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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NINE (11/11/09) p. 63

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

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

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

NINE (11/11/09) p. 64

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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