to Paris where she attended many official functions
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.
smiling young Princess showed no sign of the strain of the
continuous public appearances. And at her country's embassy
evening, a formal reception and ball in her honor was given
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
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.
Ann, resplendent in her ballgown, diamond tiara, and
appears at the door accompanied by the Ambassador in formal
military dress. Behind them follow together the Countess
and General Provno, and others. As the company walks slowly
the aisle, Princess Ann smiles and nods her head to
acknowledge
the guests who line their path. They bow as the Princess
past them. As they reach the front, the Princess and the
step onto the dais as the orchestra finishes playing. The dais
furnished with chairs-a large one in the center. The Princess
the others stand, facing the guests. Princess Ann is about to
when the Ambassador discreetly stops her with a hand on her
As they stand waiting, the guests form in a line in front.
Master of Ceremonies announces them as they walk forward to
her, in turn.
MASTER OF CEREMONIES. His Excellency, the Papal Nuntius,
Monsignor Altomonto. Ann greets him warmly in Italian,
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
MASTER OF CEREMONIES. His Highness, The Maharajah of K
The Rajkumari.
ANN [shaking the Rajkumari's hand] I'm so glad that you could
THE RAJKUMARI. Thank you.
THE MAHARAJA [shaking Ann's hand] Thank you, madame. [The
of Ceremonies announes the next couple, in German].
ANN [hidden beneath her dress, she takes her right foot out
its shoe and stretches it] Guten aben.
MASTER OF CEREMONIES [as Ann puts her foot back] Prince
Barossy Nagyavaros.
ANN. How do you do? [he kisses her hand] The Master of
Ceremonies announces the long German name and title of the
ANN [holding the woman's hand as she curtsies] Guten aben.
greets the man as he kisses her hand]. The Master of
Ceremonies
announces the next couple. As she greets them, Ann rubs her
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
To the Count]. Good evening.
COUNT [kissing her hand] Good evening. [Suddenly, Princess
loses her balance as her foot slips over her shoe, knocking
over. The Count's eyeglass pops out in surprise and he smiles
back as she regathers herself. 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
has been knocked over and she greets the couple, disguising
discomfort] Good evening [the man kisses her hand]. The
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]
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
down. As she sits back into the chair with the Ambassador and
Countess on either side her dress pulls back, revealing the
The orchestra starts playing a waltz. Ann tries as
inconspicuously as possible to drag her shoe back with her
The General, standing behind her frowning, motions to the
Countess to look at the shoe. She looks down at it and closes
eyes in horror. The Princess stirs in her seat trying to get
shoe back, fiddling with her gloves as cover. A man standing
behind the Ambassador motions to him and he shrugs and gets
bowing and presenting his arm to the Princess. The Princess
and, pausing for time to regather her shoe, is lead onto the
ballroom floor by the Ambassador. Taking her up to dance he
at the area in front of the eat and, relieved that the shoe
to be seen, continues dancing with her as the other guests
Later on and the dance floor is filled people. Princess Ann
dances with a short, lively gentleman who rattles off rapid
Spanish phrases to her. She listens, nodding and smiling
politely. Still later and she dances with a short, elderly
gentlemen. They smile and nod to each other silently. Later
and Ann dances with a somewhat remote gentlemen. She almost
speaks so as to strike up a conversation, but thinks better
Later that night in Princess Ann's bedchamber. She stands on
bed dressed in her nightgown, her hair let down. She picks up
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, dressed in a
and wearing glasses] 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]
ANN. Just the top half. [The Countess takes off her glasses,
shocked, then walks over to the window. Ann pulls the covers
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
ANN [lying against the headboard, smiling as she hears
music coming in through the window] Listen. [She jumps up out
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] Please put on your
and come away at the window. [Ann walks back to the bed,
dejected, as the Countess shuts the window. The Countess holds
tray] Your milk and crackers.
ANN [ as the Countess helps her pull the
over her] Everything we do is so wholesome.
COUNTESS. They'll help you to sleep.
ANN [stubbornly] I'm too tired to sleep-can't sleep a wink.
COUNTESS [putting on her glasses, 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,
here with the E nine o'clock, we leave for the
Polinory Automotive Works where you'll be presented with a
ANN [ absently playing with a napkin] Thank
COUNTESS. Which you will not accept.
ANN. No, thank you.
COUNTESS. Ten thirty-five, inspection of food and
agricultural
organisation will present 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.
will preside over the layin same speech
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. Precisely. Eleven forty-five, back here to rest.
that's wrong... eleven forty-five, conference here with the
ANN. 'Sweetness and decency' [she rolls her eyes].
COUNTESS. One o'clock sharp, lunch with the Foreign Ministry.
will wear your white lace and carry a small bouquet of (&
very small pink roses. [The Countess looks up, unimpressed.
Continuing, as Ann drinks her milk from a glass] Three-o
presentation of a plaque. (ANN [to an imagined guest] Thank
Four-ten, review special guard of * Police. (ANN. No, thank
Four forty-five (ANN. How do you do?) back here to change
[becoming distressed] Charmed.) to your uniform (ANN. So
to meet the international-.
ANN [screaming at the Countess] STOP!!! [Looking away, her
covering her face] Please stop! 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]
dear, you're ill. I'll send for Doctor Bonnachoven.
ANN [turning over, facing the opposite way] I don't want
B please let me die in peace!
COUNTESS. You're not dying.
ANN [facing the Countess] Leave me. [Sitting up, shouting at
COUNTESS. It' control yourself Ann.
ANN [throwing herself on the pillow, beating it with her fist]
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' I'll be dead
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,
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
quietly] Are you asleep, ma'am?
ANN [without moving] No!
DOCTOR. Oh. [He feels her forehead then takes a thermometer
his bag] I'll only disturb Your Royal Highness a moment, ah?
ANN. I'm very ashamed, Doctor B I-[the Doctor
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
conference, Doctor.
ANN. Don't worry, Doctor: I-[takes the thermometer out] I'll
calm and relaxed and I-I'll bow and I'll smile and- I'll
trade relations and I, and I will...[she throws herself onto
pillow, in hysterics again].
COUNTESS. There she goes again. Give her something, Doctor,
DOCTOR [holding up a syringe from the bag] Uncover her arm,
please, hmm? The Countess uncovers her arm as the General
ANN [ 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
[As he injects her the General faints behind them, unnoticed]
ANN. I don't feel any different.
DOCTOR. Y it may take a little time to take hold.
now, lie back, ah?
ANN. Can I keep just one light on?
DOCTOR. Of course. Best thing I know is to do exactly what
wish for a while.
ANN [smiling] Thank you, Doctor.
COUNTESS [the Countess looks round at the General on the
Oh, the General! Doctor, quick!
DOCTOR. Oh!
ANN [sitting up] Hah! [she puts her hand over her mouth,
her smile].
GENERAL [ straightening his bedrobe] I'm
alright. [To the Princess] Goodnight, ma'am. [He bows and
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
around the large room at the lavish, ancient ornamentation on
ceiling and the huge sculpted headboard. She lies back, and
remembering, eagerly climbs out of bed and runs to the
She looks out longingly at the dancing below, the breeze
in her face then out over the city, the buildings lit up in
night far in the distance. Thinking, she looks back at the
and then back out the window, then she runs to her wardrobe,
starts rummaging in the clothes hung there.
Later, dressed in a plain white blouse and skirt and picking
her gloves from the dresser, she peers out the door of the
bedchambers. She sees a guard sat at the end of the wall stir
his semi-sleep. Pausing as she closes the door, she goes out
the side window onto the balcony outside. She walks along to
edge of the adjacent balcony, jumping down with a slight
onto the ground. Glancing furtively around she goes inside to
large, empty room. She pauses for moment to look around on
side and then continues. Going through the door she finds
on a corridor upstairs, encircling the large central area.
runs along to the end, turning the corner and then onto the
side. She continues on, reaches a staircase and goes down it
towards the exit. Outside, still in the grounds of the
she runs along a courtyard area. The shadow of a man walking
appears where she has just come from but she reaches safety
the other end before he can see her. Running through the
buildings further she pauses, her back against a wall.
round the corner she sees a man jump out of a small supply
While he is gone she runs over and quietly hops into the back
the truck. The man comes back and throws a couple of bags
the back where she is hiding. He then gets in, starts the
and drives off. Guards at the entrace of the Embassy grounds
the doors and the little truck drives out. Ann peers back
the top of a bag to see the guards closing the doors again as
Embassy recede into the distance. She looks round with
moving the bag out of the way, leaning her arm on some goods
see out the back better. She watches the truck go past a
cafe, busy with people, then waves to a couple driving behind
the woman waves back at her. The goods rattle in
back as the truck bounces around, and Ann rests on a box,
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
footpath as the truck screeches away. She leans against a
yawning then continues on. Crossing a street, she walks
across the passenger cabin of a horse-drawn carriage parked
alongside the pavement, to the bewilderment of the passengers
driver. The cab drives away as Ann continues on. A light
from the window of a room on the second floor of the building
carriage was parked in front of...
Inside the room are sat Joe Bradley, Irving Radovich, and
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
CARD PLAYER 1. I'll take one.
CARD PLAYER 2. Three.
JOE. Fool, boy. [C bets more] Two for papa.
CARD PLAYER 1 [places a note in the pool] Five hundred more.
JOE [following] Without lookin'.
IRVING. F and, er [clears his throat], raise you
thousand. Joe looks at him suspiciously. Irving rubs his
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 sevens.
IRVING. Er, a nervous straight [ Then,
relish] Come home, you beauties. [Counting his money as he
Joe looks on grimly] Now, look at that: six thousand
hundred-ah, not bad, that's ten bucks. [As the dealer gathers
cards back and Joe does up his tie] Er, one more round and
gonna throw you gents right out in the snow... The remaining
players objective to his leaving: Say-; what-; wait a
IRVING. I got to get up early: date with Her Royal Highness
will [dramatically] graciously pose for some pictures.
JOE. What do you mean, early? My personal invitation says
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
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
IRVING. Ciao, Joe.
JOE [picking up his jacket off the back of the chair] Yeah,
[The other men say goodbye: Goodnight, J C Stay sober,
IRVING [as Joe leaves] Alright! a little seven card stud.
CARD PLAYER 1. Ok with me.
Joe Bradley walks along the street, hands in pockets. He
down by a park bench. Princess Ann is lying on it and Joe
at her curiously as he walks by.
ANN [sounding drunk because of the drug's effect] Sooooo
[Joe stops, turning round to look at her. Interrupting, as
almost walks on] How are you this evening? [She stirs on the
bench, luxuriously] Mmmmmmmmm.... hmmmmm.... mmmmmmmmmmm...'
JOE [rushing over to prevent her from falling off] 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 pause] You may sit down.
JOE. I thi much too young to get picked
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
handle liquor shouldn't drink it.
ANN [she looks up at him] If I were dead and buried and I
your voice beneath the sod my heart of dust would still
Do you know that poem?
JOE. Huh, what do you know? [Sitting down] You're well-read,
well- you're snoozing away in a public street. Would
care to make a statement?
ANN. What the world needs is a return to sweetness and decency
the souls of its young men and-[unable to support it, her
falls on his shoulder] mmmmmhhhhhhhhmmmmm.....
JOE [he takes his money from his breast pocket and puts it
his trouser one] Yeah, I er, couldn't agree with you more,
erm-[hears a car approaches and whistles. A taxi pulls up.
gets up, pats her on the shoulder]. Get
you'll be alright. [He goes over to the cab, looks back to
her lying back down. The driver notices too and looks away
innocently when he sees Joe looking at him. Joe goes back over
Ann, trying to stir her] Look: you take the cab.
ANN [without stirring] Mmmmm. Joe looks back at the driver
rests his arm against the window, impatiently.
JOE. C [takes her up by the arm] climb in the cab and
ANN [as she drags herself to her feet, helped by Joe]
Mmmmm...mmmmmm, so happy.
JOE. You got any money?
ANN. Never carry money.
JOE. That's a bad habit.
JOE. Alright, I' come on. [He leads her to
ANN [ noticing it for the first time] It's a taxi!
JOE. Well, it's not the superchief. [He follows her into the
CAB DRIVER [says something in Italian] Where are we going?
JOE [to Ann] Where do you live?
ANN. Mmmmmm? [Closing her eyes] Colliseum.
JOE. Now, come on, you're not that drunk.
ANN [laughing] If you're so smart I'm not drunk at all. I'm
being [her head falls against his chest] verrrrry
haaaappy......
JOE. Hey, now, don't fall asleep again.
CAB DRIVER [first speaks something in Italian] Where are we-
going? [Joe says something in Italian, impatiently.] Ok.
back around].
JOE. Look, now where do you wanna to go? Hmmm? Where shall I
you? [Holding her jaw, Ann moans in
annoyance]
Where do- where do- where do you live? Huh? huh? Come on.
on, [lightly slapping her face with his hand] where do you
[The driver looks back, unimpressed] Come on, where do you
ANN [mumbling, half-asleep] I....ohhhhh....Colliseum.
JOE [ to the cab driver] She lives in the
Colliseum.
CAB DRIVER [shakes his head] It's wrong address. Now look,
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 [pleased, finally] Villa Marguta, fifty-one.
Oh, [some Italian]! The taxi drives off. The cab arrives
the address.
CAB DRIVER. Yes, Villa Marguta fifty-one. [some Italian] I am
very happy. [Joe looks grimly at Ann, asleep beside him]
lira [some Italian]. Joe responds in Italian. He reaches into
his breast pocket then, remembering, his trouser one and
the driver the money].
CAB DRIVER. One, two, three, four mila*. [Gives him back
JOE. Ok. [Says something in Italian then gives him back the
money. The driver thanks him in Italian]. Ok, ok. Now look:
take her wherever she wants to go. [The
cabbie thinks for a moment, unsure] Hmmm? Capito? Capito.
Italian. The driver nods and they say goodbye to each other.
driver takes one look at Ann sitting asleep and quickly calls
to Joe as he leaves].
CAB DRIVER. Oh- no, moment, moment, moment! No, no, no
cabbie pulls him over by the arm] (JOE. Alright). No, no, no.
JOE [leaning down to the window] Alright, look: as
as she wakes up, see? she tell you where she want to go. Ok.
CAB DRIVER. Moment, moment: m my taxi-no
sleep. You understand? you understand?
JOE. Look, look, pal: this is not my problem, see? I never
her before. Huh? Ok.
CAB DRIVER. It's not your problem, it's not my problem. What
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
Joe walks up the steps, followed by Ann, head down barely
to keep awake. He arrives at the front door. As he stops,
forward to open it, Ann rests her head on his shoulder.
going through he straightens causing her to stand up,
herself, a Ann follows. He shuts the
behind her, taking her by the hand up the steps. Without
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
around to the bottom of the steps (ANN. So happy.) and up the
right way. She staggers up steps after him, stopping by a
as Joe goes to unlock his one a few steps up. In her stupor,
raises her hand and is about to knock on the neighbour's door
when Joe sees her, running over to catch her hand just in
He leads her to the door and unlocks it. He goes in and turns
the light.
JOE [muttering as Ann follows him in] Out of my head. [He
the door behind her].
ANN. Is this the elevator?
JOE [offended] It's my room. [He turns on a lamp at the other
of the room, by the bathroom door].
ANN [she almost topples over, walking to the bed and putting
gloved hand on the endboard to steady herself] I'm terribly
to mention it, but the dizziness is getting worse. [Looking
around] Can I sleep here?
JOE. That's the general idea. [He walks over and opens a
on the landing next to the front door].
ANN [poetically] Can I have a silk nightgown with rosebuds on
JOE [walking over to Ann, presenting her with some pyjamas]
afraid you'll have to rough it tonight-in these.
ANN [with delight, taking them] Pyjamas!
JOE. Sorry, honey, but I haven't worn a nightgown in years.
goes over to open another cupboard by the lamp].
ANN. Will you help me get undressed, please? [she stands
head raised expectantly].
JOE [pauses, unsure, then goes to her] Er...ok. [He undoes
necktie, sliding
presenting it to her]
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
ANN [shaking her head] This is very unusual. [Unbuttoning her
cuffs, then the bottom button of her blouse] I've never been
alone with a man before, even with my dress on. [Pulling up
blouse out of her skirt] With my dress off it's most unusual.
[With a half-laugh] Hm, I don't seem to mind. [Smiling at him
she starts to open the remaining buttons] Do you?
JOE. I think I'll go out for a cup of coffee.
ANN [amused] 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
her] Oh, no, [pointing to the ottoman at the side,
her over] on this one.
ANN [still working on her buttons] How terribly nice.
JOE. Hey, hey: [bringing the pyjamas from the bed, presenting
them to her] they' you're
climb into them, you understand?
ANN [taking them] Thank you.
JOE. And you do your sleeping on the couch, see?-not on the
not on the chair: is that clear?
ANN. Do you know my favorite poem?
JOE. Ah, you already recited that for me. [He goes to get
blankets from the bed].
ANN [as he lays them out on the ottoman] I refuse a* rose from
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' see?
ANN. It's Keats.
JOE. I'll be- it's Shelley. I'll be back in about ten
ANN [to her back as he goes to the door] Keats. [She shakes
head, looking at the pyjamas slightly confused. Thinking
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
[her skirt slides down] withdraw.
JOE [stopping in the doorway] Thank you very much. [He goes
Ann resumes her task of getting undressed].
At the Embassy. The Ambassador is sat at a table, the Countess
a chair in front and the General standing next to her. All are
their bedclothes. A man marches to the desk.
AMBASSADOR. Well?
SERVANT. No trace, Your Excellency.
AMBASSADOR. Have you searched 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
anyone. I must remind you that the Princess is the direct heir
the throne. This must be classified as top-crisis secret. Have
your pledge?
SERVANT. Yes, Sir.
AMBASSADOR. Very well. [The man turns and marches out. He
to the other two]. Now we must notify Their Majesties. The
General looks up at him, the Countess looks up at
General, standing, and turning to the Ambassador who looks at
them, waiting for an affirmation. Receiving none, he stands
himself and walks from behind the desk.
Joe arrives back at his apartment building, closes the
door, and walks up the stairwell. He unlocks the front door
JOE [about to say something] A-. [Disappointed on seeing her
asleep in his bed] Oh... Looking at her, he slams the door
hard, but she doesn't move a muscle. He goes over to the
side of the bed and moves the table out of the way, making
Then brings the ottoman over and places it next to her. He
off his jacket, puts it down and loosens his tie. Then he
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
ANN [muttering] So happy.
JOE. The pleasure's mine. [He puts the pillow on the other end
the bed, muttering as he goes to get undressed] Ah,
screwball.
The newspapers are turning out reports. A machine types out
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
Joe stirs in his bed. As the clock continues to ring he rises
bed, looking out the window as the sunlight streams in. He
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
noises as she buries herself back into the pillow] Oh, shut
Joe jumps up, pulling the curtain back to see outside. He
to the wardrobe but stops, going through his clothes laid
the chair, retrieving a piece of paper. He puts it back as
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
several stories down to see Joe getting out of a taxi,
paying the driver. He then sits at his desk, looking through
morning papers. The headline of the Rome American article,
accompanied by a picture of the Princess, reads: 'Princess
Taken Ill: Press Interview Cancelled'. Another paper, in
has an article, also with a picture of the Princess. Joe
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 secretary, borrowing
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,
[He knocks on the door behind the secretary].
HENNESSY [from inside, angrily] Come in. Joe braces himself,
exchanging a worried glance with the secretary, and then
confidently into the office.
JOE [taking a mouthful as he shuts
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-t
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, I just got back. [Taking another mouthful].
HENNESSY. 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
JOE. Well, of course she did. [Rummaging through his pockets]
I've got 'em right here, somewhere.
HENNESSY. Er, don' I have a copy here.
[Looking at the piece of paper] How did Her Highness react to
idea of a European Federation?
JOE. She thought it was just fine.
HENNESSY. She did?
JOE [seeing the need to flesh it out, leaning against the desk
thought] Well, she thought that there'd be...two effects.
HENNESSY. Two.
JOE. The er, direct and the...indirect.
HENNESSY. Oh, remarkable.
JOE. Naturally she thought that the indirect would not be
as...direct...as the direct. That is, not right away. Later
of course, well, nobody knows.
HENNESSY. Well, well, that was a shrewd observation!
fool you you know, they've got a lot more
the ball than we suspect. [Looking at the paper again] How
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
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
what was she wearing?
JOE [he pauses 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]
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 these dimensions.
you say she was wearing gray?
JOE. No, I didn't say that.
HENNESSY. Well, she usually wears gray.
JOE. Oh well, er, it was a...kind of a gray.
HENNESSY. Oh, I think I kno it has a
JOE. That's the one, that's the one (HENNESSY [smiling,
back in agreement] That's it.) Yeah, I didn't know exactly how
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
the fact that Her Highness was taken violently ill at three
o'clock this morning, put to bed with a high fever, and has
all her appointments for today cancelled en toto!
JOE [helplessly] En toto?
HENNESSY. Yes, Mr. Bradley: en toto.
JOE [swallows audibly] Certainly pretty hard to swallow.
HENNESSY. In view of the fact that you just left her, of
But here it is, Mr. Bradley [picking up a paper]: all over
front page of every newspaper in Rome! [he hands him the
JOE. Alright, I overslept. It can happen to anybody!
HENNESSY. If you ever get up early enough to read a morning
you might discover little news events [pointing to the article
the paper]-little items of general interest [Joe looks at the
paper and stares at the picture of the Princess-the same woman
in his apartment but in a regal gown, necklace and tiara]
might prevent you in the future from getting immersed in such
gold-plated, triple-decked, star-spangled lies as you have
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
Princess. It isn't Annie Oakley, Dorothy Lamour, or Madame
Kai-Shek. Take a good look at her [Joe closes 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
have to ask! [Joe looks back and forth and walks straight out
the office, carrying the paper]-you'll know you're fired!
walks to the other end of the newsroom, stopping. Shaking his
head, seeing that Joe has left the office] The man's mad. Joe
opens the other door, closing it carefully behind him and
the wall-phone in the small foyer. Someone comes in from the
front door and Joe watches him nervously until the man goes
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
you to hurry up to my place and see if there's somebody
there...asleep.
GIOVANNI [amused] A-ha! Say, Mr. Joe: I [some Italian]
wait. [Some Italian]. [He walks to the door as Joe looks back
forth, impatiently. A few moments later Giovanni walks back
his desk, smiling. He sits down] Mr. Joe?
JOE [almost shouting] Yeah! [Repeating, quietly] Er, 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
goes out! Capito?
GIOVANNI. Ok. [He hangs up, getting up to obey Joe's
instructions]. Joe Bradley, stealing another look at the
puts it in his pocket and walks back into the newsroom on his
to Mr. Hennessy's office. The secretary looks up, puzzled,
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
overtaking him] Oakley, Dorothy Lamour, or Madame....)-How
HENNESSY. What do you care? you've got about as much chance
JOE. I know, but if I did, how much would it be worth?
HENNESSY. Oh, just a plain talk about world conditions, it
be worth two hundred and fifty. Her views on clothes of
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
Secret Longings [pointing to the layout of an imagined heading
the air] of a Princess'; her innermost thoughts as revealed
your own correspondent in a [leaning over Mr. Hennessy's
closer and closer] private, personal, exclusive [in a loud
whisper] interview. [Hennessy looks at him open-mouthed, in a
kind of daze] Can't use it, huh? I didn't think you'd like
[Joe walks to the door, opening it and slamming it shut,
Mr. Hennessy from his daze].
HENNESSY [shaking his head, firmly] Come here!
[Joe, satisfied, walks back over] Love angle too, I suppose?
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
news service. 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 disguised as
thermometer. You said five grand? I want you to [presents his
hand] shake on that. [Hennessy shakes his hand].
HENNESSY [as Joe rushes off to the door impatiently, stopping
him] Ah, you realise, of course, Her Highness is in bed today
leaves for Athens tomorrow.
HENNESSY. Ah, now I'd like to make a little side-bet with
five hundred says you don't come up with the story. [Joe
out the paper, unfolding it and taking a good look at the
page again] What are you lookin' at that for?
JOE. Oh, I just wanna see what time it is.
HENNESSY. Huh?
JOE. Er, what day it is, er-[puts the paper away] It's a
HENNESSY. Now I'd [offering his hand] you to shake. [Joe
then shakes. Hennessy laughs and Joe smiles with him] Now,
see, you're into me fo when you lose
bet you'll owe me a thousand. [Laughing] Why, you poor
I'll practically own you!
JOE. You have practically owned me for a couple of years now,
that's all over. [As Hennessy continues laughing, leaning on
desk] I'm gonna win that money and with it I'm gonna buy me a
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
you, sitting here with an empty leash in your hands and nobody
twitch for you!
HENNESSY [stopping Joe, who stops in the doorway to face him]
long, [raises his right hand, his finger and thumb in an 'O']
Peachy. [Joe leaves.]
Outside Joe's apartment. Giovanni paces outside the door, a
strapped to him, copying the actions of a sentry. A crowd of
children sitting on the stairwell make fun of him. He goes
them, telling them off and they back away, shouting and
As the children sit back down on the stairs Joe enters the
door leading outside and walks up the stairs, carefully
the children, playfully batting one of them on the head with
newspaper.
GIOVANNI [as Joe arrives at the top] What's your problem?
JOE. Everything ok, Giovanni?
GIOVANNI [reassuring him, proudly] Listen here, Joe: er,
is come, absolutely nobody.
JOE. Swell! thanks a lot. [He is about to go into his
but stops, turning to Giovanni] Oh er, Giovanni, er...
his arm round him, leading him to the side] How would you like
make some money?
GIOVANNI. Money?
JOE. Yeah. [Giovanni responds in agreement in Italian].
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
deal. Now, if you'll just lend me a little cash, I-.
GIOVANNI [says some Italian]. You owing me tomorrow's rent
I know, I know, I know.) and you want me to lend you money?
Yeah.) [Emphatically] No, [Some Italian] no!
JOE [pointing his paper at him] Tomorrow, you'll be sorry!
Joe goes through his front door, seeing Princess Ann still
in his bed. He shuts the door quietly, fastening the chain
across, also. Joe stands looking at her for a moment then
round to the other side of the bed-the side she is facing
down. He stands above her, looking at her face then looking
at the newspaper picture to compare them. He sits down beside
and moves a lock of her out of the way to get a better view
her face. He holds the picture up beside her but her hand
partially covers her face. He tickles her hand and she moves
restlessly. He leans closer to her:
JOE [quietly] Your Highness? [She stirs with a 'Mmmm-mmmmm'].
Your Royal Highness?
ANN [turning to her other side, sighing] Yes... what is it?
sits up in delight, the fact of her identity passing through
mind. He stands up, excitedly putting the newspaper back in
pocket, and walks around the bed. Seeing the alarm clock on
cupboard missing he picks it up from the bed and replaces it.
replaces the pillow in its proper place, smoothing out the
then walks back around to Princess Ann. He carefully picks up
left arm, putting it around his neck, then slides his arms
her head and legs and carries her-blankets included-around to
other side of the bed. He is about to put her down but sees
she is holding her the wrong way. All of a sudden he hears
sirens sound outside and stops for a moment, then, still
her, picks up the pillow with one hand and puts it at the
end of the bed, laying her down gently. She continues sleeping
he goes over to the window and looks down at the street at
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'
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
arm] Mmmmm, I dreamt and I dreamt...
JOE. Yes? Well, er, what did you dream? [Holding her wrist as
doctor might].
ANN. I dreamt I was asleep on the street and... young man
and he was tall and strong and-[screwing her face up] he was
mean to me.
JOE. He was? [He lets her arm down].
ANN. Mmmm. [B putting her arm over her eyes] It was
wonderful. She opens her arms, stretching a little. Lying
up, not quite awake yet, she looks at the ceiling, seeing the
plumbing visible in the corner-quite different to the
ornamentation of the Embassy bedchamber. Then she looks at
standing over her. She closes her eyes, smiling, then opens
again, her expression becoming severe as she stares at him.
JOE [cheerfully] Good morning.
ANN [ in a low, worried tone] Where's Doctor
Bonnachoven?
JOE [unbothered] Er, I'm afraid I don't know anybody by that
ANN [puzzled] Wasn't I talking to him just now?
JOE. 'Fraid not.
ANN [ feeling herself beneath the sheets]
Have- have I had an accident?
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
all the while, not fully trusting of him]. Joe leans against
cupboard at the foot of the bed.
ANN. Thank you [he smiles back. She looks down at her pyjamas
then to Joe] Are these yours? He nods. Ann, suddenly
feels under the sheets for her pyjama bottoms.
JOE. Er, did- did you lose 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 [ rising suddenly] Did you bring me here by
JOE. No, no, no... [smiling] quite the contrary.
ANN. Have I been here all night...alone?
JOE [smiling] If you don't count me, yes.
ANN [seriously] So I've spent the night here-with you.
JOE [hurrying to reassure her] Oh, well, now, I- I don't know
I'd use those words exactly, but er, from a certain angle,
Ann looks down, thinking. After a moment, reassured that
everything is alright afterall, laughs.
ANN [presenting 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
she pulls back her legs, looking back at him like a
frightened
gazelle]. What's your name?
ANN [she pauses, stalling] Er...you may call me Anya.
JOE. Thank you, Anya. [C 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
I must get dressed and go! [remembering, she grabs the
to cover herself].
JOE [ continuing to prepare the coffee] Why? what's
hurry?-there's lots of time.
ANN. Oh no, there isn't and I've- I've been quite enough
to you as it is.
JOE. Trouble? [Smiling] You're not what I'd call trouble.
ANN [pleased] I'm not?
JOE [going to the bathroom door] I'll run a bath for you. [As
goes in to turn on the taps on the bath, Ann picks up her
from the floor near the bathroom door, holding them to her
After laying a towel out on the floor next to the bath he
back out, gesturing with his arm to her to go in] There you
Ann walks to the bathroom, keeping him in front of herself,
turning round to go through the door, then quickly turning
so as to be able to see him as she shuts the door behind her.
soon as the door shuts, Joe goes over to the door and in
to open it gently, forgets the chain and causes a noise. He
undoes the chain and goes out and down the steps.
Joe goes into a workshop full of people working on sculptures.
asks one of the men, in Italian, if he can use the phone. Joe
thanks him then dials. As he waits for the phone to be
Joe takes out the paper to look at the picture again. The
rings in Irving Radovich's studio. He is lying on his back
holding a camera, next to a tub filled with water which
a ripple effect on the ceiling. On his leg is attached a piece
string which runs up to a fishing rod, held by a model who
on the upper level of the studio, her legs sticking out
the balcony.
IRVING [aiming his camera] Here we go now. [He takes the
T that does it. [Pulling himself off his back]
[To the model, trying to put his leg down to untie the string
she playfully pulls at the rod] Gimme a little slack, will
[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 [ the model dangles the line around his
Oh no, I can't come now, J I'm busy. Oh no-[playfully
at the end of the line] Joe: I'm up to my ears in work. [To
covering the mouthpiece of the phone] Go on, get into
next outfit, will you, Honey?-the canoe. What kind of a
JOE. Look, Irving, I can't tal one word
the wrong quarter and this whole thing might blow sky-high.
front page stuff, that's all I can tell you. It might be
political ro it might be a sensational scandal-I'm not sure
which, but it's a big story and it's got to have pictures!
IRVING. But I can't come now, J I'm busy. [Looking up
the model is, in a lower tone to the phone] I'm busy now and
meeting Francesca at Rocca's in a half an hour and-.
A charwoman enters Joe's apartment, carrying a bucket and
She puts them down inside and closes the door, muttering a
disdainful 'Ah!' at the sight of the bed in a mess. She walks
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
She emits a scream of surprise at the intrusion, pulling the
towel up, as the charwoman stands in the doorway, hands on
Ann tries to excuse herself in Italian, shutting the door,
the charwoman will have none of it and orders her outside,
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
the charwoman mutters more Italian after her].
Joe runs up the stairwell and goes into his apartment.
around, he doesn't see Ann-only his empty apartment tidied
the bed made. He realises the balcony door is open and goes
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,
around the buildings] It must be fun to live in a place like
JOE. Yeah, it has its moments. I can give you a running
commentary on each apartment.
ANN [she turns to him, seriously] I must go.
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
ANN. It is.
JOE [walking her back to the apartment] Well, I'll go along
you, wherever you are going.
ANN. That's alright, I can find the place. [They
back inside] Thank you for letting me sleep in your bed.
JOE. Oh, that' think nothing of it.
ANN. It was very considerate of you-[motioning to the
you must have been awfully uncomfortable on that couch.
JOE. No, no-do it all the time. [She smiles as he turns to
the door].
ANN [as she goes out she turns to shake his hand] Goodbye,
JOE [shaking her hand] Goodbye. [Seeing her unsure about
way to go he points to the way out] Oh: go right through
and down all the steps. She walks down the stairs and he goes
back inside and shuts the door, walking out to the balcony
Ann goes through the outside door, watched from above by Joe
she walks away. He runs back inside and out his front door.
Part-way down the outside steps, Ann stops and turns to run
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, that's right,
didn't have any last night did you?
JOE [as he reaches for his money he sees Giovanni watching]
much-[looking back up at Giovanni, uncomfortably] how much was
that you wanted?
ANN. Well, I don't know how much I need. How much have you
JOE. Well, er [looks quickly up at Giovanni], suppose 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 sent back to
What is your address?
JOE. Er, Villa Marguta, fifty-one.
ANN. Villa Marguta, fifty-one. [Smiling] Joe Bradley.
thank you. [She walks down the steps]. Joe watches her from
top of the steps, exchanging glances with Giovanni. As Ann
reaches the bottom he heads down after her, watched by
GIOVANNI. Ah, double my money, eh? You tell me you want double
money (JOE [waving his hand up at him, reassuring him]
tomorrow, tomorrow.) that way? [Repeating to himself, after
has walked past] Eh, tomorrow.
Ann walks out onto the busy city street, dodging a motorbike
she arrives from a side-street. She looks out fascinated at
the activity, momentarily intimidated, but then venturing out
confidently as she enjoys the bustle of the city around her.
peers down the street after her, running between the people
order to keep within sight. He follows her into a market as
wanders along, taking her time, just enjoying herself. She
past several vendors offering her their goods. As Ann stops
look at a stall Joe has to back off, and is instantly
by the nearest vendor who offers him some of his huge melons.
shakes his head at him, more interested in keeping an eye on
who tries on a pair of shoes at the stall, then pays the
vendor for them. Joe's vendor persists and Joe finally buys
melon off him, which at once quietens him down. So, carrying
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
the street that runs beside the fountain, stopping outside a
salon to look at the drawings of hairstyles in the window
surround a mirror. She appears disappointed at the way she
in the mirror and, after smiling at the hair of someone who
past, decides to go inside. Joe walks up the the shop,
when he sees where she has gone.
Inside the hair salon Ann sits on one of the seats in front
the large mirror, holding up her long hair as the hairdresser
(Mario Delani) fastens the cover around her.
MARIO DELANI [speaking rather hesitant English] What a
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]
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
sure, Miss?
ANN [emphatically] I'm quite sure, thank you.
MARIO DELANI [he turns he round in the chair, taking her hair
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,
round, then walks away down the street. Ann sits in the salon
still, her hair covering her face.
MARIO DELANI [pulling apart her hair to see her] Are you
ANN [impatiently] Yes.
MARIO DELANI [dropping her hair back over her face] Yes. [As
cuts her locks off, working his way round] Off!
off...[wipes
his forehead with his arm]. Joe finds a public phone down the
street opposite the fountain. Joe waits impatiently, studying
melon, as another person speaks on the phone, in Italian.
seeing a group of children playing on the statue, goes over
one of them, passing his melon to a boy. Back in the salon,
hairdresser cuts of the last lock of her hair.
MARIO DELANI. Off! [He stands to the side of her as they both
study the end result as Ann moves her head slightly from side
side. She looks down at something but, engrossed in her, the
hairdresser jerks her head back to the centre to get a better
view]. Outside, Joe sees a group of American schoolgirls,
playing and talking around the fountain. He approaches one
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,
don't mind if I just borrow it, do you? [He tries to coax it
her but the strap is around her neck].
SCHOOLGIRL 1 [ putting her hand up] Miss Weber!
JOE. I'll give it back... 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
the camera as the teacher leads the student away, then holds
head in his hand, embarrassed. In the salon someone sweeps
hair up off the floor. Mario Delani is combing her hair,
up the ends.
MARIO DELANI. You musician, maybe? You artist, aha? Painter...?
know: you model! [She smiles, flattered] Model, hah?
ANN. Thank you.
MARIO DELANI [says some Italian] Finito. It's perfect.
MARIO DELANI [as the hairdresser turns her round from side to
side, looking in the mirror] Y-y-you be nice without long
Now, it's cool, hmm? Cool?
ANN [turning her head to the side, playing with the ends]
it's, it's just what I wanted.
MARIO DELANI. Grazzi. [As she looks in the mirror] Now, why
not come dancing tonight with me? You should see, it's so
it's on a boat on the Tib閞ine, Tiber-the river by Saint
[dramatically] moonlight, music, romantico! It's very,
very...[his English vocab runs out] very. Please, you come?
ANN. I wish I could.
MARIO DELANI [disappointed] Oh. [As Ann gets up, taking out
money] But, but, your friend: I think they not recognise you.
ANN. No, I don't think they will! [She gives him the money].
MARIO DELANI. Oh, thank you very much.
ANN. Thank you.
MARIO DELANI [as she leaves he rushes out the door after her]
er, senorina. [Standing in the doorway as she turns to him]
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, surprised and flattered] Thank you. Goodbye.
MARIO DELANI [as she leaves] Goodbye. Joe, watching from
the square, sees her leave and follows her. She passes by a
window, stopping to look, and seeing her reflection checks
new hair. Joe follows her down the street towards the Spanish
Steps. He keeps a safe distance as she waits for a gap in the
traffic, dashing across. She walks up to an icecream vendor
nearby, presenting him with some money.
ANN. Er, [unsure of the word] Gelato?
ICECREAM SELLER [nodding] Gelato. [He bends down to scoop up
icecream, all of this watched by Joe from the opposite side
the street].
ANN [taking her icecream] Thank you. [She pays him the
ICECREAM SELLER [calling after her] Senorina. [Hands her her
change, speaking some Italian].
ANN. Oh! grazzi. She walks away, licking her icecream. A
seller catches her attention as she walks past.
FLOWER MAN [speaks some Italilan, presenting her with some
flowers] It is [some Italian] beautiful lady. [Speaks in
eagerly trying to make the sell, handing her the flowers. She
shakes his hand in thanks but he waves his hand, speaking
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
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
for her, the flower man pulls a flower out and gives it to
She offers him her money but he waves his hand, telling her
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
ornamentations which divide the width of the steps, licking
icecream. Joe runs up the opposite side, out of view, and
walks across the width of the steps, behind her. He walks
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] Yeah... very much. So that was
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
me something last night to make me sleep.
JOE [he smiles, realising] Oh, I see.
ANN [looking down at the street she finishes her icecream,
rubbing her hands clean] Now I'd better get a taxi and go
JOE. Well, look: before you do, why don't you take a little
for yourself?
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't imagine... I'd, I'd like to do just
I'd like, the whole day long! [She laughs].
JOE. You mean, things like having your hair cut? Eating
ANN. Yes, and I'd, [looking down to the street] I'd like to
walk in the
[Joe looks at the blue sky doubtfully] Have fun, and maybe
excitement. It doesn't seem much to you, does it?
JOE. It's great. Tell you what: why don't we do all those
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
setting off down the steps] Rocca's.
Joe and Ann sit at a table at Rocca's, watching the traffic
past. Joe sits watching as she eats a bread roll.
JOE. What'll the people at school say when they see your new
ANN [laughing] They'll have a fit. What would they say if
knew I'd spent the night in your room?
JOE [he looks around self-consciously, leaning closer,
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, please.
JOE [pausing, slightly taken aback to
waiter walking past] Er, commerierie*, er...
WAITER [bending down, inbetween Joe and Ann] [Italian],
JOE. Champagne. [He says something in Italian]. Well, er,
champagne [Italian] for the senorina and er, cold coffee for
[The waiter acknowledges in Italian, bows then leaves].
JOE. Must be quite a life you have in that school-champagne
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 of
umm...the day he got his job.
JOE. Fo what do you know about that...
[Probing her further] What does he do?
ANN [thinking, cautiously] Well...mostly you might call
it...public relations.
JOE. Oh, well, that's hard work.
ANN. Yes, I wouldn't care for it.
JOE. Does he?
ANN. I've...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
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
Yes, thank you. What is yo}