NINE

by Michael Tolkin and Anthony Minghella

Based on the Broadway Musical "NINE" Book by Arthur Kopit Music and Lyrics by Maury Yeston Adaption from the Italian by Mario Fratti Director: Rob Marshall

Final Script November 11, 2009

INT. PRESS CONFERENCE ROOM - DAY The flicker of film. Footage from a press conference.

GUIDO You kill your film several times, mostly by talking about it. A film is a dream. You kill it writing it down, you kill it with a camera; the film might come to life for a moment or two when your actors breathe life back into it - but then it dies again, buried in film cans. Mysteriously, sometimes, in the editing room, a miracle happens when you place one image next to another so that when, finally, an audience sits in the dark, if you’re lucky -- very lucky - and sometimes I’ve been lucky - the dream flickers back to life again. That’s why I’m secretive. REPORTER (O.S.) So what’s your favorite pasta? GUIDO Finally, a serious question. Laughter. A word:

NINE
INT. STAGE 5, CINECITTA - NIGHT A huge soundstage. The STUDIO SUPERINTENDENT lets a man into the stage, turns on a working light. SUPERTITLE: Cinecitta film studios, Rome, 1965 STUDIO SUPERINTENDENT Good luck, Maestro. Departing, he closes the soundstage door. As the man crosses the shadowy stage, a dim shaft of light catches his face, weary, handsome, haggard. GUIDO CONTINI, the most famous film director in the world. In front of him: AN ENORMOUS, DUSTY, MULTI-LEVEL FILM SET under construction. A complex maze of scaffolding, its unfinished, chaotic elements suggesting ancient ruins. Cracked stone facades, broken columns, open platforming, the skeleton of a grand staircase. A lighting grid, not yet hung, and a camera crane surrounded by a forest of studio lights on stands.

NINE (11/11/09) p. 2

Guido sits at the table, lights up a cigarette and puts on his glasses. He looks at the plans, looks up at the stage, puts his glasses down and stands up, stepping over to the crane. Guido, alone, cigarette hanging from the corner of his mouth, contemplates the studio, its turbulent set, in every sense a jumble of ideas. Guido looks at the set in despair. He sits in the bucket seat of the crane, buries his head in his hands, overwhelmed. THE FIRST OF NINE LOUD CHURCH BELLS CHIMES GUIDO (V.O.) Maestro, Maestro, Maestro Contini... How do you begin? How do you begin this thing? Page 1... Page 1... Page 1... Page nothing... In the distance, a figure approaches out of the darkness, the darkness of Guido’s imagination. An escape from his tortured reality. The figure emerges gradually, like a goddess. She is gorgeous, imposing, and seductive. She is CLAUDIA, his film star, his muse. When Claudia reaches Guido, she stops in front of him, takes his hands from his face, and kisses him. And with that gesture, the music swells, the lighting grid rises majestically into the air, the gritty soundstage transforms into something beautiful, transforms into the interior world of GUIDO’S FANTASY. As Claudia moves away, more and more women slowly appear. They emerge from everywhere. These are the women from Guido’s life, past and present. Women from his films, women he has loved, the sources of his inspiration and creative genius. A grand OVERTURE unfolds. The most significant women in Guido’s life are revealed, each with their own powerful entrance: LUISA, his wife CARLA, his mistress LILLI, his costume designer and accomplice GUIDO’S MAMMA, her spirit STEPHANIE, a fashion journalist SARAGHINA, a whore

better go to makeup. Good . Too bright. jolting Guido who is slumped in the crane seat. INT. Dante. DANTE I’ve been looking for you all over the place. GUIDO Buongiorno. STAGE 5. One of the figures is a wellfed. forget you’ve got a press conference? FAUSTO (discreetly. sharp and birdlike. This is FAUSTO. Guido stands to greet him. He takes Guido’s arm and they head towards daylight. Signor Contini. How are you? GUIDO Bene. 3 A dark and glamourous dream. Harsh daylight penetrates the gloom. My God. DANTE. A younger. an accountant. more ascetic figure accompanies him. CINECITTA . who follows and with a look and a gesture asks Dante who is he? FAUSTO (overlapping Dante) Signor Contini. as a group of silhouetted figures approach with purpose. makeup and wardrobe. He blinks.DAY The fantasy ends abruptly with A VIOLENT GRATING NOISE. you look terrible. They kiss on both cheeks. bene. The women surround Guido and he loses himself and his anxiety in their collective embrace. DANTE Bene. He is Guido’s longtime associate and Producer. Guido looks back at Fausto. amiable character. discombobulated. DANTE Yes. I’m Fausto. to Dante) He has no tie. morning. grazie.NINE (11/11/09) p. Dante speaks quickly and without obvious punctuation: DANTE (walking) Guido! You’re here. The set’s coming along. as the studio’s truck doors are yanked open.

Dante and Fausto hurry through the studio en route to the Production Offices.everybody loves them and.DAY Guido. PRODUCTION OFFICES.. If a pretty girl goes by. They head outside. (to Fausto) Don’t speak to him. I need a script and a budget.DAY A long corridor. GUIDO We all have questions for Signor Contini.. EXT. bustling with activity. Neither Dante nor Guido respond. FAUSTO Yes. and many people nod deferentially. I consider it a great honour for me to be here now. Everywhere signs for the movie. I am a huge admirer of Maestro Contini’s movies....NINE (11/11/09) p. . and there are several. LA DONNA MODERNA (The Modern Woman). ITALIA.. Fausto flounders. As Guido passes he causes a mild stir. 4 DANTE (interrupts) He’s counting costs. The Bank wants him here. both Guido and Dante turn to look but without missing a beat of their solemn conversation. your early films are. Behind them is a large poster of CLAUDIA. CINECITTA .. I have some questions for Signor Contini. I think it’s customary for there to be an approved script and budget before filming commences. INT. please. They make their way to the Production Offices. I speak to him. but please. The trio heads down it. starring in Guido’s last movie. a failure. Maestro. Guido nods. you know. FAUSTO Okay.. CINECITTA . none the less. or Dottore. offer a Maestro. GUIDO Is he going to follow us? FAUSTO It’s not my intention to be difficult.

Nobody stops moving. GUIDO PIERPAOLO There’s no room on your desk.NINE (11/11/09) p. . in the process of being constructed. In the trash. JACONELLI (confidentially) We will never be ready to shoot in ten days. many of the crew look up and cluster around. interjecting with their urgent requests. As a pretty girl passes between them. has caught up with the procession. they all turn to look. hurries over. Guido’s production designer. (MORE) . He has dozens of phone messages. trying to get Guido’s attention. PIERPAOLO. as he walks alongside Guido. through a partitioned office PIERPAOLO Where do you want your messages? On my desk. sorting through them. or painted. Guido’s young PA. There are set models everywhere. swelling the procession. looks up from a model. JACONELLI. PIERPAOLO (waving them at him) Some of these are urgent! GUIDO (to Pierpaolo) Get me a cigarette. Jaconelli GUIDO FAUSTO (at the same time) Not ready?! GUIDO (continues) Ascolta me. Non lo so. 5 As they progress into and through the open plan office.into the main office GUIDO Under my desk.

sharp as a tack. where she is cutting some fabric. moves towards Guido. Now BENITO. You should see what I’ve found. as they all besiege him with questions. Dottore. They’re in Lilli’s domain here. Guido turns through another partition.. She’s incapable of sentiment. closing the door behind him. goes straight through the door. You have actors waiting for you in your office. blows hard from the barrage. they’re right. He’s a spy from the bank.. INT. . swinging it shut. He’s got the Press Conference.NINE (11/11/09) p. Maestro! BENITO (CONT'D) DANTE Not now. always. Guido’s Casting Director. Dante blocks Benito. for Guido. indomitable. Lilli is Guido’s Costume Designer. GUIDO I need a cigarette. part Coco Chanel. Guido carries on moving through the office. Guido heads straight towards her desk. Auditions all morning... Look. leaving the chaos behind him.DAY Guido comes through the door. BENITO (CONT'D) Dottore. cranky. and a haven. Guido. Dante comes in. CINECITTA . this way. Guido tries to duck away from him as they head towards Guido’s office. BENITO Dottore. DANTE He’s not exactly from the bank. Part Edith Head. WARDROBE. I found two sisters. Guido heads towards Wardrobe. no longer young. 6 GUIDO (CONT'D) (he kisses Jaconelli on the cheek) Careful what you say. Benito despairs. She adores Guido without any sentiment.

7 DANTE He needs a shirt and tie. yes. Maestro . GUIDO That’s right: that’s directing. DANTE (in the background. Yes. we all know it. LILLI So please. Directing a movie is a very overrated job. yes. GUIDO I need a coffee and a cigarette. what the answer is.. GUIDO Actually and an aspirin. Guido sits up on Lilli’s table. Guido.that’s directing.. What else do you do? Nothing. More lipstick? No. And so on.Should this be Red? Yes. as Dante heads to Lilli’s desk and picks up the phone to make a call. More extras? Yes.. finally. no. I’ll give you a cigarette. yes or no. Lilli. GUIDO . LILLI (unimpressed) Answer a question. no . Lilli hands Guido the lit cigarette. on the phone) We’re running late. no. He lies down. LILLI (turns to Guido and lights a cigarette) Calm down. Green? No. And it doesn’t seem to make a blind bit of difference. do you want any costumes in this film? Yes.NINE (11/11/09) p.. I’ll give you a coffee. You just have to say yes or no. Dante stands at Lilli’s desk and looks at some drawings. Answer another question.

NINE (11/11/09) p. You look terrible. Two minutes Guido. ROBERTA) Might I know what period the movie’s in? Lilli glances at Dante who has edged closer to the table. . LILLI You need to shave. yes. Have you written a word of the script? No. Guido sits up. Lilli is the only person who intimidates Dante. Guido pulls out his own tie from his pocket. Lilli puts the tie round his neck. 8 LILLI You see . Lilli walks round and takes the tie off him. And his spy. LILLI He’s gone. LILLI You know I don’t allow producers in here. Dante. he looks at the costumes. ushering him away. GUIDO Yes. DANTE Alright. He leaves. GUIDO She ties Guido’s tie for him. GUIDO LILLI Are you in a panic? Yes.simple! (handing him an espresso fetched by her assistant. (downs the espresso) Soon. Lilli glares at Dante. LILLI Is Luisa going with you to the Press Conference? GUIDO No. Nobody.

DAY As Guido drives.DAY This is the Rome of La Dolce Vita. You should have let me bury you in Roma. You’re a world class liar. cool sunglasses. GUIDO What the hell’s wrong with me? I can’t sleep. darling. STREETS OF ROME / INT. the Rome of Vespas. EXT. A magnificent fall day. he turns to see his MAMMA in the passenger seat. MAMMA (with kindly patience) Oh. EXT. Mamma is extraordinary. I have nothing to say. . LILLI You’ll be fine. 9 GUIDO (looking around. I know. Am I dying.NINE (11/11/09) p.DAY Guido is driving his Roadster Rome. desperate) Why is there no fire escape in here? What if somebody needed to escape? I can’t face these reporters. An Italian pop song of radio as he speeds around the front of him in the convoy is INT. I can’t write. Guido. I’ll come to the cemetery at the weekend. He’s not remotely surprised. ROME . lie for Italia. Mamma. Don’t look at me like that. Mamma? I owe you flowers. She appears the way he remembers her. He stops at a busy intersection. GUIDO’S CAR . through the streets of the day is playing on the Piazza del Poppolo. Guido. and the cafes are stuffed with the beautiful and chic. In Dante with Fausto. skinny ties. GUIDO’S CAR . My heart is racing. impossibly cool young people. go out there and lie for Italy. I can’t breathe. I can’t think. I could visit you every week.

10 MAMMA This is your Rome. MAMMA I miss you. Dante and the team follow him in. Beautiful women look at him. About fifty reporters. grabbing a glass of champagne. too. EXT.DAY A big suite. As soon as Guido gets out of the car. Guido is in his own world. Dante. The world sees Rome the way you invented it.Could this film put the Maestro back on top? A few news cameras are filming.. a bartender. PRESIDENTIAL SUITE . men and women. A RADIO REPORTER narrates in the background. alone in the car.! . Your films did that. VIA VENETO . INT. The policeman raps on the bonnet of the car. And they hurry after Guido. Guido startles and pulls off.any moment now .DAY The convoy comes to a quick stop in front of the Hotel Excelsior on the Via Veneto.NINE (11/11/09) p. and an array of microphones are on a coffee table next to a long couch. HOTEL EXCELSIOR. Dante and the team hurry after him. Guido.. Excited chaos. RADIO REPORTER And we’re just waiting for the arrival of Contini. the waiting paparazzi snap his picture. are in the room. Guido moves quickly by them. GUIDO (buoyed by her encouragement) I miss you.. shaking hands. RADIO REPORTER (CONT'D) And here he is. There's a buffet. Guido looks across as he drives. Mamma has gone. patting shoulders. and Fausto tackles And Guido comes into the room.

.. DINARDO Maestro Contini. your new film is called Italia. Another journalist.sitting next to her. Italia.. and Guido covers his despair with an inflated energy. the international film star. Yes. The questions come on top of each other.. vile . (to Guido. This is our ninth film together. He takes his sunglasses off and signals to DINARDO. big title. Excitement. A stunning film poster is revealed -.almost sniggers with contempt.. UN FILM DI GUIDO CONTINI. Guido Contini.NINE (11/11/09) p.Claudia Jenssen emerging from the Colosseum: CLAUDIA JENSSEN.we start shooting in ten days time in Cinecitta.. everybody. he heads towards the exit and kisses Dante on the cheek. GUIDO Thanks for coming. thank you very much. All the reporters fire their questions at once. Maestro Contini... a harsh-looking woman. Leopardi. Guido Contini's long time producer. DANTE (CONT’D) .. per favore. is about to speak. Maestro Contini.. I am humbled and thrilled to be able to announce that I am producing Guido Contini's next film. RADIO REPORTER Dante.Thank you. handing over) Thank you. egging Dinardo on ... which will star once again Contini’s longtime inspiration. ITALIA. That makes it one week from Monday. . GUIDO DINARDO Grazie. thank you. Claudia Jenssen. He returns to the couch. DANTE I want to say a few words from my heart. 11 DANTE Silenzio. Maestro. Flashes. Pretending to leave.

he points to STEPHANIE... GUIDO Of course I can tell you what my film is about. a gorgeous fashion reporter he recognizes from American Vogue.NINE (11/11/09) p. Dante recognizes. it’s my shortest title yet. I can tell you everything. DINARDO And might you tell the press what the film is about? GUIDO Why? I still don’t know what my last film was about. Italia. LEOPARDI Is this true? GUIDO It sounds fantastic.. won't. DANTE Our next film will be exactly as it sounds. He wins a round. Nobody else did. but. and they involve too many people. she wants him and he senses it.. Italy as a woman. . They cost too much. steps in. see it. I'm afraid that if I say anything. DINARDO But hardly a modest one. they take too long. Italy as a dream. I can’t wait to He’s still winning. but is clearly feeling the strain. It’s the very spirit of Italy .. I.I can tell you the story. GUIDO Films are not modest. Flirtatious and charming. the word might get out to the Press.Italy as myth..... I can tell you who I am going to cast. General laughter in the room.. LEOPARDI (In a loud aside to Dinardo) That was the problem. So they should have grand titles. Ignoring the question. the music I want to use. 12 GUIDO Actually.

REPORTER ONE Signor Contini! You’re a man of the world. GUIDO STEPHANIE Grazie. do you plan on casting her in this new film? Guido is spinning plates. yes? Educated in Britain. Another REPORTER asks a question. Laughter. REPORTER FOUR But she hasn't worked at all since working with you.) (tries to interrupt) What do you think of the New Wave in the French Cinema? For good? GUIDO REPORTER FOUR It's been a long time since you made a movie with your wife. a home in Biarritz. REPORTER FIVE But why are you being so tight-lipped about this film? It’s a serious question.NINE (11/11/09) p. Everyone starts firing questions at Guido again. 13 STEPHANIE Signor Contini. With Italia is it fair to say that you’ve come home for good? REPORTER TWO (O. GUIDO I told Luisa that when we got married I would never again make love to my leading lady.S. Could you tell the fashionable women of America who your favorite designer is this year? GUIDO I’m less interested in the wrapping than what might be inside it. Stephanie. What’s the big deal? .

“SOUNDSTAGE” GUIDO I WOULD LIKE TO BE THERE INT. “SOUNDSTAGE” We discover Guido. Artists do their best work before they're famous. He sits on the same couch from the hotel suite. DAY GUIDO You want me to be serious? In a Press Conference? INT. DAY GUIDO I thought I was the clown in this circus. alone on the soundstage of his unfinished set. INT. Flops. PRESIDENTIAL SUITE. “SOUNDSTAGE” GUIDO I WOULD LIKE TO BE EVERYWHERE AT ONCE I KNOW THAT'S A CONTRADICTION IN TERMS. Flops.NINE (11/11/09) p. .. GUIDO LEOPARDI Your word. DAY LEOPARDI Signor Contini.. INT. PRESIDENTIAL SUITE. they’re not. 14 FANTASY: INT. Now you’re famous. Without wishing to be negative . A retreat into surreality. legs crossed. GUIDO I WOULD LIKE TO BE HERE.but your last two films. arms folded. He slouches. they were. PRESIDENTIAL SUITE. INT. with his hat pulled over his eyes.

ESPECIALLY WHEN MY BODY'S NEARING FIFTY AS MY MIND IS NEARING TEN. I WOULD LIKE TO BE WISE BEFORE MY TIME AND YET BE FOOLISH AND BRASH AND BOLD. WE'LL ARRANGE IT. THERE'S NOTHING AT STAKE HERE . I WOULD LIKE THE UNIVERSE TO GET DOWN ON ITS KNEES AND SAY. Excuse me? GUIDO LEOPARDI What I'm asking. This stops Guido. Maestro. GUIDO I CAN HARDLY STAY UP AND I CAN'T GET TO SLEEP.NINE (11/11/09) p." THAT'S ALL THAT I WANT. We see a bead of sweat running down the back of Guido's neck. "GUIDO. AND I WANT TO BE OLD. Everyone waits.ONLY ME I WANT TO BE YOUNG. WHATEVER YOU PLEASE. . Guido gets up from his chair and begins to scale the enormous heights of his unfinished set. AT THE BOTTOM OF SOME HEAP BUT WHY TAKE IT SO SERIOUSLY? AFTER ALL. INT. “SOUNDSTAGE” As the number progresses... IT'S OKAY EVEN IF IT'S IMPOSSIBLE. AND I DON'T WANT TO WAKE TOMORROW MORNING. He doesn't answer. 15 INT. is have you run out of things to say? INT. with great effort. “SOUNDSTAGE” GUIDO AND IT'S A PROBLEM. PRESIDENTIAL SUITE. DAY LEOPARDI I’m just asking if you’re nervous? You seem nervous.

. lighting his cigarette. INT. GUIDO What would you like to see that I haven't already shown you? She smiles. “SOUNDSTAGE” GUIDO I WOULD LIKE TO BE HERE (SING ALONG WITH MYSELF IN A SONG) TO BE THERE (WALKING DOWN A LANE NOW). PRESIDENTIAL SUITE . 16 INT. ME (ME) ME! I WANT TO BE PROUST.) I WOULD LIKE TO HAVE ANOTHER ME TO TRAVEL ALONG WITH MYSELF. INT. THAT'S A CONTRADICTION IN TERMS I WANT TO BE HERE (WITH A COUNTER-) HERE (MELODY IN THE) HERE (TOP OF THE MORNING TO YOU GUIDO) GUIDO (GUIDO) GUIDO (GUIDO) GUIDO. looks up into the large gilded mirror at his reflection. I WOULD EVEN LIKE TO BE ABLE TO SING A DUET WITH MYSELF. We see two Guidos..DAY STEPHANIE I was wondering if you think there's a limit to what you can show in a movie. PRESIDENTIAL SUITE .NINE (11/11/09) p. “SOUNDSTAGE” GUIDO I AM LUSTING FOR MORE. he smiles back. . INT.O. EVERYWHERE (EVERYWHERE) EVERYWHERE. He grabs a bottle of whiskey.DAY Guido turns to the mantle. GUIDO (V. SHOULD I SETTLE FOR LESS? I ASK YOU. WHAT'S A GOOD THING FOR IF NOT FOR TAKING IT TO EXCESS? ONE LIMITATION I DEARLY REGRET: THERE'S ONLY ONE OF ME I'VE EVER MET.

... As the waiter passes. INT. down the grand lobby staircase. "GUIDO.. BUT I HAVE TO BE OLD. “SOUNDSTAGE” GUIDO SO ARRANGE IT! As Guido reaches the pinnacle of his Everest-like set. 17 INT. and escapes. Guido notices a waiter with a tray of glasses entering the suite through a hidden door in the wall.. I WOULD LIKE TO BE CHRIST. Guido’s WOMEN appear on the different levels. PRESIDENTIAL SUITE/INT. WHATEVER YOU PLEASE. ARRANGE IT! WOMEN GUIDO THAT’S ALL THAT I WANT! .DAY Amidst the chaos. GUIDO . GUIDO (V. MOHAMMED. Guido slyly opens the door and sneaks out." INT. WHAT I WANT IS A TALE OF SOUND AND FURY THAT SOME IDIOT WENT AND TOLD..OR THE MARQUIS DE SADE.O. EXCELSIOR HOTEL .. I WOULD LIKE THE UNIVERSE TO GET DOWN ON ITS KNEES AND SAY.I WANT TO BE YOUNG.. INT. IT'S OKAY EVEN IF IT'S RIDICULOUS. AND YOU KNOW I MEAN IT WITH ALL OF MY HEART IT'S THE END IF SOMETHING IMPORTANT DOESN'T START.NINE (11/11/09) p. WE'LL ARRANGE IT. EXCELSIOR HOTEL . BUDDHA BUT NOT HAVE TO BELIEVE IN GOD.DAY Guido slips through the hallway. “SOUNDSTAGE” Guido continues climbing higher and higher.) .

He approaches the Front Desk.O. He doesn’t want to be recognised. CONTINI. ROME ROAD . HOTEL BELLAVISTA .NINE (11/11/09) p. Italy INT.DAY GUIDO! WOMEN (V. CONTINI. and the pretty spa town of ANZIO. CONTINI. WOMEN (V. SUPERTITLE: Bellavista Spa Hotel.. ROME .DAY Guido speeds away from Rome in his Roadster. CONTINI. CONTINI.AFTERNOON Now Guido and his women are in the countryside.. the urbane and wise DE ROSSI.O. where an immaculate Desk Clerk. The hotel has a slightly faded glamour. with women from his fantasy draped around him. blurring the countryside.DAY Guido enters like a thief. 18 EXT. EXT.) CONTINI..) CONTINI. DE ROSSI . HOTEL BELLAVISTA . Anzio.O. CONTINI. Guido’s women are gone as the song ends. Of course. WOMEN (V. spilling out of his car.DAY Guido’s car passes by the remnants of an ancient aqueduct.) The Alfa Spyder comes to a screeching stop in front of the gates of the entrance of an impressive looking Spa: GRAND HOTEL BELLAVISTA. THE WOMEN sing a musical flourish of praise to Guido. waits to greet him. LOBBY. EXT. The car races over a hill. GUIDO I need a room. something that lifts it a little out of time. and we see the blue Mediterranean sea. EXT.. COUNTRY ROAD .

Those early films. A balcony. DE ROSSI (suggesting a name) Signor Milano? Why not.. Yes.. . in my room. let me just look for you. GUIDO DE ROSSI GUIDO With a view of the sea. if possible. confidential) I need to see a doctor. Guilty pleasure. (anxious.? I’d like to see him today. DE ROSSI All of our suites have air. GUIDO Not the flops.. Please.. I love your films. On business.NINE (11/11/09) p. busy busy. DE ROSSI I understand. GUIDO I’ve come from Milano. now. Something with air. GUIDO DE ROSSI (continuing to work) Needless to say. GUIDO I’m a businessman. Do you know one who’s discreet. Busy DE ROSSI (without looking up) Would Maestro Contini prefer to register under a pseudonym? GUIDO (doleful) Please. DE ROSSI Consider it done. 19 A suite.

You make a film. He picks up.. calm. INT. To my Guido writes the number on a piece of paper on the desk.DAY Guido heads into the elegant Art Deco booth.DAY We intercut between the phone booth and LUISA in their apartment in Rome. LUISA There you are. GUIDO Is everybody mad at me? LUISA Well. I’m mad at you.NINE (11/11/09) p. Luisa. I’m sick. you get sick. The phone rings. wife. TELEPHONE KIOSK. INT. but this time I’m really sick.. Dramatic. pulls the glass door shut. I . HOTEL BELLAVISTA . can’t breathe.. Luisa knows every move of Guido’s. ROME / TELEPHONE BOOTH . tesoro. She manages him very well. LUISA I heard. DE ROSSI You can take the call at the lobby phone over there. Where are you? GUIDO I had to escape from the Press Conference. It’s what happens. 20 GUIDO (takes the key) And I need to place a call.. CONTINI HOME. LUISA You’re making a film. GUIDO No. GUIDO Luisa. GUIDO Don’t tease me. dry and funny.

GUIDO But I do wish you were here.NINE (11/11/09) p. then come back here and make a good movie. LUISA Get some rest. GUIDO (suddenly claustrophobic) And. Okay. actually. please come. it’s hardly worth it. sleep. that’s why I’m calling. LUISA Then shall I come? GUIDO Yes. Horrible. That would be wonderful. LUISA I don’t know where you are. I LUISA Well I can’t come if I don’t know where you are. Get better. of course I’m by myself. I’ll be home in a day or two. 21 LUISA Are you by yourself? GUIDO Yes. it’s hardly worth it. I love you. LUISA (all too familiar ) Yes. LUISA GUIDO Great. Marvellous. GUIDO LUISA . take the waters. some spa. please come straight away. just kept driving. GUIDO I don’t know.

The Nurse whispers to the Doctor. Si? GUIDO NURSE DOCTOR RONDI He walks round to her.DAY . Goes straight back to De Rossi at the Front Desk. 22 INT. What? Dottore.. and takes his cigarette out of his mouth. They look at the blood pressure gauge. HOTEL BELLAVISTA . DE ROSSI Your doctor is on his way. The doctor. and scribbles down another number. The Doctor examines Guido’s eye while a heavy-set NURSE takes his blood pressure... GUIDO'S SUITE . being held open by a DOCTOR. sits on the bed beside Guido. takes a tongue depressor from his kit. . Guido is on the bed. INT.NINE (11/11/09) p..if a woman answers you put it through to my room. The Doctor stands and turns to his case. Guido is disturbed by their conspiracy. DE ROSSI It’s a wrong number. not answering Guido) Check again. The doctor. De Rossi understands. GUIDO (carefully) This number . shirt open.CLOSE-UP on Guido’s eye. GUIDO What is she whispering? Is it my blood pressure? Is it serious? Am I dying? DOCTOR (to the Nurse. He stubs it out. pensive. interrupting him. LOBBY. otherwise.DAY He hangs up.

. Guido looks at the ringing phone. "SOUNDSTAGE"/INT.DAY NOW WE CUT TO A SUGGESTIVE LOOK FROM A HEAVILY MADE UP EYE. THE PHONE RINGS.... GUIDO'S SUITE . Guido lunges for the ringing phone. INT. It is CARLA. Guido desperately makes an attempt to reach it and can't.. There are a dozen mineral springs around the town. INT. your kidneys. "SOUNDSTAGE"/INT. and picks it up.. but the nurse has his arm in her grip as she takes his blood pressure for the second time. Guido opens wide. as the phone continues ringing. The doctor is in the way of the phone. He's trapped by the doctor and by the nurse holding his arm.the Roman emperors came here for the waters. at the perfect wrong time. CARLA DOCTOR Open wide.. . GUIDO'S SUITE .NINE (11/11/09) p. 23 Stress. gagging.. your heart. they're all very cross with you. DOCTOR (CONT'D) But you've come to the right place. GUIDO. CARLA DOCTOR .DAY WE CUT TO A PAIR OF FULL BEAUTIFUL LIPS SINGING HIS NAME. DOCTOR (CONT'D) Exhaustion.. GUIDO (into the phone) Pronto. Signore. with the blood pressure cuff still on his arm. GUIDO. DOCTOR (CONT’D) Your liver. And the phone continues ringing..

MAGNIFICENT BREASTS.. INT.. CARLA I WAS LAZING AROUND MY BEDROOM WHEN YOU CALLED AND AN IDEA OCCURRED TO ME I THOUGHT YOU MIGHT BE WONDERING ABOUT. A SHAPELY ASS.. FANTASY: INT. I’m sorry.O. She wears stockings. is concerned about Guido's vital signs. GUIDO’S SUITE . 24 DE ROSSI (V. Carla reveals herself from inside the sumptuous folds of satin. INT. AND HERE. GUIDO. CARLA WHO'S NOT WEARING ANY CLOTHES? I'M NOT! MY DARLING..DAY The Nurse.DAY WE SEE ISOLATED IMAGES OF A SEDUCTIVE BODY: A LONG LEG IN SHEER BLACK STOCKINGS. I have to take it. Bathed in hot light. it’s the Signora. DOCTOR .. SO YOU'LL GET IT LOUD AND CLEAR. GUIDO'S SUITE . GUIDO (coming back quickly to life) It’s a very an important call.. Private call. heels and little else. “SOUNDSTAGE” An enormous swathe of pink satin rakes across the scaffolding of Guido’s unfinished set. still taking his blood pressure and listening to his pulse. WHO'S AFRAID TO KISS YOUR TOES? I'M NOT! YOUR MAMA DEAR IS BLOWING INTO YOUR EAR.. AND HERE.NINE (11/11/09) p. Doctor. "SOUNDSTAGE"/INT.. I NEED YOU TO SQUEEZE ME HERE. As you wish.) Signor Contini. Emerging from the highest point is a pair of long legs sliding down the lush fabric.

" AND I CAN HARDLY WAIT TO SHOW YOU HOW. AND SCREAM. it's racing. CIAO. DOCTOR (to Guido) Is something wrong? GUIDO What? Yes. SO HOT YOU'RE GONNA STEAM. (MORE) . It's from the Vatican.NINE (11/11/09) p. AND VIBRATE LIKE A STRING I'M PLUCKINGKISS YOUR FEVERED LITTLE BROW PINCH YOUR CHEEKS TILL YOU SAY "OW. COOTCHIE COO. She wraps herself in them. CARLA COOTCHIE. she writhes and undulates in a seductive display of sexuality. COOTCHIE. Go ahead. INT. I'VE GOT A PLAN FOR WHAT I'M GONNA DO TO YOU. CARLA WHO WON'T CARE IF YOU COME TO ME TIRED AND OVERWORKED? I WON'T! BAMBINO. swinging and gyrating. GUIDO. yes. suspended from the ceiling. 25 NURSE Doctor. GUIDO’S SUITE . I’m listening.. As she sings. WHO KNOWS A THERAPY TO BEAT WHAT YOU CAN GET FROM ME? I DON'T! BUT THIS WILL HAVE TO BE ENOUGH FOR NOW.. “SOUNDSTAGE” Carla slides from the lush fabric onto a mirrored platform... His pulse. INT. yes. INT. Monsignore! Yes. This is Guido's ultimate fantasy. of course. “SOUNDSTAGE” Carla grabs onto two satin-covered ropes. GUIDO. It's about my film.DAY Guido trying to hide the effects of this phone sex from the Doctor and Nurse.

CARLA I missed you so much. Carla disappears in a cloud of hot steam that becomes the steam from an arriving train. Carla is dressed in her own style. GUIDO CARLA But very happy? Or just a little happy? Very happy. very tired. CARLA What’s wrong? You look very tired. GUIDO She sees something in his face that worries her. ANZIO. but it's what Guido likes. Guido! CARLA Ciao! GUIDO (to himself. EXT.NINE (11/11/09) p. .. (they move off) Are you happy I'm here? Of course. Guido. Carla! CARLA I’m so happy to see you.DAY And out of the steam. TRAIN STATION . with a PORTER behind her. a little too tight. which is not chic. a little flamboyant. Carlissima. GUIDO She gives him a hug and a kiss. remembering how much work she is) (and now to her. She wears it with pride. swinging her hips. both too much for him in public. CARLA comes walking toward Guido. pulling five bags on a wagon. 26 CARLA (CONT'D) (spoken) I love you. covering his ambivalence) Carla..

. 27 GUIDO (avoiding this. It’s charming. What? They continue to whisper. GUIDO (O. go into the corridor--CARLA . You know I stayed there with my parents. CARLA GUIDO ..... PENSIONE BEDROOM .) Close the curtains. GUIDO (CONT'D) Now. They whisper.. looks at her bags) Carla. all those bags for the weekend? CARLA Yes. I have to tell you. the Bellavista is a very fashionable place. from behind. so I found the most charming pensione for you. and it’s right here. GUIDO Carla.S. Carla closes the curtains.. Perfect.DAY Later. and it's really not at all what she was hoping for. PENSIONE FERROVIA . The light from the pensione’s neon sign spills in. Carla sizes it up. in silhouette. but she doesn't say anything. during the war. it’s too light in here. INT.DAY A small pensione across the street from the station. Carla. she is looking out the window of the dingy room. it was full of Germans. yes. horrible. they found out who I am at the hotel-No.. Wrapped in a sheet.NINE (11/11/09) p. CARLA Here at the station? EXT. but obviously we don't want to be followed by the press.

He begins to pencil in a beauty mark and darken her eyes. remember? The same one your wife bought you-GUIDO (probably doesn't) Don’t move. I never know if it’s hers or mine. Your face. where I bought you that scarf. CARLA When you wear it. and takes his time to make it exactly as he wants it. naked. Okay. CARLA I love your games! She kisses him. CARLA What about it? GUIDO Get your makeup. Go. on the ground. and we didn’t care. We were in that little alley behind Piazza Navona. go. and precise. kissing. GUIDO I’m here on business. CARLA GUIDO Wait. 28 GUIDO Shhh! Yes. and tilts the lamp shade up. count to ten and come back in. Carla. CARLA I had a nightmare last night. and then my husband arrived and killed us both with a shovel! Poor Luigi! (MORE) . CARLA So we were there. puts on his glasses. GUIDO (not really listening) Uh-huh. Guido switches on the light. and I’m a complete stranger-Carla sits on the bed facing Guido.NINE (11/11/09) p. and pretend you’re in the wrong room. He is meticulous about this.

NINE (11/11/09) p.. Madonna! CARLA GUIDO I’ll pretend to be asleep. Carla looks at herself in the mirror. GUIDO (still intent on his makeup job) Good for him. for the game. CARLA You think I am one of your actresses? GUIDO Hurry. Guido takes off his glasses and puts them on the side table. Carla gets up and takes Guido’s glasses with her. go. please. Guido turns out the light and settles into his pillow. Yes. 29 CARLA (CONT'D) He would never do that! He’s so sweet. Oh. CARLA Perhaps there’s a job for him in the movie-Why not? GUIDO CARLA You could work well together. When you come in I want you to be my little savage. CARLA GUIDO (gesturing towards the door) Go. GUIDO Beautiful. Carla. He speaks Latin! He knows all the Roman Emperors. CARLA What if I really found the wrong room? Would you be jealous? . she puts on Guido’s glasses and turns back to him. Carla turns back to the mirror.

signaling for Guido to keep quiet. She crosses the room and climbs onto the bed and opens the sheet slowly. whose arms enfold her. just come here. “Why not?” CARLA (coyly) Hm! Who knows? Carla goes into the hall and closes the door behind her. GUIDO What happened? CARLA (still giggling) It was the woman from the hotel. And I don’t have the faintest idea who you are. spreading her arms wide. Show me. Now Carla comes back into the room. you have. We HEAR the MATRON who runs the Pensione talking to her. Okay. CARLA Excuse me! I’ve got the wrong room. GUIDO Carla. Come here. giggling. While they talk. She throws herself on Guido.NINE (11/11/09) p. GUIDO Yes. I don’t know you. (indicating her sheet) Be savage. . She wanted to give me towels. What? GUIDO CARLA GUIDO CARLA You are a stranger. 30 GUIDO Could you do such a thing? Carla teases him with a look that says. Guido removes a crucifix from the wall and puts it in the bedside drawer.

PENSIONE BEDROOM . Walking away. At its heart is an impressive luxury car. The figure emerges from the darkness like a goddess. GUIDO (CONT’D) Mother of God. quietly getting dressed. alone. Kissing him. an outline of Italia. He opens a slat in the shutters...O. INT.. filled with confusion and guilt. .. . He walks down the hallway. page one. An empty sheet of paper sits in his typewriter on his desk.NINE (11/11/09) p. he’s suddenly inspired to write something.he draws in the nipples on the woman’s breasts. He is sketching a voluptuous woman. GUIDO (V.) (CONT'D) . HALLWAY OUTSIDE PENSIONE BEDROOM .NIGHT Guido tip-toes out of Carla’s room.....DAY IMAGES OF CLAUDIA in his fantasy.. his muse. She is Claudia. Guido becomes discouraged.. Guido is surrounded by discarded bits of paper. shoes in his hand.) She takes the man’s face and kisses him. GUIDO (V.. Guido sits on the edge of the bed. GUIDO’S SUITE . profound. give me a sign. looks down as a motor calvacade draws up.O.. He’s happily distracted by the sound of vehicles arriving outside his window.And with that gesture. He is not working on the outline. He tosses off his glasses and runs his hands through his hair in frustration. HOTEL.LATER Carla is asleep.O.) Page one. GUIDO (V. INT. her bare back a thing of post-coital beauty.. 31 INT.... page one.

32 EXT. the Cardinal. hurries out of his hotel room. GUIDO CARDINAL’S SECRETARY Pity. some pointers. His excellency is a big admirer of Signorina Jenssen.. The CARDINAL’S SECRETARY is dealing with check-in formalities with De Rossi. including an ANCIENT CARDINAL in scarlet robes and the CARDINAL’S SECRETARY. GUIDO I would very much like to speak to the Cardinal.. HOTEL BELLAVISTA. CARDINAL’S SECRETARY (turns) Buongiorno. POV FROM BALCONY . GUIDO His Excellency. the Cardinal is being helped into the elevator. CARDINAL’S SECRETARY Do you think you could find a signed photograph of Signorina Jenssen? .NINE (11/11/09) p. Do you think he might grant me CARDINAL’S SECRETARY Is Claudia Jenssen with you? No. Priests follow as the Cardinal heads inside the hotel. is he -? CARDINAL’S SECRETARY (recognising Guido) Signor Contini! (starstruck) I am a big fan. Guido is intrigued. HOTEL BELLAVISTA LOBBY . father.. Guido calls to him. INT.DAY Hotel staff swarm around the vehicles which discharge a procession of religious.DAY As Guido hurries down the stairs. GUIDO (explaining) I’m in need of some guidance.. GUIDO Excuse me.

STAIRCASE .. Oh God. 33 GUIDO For His Excellency? Si.GUIDO! Guido can’t turn round. Guido is trapped. Absolutely.. You’re a genius and genius must be served.. It’s no good. Rome is absolutely unbearable.even to know the pensione where his mistress is staying. The pressure..it’s my job. He knows that voice. Guidino! DANTE Guido hurries towards the elevator. A producer needs to know where his director is at all times. HOTEL BELLAVISTA . Arrivederci. GUIDO You’re not going to drag me back? DANTE No.. CARDINAL’S SECRETARY Truly? What a pleasure. GUIDO I’m not going to ask how you found me. DANTE Please . CARDINAL’S SECRETARY GUIDO I’m sure that would be possible.. Really? GUIDO You understand? He takes Guido by the arm and leads him to a stairwell. Guido. Maestro.NINE (11/11/09) p... GUIDO DANTE I understand. He heads towards the elevator.DAY DANTE Of course I understand. then a voice calls out his name. The elevator doors close. INT. .. Guido watches him go.

DONATELLA I was very nervous. GRAND BALLROOM. I was quite nervous. . my old friend. Guido is staggered.NINE (11/11/09) p. COSTUME DEPARTMENT. you tested her. she’s new) Ciao. costumes.. Ciao.DAY DANTE Rome will come to you! Dante opens the door of the Ballroom to reveal a full PRODUCTION OFFICE. He stands watching Guido with genuine admiration as he sets to work with his team. JACONELLI (explaining his designs) Yes. DANTE Donatella.you remember Donatella. DANTE Guido. CASTING OFFICE. DONATELLA GUIDO (he doesn’t.. everything all in place or being put into place. DANTE (CONT’D) It’s a fantastic place for you to focus. headshots. HOTEL BELLAVISTA . Dante makes his way over to Guido with a magnificent girl on his arm. (heading towards the ballroom) INT. with the flower and the glass and the arches of the Roman Empire. Okay. He probably doesn’t remember.. ART DEPARTMENT. (Dante is guiding him) Where are we going? DANTE You can’t be in Rome.. Everyone is here because they love you. As he does so. Guido. An absolute beehive of activity. Guido moves through the room avoiding specific questions from everyone. Everyone is here to help the movie. The models. 34 GUIDO Thank you.

are you telling me she didn’t get the script? (shouting at Pierpaolo) Pierpaolo! He takes the cigarette with a smile. Right now. Maestro. Guido’s assistant. people just don’t realise . yes. GUIDO (CONT'D) Claudia didn’t get the script! Send her another one. that’s what I say. we all enjoyed you.she’s an actress as well as a star . A dolpo. For Chrissake. Lombardo. PIERPAOLO Guido Pierpaolo. DANTE . Ciao. You were.I know Dante’s dying to talk to you.. I’m sorry.... PIERPAOLO (CONT’D) Claudia’s agent. and then without missing a beat starts barking at Pierpaolo. Send her two! PIERPAOLO (playing along) Yes.impossibile . GUIDO Cretino! (back to Lombardo.. 35 GUIDO (distracted. so to speak. who’s delighted to see Guido back on good directing mode. holds a telephone. Guido grimaces. He attacks the GUIDO (listens to a stream of invective) Did she like the script? (gestures for Pierpaolo to light him a cigarette) No no no no . wants to know who it is. He hands the phone to Dante.NINE (11/11/09) p. Then takes the phone. I remember you. taking it all in) No. listens) Yes. phone call with gusto..

yap. No. GUIDO Looks like the Folies Bergere. What’s that? GUIDO LILLI LILLI It’s for Claudia. LILLI (CONT’D) It was Luisa’s birthday yesterday. yap. She didn’t even mention it. yap! Guido leaps over the balcony and lies down on a table. yap. yap. GUIDO What? No. Lilli nods to Roberta to leave. LILLI’S TEMPORARY OFFICE. leaving them alone. Italian women don’t wear those things. 36 As Dante takes over. Guido walks away.NINE (11/11/09) p. hand-sewing some sequins on a costume. I spoke with her yesterday. Roberta puts down her work and clears the room quietly.DAY GUIDO Yap. GUIDO For which scene? LILLI Well I don’t know which scene until I‘ve seen the script. Lilli points to the one in Guido’s hand. but she always likes something like this. yap. Lilli is working at a mannequin. What’s that? Guido sees the costume. Give me a cigarette. heads towards Lilli and her domain. or you do. Oh please God. BALLROOM . Performance mode off. INT. GUIDO (CONT'D) What are we doing here? LILLI I’m happy. I brought my swimsuit. It’s wrong. A red feathered boa is draped on the figure. .

. GUIDO Why did people love that film? Guido picks up a straw hat. you’re wrong. you put Claudia in one of these for that nightclub scene in Natura Morta. You were saying . Lilli tosses the boa over her shoulder as she continues pinning the costume. (Still working) And. That’s death. GUIDO I’m trying to find it. She produces one.. LILLI You won’t find it with your head jammed halfway up your ass. GUIDO Every ..with dancing.NINE (11/11/09) p. GUIDO (CONT'D) Thanks. Guido? Something with music. Guido looks into the faded ballroom mirror behind her and sees. don’t. LILLI Oh Guido... God knows. Ashtray... I don’t know. That’s where I learned my art. All those sequins. LILLI (CONT’D) .. LILLI Halfway.... 37 LILLI Don’t knock the Folies Bergere. all those feathers.. Puts it on his head playfully.it brings back happy memories. Why not dream up something entertaining. time we have to start again. we could use a little joie de vivre around here.my head is jammed up my ass.

LOVE CANNOT BE LOVE WITHOUT "LE SINGING.Lilli. Apparitions that reveal themselves as exotic SHOWGIRLS barely covered in beads. . A CLARINET. Behind a black scrim.. draped atop an upright piano. FOLIES BERGERE. more showgirls begin to enter. The din of the theater audience fills the smoky atmosphere. ghostly images come to life.. LILLI (singing and performing in a french accent) LE CINEMA TODAY IS IN A CRISIS DIRECTORS ARE SO EXISTENTIALISTES. NOT A SOUL IN THE WORLD COULD BE IN DESPAIR WHEN HE IS GLANCING AT THE FABULOUS STAGE DES FOLIES BERGERE The showgirls disappear. the red feathered boa hangs from her shoulders." A STRING. A spotlight finds Guido watching from the scaffolding of his unfinished set. From every corner. They descend the grand staircase. She places the same straw hat on her head. A SAXOPHONE TAKE A LESSON FROM THIS OLD PARISIENNE AND THE FINEST ENTERTAINMENT SHE HAS KNOWN. LILLI (CONT’D) FOLIES BERGEREWHAT A SHOWING OF COLOR.NINE (11/11/09) p. sequins. 38 FANTASY: INT. The scrim rises. Lilli comes down from the piano and crosses onto the stage. and feathers. THE MOVIES ARE NOT WORTH THEIR ENTRANCE PRICES IF NO ONE SINGS A LOVE SONG WHEN HE'S KISSED. The soundstage has been transformed into an impressionistic version of the Folies Bergere of the 1930’s. COSTUME. AND DANCING! NOT A MOMENT IN LIFE COULD BE MORE ENTRANCING THAN AN EVENING YOU SPEND AUX FOLIES BERGERE. with Lilli as its French Star.”SOUNDSTAGE” .

Vedette. OOH LA LA OOH LA LA OOH LA LA OOH LA LA OOH LA LA SHOWGIRLS Lilli crosses onto the passerelle.NINE (11/11/09) p. LA LUMIERE! LES PETITS JOLIES SEINS DES BELLES BOUQUETIERES SUR LA BELLE PASSARELLE DES FOLIES BEREGERE. Guido? (to the audience) We must explain something to our young Guido. come. Come. Last night I looked down at this table in the chairs you are sitting in now. 39 LILY FOLIES BERGERELA MUSIQUE. Come. She addresses him as though he is Older Guido. bon soir. LA DANSE. PAS DE MYSTERELE SPECTACLE EST TOUT A FAIT DECOUVERT. "ET PAS TROP CHER" VIENS CE SOIR AVEC MOI AUX FOLIES BERGERE. mon Dieu! Guido? Guido Contini? What are you doing here at the Folies Bergere? You naughty boy! You’re only nine years old! But I’m glad you’ve come.' Lilli singles out guests at the lip of the stage: LILLI (CONT’D) Let me tell you. come. Je suis la vedette des Folies Bergere. Would you like to join me on stage? Yes. is there.to entertain. LE SON. she sees Young Guido in the audience. LILLI (CONT'D) Ah. LILLI (CONT’D) Ahh. The audience applauds.That’s our privilege . . What do we want? Laughter! What do we want? Love! What do we want? Dreams! Let us not forget. and speaks directly to the audience. bon soir. LILLI (CONT’D) Feeling better? There’s no room for hopelessness in here. mon cher -. And she brings him onto the stage. Bon soir. it means 'star. Guido. and what did I see? A priest! And next to him? Suddenly.

AND THE LAUGHTER OF THE FOLIES BERGERE! INT. LILLI TO YOUR MODERN IDEAS I COMPARE ONE DERRIERE! LILLI AND SHOWGIRLS AT THE FOLIES BERGERE! Lilli wraps her long boa around Young Guido. YOU WILL SWEAR THERE’S NOTHING RARER! LILLI AND SHOWGIRLS THAN THE FOLIES BERGERE Lilli crosses the proscenium. LILLI AND SHOWGIRLS FOLIES BERGERE THE MUSIC. He and Lilli are lifted onto an art deco swing. LILLI AND SHOWGIRLS (CONT'D) FOLIES BERGERE THE STAGE OVERFLOWING. Young Guido finds himself swept into Lilli's intoxicating world.. LILLI AND SHOWGIRLS (CONT'D) THE ANSWER TO WHAT YOU ARE AFTER. THE LIGHTS.NINE (11/11/09) p. GUIDO’S SUITE . He is transported and inspired. flanked by two showgirls. FOLIES BERGERE.. THE MUSIC. that rises into the air. THE LIGHTS. . AND GIVING A MUSICAL REASON FOR LIVING EACH NIGHT AT THE FOLIES BERGERE. THE ANSWER TO WHAT YOU ARE AFTER EACH NIGHT AT THE FOLIES BERGERE. 40 The number kicks into full gear with a rousing can-can. Her boa grows and grows until it stretches the length of the stage. AND THE LAUGHTER. FOLIES BERGERE LILLI BY THE HEAVENS ABOVE.NIGHT We seem to be looking at the SET ON STAGE 5. But suddenly a HUGE HEAD dips into the shot and it’s Guido contemplating a model of the set. He places a figure on the top of the staircase.

. GUIDO CARDINAL A genius. Signor Contini is here. smiles and strokes his hair.“TO HIS EXCELLENCY. The Cardinal looks hard at Guido and then makes his first pronouncement. Yes.. please. CARDINAL’S SECRETARY (CONT’D) Your Eminence. The coffee table is covered in head-shots.. follows the Cardinal’s Secretary. CARDINAL I like Charlie Chaplin. it's an honest question. he sits down on the sofa. Me too. Guido looks at it. She hands him a lipstick. no. He lies back to write and finds himself in CLAUDIA’S LAP. ANCIENT BATHS . He starts to sign . Guido gets in the water. 41 He moves round to the front of the model and places another figure on the top of the scaffold tower.DAY Grottos and tunnels are thick with steam. CARDINAL’S SECRETARY Signor Contini. He finds the one of Claudia. What can I do for you? GUIDO Do you believe in God? The Cardinal’s Secretary is shocked. I believe in God. Unconvinced. INT. Claudia laughs. The Cardinal’s Secretary makes a gesture to Guido to get into the tub with the Cardinal. Guido CARDINAL’S SECRETARY The Cardinal is right this way. where the Cardinal is already soaking in a large tub of hot water. CARDINAL No.NINE (11/11/09) p. “ then paints his lips and kisses the photo himself. The Cardinal’s Secretary leads Guido to a private area. He knocks it over. .

I will. I am not happy. GUIDO CARDINAL Are you a Catholic? GUIDO Oh yes.. But you think people need to see so much sex? It’s not necessary. don’t make us look at filth and debauchery. Teach our Italian women to be wives. not as much as you would like me to be.my films are what I imagine.. GUIDO (laughing) Excuse me . We can all imagine. the Cardinal's voice trails away. I'm sure. of despair and -CARDINAL (interrupting) I saw your films. Your Eminence. Guido's head disappears under the water. not whores. Try harder. but certainly yes. The sound of . 42 So do I. GUIDO (nonplussed) How do you train the imagination? CARDINAL The imagination is God’s garden.. Not the flops.NINE (11/11/09) p. CARDINAL GUIDO Yes. I'm trying. I feel a sense of misery. I will. CARDINAL Then your imagination has no moral training. Make us proud to be Italian. yes. the others. I’m searching for something. very much so. Not as much as I would like to be.. the good ones. don’t let the Devil play in it.

She may be a crazy whore. and they don't quite understand that she's having her own fun with them. Young Guido stands his ground. with a powerful... dressed in his school uniform. She looks at the boys. SARAGHINA is a gritty. YOUNG GUIDO (not loud enough) Saraghina..DAY . Now even Young Guido takes a step back. runs fast across the rough dunes with five boys from the village. And then she comes out. she's just playing one for the boys..NINE (11/11/09) p. earthy woman.Young Guido takes a step forward toward the bunker. BEACH . She has darkened eyes and a beauty mark: she is clearly the model for the whore makeup on Carla. Now all the boys join in. . already the ring leader. 1926 Young Guido. hand it to Young Guido. Italy. voluptuous energy. as the other boys fearfully take a step back. They reach into pockets and extract small change. They crawl through a small opening in the wall and approach an abandoned bunker. but the boys are taking three steps back. a leftover from the war. Saraghina! BOYS Saraghina! YOUNG GUIDO (loudest) Saraghina! Sa-ra-ghina! A shadow moves inside the bunker. SARAGHINA’S BUNKER . but she's not an animal. 43 MEMORY: EXT. EXT. (louder) Saraghina. The boys head for a graffiti-covered defensive wall with barbed wire along the top. She takes another step and holds out her hand. She takes a deliberate step.DAY SUPERTITLE: Pesaro.

. you rely on what you were born with. Because it is in your blood. surrounded by other WHORES in provocative positions on beaten-up chairs. EXT.and if you want to make a woman happy. BE ITALIAN. AND TRY TO STEAL A FIERY KISS... Is it enough? But she grabs his wrist. SARAGHINA So.” Saraghina scoops up the soft white sand in her hands and pours it over her body. A dark vamp begins. DON'T JUST HOLD ME BUT HOLD THIS! She grabs her breasts. “SOUNDSTAGE” Curtains of falling sand fill the soundstage. INT. Through the sand. She stuffs the money in her ample bosom and heads back to her bunker. . BE ITALIAN. you want to know about love? Saraghina will tell you. She speaks.. and then takes the coins. WHEN YOU HOLD ME. BE ITALIAN. TAKE A CHANCE. she pulls her dress off her shoulders. we see Saraghina seated on the same chair from the beach. She returns dragging an old broken chair. FANTASY: INT.DAY With a smile.NINE (11/11/09) p. “SOUNDSTAGE” SARAGHINA (sings) BE ITALIAN. 44 Young Guido opens his hand with the coins. and holds it. She looks at the money. BEACH . places it in front of the boys and sits. ready for the “show. you little Italian devils.

and begins to move her hips. BE A LOVER PICK THE FLOWER NOW BEFORE THE CHANCE IS PAST. GO AHEAD AND TRY TO GIVE MY CHEEK A PAT. . “SOUNDSTAGE” SARAGHINA PLEASE BE GENTLE. BE A LOVER. 45 EXT. BE A LOVER. SARAGHINA BE A SINGER. TRY TO PINCH ME WHERE THERE'S FAT. BEFORE IT’S PAST. BE ITALIAN BE ITALIAN LIVE TODAY AS IF IT MAY BECOME YOUR LAST! EXT. BEACH . WHEN YOU PINCH ME. running. The boys watch and cheer. follow.DAY Saraghina drops to the ground and playfully writhes in the sand. INT. BEFORE IT’S PAST. rhythmic and sensual dance that builds into a wild and raucous tarantella. SENTIMENTAL. BE ITALIAN. “SOUNDSTAGE” Saraghina and The Whores brandish tambourines. “SOUNDSTAGE” SARAGHINA BE A SINGER. BEACH . The boys are transfixed. She gets up and heads towards the water. BE A LOVER. They begin a slow. BE ITALIAN. INT. PICK THE FLOWER NOW BEFORE THE CHANCE IS PAST. EXT.DAY Saraghina gets up on the chair. WHORES BE A SINGER. BUT BE DARING AND UNCARING.NINE (11/11/09) p. We furiously intercut between the musical fantasy and the memory of the boys romping on the beach with Saraghina. across the sand and through the water.DAY She undulates her body. BEACH . lifts her skirt. The boys WHORES BE A SINGER. INT.

DAY Off-screen. MAMMA I am ashamed of you.. past a tortured Christ hanging above the ornate altar. God will punish you for your sins. He suddenly can’t breathe. into the Principal’s office. BE ITALIAN. INT. she appears the way he remembers her). PRINCIPAL’S OFFICE . He rolls over. Young Guido cries out as they punish him.DAY Guido’s mother is there with the PRINCIPAL (again. ST. recovers slowly. Mamma looks away. The Principal produces a cane and starts to whip the boy remorselessly.. what did I do. 46 SARAGHINA BE ITALIAN.. a boys choir sings KYRIE. LIVE TODAY AS IF IT MAY BECOME YOUR LAST! The whores dance. immediately wanting to leave after the sex. .and the cry is now in Guido’s mouth. Guido.. That savage is the devil.. PENSIONE BEDROOM . Carla is suddenly aware that he’s not in ecstasy. cassocks flapping. PRINCIPAL Bring him here.. INT. EXT. YOUNG GUIDO But Mamma. The boys run. They catch him and carry him away from the beach... The number ends. Two PRIESTS are running down the beach. Young Guido tries to run away from the priests. The priests drag Young Guido through the school’s chapel. INT. As always.DAY . BEACH . SEBASTIAN CHAPEL . on top of Carla in the spasm of sex.DAY WHORES BE ITALIAN. BE ITALIAN... now and forever.NINE (11/11/09) p.

It’s not fair to your husband. It’s not fair to my wife. Why? CARLA GUIDO Because it’s impossible. Guido. No. I can’t breathe. kissing his back. . Guidino. that’s not what I meant. CARLA Guido. I can’t breathe. GUIDO It’s impossible. Please. Carla. poor Luigi! It would kill him. He puts it on whilst they argue. 47 What? What? CARLA GUIDO I can’t breathe. CARLA But why is it impossible? Look at your producer! He’s married. CARLA Let me come with you. Why? Why won’t you let me near you? GUIDO For the very same reason you don’t want me to die on top of you. GUIDO (finding her ridiculous) If I die it would kill your husband? Guido shrugs the sheet off and sits up slowly. he brings his girlfriend to work and nobody cares.. don’t die on me! Can you imagine. Everybody knows about me. Where are you going? GUIDO I have to go to work. CARLA No. Carla kneels up and hugs him.NINE (11/11/09) p.. Guido stands up and picks up his shirt.

you’re playing with me. (pours himself a glass of wine) Something light and hectic . INT. CARLA I’ll be here waiting for you with my legs open. You’re twisting everything. 48 CARLA See. HOTEL BELLAVISTA .NINE (11/11/09) p. he leaves. a woman and a man. Guido is at the end of the table.. DANTE Claudia is going to be amazing. DANTE (defending his director) The screenplay is first of all a map. A view of the sea.. . but played by the same cast...like Mozart would do it. People dance. Disgusted with himself. like Figaro. FAUSTO (hissing at Dante) Dante. BENITO It sounds like a masterpiece. he hasn’t written a word.. a man and a woman. No. GUIDO Guido heads towards the door. still dressing. A pop band and a dance floor. TERRACE RESTAURANT. The whole PRODUCTION TEAM is at a working dinner. Please let me come with you. (to Lilli) Like the circus.. spilling ideas. struggling.. A slick Italian MALE SINGER performs QUANDO QUANDO QUANDO.NIGHT Glittering lights on the terrace. That’s a map. struggling to make sense of Italia GUIDO Let’s say there were ten sequences.. you see. each one set in a different period.

genuinely happy.. GUIDO The jungle drums exaggerated just a tiny bit. LUISA Not entirely. LUISA The jungle drums said it was an emergency. (with concern) You haven’t been sleeping. GUIDO (CONT'D) I can’t believe you came. holding her back from the dinner table. with shovels.. They He pulls her into the middle of the dance floor. Happy Birthday. until just now. He looks across the restaurant to see his wife at the entrance looking for him. . ON THE DANCE FLOOR: . the house will be full of flowers.. my darling. When you get home. LUISA Am I already going home? GUIDO I hope not. Maybe a group of people digging.. start to dance. LILLI She nudges him. in the desert. Luisa! GUIDO He jumps up from the table and hurries towards the dance floor.as Guido is protective of Luisa.. Guido.NINE (11/11/09) p.. 49 GUIDO Let’s try to dig for something else. Come. GUIDO (CONT'D) And don’t think I forgot your birthday. GUIDO I was dying.

You know Donatella? I do now. the Cardinal’s Secretary appears. as Guido returns and pops open the bottle of champagne. LUISA (negating it) It was Monday. there are kisses.NINE (11/11/09) p. for God’s sake. enjoying each other. CARDINAL’S SECRETARY Heads . LUISA (CONT'D) (to Lilli) Thank you for calling. GUIDO Let’s drink a toast to Luisa’s birthday. They walk towards the table. towards the table. Give him a good idea. LUISA She kisses Magnificent. GUIDO Happy Birthday. him. AT THE TABLE: DANTE (Seeing Luisa) Here she is. etc. LILLI (confidentially) You’re saving the movie. 50 They move together. He sits Luisa down. Maestro. DANTE Happy Birthday! LUISA (not quite able to forgive him) Thank you. She leans across to kiss Lilli. Luisa says hello to the rest of the gang. At last. goes to grab a bottle of champagne. Just then.

51 GUIDO (standing up to greet him. (To Guido) Last year we did our own version of your Il Vicolo at the Christmas Party. GUIDO Luisa was in that film. LILLI She was the best thing in the movie. LILLI That I would pay to see. CARDINAL’S SECRETARY A pleasure. Excuse me. This is my wife. darling.we have to but we all love them. Don Mario. CARDINAL’S SECRETARY LUISA CARDINAL’S SECRETARY I was telling your husband how much I admire his movies.you’re Luisa Acari! Oh my Lord! I was. GUIDO It was your first part. Publicly. this is Don Mario. Can’t you? LUISA LUISA . It’s true. you know the Church condemns them . LUISA Sit down. won’t you.NINE (11/11/09) p. Music begins. CARDINAL’S SECRETARY You can’t stop being somebody. then turning to Luisa) Ah. Please. Luisa. Signora. CARDINAL’S SECRETARY Of course! . Don Mario? Oh no.

They are surrounded by camera equipment. “SOUNDSTAGE” The restaurant table as well as the production team are transplanted onto Guido’s unfinished set. Luisa looks to Guido. Signora Contini. HE GOES A LITTLE CRAZY MAKING MOVIES INSTEAD. MY HUSBAND. Luisa rises from her chair. FANTASY: INT. (MORE) Close up on Guido.NINE (11/11/09) p. LUISA MY HUSBAND MAKES MOVIES TO MAKE THEM HE LIVES A KIND OF DREAM IN WHICH HIS ACTIONS AREN'T ALWAYS WHAT THEY SEEMHE MAY BE ON TO SOME UNIQUE ROMANTIC THEME.. that’s what they do sacrifice... HE PAINTS HIS PRIVATE DOME BUT CAN’T DISTINGUISH WHAT’S HIS WORK AND WHAT’S HIS HOME. etc. MAKES UP STORIES IN HIS HEAD. distancing herself from the scene. . Still. Luisa contemplates her life with Guido. As the number progresses. Guido. Luisa climbs the staircase. THEN GIVES THEM TO YOU ALL LIKE MICHELANGELO. standing lighting units. MY HUSBAND SPINS FANTASIES. The other characters. MY HUSBAND. it must be a very exciting life for you. with the exception of Guido. freeze in a dimly lit macabre tableau. leaving only herself. HE LIVES THEM. 52 CARDINAL’S SECRETARY Well there’s a good catholic wife for you. AS AUTHOR AND DIRECTOR.. the world around Luisa disappears into a black void. SOME MEN RUN BANKS SOME RULE THE WORLD SOME EARN THEIR LIVING BAKING BREAD. SOME MEN SELL STOCKS SOME MEN PUNCH CLOCKS SOME LEAP WHERE OTHERS FEAR TO TREAD. LUISA CONTINI: NUMBER ONE GENIUS AND NUMBER ONE FAN.. with Guido in the shadows. LUISA (CONT’D) GUIDO CONTINI.

The clapper board. as if it’s an outdoor cafe in Piazza Navona.S.DAY Luisa’s screen test for Guido. TITLE: IL VICOLO (The Alley) name: LUISA ACARI.S. THEN WE HAD NO END OF WORLDS TO DISCOVER. But.S. INSERT STAGE . mostly waited tables..) Signorina Acari.. (they both laugh) And. A work print in scratched black and white. GUIDO (O.) Your name. I’ve waited. per favore. My mother’s French. younger. The music continues. LUISA CONTINI: PASSIONATE WOMAN IN LOVE WITH THIS MAN LONG AGO ..SOMEONE ELSE AGO. LUISA My father’s Italian. .. Luisa sits on the chair. MEMORY: INT.MANY YEARS AGO. GUIDO (O. she’s like Audrey Hepburn. 53 LUISA (CONT’D) GUIDO CONTINI.S. it’s Italian. SINGING TOGETHER ALL NIGHT ON THE PHONE LONG AGO . Provino numero uno. of course. ONCE WE TWO WEREGUIDO CONTINI. Luisa Acari.) Waited? For this? LUISA Waited tables. Luisa enters. GUIDO (O. A couple of tables and chairs.NINE (11/11/09) p... I studied theatre and mime in Paris. LUISA HIS LOVER: ACTRESS WITH DREAMS AND A LIFE OF HER OWN.) What have you done before? LUISA (eyes twinkling) Oh. CLAPPER LOADER (O. Her A small set.

He stands back to reappraise her. INT. LUISA Excuse me. MY HUSBAND ONLY RARELY COMES TO BED MY HUSBAND MAKES MOVIES INSTEAD. Carla tries to change direction.Luisa gets up abruptly. . (walking away) Keep running. She’s taken aback that he’s in front of the camera and approaching her.. MY HUSBAND MAKES MOVIES.. I suddenly feel very tired. He’s fascinated by her. or look as if she’s come to the wrong place. MY HUSBAND MAKES MOVIES. They look at each other. INT. He gets up and goes after his wife. SOME RETIRE EARLY. . Thank you. TO MAKE THEM HE MAKES HIMSELF OBSESSED. SOME SHINE THEIR SHOES.NINE (11/11/09) p. HOW HE NEEDS ME SO.SOMEONE ELSE AGO. She looks at Guido from a greater distance and descends the stairs. HE WORKS FOR WEEKS ON END WITHOUT A BIT OF RESTNO OTHER WAY CAN HE ACHIEVE HIS LEVEL BEST. TERRACE RESTAURANT . Guido senses something terrible is happening. She hurries away. AND HE’LL BE THE LAST TO KNOW IT. For what? GUIDO LUISA GUIDO Thank you.. Luisa sees Carla enter the restaurant. For what I’m looking at. LUISA LONG AGO .NIGHT In reality. “SOUNDSTAGE” Luisa is now at the top of the staircase. He walks straight up to her and unties her hair. SOME MEN READ BOOKS. It’s oddly intimate.. SOME STAY UP TO DREAM AND MUSE. 54 Guido enters.

She walks away up the steps. He heads back to the terrace restaurant. he grabs her and frogmarches her out the door.NIGHT Guido catches up to Luisa as she storms up the steps. STEPS. Carla is seated at a table. What lie? GUIDO LUISA Why am I surprised? .will you please just tell me what happened? LUISA You open your mouth and a lie comes out. I GUIDO Luisa . She sees him and calls for him. HOTEL BELLAVISTA . She’s humiliated. Guido. could vomit. TERRACE RESTAURANT . INT. CARLA Raging. I’m tired of eating alone in that room. Guido can only guess at what’s happened.NIGHT Guido pulls Carla through the lobby. HOTEL BELLAVISTA .. Luisa! GUIDO LUISA I’m staggered by my own stupidity.. INT. CARLA (trying to explain) I was hungry. . LOBBY. 55 EXT.NIGHT Guido comes back inside.NINE (11/11/09) p.it’s like breathing to you. GUIDO There are plenty of restaurants.

I told you I came here with my parents when I was little. she could have warned you. She’s humiliated. you have to wait outside. please. Guido goes back to the suddenly vulnerable Carla. He disappears. approaches her. conscious of De Rossi. CARLA Why didn’t you tell me Luisa was going to be here! GUIDO I didn’t know she was here. DE ROSSI O. GUIDO O. Carla walks towards the door. CARLA So why do I have to wait outside? GUIDO (shamed) I’ll find someone to escort you home. De Rossi comes out from behind his desk.S A taxi. CARLA Will you wait with me? GUIDO I’m in the middle of a working dinner with my colleagues. GUIDO Well you certainly managed to. turned up. GUIDO Carla.S. GUIDO The only privilege my wife has these days is not having to warn me. He walks over to the front desk.NINE (11/11/09) p. I didn’t come to disturb you. She just CARLA Well. Right away. for the Signora. . 56 CARLA I wanted to see the hotel. to the ubiquitous De Rossi.

EXT. GUIDO’S SUITE . INT. she was worried about me. GUIDO (CONT'D) Luisa. and hardly a mortal sin.NINE (11/11/09) p.NIGHT Guido enters. as far as I know. she would be staying in the hotel. She walks away. if I’d invited her here. Guido sits on his bed. LUISA (without opening her eyes) Very plausible. The two single beds. is stupid but not.NIGHT Carla walks along the road in the dark. . LUISA You told me it was finished. Luisa turns on her bedside lamp and sits up in bed. Look. GUIDO It is. ROAD . disconcertingly. wouldn’t she? Think about it. she came to see if I was all right . 57 DE ROSSI (carefully) Signora. would you rather wait inside? CARLA I’m going to walk. a crime. Please tell my friend I had to leave. GUIDO Because it’s true.which yes. Luisa doesn’t move. GUIDO Apparently she’s staying in some grotesque pensione next to the station. Luisa suddenly laughs. Luisa is apparently asleep in hers. stumbling along. I didn’t even know you were coming. Glum.

it’s the Vogue Journalist from the Press Conference. Guido looks around.S. Luisa turns over. it is now. goes up to the bartender. me being here. (and he is exhausted) If it wasn’t before. remember me? GUIDO Yes. insecure) What? What are you laughing about? LUISA Nothing. It’s finished. HOTEL BELLAVISTA . GUIDO A voice comes from behind him. STEPHANIE So. If you could see yourself. no wonder you’ve got no script. (raising herself up further) I couldn’t live with it . 58 GUIDO (CONT'D) (smiles. Stephanie grins at him. Guido Contini. GUIDO It’s finished. STEPHANIE (O.NIGHT Guido enters the bar. Stephanina from Vogue. infectious. full of flirt. STEPHANIE (CONT'D) Hi. Vodka. BAR. LUISA (lying back on her bed) Blah blah blah blah blah. Due. Guido gets up and hurries from the room.) I’ll have one of those. reaches to the bedside lamp and turns it off. You being here. from Vogue. you’re too busy inventing your own life.NINE (11/11/09) p. It’s exhausting. I remember very well. the effort of having to hide and lie and cheat. coincidence.the absurdity of being you. INT. Stephanie. And .

GUIDO I don’t think religion is dead. STEPHANIE GUIDO Guido STEPHANIE (eyeing Guido) I’ve seen all your movies. Sexual revolution. Grazie. Guido looks down and sees her grey patent leather boot moving in time to the beat. Stephanie crosses her legs. May I take a cigarette? STEPHANIE That was quite a performance.. GUIDO (paying) Please. The drinks appear.. my treat. please. STEPHANIE (CONT'D) No. At the Press Conference. The Vanishing Act.NINE (11/11/09) p. They’re the only movies that tell the truth about the modern world. 59 GUIDO (taking his glasses off) Amazing. Guido takes a cigarette.. Prego. . And what exactly is the sexual revolution? STEPHANIE That we can talk about later. GUIDO (lights their cigarettes) Really? STEPHANIE Like a million times. GUIDO And what truth is that? STEPHANIE (thinks) Death of religion.. produces some money. A RHYTHM BEGINS.

They want to ride on a Vespa down the Via Veneto. GUIDO I hate that man. They want to live in an Italian movie. .. They want to undress like Claudia Jenssen. STEPHANIE No! Style is the new content! It’s what my readers love. Stephanie makes her entrance on the catwalk. “SOUNDSTAGE” The tiered levels of the unfinished set are covered with go-go girls in silver miniskirts. 60 STEPHANIE (CONT’D) You have such style. That’s the other thing I love about your movies. Italian male models in stylish suits and Ray Bans strut down a fashion runway. GUIDO (appalled) Okay. undresses you with his eyes. STEPHANIE (CONT’D) It’s the Italian man in you: pays for your drinks. FLASH: A SUDDEN IMAGE OF A WOMAN’S HIP THRUST. FLASH: A SUDDEN HEAD TURN OF A MAN IN SHADES. They want to dress like Claudia Jenssen. FANTASY: INT. I always think that.NINE (11/11/09) p. FLASH: A SUDDEN IMAGE OF MEN IN STYLISH SUITS. STEPHANIE Every frame is like a postcard. GUIDO (appalled) Style. STEPHANIE It’s great: you care as much about the suit as the man wearing it.. At the center of the stage.

NINE (11/11/09) p. “SOUNDSTAGE” Stephanie leads the men in a series of tight. HOTEL BAR . “SOUNDSTAGE” STEPHANIE WHATEVER GUIDO DOES.NIGHT Guido and Stephanie share a laugh as she steals a sip from Guido’s glass. I LOVE THE GLAMOROUSLY LATIN WORLD THAT ONLY GUIDO CAN PORTRAY!!! CONTINI’S CINEMA ITALIANO! I LOVE HIS CINEMA ITALIANO! HE MAKES ME FEEL WITH CINEMA ITALIANO (MORE) . STEPHANIE I LOVE THE DARK AND HANDSOME GUYS WITH THEIR SKINNY LITTLE TIES DRESSIN’ MOD. rhythmic moves. IT MAKES ME SMILE HE IS THE ESSENCE OF ITALIAN STYLE. 61 STEPHANIE I LOVE THE BLACK AND WHITE! I LOVE THE PLAY OF LIGHT! THE WAY CONTINI PUTS HIS IMAGE THROUGH A PRISM. “SOUNDSTAGE” STEPHANIE I FEEL MY BODY CHILL GIVES ME A SPECIAL THRILL EACH TIME I SEE THAT GUIDO NEO-REALISM INT. HOTEL BAR . INT. HOTEL BAR . INT.NIGHT Guido lights Stephanie’s cigarette. INT. INT. LOOKIN’ OUTTA SIGHT! I LOVE TO WATCH ‘EM AS THEY CRUISE WITH THEIR POINTY LEATHER SHOES WEARIN’ SHADES IN THE MIDDLE OF THE NIGHT. INT.NIGHT Stephanie rubs her leg against Guido’s.

NINE (11/11/09) p. 62 STEPHANIE (CONT'D) MY LIFE IS REAL WITH CINEMA ITALIANO HE IS THE KING OF CINEMA ITALIANO! INT. HOTEL BAR - NIGHT Stephanie whispers into Guido’s ear, as she drops her room key into his pocket. He watches her hips swing as she walks out. Guido plays with her room key, deciding whether or not to follow. INT. “SOUNDSTAGE” A long line of chic women replace the men on the runway, joining Stephanie. STEPHANIE THOSE SCENES I LOVE TO SEE FROM GUIDO’S “P” “O” “V” THERE’S NO ONE ELSE WITH HIS UNIQUE DIRECTOR’S VISION. HIS ANGLES - WIDE AND TIGHT EACH MOMENT FEELS SO RIGHT... DEFINES ITALIAN STYLE BY ONLY HIS DECISION! I LOVE THE SPEEDY LITTLE CARS THE HIP COFFEE BARS THE SLEEK WOMEN IN POSITANO... GUIDO’S THE ULTIMATE UOMO ROMANO! STEPHANIE AND MEN CONTINI’S CINEMA ITALIANO! I LOVE HIS CINEMA ITALIANO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO GUIDO! DRUM BREAK. The number heats up.

INT. HOTEL HALLWAY - NIGHT Guido exits the elevator, weary and ripe with selfdisgust, and walks down the hallway to Stephanie’s door. Guido pushes open the door and drops her key in a bowl. He walks tentatively into the room and sits on her bed. The dressing room door is deliberately ajar. Guido catches a glimpse of Stephanie undressing in a mirror.

NINE (11/11/09) p. 63

INT. “SOUNDSTAGE” STEPHANIE DARK AND HANDSOME GUYS SKINNY LITTLE TIES SHADES IN THE MIDDLE OF THE NIGHT SPEEDY LITTLE CARS HIP COFFEE BARS SLEEK WOMEN IN POSITANO... STEPHANIE AND WOMEN ECCO IL RE DEL CINEMA ITALIANO QUESTO O E IL CINEMA ITALIANO NELLA MIA ANIMA ALL NELLA MIA ANIMA NELLA MIA ANIMA CINEMA ITALIANO BIANCO-NERO BIANCO-NERO BIANCO-NERO NERO-NERO STEPHANIE CINEMA ITALIANO WOMEN BIANCO-NERO BIANCO-NERO BIANCO-NERO NERO-NERO MEN DARK AND HANDSOME GUYS SKINNY LITTLE TIES SHADES IN THE MIDDLE OF THE NIGHT SPEEDY LITTLE CARS HIP COFFEE BARS MOD, LOOKIN’ OUTTA SIGHT MEN ECCO IL RE DEL CINEMA ITALIANO QUESTO O E IL CINEMA ITALIANO

ALL NELLA MIA ANIMA CINEMA ITALIANO NELLA MIA ANIMA CINEMA ITALIANO CONTINI’S CINEMA ITALIANO! Suddenly, the go-go adoration paparazzi Flowing. Guido is sharing the runway with Stephanie, dancers, and the male models, soaking up the as his idol-worshipping audience cheers and flash. It’s a party. Champagne Popping. Guido and Stephanie

Everyone is chanting Guido’s name. exit the runway, arm and arm...

NINE (11/11/09) p. 64

INT. STEPHANIE’S HOTEL ROOM - NIGHT Guido feels consumed with self-loathing. No. GUIDO

He gets up from the bed and bolts from the room... INT. GUIDO’S SUITE - NIGHT ...Guido enters his own suite. He sits down on Luisa’s bed, curls round her and kisses her neck. Determined to commit to Luisa. GUIDO I love you Luisa. After a moment she turns to him, her own hand seeks his. GUIDO (CONT'D) Can we please try to be close again. The PHONE RINGS, shockingly loud. He kisses Luisa, then grabs the phone to silence it. Pronto... GUIDO (CONT'D)

EXT. PENSIONE FERROVIA - NIGHT Guido arrives at the Pensione. at the door. Distressed. INT. PENSIONE FERROVIA - NIGHT As they walk down the hall GUIDO Is the doctor still with her? The Matron nods. MATRON Yes, he’s in there. He’s waiting for you. This way. The Matron is waiting

DAY Young Guido. feverish in the bed. alone and dressed in his school uniform. As Guido makes to leave Come back. MEMORY: EXT. (Guido can’t answer) This is a sordid business.. I suppose you don’t consider yourself bound by morality.NIGHT Guido and Doctor Rondi come out. BEACH . outside.. Doctor Rondi is brisk.NINE (11/11/09) p. Guido is concerned. He nods to Guido that they go DOCTOR RONDI Signor Contini.. Guido doesn’t fight. GUIDO (taking her hand) I’m here. INT. 65 INT. DOCTOR RONDI She took five or six pills. . Rondi hands him the prescription. DOCTOR RONDI is packing up his things. CARLA Guido reassures her with a gesture. picks up his bag. runs fast across the rough dunes.NIGHT Guido goes in with the Matron to find her DAUGHTER pressing a cold compress onto Carla’s head as she lies. turns and walks away. I understand she’s your mistress. leaving Guido leaning against the wall. CARLA (distant) You came. Doctor Rondi writes out a prescription as he talks. enough to make herself very sick. You movie people. PENSIONE BEDROOM .. HALLWAY OUTSIDE PENSIONE BEDROOM .

. He stands and pulls a sheet up over her. Grazie. now. Thank you.NINE (11/11/09) p. GUIDO What have you done to yourself? not worth dying for. You should rest. Everything I do. 66 MAMMA (O. When you’re in your life. Guido hears her.NIGHT . I’m CARLA Don’t be angry with me. okay? Francesca. the door knob turns. We’ll talk about everything in the morning. making your movies.S. andiamo. She GUIDO Ssshh. Guido comes back into the room. CARLA (CONT’D) When you’re not here with me.I’m still here.. as if she suddenly understands herself. This comes out with enormous tenderness. GUIDO I’m going to stay with her MATRON If you need us for anything.) Guido? Dove corri? Where are you running to? INT... GUIDO (CONT'D) Carla. looks at him. he’ll take me home. GUIDO He sits on the side of the bed and puts his hand over hers. dancing with your wife . I should call your husband. PENSIONE BEDROOM . I’m still here.. Carla. CARLA No. indicates to the Matron and her daughter that they should leave. Knows what she’s saying is true. I just want you to love me. just call.

. what you are doing. PENSIONE BEDROOM .NIGHT Guido attempts to comfort Carla. Don’t leave me..Young Guido is scaling the unfinished set. PRAY I’M THERE TO GUIDE YOU AND WHEN YOU GROW OLD (MORE) GUIDO Cara mia. well you know that.S.Caro. what you dream of. . DREAM OF YOUR YOUTH WHEN I’M STILL BY YOUR SIDE DREAM OF YOUR MANHOOD. FLYING FREE! INT. INT..NINE (11/11/09) p.. as Mamma circles him from below. Hundreds of candles fill the darkness. She sings playfully.caro mio. Rest. FANTASY: INT... rest. Mamma intercepts Young Guido as he jumps down from the spiral staircase and she swings him into her arms. MAMMA OH. she turns to face him. CARLA My husband thinks I’m clever. 67 CARLA (Clutching at him) Don’t leave me. “SOUNDSTAGE” Mamma guides Young Guido through an allée of candles. that’s the strange thing.. because I’m not.) . about where you are. I spend too much time in my little brain thinking about you. Guido lies down next to her. “SOUNDSTAGE” MAMMA (O. MAMMA (CONT’D) GUARDA LA LUNA CHE BRILLA LASSU HOW THE MOON GLOWS AS IT SMILES OVER YOU WHEN YOU’RE DREAMING BLISSFULLY! DREAMING.

Mamma.. He rests his Older Guido walks past them up the staircase. and . Don’t let me . MAMMA (CONT'D) GUARDA LA LUNA. INT. It’s morning. MINE! She gently spins Young Guido. He rubs his face.as he completes the turn . Carla looks very fragile as the first rays of sun touch the room. head in her lap. goes out to investigate. He gets up. as Mamma takes Young Guido up the grand staircase. INT.DAY Carla’s husband. hears voices. YOU WILL ALWAYS BE MINE! YES. Him. Mamma sits on the steps with Young Guido. 68 MAMMA (CONT'D) HOW MY LOVE STILL WILL SHINE ALWAYS REMEMBER MY SON.he is replaced by Older Guido. GUIDO DO YOU THINK THAT SO MANY WILL LOVE YOU AS I DO? Mamma caresses Guido’s face. GUIDO Hold on to me.NINE (11/11/09) p. SHE HANGS IN THE SKY BEAMING HER BLESSING TO MAKE YOU AND I KNOW THAT THIS ONE GOODNIGHT KISS WILL KEEP ALL YOUR LIFE PERFECT LIKE THIS. is talking with Matron on the landing. PENSIONE BEDROOM . FIGLIOLO MIO. HALLWAY OUTSIDE PENSIONE BEDROOM . Guido pulls away.. He disappears into darkness. MAMMA (CONT'D) GUIDO SAI CHE TI VOGLIO BENE. LUIGI. too. Mamma now waltzes with her adult son.DAY Guido wakes. wake from this. Older Guido watches.

She’s had it with you. Darling? GUIDO Dante appears. LUIGI GUIDO MATRON LUIGI I’d like to take her home. He’s confused. as Matron retreats to leave them alone. LUIGI She’s my wife. GUIDO’S SUITE . GUIDO Of course. dignified man. perhaps. He and Guido can’t really look at each other. 69 Guido straightens himself up. don’t you. GUIDO (anxious) Where’s Luisa? DANTE Luisa? She’s gone. INT. so have I. He walks into the room. LUIGI is a nice. emptying a closet. But then he sees a figure moving about in the dressing room. (hapless) She loves you. worried that Luisa has gone. You drag a whole crew up here and then you just disappear. Excuse me. I’m sorry.DAY The door is open as Guido enters. (MORE) . stuffing Guido’s things into a suitcase. approaches. (different tone) And quite frankly. DANTE We’re going back to Rome. Guido stands outside for a second. you know that. then turns to go. He’s very anxious. Is she okay? Yes. She leaves.NINE (11/11/09) p.

. Makeup tests start today. solemn faced. passing Fausto. you’ve seen the priests. GATES OF CINECITTA . Dante walks over to the door with the suitcase. DANTE (CONT'D) (impatient. They drive through. you’ve taken the cure. GUIDO (O. 70 DANTE (CONT'D) I can’t protect you anymore. I need help.S. write with your camera. ignoring the press. DANTE (O.) Forget the script. You must. Remember? (sits) I can’t.NINE (11/11/09) p. GUIDO DANTE You can’t. Don’t sit down.LATE AFTERNOON Guido’s Roadster approaches the gates. And Claudia is in Rome. You’ve seen the doctors. Fausto .S. your star has landed.take his things please. no arguments) That’s enough! The movie calls.) I need more time. There are PAPARAZZI gathered for the arrival of Claudia. DANTE (decisive. A Bellboy and a luggage cart stand in the hall. GUIDO I’m not cured. at the door) Guido! Andiamo! EXT. for the beginning of filming. GUIDO DANTE (still packing) You’ve had help. Claudia’s here now. She’ll inspire you to do what you do best.

71 EXT. CINECITTA . they are immediately swamped. Guido drives towards the stages. Guido is trying not to panic.LATE AFTERNOON The whole energy of this return to Cinecitta is hectic. Tonight. I said I didn’t quite have mine.NINE (11/11/09) p. We’ll watch everything tonight and make some decisions. LILLI She asked if she could read my script as she didn’t have one. Lilli peels off and joins her assistant Roberta at a rack of costumes.. GUIDO (knows what that means) Okay. and as they head towards the studio. Pierpaolo has a hundred requests for Guido. equipment waiting to work. PIERPAOLO Maestro. DANTE PIERPAOLO Dante marches Guido towards the stage. PIERPAOLO Design meeting? Production meeting? Tonight. . Feisty. Will you watch them now? DANTE Tonight. people wanting to work. the screen tests are back from the lab. Lilli joins them. He feels as if he’s just arrived in prison camp. He drives fast and straight to Stage 4.. LILLI Claudia says where are you? She’s in fine form. Guido feels the pressure that the whole studio is gearing up for a movie that doesn’t exist. everybody and everything needing Guido’s attention.

LUISA GUIDO I’m not asking you to let me come home. Pierpaolo appears again. Pronto.. I won’t know what I’m thinking. Everything. CLAUDIA JENSSEN. I just want you to come to the screen test tonight. 72 INT. some lights are being flown up into the grid. listening. HAIR AND MAKEUP TESTS. always the same.LATE AFTERNOON INTERCUT. about the script. I want to talk to you about the casting. Maestro. PIERPAOLO Guido nods.. then leaves the set quickly. Luisa puts down the phone. Luisa picks up the phone. Please don’t hang up. you always do. Finds the studio telephone behind the flats.. Not for me. the LOADER is preparing the Clapper Board. GUIDO Otherwise I won’t be able to start. LUISA GUIDO Luisa. it’s me.LATE AFTERNOON A couple of huge cameras are being prepared. You always have. inscrutable. Guido waits. INT.. INSERT STAGE/CONTINI HOME . . LUISA at home. Guido says a brisk hello to the crew.NINE (11/11/09) p. INSERT STAGE. GUIDO Are you there? Luisa? Go on. needs him to start. (she doesn’t respond) I want you to be with me in the screening room tonight. CINECITTA . He dials. but for the movie. The Loader has created a slate: ITALIA. waves him away. Luisa listens. The gang enters.

one slow turn. She looks stunning and glamorous. of course. CLAUDIA Yes. The epitome of a Sixties movie star. and Lilli and some of her assistants come through. who demands the space around her. who is CLAUDIA. Makeup artists and costume assistants immediately surround her.NINE (11/11/09) p. GUIDO And can you turn to the left. I can turn to my right. and wigs and all manner of items. GUIDO Could you turn to the right please. simply walks into the light. Guido gets up and approaches Claudia. I can turn to my left. Fausto is also mesmerised. Dante is thrilled. as suddenly there’s a commotion at the studio door. 73 Guido is in a mess. silhouettes only. the woman. Next costume please. Bellissima. followed by a tall figure. CLAUDIA Yes. GUIDO Now just one slow turn for us. her home. Claudia. GUIDO Brava. INSERT STAGE . INT. Se gira. and stands there waiting for Guido. Guido gets behind the camera and films Claudia’s test. And we are rolling. PIERPAOLO Silence please. Pierpaolo acts as First Assistant Director.EARLY EVENING Guido walks forward and sits by the camera. loosening her hair. star. that’s the long and short of it. CLAUDIA (she turns around) Okay. Cut. She’s a . PIERPAOLO We’ve got it. As the others walk towards a holding area with costumes.

Lilli. 74 And she’s warming up for a fight with her director. and when I there is a script. sweetly) Ciao Bello. but dangerous. That’s fair. Guido adores her.. Claudia! GUIDO DANTE GUIDO (to Dante) That’s fair. CLAUDIA (CONT'D) So interesting to do hair and makeup for a part when you don’t know what the part is. adjusts her hair. (calls over to Lilli) I love the costumes. I’ll read it and then we’ll take it from there. .. handsome reward. CLAUDIA Has anybody got a script? Script missing. (back to the guys.. They are beautiful.NINE (11/11/09) p. one script. Lost. her feistiness. just a couple more costumes. my darling. PIERPAOLO (anxious) But please. title Italia. puts a chinchilla fur coat on Claudia. Fair? DANTE GUIDO I’ll be back. half-joking.. Another litany of jibes. her spirit. Lilli comes forward.. Claudia. CLAUDIA (to Guido) I’m going back to my hotel now. CLAUDIA (CONT'D) (shrugs off the coat) No! I’m going back to my hotel now. Can’t make a film without it.

DANTE (shouting) You’ve got meetings. INT. she’s such a class act. EXT. Guido. GUIDO You look ravishing. which swing open. He’s always inspired.NIGHT Guido stops the car by some narrow streets in the Trastevere. CLAUDIA You’re not seeing me.NINE (11/11/09) p. they can’t keep up with him and he manages to overtake a car.NIGHT Guido drives Claudia towards the gates. and are immediately followed by a posse of photographers on their mopeds and Vespas and little cars. Opportunity for escape. taking the chinchilla coat from Lilli with him. So do the posse. The paparazzi are in waiting and swarm the car. you’re seeing Lilli’s wigs and makeup. I’m somewhere hidden underneath. flashbulbs popping. They drive away. loves having her in the car. Guido’s a good driver and weaves in and out of the traffic. CAR. GUIDO I’ll be right back. just south of the Vatican. Lots of shouting and pleas. they speed after him. men clambering onto the car for a picture of the Star driving away with her Director. MEDIEVAL LANES. DANTE (calling to Guido) You’ve got dailies. . They sit for a second. They watch the photographers hurtle past in search of them.NIGHT Guido’s Roadster roars away. TRASTEVERE . ROME OUTSKIRTS . but as the road opens up. lots of remonstration from Guido. CINECITTA . He’s driving fast but distracted by her. EXT. Guido glances at Claudia. 75 Guido races after Claudia. the papparazzi posse following.

it’s not my script. GUIDO (CONT'D) Talk to the people who love you in our films. Guido lights a cigarette. but whatever else it is. the way you really do blush for the camera how?! (enough examples. She’s always seduced by the way he speaks. They get out of the car and begin to walk away. CLAUDIA So Lilli says I’m playing a million different parts GUIDO Not a million . the incredible women who made Italy what it is today. whether they know it or not. CLAUDIA (teasing him) So I’m the women behind the great men? GUIDO (trying hard to tell the truth) The great women.. the way the camera looks past you to the moon. almost deserted here. sighs) who even knows.. CLAUDIA I’m assuming that’s code for there’s no script. GUIDO Why is everybody so suddenly obsessed with the script? Claudia listens. they’re not interested in my script! They’re interested in the way you turn your head. a country run by men who are themselves run by women. his passion..you’re the muses.NINE (11/11/09) p. the way you smile a little as you cry. Guido is exasperated. They fall in love with each other in every movie. (MORE) It’s . that’s the way of it.. 76 GUIDO It’s good to see you. Guido has no confidence in what he’s saying anymore.

NINE (11/11/09) p. “SOUNDSTAGE” CLAUDIA IN A VERY UNUSUAL WAY. the road.. he wants to take hold of everything. because he’s lost. EXT. and he changes direction every day. to devour everything.. MAYBE IT LASTED A DAY. or. he’s bleeding to death. you misunderstand.yes . ONE TIME I NEEDED YOU. FANTASY: INT. Saunters down . 77 GUIDO (CONT'D) In a way . BUT SOMEHOW IT WILL NEVER END. IN A VERY UNUSUAL WAY. GUIDO No. YOU WERE MY FRIEND.NIGHT CLAUDIA These women who come off their pedestals for a kiss .they fall in love with the man? Exactly! GUIDO They fall in love with him. he doesn’t want to. She grabs his hat.they’re just fantasies. What? GUIDO CLAUDIA I’d rather be the man. he’s dying... he can’t let anything go.you have this man in the story and he’s. He follows. CLAUDIA (decisive) I’d rather be the man. puts it on her head. CLAUDIA (deflating) And these muses . MEDIEVAL LANES. TRASTEVERE . MAYBE IT LASTED AN HOUR.

PIAZZA WITH FOUNTAIN . YOU DON'T HAVE A CLUE. 78 INT. IT SCARES ME SO THAT I CAN HARDLY SPEAK. SOMETHING INSIDE ME GOES WEAK. I OWE WHAT I AM TO YOU. The Piazza is empty except for a few cars parked where the entrances have been blocked off.S. EXT. . IN A VERY UNUSUAL WAY.NIGHT GUIDO She’s his inspiration. Guido. I THINK I'M IN LOVE WITH YOU.NIGHT Claudia heads towards a little Piazza with an ancient fountain in the centre of the square. TRASTEVERE . GUIDO CLAUDIA It’s not a real person.he doesn’t know how to love. CLAUDIA I can’t keep playing that part. CLAUDIA (O. “SOUNDSTAGE” CLAUDIA IN A VERY UNUSUAL WAY. YOU DON'T KNOW WHAT YOU DO TO ME. CLAUDIA When there’s a camera between us. EXT. AND YOU'RE THE REASON WHY. MEDIEVAL LANES. GUIDO I fall in love with you every time. YOU'RE THE REASON WHY.) (CONT'D) IN A VERY UNUSUAL WAY. I WANT TO CRY. YOU CAN'T TELL WHAT IT'S LIKE TO BE ME LOOKING AT YOU. No. SOMETHING INSIDE ME SURRENDERS.NINE (11/11/09) p. Claudia steps up onto the fountain. (pointed) And this man you describe .

and you were in the room directly above me and I could hear you walking about. INT. YOU'VE MADE ME WHOLE. I wanted to rush up the stairs and hammer on your door until you opened. all through the night. ONCE YOU HAD TOUCHED MY SOUL.NIGHT Claudia leaves behind the hat on the fountain and moves closer to Guido. we were on location. EXT.. CLAUDIA (CONT'D) And you have a wife who She kisses She hands him the wig and the earrings. CLAUDIA (CONT'D) I’ll miss you. IN A VERY UNUSUAL WAY.NINE (11/11/09) p. This is me. HOW COULD I EVER FORGET YOU. She takes off her wig and diamond earrings. . GUIDO (CONT’D) . The music continues.. I don’t know. some terrible hotel . “SOUNDSTAGE” CLAUDIA SPECIAL TO ME IN MY LIFE. CLAUDIA Maybe you should have knocked. The music ends. SINCE THE FIRST DAY THAT I MET YOU.. loves you. PIAZZA WITH FOUNTAIN . 79 GUIDO There was a time once. Claudia turns and walks away. Guido sits down at the edge of the fountain. I can’t do this anymore. him. CLAUDIA And why didn’t you? GUIDO I don’t know. maybe you should have knocked me right off the pedestal.and. Wrong girl..

80 INT. DANTE And the back isn’t too bad. The room goes dark. to excited chatter. DANTE Let’s see the actresses.. numbers counting down. Thank you. Beautiful.. Guido? Who’s next? Actresses.. SCREENING ROOM. DANTE Two great profiles. Okay. he turns around as he sees someone come in the door... sitting alone. DANTE (to Lilli) Great work. back to look at the screen. DANTE Fantastic. makeup. BENITO Really nice.NIGHT A screen. she shrugs sympathetically. fantastic. Lilli. People start to comment. FAUSTO She’s a goddess. Guido gets a cigarette off Pierpaolo and lights up. Wonderful costume. he looks at Lilli a row or two behind him.NINE (11/11/09) p. and Claudia appears on the screen. all enthusiastically. the next reel begins. looking extraordinary from the hair and makeup test. LILLI DANTE . not Luisa. Guido watches. the leader of a film reel.. but it’s Gianluca. The lights come up. BENITO She has a beautiful profile. CINECITTA . Guido turns . FAUSTO She came directly from Venus. the synch pop on 3.and the hair. The reel finishes.

What do you say. Guido? Donatella’s nice? Another girl: ALESSIA. Another actress appears. Her hair is in a chignon. Walk towards the camera as if you were frightened. She’s not a natural. ON ELEANORA . She’s nice. She says her name. one after the other. Make him want you. As if you were angry. A little smile. Pick up the phone and argue with your lover. She’s beautiful and innocent. DANTE She’s peculiar. but Guido interrupts her. She begins her improv. Approaches her. Guido turns and sees it’s Luisa. DANTE Even better. Guido gives them things to do. the smile it provokes. Everybody wants her right now. She’s a bit nervous here. They come on. You don’t like her Guido? Next actress: ILARIA.. He turns back to the screen. and undoes the chignon. Very nervous. sitting next to Lilli. But what he says and how he says it. 81 During the reel.very angry on the phone: BENITO If we like her. freeing her hair. Someone comes in the door. say their names. the walks. No. It’s Donatella. Keeps looking out past the camera. we have to call her agent right away. DANTE Well they can keep her.. a whisper. Dante is very decisive. as the women appear.NINE (11/11/09) p. Guido says something to her. getting sotto voce instructions from Guido. goes like a dagger to Luisa. make him laugh. tries the phone. DANTE (CONT'D) FAUSTO She’s very natural. Very striking. suddenly appears in front of the camera. She’s come. She looks at Guido. Guido instructs her. He turns back to the screen. She Luisa finds the gentle humor in this situation. BENITO She’s a very funny actress. shouts out. He feels it like sunshine. .

Lilli kisses her. 82 DANTE (CONT’D) Who’s this? I thought we were looking for a blonde. Thank you. FAUSTO She’s not bad. GUIDO It meant so much to us all. (MORE) That you . As the reel finishes. FAUSTO She’s too tall. especially to Lilli. I think we are happy with Donatella. Very tall. very busy day tomorrow. Donatella’s better. The screening room empties. DANTE BENITO She’s very beautiful. DANTE She’s too beautiful. Okay. isn’t she? Sure. jumps up) Great. came. GUIDO DANTE (delighted.. several rows apart in the empty screening room. For my tastes. DANTE (CONT’D) I don’t know what Guido thinks. DANTE It’s not the point. husband and wife. and a hug or a handshake from almost everybody for Luisa. and the lights come up. a lot of mutual congratulations on good work. Just the two of them now. Thank you very much everybody. but Shh. fantastic day.. blonde. but we have to go home. leaves. well done.NINE (11/11/09) p. We have a very. DANTE Guido wants the FAUSTO She’s beautiful. Anyway.

. It’s Luisa. CINECITTA . INT.. The figure steps forward. trapped. Guido squirms. A gloved hand emerges from behind a beaded curtain. They start to whistle as if they were at some sleazy club. LUISA GUIDO (encouraged) What for? LUISA Thank you for reminding me I’m not special. “SOUNDSTAGE” THE BEAT OF A STRIPPER’S DRUM. SCREENING ROOM. The curtain opens. 83 GUIDO (CONT'D) (nothing from Luisa) What did you think? Did you like anybody or -? (nothing) Luisa? FANTASY: INT. do you? Even the moments I think are ours.NINE (11/11/09) p. revealing the silhouette of a figure bathed in red light. tricked out like a seedy nightclub stripper. LUISA YOU WANT MY LOVE? TAKE IT ALL YOU WANT TO WATCH IT ALL COME OFF? TAKE IT ALL COME ON NOW SHOW ME HOW YOU TAKE IT ALL. You don’t even see what you do. Guido sits in an audience of raucous men who have filled all the seats around him. “SOUNDSTAGE” Luisa strips. INT. . it’s just you working to get what you want. beckoning.NIGHT Thank you.

That’s my job. LUISA And this is our life. it’s nothing. I direct.. leans on the chair back. this is what I do. But don’t think I can forgive you in private. 84 LUISA YOU WANT MY GLOVE? ARE YOU ENTHRALLED? YOU WANT TO SEE IT SLIP AWAY AND WATCH IT FALL? OH WE KNOW IT’S YOUR SHOW SO TAKE IT ALL INT. SCREENING ROOM. “SOUNDSTAGE” As the strip becomes more raw. GUIDO (CONT’D) The screen test? You have to understand. Instrumental. because I can’t ever.NINE (11/11/09) p. . CINECITTA . BECAUSE I HAVE NO MORE. Luisa charges into the audience: she is mauled and assaulted by the men. Guido stands up straight. INT. SO GO AHEAD TAKE IT ALL LUISA YOU WANT MY SOUL? TAKE IT ALL! IT’S TIME TO LEAVE. Luisa defiantly exposes her body and her contempt for Guido. IF I’M TO LIVE. Guido watches.NIGHT GUIDO (dawning on him) What are you talking about? He stands up.. Fine. THERE’S NOTHING LEFT TO GIVE. humiliated. You think to create is to forgive yourself in public.

NINE (11/11/09) p. 85

LUISA (CONT’D) I WATCH YOU RISE! I WATCH YOU FALL! WHILE I AM STANDING WITH MY BACK AGAINST THE WALL NOW IT’S YOUR TURN TO FINALLY LEARN YOU HAD THE WORLD YOU HAD YOUR FLING YOU WANTED MORE THAN EVERYTHING YOU GOT YOUR WISH YOU GOT YOUR PRIZE NOW TAKE IT RIGHT BETWEEN YOUR THIGHS YOU GRABBED FOR EVERYTHING MY FRIEND BUT DON’T YOU SEE THAT IN THE END THERE WILL BE NOTHING! INT. SCREENING ROOM, CINECITTA - NIGHT LUISA You’re just an appetite, and if you stopped being greedy you’d die. You take everything, and I’m empty. Luisa gets up from her chair, heads to the exit door. LUISA (CONT’D) You know, I’m glad I came. I can see now... it’s hopeless... Luisa leaves. Guido is left alone.

The room goes dark as the screen tests, on a loop, start up again. Guido walks into the flickering light of the projector... GUIDO What have I done? What have I done, Luisa? INT. “SOUNDSTAGE” ...He sits silhouetted by the harsh white beams. I CAN'T THERE'S I CAN'T PROBLEM THERE'S GUIDO MAKE THIS MOVIE, NO WAY THAT I'LL BEGIN IT. BEAR TO SEE THE CAMERAS ROLL. IS THE SUBJECT, NO PLEASANT WAY TO TREAT IT. (MORE)

NINE (11/11/09) p. 86 GUIDO (CONT'D) THE PROBLEM IS THE AUTHOR'S LOST CONTROL. HOW I WISH IT DIDN'T HAVE TO BE SO, BUT WE CUT THE LOSSES-STARTING NOW STRIKE THE SET AND KEEP IT FOR SOME SIDESHOW. TELL THE CAST AND CREW THAT THEY CAN ALL GO. Guido stands and walks towards the image on the screen. He violently rips the screen to the ground. GUIDO (CONT'D) FIND ANOTHER GENIUS, I CAN'T BE ONE OR BECOME ONE. I CAN'T EVEN TELL HOW I'D BEGIN. HELP LUISA, HELP ME, HELP ME MAMMA, HELP ME SOMEONE. HERE'S A PLACE WHERE I HAVE NEVER BEEN. GUIDO OUT IN SPACE WITH NO DIRECTION, GUIDO AT A LOSS FOR WHAT TO SAY, GUIDO WITH NO INTERVENING ACTORS, GUIDO AT THE MERCY OF DETRACTORS, GUIDO HERE, WITH NO ONE ELSE BUT... NOTHING HOLDS TOGETHER NOTHING MAKES A BIT OF SENSE NOW IMPOSSIBLE TO GRASP OR UNDERSTAND HOW CAN I GO ON TO WATCH THE WHOLE OF MY EXISTENCE END UP BEING NOTHING THAT I PLANNED HAVE I LOST MYSELF AND ALL I WISHED FOR HAS MY LIFE BECOME A MINDLESS GAME GUIDO, I CAN’T STAND THE NAME OF GUIDO GUIDO, FOR GODSAKE, WHO IS THIS GUIDO? GUIDO HERE, WITH NO ONE ELSE BUT GUIDO... Guido collapses to his knees. GUIDO (CONT'D) (honest) I destroyed everything, Mamma... Suddenly, his mother appears. GUIDO (CONT’D) ...I destroyed everything, I just... you make one wrong turn and then because of that, after it all the turns are wrong. And you are so far from where you wanted to be...and you’re lost and then you’re lost.

NINE (11/11/09) p. 87

MAMMA No one can help you find your way. (a beat) It’s up to you, Guido. Up to you. Nobody else. In Guido’s face, a soulful recognition that what she’s said is true. INT. CINECITTA, STAGE 5 - DAY A HUGE CRASH... ...A large piece of Guido’s set comes crashing down. Dante and Guido walk through the empty soundstage, leaving behind the set which is being dismantled by a group of construction workers. GUIDO (O.S.) Old friends, I have to come clean with you. INT. PRODUCTION OFFICES, CINECITTA - DAY REALITY. Guido faces his production team. hard for him. This is

GUIDO There is no movie. I can’t pretend anymore. We have to stop. (nothing more to say) I’m sorry. There is silence in the room. EXT. CINECITTA, STAGE 5 - DAY The metal soundstage door opens as Guido and Dante walk through and into the sunlight. Guido is defeated. He stops at his car and turns to Dante. Guido gets in his car. Guido drives away. Dante watches him go. EXT. BEACH - ANGUILLARA - AFTERNOON A cold wind blows. a deserted beach. SUPERTITLE: A lonely figure (GUIDO) walks along

Anguillara, Italy, 2 years later

and exits the restaurant. starts to leave. Only a few customers left in the cafe. I didn’t want to interfere. starring LUISA ACARI. hair longer and unkempt. alone.. as the waiters close up for the day. nervous. folds it under his arm. Guido’s changed.NIGHT Guido waits. stacking tables. I don’t know. THEATER . He heads up the steps towards the promenade and we catch a glimpse of the profound regret in his eyes EXT. Guido gets up at this moment. GUIDO She seemed so happy.DAY Guido and Lilli walk along the waterfront. . Nobody likes to be alone. Haggard. as they cross and head down the street. Luisa exits the theatre with the company of actors. She’s funny. as the waves crash to and fro. bearded.AFTERNOON It’s the end of the season. Promise me you’re going to let me cut your hair and get rid of that awful beard. by occasionally. 88 EXT. He looks out to sea. ROME. Is she with anybody? LILLI Guido. in a doorway across the street from a theatre that’s presenting the Pirandello play. Scribbles and heavy markings circle an ad for a theater production in Rome. she’s my friend. hesitates. Luisa takes the arm of a handsome male. ANGUILLARA . A newspaper sits open in front of him. They talk People pass LILLI I’m glad she’s acting again. EXT. I expect so. pulling down umbrellas. all of them plaited together in post-performance bonhomie. DIANA E LA TUDA. BEACH CAFE. ANGUILLARA STREETS .. I’m not her mother.NINE (11/11/09) p. takes the paper. I made her costumes for the play. Guido watches from a distance.

growing a beard. GUIDO No. LILLI Luisa certainly thinks so. Never. Walking around and not seeing anyone. to not be the person who forgets about everybody else. Make a movie. .I know. Just to be able to walk. He sits. the person who never grew up. GUIDO Don’t tease me. Here. I might come up here and join you. LILLI Are you seeing anybody? GUIDO No. LILLI My heart is - GUIDO I just miss her. I’ve spent this time trying to learn something. GUIDO (grasping at this) Does she? Did she really say that? LILLI Stop! I’m not going to act as a postman between you both. I should have IDIOT tattooed on my forehead. LILLI And where are you getting about? GUIDO Nowhere. LILLI (teasing) Well. . Nobody. it sounds exciting. Lilli. no. Go to work. I walk. Lilli joins him. 89 GUIDO I like to get about without everybody pointing at me. Come back to Rome. Lilli.NINE (11/11/09) p.

90 LILLI You’re such a dope. FLASH: A man of the collar applies pancake makeup. GUIDO (doubtful) The only movie I could make now would be.there probably isn’t a single person passing by who hasn’t been touched in some way by one of your movies.. You were your problem. A beautiful confusion. 9. People run past with props. LILLI (CONT'D) Guido . the cast of Guido’s life. That’s what you’ve been given. Showgirls are . schoolboys. models. etc. aren’t you? Making movies wasn’t your problem. Don’t stop being a child. I don’t know. FLASH: Lights from a makeup mirror. etc. Young Guido. A glimpse of a female eye applying false eyelashes. while a cigarette dangles from his lips. FANTASY DRESSING ROOMS A surreal backstage.. hurrying. (after a beat) The costumes might not be so bad too. She indicates the people who pass. would be about a man trying to win back his wife.. Use it. A show about to begin. LILLI Sounds perfect. The music of “Be Italian/Folies Bergere” plays and builds throughout. especially Luisa. priests.NINE (11/11/09) p. lights. You’ll never make another movie! Nobody wants that. whores. appears and whispers into Guido’s ear. YOUNG GUIDO We’re ready to begin! INT.. For Chrissake... That’s your gift. Just use it with some grace.

Lilli adjusts her own. CINECITTA . Mamma is in her dressing room preparing. He is helping with her corset. But this scene is about reconciliation. . YOUNG GUIDO Presto! Presto! Take your places! Andiamo! Andiamo! The dressing rooms begin to empty.DAY Guido is in his element again. Carla fixes her husband’s hair. The first way that we kill our film is by talking about it. PIERPAOLO You’ll remember. Carla and Luigi. He is greeted by Pierpaolo. CINECITTA . STAGE 5. and other men’s wardrobe. Summoning his courage. STAGE 5. In his hand. and sits for a moment in silence. INT. FANTASY DRESSING ROOMS Young Guido rushes by the dressing rooms. he gets out of the car. FILM SET.DAY Guido pulls up in his car outside the soundstage. 91 EXT. GUIDO I can’t remember how you do this. He seems to need and acknowledge his support. locked in passionate discussion with an ACTOR and an ACTRESS. The vast film Italia has clearly given way to something smaller. and perhaps truer: the tale of a man and a woman. INT. INT. an actual script. The set surrounding them is modest. a tiny bedroom with a single window and rumpled sheets. Saraghina is sharing a dressing room with a Priest. Claudia and Stephanie smoke and talk. He stops the engine. FANTASY DRESSING ROOMS The camera moves through the backstage mayhem.NINE (11/11/09) p. And within the scene I would like you to try and find your way to begin that journey back towards each other. GUIDO I don’t want to say too much. Pierpaolo is tender.

stands contemplating the set in front of him. He takes off his jacket and hangs his glasses off his sweater. PIERPAOLO (CONT'D) Alora. she steps through the shadows. But Guido is oblivious. his every muse. They are all dressed in angelic white. and don’t look to me for the answers. From a discreet distance. A part of him now and forever. STAGE 5.. should I call final checks? Yes. We start from the beginning each time and I feel today as if I’m starting from the beginning. Silence please. We’ll just keep asking each other questions. okay? On cue. Guido sits on the crane. They watch him as he begins to work.NINE (11/11/09) p. Silencio per favore. GUIDO (Continuing to speak to his actors) Maybe it’s the most important building block that we have to begin again. 92 INT. and we see a small figure slip quietly onto the set. focused instead on the task that lies ahead. The soundstage door opens. PIERPAOLO Maestro.DAY From high above on the soundstage catwalk.. she watches her husband return to his gift. He talks to his cameraman. CINECITTA . E alora motore! . his every inspiration. Young Guido watches Older Guido at work. Pierpaolo calls for silence. please! Final checks! A LONG WIDE PAN reveals a tableau vivant looming behind Guido like a glorious choir. It’s Luisa. Young Guido opens the door behind him and ushers in THE CAST OF GUIDO’S LIFE. Puts down his script. GUIDO PIERPAOLO Makeup. FILM SET. Tentatively. They enter with a sense of anticipation and excitement and arrange themselves on the staircases and scaffolding that loom behind Guido. (to camera) Gyriamo.

carrying Guido up and up.NINE (11/11/09) p. the crane soars higher. DIR: CLAPPER LOADER At the last moment. CONTINI. GUIDO . Luisa watches. G. As the last note plays. CUT TO BLACK. ACTION. WORKING TITLE: NINE. 93 CLOSE UP ON THE CLAPBOARD. across the soundstage and jumps onto the crane with Guido as it begins to rise. Young Guido runs fast. down the maze of steps. As the clapboard strikes. Slate.

Sign up to vote on this title
UsefulNot useful