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

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

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

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

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

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

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

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

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

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

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

NINE (11/11/09) p. 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. Another REPORTER asks a question. What’s the big deal? . a home in Biarritz. REPORTER FIVE But why are you being so tight-lipped about this film? It’s a serious question. Laughter. REPORTER FOUR But she hasn't worked at all since working with you.) (tries to interrupt) What do you think of the New Wave in the French Cinema? For good? GUIDO REPORTER FOUR It's been a long time since you made a movie with your wife. GUIDO STEPHANIE Grazie.S. GUIDO I told Luisa that when we got married I would never again make love to my leading lady. REPORTER ONE Signor Contini! You’re a man of the world. 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. do you plan on casting her in this new film? Guido is spinning plates. Stephanie. 13 STEPHANIE Signor Contini.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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