Wendell and Pamela swim naked, Bruno take a snapshot of them and tries to force Wendell to use his influence to get him an American visa. However, the maid, Anna - whom Bruno has impregnated and seeks to flee Italy to avoid marrying her - kills Bruno in Pamela's room while Pamela is away. Carlucci moves Pamela's property to Wendell's room to prevent her being involved in the incident, but Pamela believes that Wendell has surprised her and ordered the move so the pair can stay together as lovers. Meanwhile, back in the States, Wendell's wife uses her connections to send State Department Agent J.J. Blodgett from Paris to quickly expedite the matter. Wendell and Pamela at last fall in love and have their parents interred together in the Carlucci family cemetery, and place Bruno's remains in a coffin marked as Wendell Senior, granting Bruno's wish to return to the United States. After enjoying himself in the mud baths, Blodgett appoints Wendell Senior to an embassy post, in the interest of Equal Opportunity Employment by not discriminating regardless of health. Blodgett then has Wendell Senior's coffin, which is carrying Bruno's remains, sent to America in a diplomatic pouch. Carlucci promises Pamela and Wendell to have a room ready for a month in a year's time just like he did for their parents. Wendell and Blodgett leave Ischia and head to the airport in Rome on a U.S. Navy helicopter. Cast Production Development Although Taylor's play had closed on Broadway in early 1968 after 21 performances, (it was profiled in the William Goldman book The Season: A Candid Look at Broadway) talent agent Charles Feldman, who previously had interested Wilder in filming The Seven Year Itch, had purchased the screen rights and offered the property to the director. Wilder began working on The Private Life of Sherlock Holmes, and it was not until that film was completed that he focused on Avanti! Diamond was absent, and Wilder collaborated first with Julius J. Epstein and Norman Krasna but he was unhappy with them. Diamond became free, and with the ultimately uncredited assistance of Luciano Vincenzoni, he and Wilder adapted the play. Wilder was determined to create "a bittersweet love story, a little like 'Brief Encounter,' which I always admired," he later recalled. After viewing a number of Italian films, Wilder selected cinematographer Luigi Kuveiller based on his work on Elio Petri's 1969