The Yellow Rolls-Royce Page #6

Synopsis: Three stories about the lives and loves of those who own a certain yellow Rolls-Royce: **First purchased by the Marquess of Frinton for his wife as a belated anniversary present, the Marchiness finds her own use for the vehicle - one which prompts her husband to sell the car in disgust. **Gangster Paolo Maltese's moll, Mae, thinks the Rolls is a "classy" car in which to tour Paolo's home town in Italy. When Paolo is called away to the States to finish some "business", a bored Mae takes the Rolls on a spin through the country, enjoying both the sights and the handsome Italian photographer who crosses her path. **By the outbreak of World War II, the car has come into the possession of socialite Gerda Millet. While on her way to visit Yugoslavian royalty, Gerda and the Rolls become (at first) unwitting and then (eventually) most willing participants in the Yugoslavian fight.
Genre: Comedy, Drama, Romance
Director(s): Anthony Asquith
Production: WARNER BROTHERS PICTURES
  Won 1 Golden Globe. Another 3 nominations.
 
IMDB:
6.6
NOT RATED
Year:
1964
122 min
179 Views


Come on in, Joey.

- No, I'm not getting in that hole.

- Oh!

It's perfectly safe,

and inside, it's magnificent.

Nothing and nobody's

getting me in that.

Why? Are you afraid of ghosts?

You're a big sissy.

No, I'm not afraid of ghosts.

Know what I'm afraid of?

I'll tell you what I'm afraid of.

I'm afraid of that damn hole.

Sissy.

Oh, it's out of this world.

Stop, Stefano, stop.

It really does sound like ghosts.

What did Joey mean about Paolo

teaching Caligula a thing or two?

Oh, I don't know.

- Your fidanZato is called Paolo?

- Uh-huh.

And what's his family name?

Maltese.

Maltese?

Paolo Maltese.

Paolo Maltese, mamma mia.

And I didn't recognize him...

...when all the time in our papers,

they talk about Paolo Maltese.

Only last week, another killing,

another machine-gunning.

Okay, okay, so he's a gangster.

And so I'm a gangster's moll.

And you're scared stiff, huh?

Now, what did you go and do that for?

Well, it was all wrong.

I'm amoral, remember?

I'm supposed not to know

wrong from right.

Does that answer your question?

How many other girls

have you kissed in here?

Hundreds.

And do they all tip you?

Yes, they tip me.

Am I supposed to tip you too?

It's up to you.

And you call that a happy life?

Does it really matter what I call it?

It couldn't be any different.

Why?

Because I do what's expected of me.

That's why.

The rich tourists come here for that.

They want a cheap thrill.

We've learned to give them

what they want.

So I have to pretend.

I have to play the comedy.

We all have to live somehow.

Oh, I suppose so.

Are you going to marry Paolo Maltese?

Yes, I am.

And you're not scared?

No, why should I be scared?

For him, I mean.

Oh, he can look after himself.

Can he look after you?

Look, do you really mind

whether I'm unhappy or not?

Yes, I mind.

Why?

Marriage is for always.

That's a long time to be unhappy.

Oh, yeah.

You'll never get married, will you?

Sure, sure.

One day.

Poor girl.

- Why poor girl?

- Oh, because she'll be so jealous.

She won't have cause.

What kind of girl will she be?

Someone as like you as I can find.

A face and a body.

Oh, no.

No, tesoro.

I'll never, never find someone like you

in the whole world.

Someone who can give

so much joy and happiness.

Joy and happiness?

Yes.

Like a child.

Like a beautiful child.

Don't grow up.

Whatever happens to you,

don't grow up.

Do you love him?

Sure, I love him.

He's the only person in the world

who's ever been good to me.

That's not a reason for love.

It's reason enough for me.

Not for anyone, least of all you.

Oh, Stefano.

No, I do love Paolo.

I do, I do.

I do, I do, I do.

The ghosts are here after all.

Where is she?

They went off yesterday.

You see, we were not even able

to deliver this cable.

I guess it's from me.

Where did they go?

I don't know, signore.

She said she would stay away

probably one night, perhaps two.

You listen to me.

MAN:

I know where they go, signore.

Where?

Oh, Joey, isn't it beautiful?

You know that tower over there?

Well, you can't see it from here.

Only the top.

But do you know what it's called?

A campanile.

That means bell tower.

I'll show that to you someday, Joey,

but not tonight.

Tonight's the fiesta.

And there'll be a heap of things going on

in that town down there.

Like what?

Well, like I'm meeting Stefano...

...and there'll be dancing and singing

and fireworks.

Oh, Joey, I'm so happy.

I suppose that means

he'll be coming back anytime now, huh?

Yup.

Anytime.

That paper's eight days old.

Joey, do you think Paolo might...?

Might what?

You think he might let me go?

He can't love me all that much, Joey.

Not all that much.

I mean,

what is there to love all that much?

I think I should tell you something.

I don't wanna know, get it?

Because if I did know

and Paolo knows I know...

...I'd be deader

than the deadest duck in Europe.

And that dead I don't like being.

I like living.

So do I, Joey.

Well, it wouldn't seem so, sugar.

Joey, couldn't you tell him

I ran away someplace...

...and you don't know where?

Well, he won't kill you, Joey.

Look, for once,

I'm not thinking only of myself.

I'm thinking of your boy

when Paolo catches up with him.

Maybe he'll just be dead,

but he'll be glad to be dead.

Maybe he won't catch up with him.

Paolo?

Does a person have to hate life?

I wouldn't say hate it.

I'd say accept it.

There's not much else you can do,

honey.

The only law that matters

is the law of survival.

What about all this?

Yeah.

- And, Joey, there's...

- I know.

I know.

You gotta do something

about that guy, honey.

For his sake.

I thought you were never coming.

You said 9, remember?

I forgive you.

I've got a surprise for you.

Look.

Yeah.

- What's that for?

- The picture, it's good.

And for showing me and Joey around.

Thanks a lot.

What's wrong with you?

Do you mind?

These are diamonds.

And these.

And these.

And these and this.

And there are plenty more

where they came from.

Look at me.

Look at me, amore mio.

Now, say again

what you say to me this morning.

I love Paolo.

I do.

Scusi, signorina, but it is not for sale.

That's too bad.

Do whatever you want.

Could be you were right

about that law, Joey.

What'd you call it?

Survival?

Yeah, survival.

Now Stefano can live

so he can be happy.

And me...

Hell, I could be happy just surviving.

Paolo.

Yeah, it's me.

Boss, we wasn't expecting you.

I guess not.

Hey, sure glad to see you, boss.

How'd you know we was here?

I heard.

You miss me, babes?

She'd been missing you like crazy.

Missing you like crazy.

For the last three weeks...

...I never seen a dame so miserable

in all my life.

Worried about you too.

Worried?

Well, it's only natural

with all the shooting and everything.

Yeah, but the shooting

was gonna be strictly one-way.

Well, she wasn't to know.

Well, she should have known.

Seems like one of the neatest jobs

you pulled, huh, boss?

- Come off quicker than you thought?

- Not so neat.

O'Leary took a couple of days to die.

Hey, you got something in your eye?

She's crying, Joey.

What's she crying for?

I know what it is, boss.

She don't like violence no more.

She's took against it.

She read a book about some Roman

emperor that bumped off senators...

...then in the end

got bumped off himself.

For a Roman emperor she can cry?

Nor for him. Not for anyone.

- For you.

- For me?

Yeah, for you, you big idiot. Who else?

Hey, she talks like a wife already.

No, I'm not, but I wanna be.

And soon.

Let's go back to Miami, honey.

I hate it here.

I don't understand these people.

All they want is dough.

What do you say we go back to Miami

and get married there?

That's the way you want it?

That's the way I want it.

You're sure?

Sure I'm sure.

Come on, let's get out of here.

- Hey, Joey.

- Huh?

You showed her all the sights, huh?

Yeah, boss.

I did exactly what you told me to.

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Terence Rattigan

Sir Terence Mervyn Rattigan, CBE (10 June 1911 – 30 November 1977) was a British dramatist. He was one of England's most popular mid twentieth century dramatists. His plays are typically set in an upper-middle-class background. He wrote The Winslow Boy (1946), The Browning Version (1948), The Deep Blue Sea (1952) and Separate Tables (1954), among many others. A troubled homosexual, who saw himself as an outsider, his plays centred on issues of sexual frustration, failed relationships, and a world of repression and reticence. more…

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Submitted on August 05, 2018

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    "The Yellow Rolls-Royce" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/the_yellow_rolls-royce_23795>.

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