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

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

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

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

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

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

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

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

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

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

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

What’s the big deal? . REPORTER FIVE But why are you being so tight-lipped about this film? It’s a serious question. 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. do you plan on casting her in this new film? Guido is spinning plates. REPORTER ONE Signor Contini! You’re a man of the world.S. With Italia is it fair to say that you’ve come home for good? REPORTER TWO (O. Everyone starts firing questions at Guido again. yes? Educated in Britain. Another REPORTER asks a question. Stephanie.) (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. GUIDO I told Luisa that when we got married I would never again make love to my leading lady. Laughter. GUIDO STEPHANIE Grazie.NINE (11/11/09) p. 13 STEPHANIE Signor Contini. a home in Biarritz. REPORTER FOUR But she hasn't worked at all since working with you.

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

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

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. I WOULD EVEN LIKE TO BE ABLE TO SING A DUET WITH MYSELF. He grabs a bottle of whiskey. INT. PRESIDENTIAL SUITE . lighting his cigarette.DAY STEPHANIE I was wondering if you think there's a limit to what you can show in a movie. “SOUNDSTAGE” GUIDO I WOULD LIKE TO BE HERE (SING ALONG WITH MYSELF IN A SONG) TO BE THERE (WALKING DOWN A LANE NOW).O.DAY Guido turns to the mantle. ME (ME) ME! I WANT TO BE PROUST. 16 INT.. INT.NINE (11/11/09) p. GUIDO (V. looks up into the large gilded mirror at his reflection. EVERYWHERE (EVERYWHERE) EVERYWHERE.) I WOULD LIKE TO HAVE ANOTHER ME TO TRAVEL ALONG WITH MYSELF. GUIDO What would you like to see that I haven't already shown you? She smiles. 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. SHOULD I SETTLE FOR LESS? I ASK YOU. INT. We see two Guidos. “SOUNDSTAGE” GUIDO I AM LUSTING FOR MORE. . he smiles back.. PRESIDENTIAL SUITE .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HOTEL BAR .NIGHT Guido lights Stephanie’s cigarette. INT. 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.NINE (11/11/09) p. 61 STEPHANIE I LOVE THE BLACK AND WHITE! I LOVE THE PLAY OF LIGHT! THE WAY CONTINI PUTS HIS IMAGE THROUGH A PRISM. rhythmic moves. IT MAKES ME SMILE HE IS THE ESSENCE OF ITALIAN STYLE. HOTEL BAR . “SOUNDSTAGE” STEPHANIE I FEEL MY BODY CHILL GIVES ME A SPECIAL THRILL EACH TIME I SEE THAT GUIDO NEO-REALISM INT. INT. HOTEL BAR . INT.NIGHT Stephanie rubs her leg against Guido’s.NIGHT Guido and Stephanie share a laugh as she steals a sip from Guido’s glass. 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. “SOUNDSTAGE” STEPHANIE WHATEVER GUIDO DOES. “SOUNDSTAGE” Stephanie leads the men in a series of tight. INT.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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