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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

is there. LA LUMIERE! LES PETITS JOLIES SEINS DES BELLES BOUQUETIERES SUR LA BELLE PASSARELLE DES FOLIES BEREGERE. LE SON. Vedette. The audience applauds. PAS DE MYSTERELE SPECTACLE EST TOUT A FAIT DECOUVERT.to entertain. OOH LA LA OOH LA LA OOH LA LA OOH LA LA OOH LA LA SHOWGIRLS Lilli crosses onto the passerelle. bon soir. LILLI (CONT’D) Feeling better? There’s no room for hopelessness in here. mon cher -. 39 LILY FOLIES BERGERELA MUSIQUE.That’s our privilege . come.NINE (11/11/09) p. Last night I looked down at this table in the chairs you are sitting in now. LILLI (CONT'D) Ah. Come. Guido. She addresses him as though he is Older Guido. Come. And she brings him onto the stage. Bon soir. LILLI (CONT’D) Ahh. Would you like to join me on stage? Yes. it means 'star. 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. "ET PAS TROP CHER" VIENS CE SOIR AVEC MOI AUX FOLIES BERGERE. and speaks directly to the audience. 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. LA DANSE. and what did I see? A priest! And next to him? Suddenly. bon soir. Je suis la vedette des Folies Bergere. come. . Guido? (to the audience) We must explain something to our young Guido.' Lilli singles out guests at the lip of the stage: LILLI (CONT’D) Let me tell you.

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

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

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

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

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

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

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

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

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

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

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

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

. standing lighting units. with the exception of Guido. distancing herself from the scene. SOME MEN RUN BANKS SOME RULE THE WORLD SOME EARN THEIR LIVING BAKING BREAD. that’s what they do sacrifice.. etc. freeze in a dimly lit macabre tableau. SOME MEN SELL STOCKS SOME MEN PUNCH CLOCKS SOME LEAP WHERE OTHERS FEAR TO TREAD. As the number progresses. They are surrounded by camera equipment. THEN GIVES THEM TO YOU ALL LIKE MICHELANGELO. the world around Luisa disappears into a black void. Still. 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 rises from her chair. it must be a very exciting life for you.. Luisa climbs the staircase. MY HUSBAND. MY HUSBAND SPINS FANTASIES. Signora Contini. HE GOES A LITTLE CRAZY MAKING MOVIES INSTEAD. LUISA CONTINI: NUMBER ONE GENIUS AND NUMBER ONE FAN. HE LIVES THEM. AS AUTHOR AND DIRECTOR. “SOUNDSTAGE” The restaurant table as well as the production team are transplanted onto Guido’s unfinished set. (MORE) Close up on Guido. FANTASY: INT.NINE (11/11/09) p. Guido. Luisa contemplates her life with Guido. leaving only herself... The other characters. 52 CARDINAL’S SECRETARY Well there’s a good catholic wife for you. Luisa looks to Guido. MY HUSBAND. 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 (CONT’D) GUIDO CONTINI. with Guido in the shadows.

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

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

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

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

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

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

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

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

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

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

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

NINE (11/11/09) p. 63

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

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

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

NINE (11/11/09) p. 64

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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