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Nine Script

Nine Script

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Harriet Zazzaro
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320 views49 pages

Nine Script

Nine Script

Uploaded by

Harriet Zazzaro
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
Steam! Foo New York 100102751 7625 net Patera 5325 Be 0590 PAX 323 876 6822 1963 enue oalard Sua Ci, CA 916042607 Fieve 3s MotantadSaenertee) 1163633556 FAX 4163631108 emilee 52 Fray Sees 1462073879373, FAXOL1 462073872161 ei eset uorsoK/doy NIN ‘ony “youans; mares, Book by Arthur Kopit Music and Lyrics by Maury Yeston Adaptation from the alian by Mario Fratti SAMUEL FRENCH, INC. ARTHUR KOPIT is th author of Ok Dad, Poor Dad, Mamma's ‘Hang You inthe Closet and I'm Feelin’ So Sad (Vernon Rice Award, ‘Quist Cries Cicle Award), Indians® (Tony Notninee), Wings (Tony Nominee and Prix alia for radio version), End of the World With Symposium to Follow* (produced on Broadway, directed by Harold Prine, and sing John Shea, Bernard Hughes and Linda Hun), the ‘ook. for the musial Nine* (1982 Tony Award), Road to Nirvana® (Grginally canmissioned and produced by Actors Theatre of Lous, and produced off-Broadway by Circle Rep), the book to the musical Phantom’ (avasic and lyrics by Maury Yeston, and several one-act plays, including Chanber Music The Day the Whores Cane Out to Play Tenns:® The Questioning of Nick* Conquest of Everest? The Hero® Success” and Good Help ts Hard 1 Find.” Awards include: ‘Guggeaein (1967; Rockefeller (1968); Award fr Literature, Arpercan Tnsutate of Ans & Letters (1971); National Endowment for the Humanities Grant (1973). Me, Kopit has taught at Wesleyan University, Yale University, dhe Yale Schol of Dram and the City Collegeof New York. He ha been a member ofthe Dramatis Guild since 1962, and has served onthe Dramatists Guild Counc Hel also A member ofthe Writes Guild of America as well as PEN. Ite is ‘marie othe water Leslie Garis and haste children: Alex, Ben and ‘Kableen. The Kopis live in Connecticut MAURY YESTON (Composerityricist) won the Toay Award and two Drama Desk Awards for his music and lees for Nine, which won {he Tony Award for Best Musial, the sere for *Phantom, and be was ‘nominated fora Tony and two Drama Desk Awards for his music and [yeics for "Grand Hel. His composi cover a wie variety of styles angng from his incidesca musi to Caryl Churchill's off-Broadway hit (Cloud 9a fis Concerto fr Cellos nd Orchestra (premiered by Yo-Yo Ma) to hs soags forthe "Star Wary Christmas Album" "Goya... A Life in Song,” his most recent album, features Placido Domingo, Gloria Estefan, Dionne Warwick and the song “Till | Loved You," Barbra Steisand's most recent top-40 Planum achievement. His “December Songs” one of the fourteen compositions commissioned by ‘Carnegie Hall 1 celebrate its centennial aniversary, were premiered ‘here his spring, Educated at Yale and Cambridge, Mi. Yeston has had to music textbooks published by Yale Press and was for six years Director of Undergraduate Studies in Music at Yale. He teaches 0a coveasion at Yale and presides over the BMI Lohman Engel Musical ‘Theatre Workshop in New York. “Handled by Samuel French, ine. Consult our Basic Catalogue of Plays foc dale NINE The Musical Book by Arthur Kopit ‘Music and Lyrics by Maury Yeston Adaptation from the Halian by Mario Fratti (Based on Fellin’s “8 1/2") SAMUEL FRENCH, INC. SS WarmeSrsee EW YORK 1018 SiasSewerBocicas HOLLYWOOD W046 LONDON TORONTO Book Copia ®, 198 by Arthur Koi ainsi ee Eee Yow ee a, 98 ‘The of SS 182, 198, Cn atom the Vane © 9 Boe cia Ven Be, ois Bre ® BE 48 si “i land cea, 1904 “atid Song 195, 196 cla teh Mie, 192, 196, “Rot Sice Char, 92,3, ‘Only With Yous 1983, 158, “oa Yor 9, 98 “Ove Dele Bsn", 1982, 1982, “Sn, ce Vato nee ge 98, SUnu Wap 2 ots i Wate of Gu Cori Sst ‘Adin for be noi by Datbon Mis, In ‘rigs sera san 057 61570 Ate whngoarang ote roo f NINE mit male preg ‘ng te flows prt ‘i (©) Thesame of heton and tater hallin whch itis the protacon (2) Thenimam sag capacty of he tease or ba Sait tet pce, (The smb of pfomances 1 leaded to ge, andthe dtr (©) Theil ramterofprermanens ss tps and anout fray {dem aon Jour nt maa peomed Upon ret of he pals SAMUEL FRENCH, INC, wl quote the "Sock ply and malay quot on appbcion to Samuel French, oe. Faia hr app wR Roba he 57 Wet sTnSe New Yor, hs reat consti of Phan Yout Se (Rea PauoScor) es ae Py to Tce Ree) esd (Oho, gt Her) ‘en I rr, Pst, aa, Ato Seronhone) esd (ems Ep Crt a Carn) Ieee, Buinos, Claris me ‘ampt/Peolo Trapt 1 Fu ip, Koto cies Dm) vn aes, ols oe Manda (3 Boos) caret orgs eae Pi) 1 ot! oe ots pth radon ONLY on ef hey ‘stgraparnmanets hen ess nae cepa The epost Sue anton SAMUEL ERENCH INC fl etal Iie Tore potacton IMPORTANT ADVERTISING AND ‘BILLING REQUIREMENTS ‘The names of Arthue Kopit, Maury Yeston and Mario Fatt ‘nust recive bling in any and all advertising and publicly issued in connection with the licensing, leasing and renting of the show fr stock and amateur prodiction, This billing shall. appear in, but not be limited to all theatre progtanns, houseboards, billboards, advertisements (except ABC ads), marquees, displays, posters, throwaway, circulars a. ounements, and whenever ‘and’ wherever the te of the show appears and said billing must be on a separate line following the tile of the show. In ssid billing the names oF Arthur Kopit and Maury Yeston muse be equal in siz, ype land prominence and at least Fifty Per Cant (50%) of the Size ofthe tile type, andthe name of Mao Frati must bem sizeof type no les than 75% the sizeof typeof the names of Measrs. Kopit and Yeston. No credits may be larger than those credits afforded the Authors and Composers of the show except the tile znd che names of the stare appeating -above the title. The billing must appear fa the following forme (Name of Producer) resents NINE Book by ARTHUR ROPIT Music and Lyrics by MAURY YESTON Adaptation from the Italian by Mario Frat Roadway production ditecied by Tommy Tune Origina! Cast Afbum on Columbia Records and Tepes [NINE opened at the 46th Street Theat, New York City, on May 9, 1982.1 wag prodaced by Michel Stare, Harvey J, Klar, Roger. ‘Bernd, James/M, Nederlander, ranging Lata anderen, Temescal a dee oy “Tommy Tune; the scenery was designed by Lawrence Miler, astumes by Wiliam Ivey Long, and the Ighing 67 Marca Madeira, The east way ar follows Gumpo Comme ees eecseeeeeseeeeee Raul Julla CGuubo ar aN EARLY Act SI Camefon Johann ihe ‘soca sateen ts ‘engees stoke “sigan bier cee Sede msi “aa Sage ee eae Se eta Sau ia inc N x Christopher Evans Allen ‘An infil staged reading of NINE was held at the Com: poser/Librettist Conference at the Eugene O'Neill Memorial ‘Theatre Center, CAST OF CHARACTERS. GUIDO CONTINI- the film director. GUIDO AT AN EARLY AGE (Lille Guido), LUISA CONTINI-Guido' wife ‘CARLA ALBANESE--Giido's mistress, CLAUDIA NARDI~ the actress, Guldo's former protege. GUIDO'S MOTHER. LILIANE. LA. FLEUR—Guido's producer. (MAURICE LA. FLEUR if played by a man.) LINA DARLING=La Fleurs mysterious accomplice, (LEO DARLING if played by a man.) ‘STEPHANIE NECROPHORUS a critic. (STEFAN NECRO- PHORUS if played by a man.) ‘OUR LADY OF THE SPA MAMA MADDELENA chief of chambermaids, SARRAGHINA~a voluptuous whore. ‘THE ITALIANS DIANA MARIA FRANCESCA ~ (FRANCESCO if played by man.) ANNABELLA GIULIETTA—(GIULIO if played ty a man.) RENATA~ (RENATO if played by @ man.) A VENETIAN GONDOLIER— (may be played by a man ot ‘woman, ‘THE GERMANS OLGA VON STURM—(OTTO VON STURM if played by & man) HEIDI VON STURM. ILSA VON HESSE GRETCHEN VON KRUPF (HANS VON KRUPF if played by aman) LITTLE GUIDO'S THREE SCHOOLMATES (Boys) [AINUS--(NOTE: This character appears oninthe eros-overson p. 40 and 43 and inthe scolding sene on p. 7. She should not be ‘Confused with SARRAGHINA, who fs dressed as anu from bet fist entrance on p, IS unt she discards her habit on p44, and who feappears in the ru costume on p. 67) MUSICAL NUMBERS actr OVERTURE a Compan ‘SPA MUSIC en NOT SINCE CHAPLIN GUIDOS SONG : segs Guido 19 Copa DIGUTDO . Company 21 ‘THE GERMANS AT'THE SPA... Mama Maddelena, Tealian, Germans. 22 MY HUSBAND MAKES MOVIES... Scisa 27 ACALL FROM THE VATICAN “carla 28 ONLY WITH YOU... sss oeeo-- ‘Guido 31 FOLIES BERGERES ....... La Fie, Neetophorus and ‘Company 35 NINE s+ -cc2s0:00122-+Guldo's Mother and Company 41 TIVOGLIO BENE/HE ITALIAN ......--..Sarraghina, Boys and Company 45 ‘THE BELLS OF ST. SEBASTIAN ‘Guido, Boys ‘and Company 47 AcT TWO A MAN LIKE YOU/UNUSUAL WAY/DUET. ....Claudia ‘and Gul ‘THEGRANDCANAL.... Guido and Company 33, (CONTIN SUBMITS/THE GRAND CANAL/ ‘TARANTELLA/ EVERY GIRL IN VENICE/MARCIA DI RAGAZZI/ RECITATIVO/ AMOR/RECITATIVO/ONLY YOU/FINALE SIMPLE, @ BEON YOUR OWN |.” 8 ICANT MAKE THIS MOVIE... “Guide 6 GETTING TALL Lite Guido 66 REPRISE: LONG AGO/NINE Guido. 67 ~Reaesecseen ian Me MD ME 15 16 isn 0 A 18a 188 SF 186 ‘MUSICAL NUMBERS~ COMPLETE LIST Overture After Overture Spa Music Not Since Chaplin Guid’s Song ‘The Germans atthe Sp La leurs Entrance Garden Scene Reporters Return ‘My Husband Makes Movies ‘Alter Movies ‘[Link] from the Vatican Western di Guido ‘The Bible Documentary aly With You ‘After Only with You Cleudia ‘The Critic The Sept Folie Bergeres ‘After Falis Gong di Guido Nine Samba di Guido # ‘Samba di Guido #2 ‘Chant di Guido Be Italian part 1 Be talian part 2 Be Italian part 3 Be Italian pat 4 ‘After Be Talis ‘The Bells of St. Sebastian Entvacte Beach Seene Man Like You Unusual Way CContini Submits/Grand Canal ‘Tarantella 1 Every Gil in Venice Marca di Ragazzi Curtain Musie n NINE 9 Recitative & Aria: Amor Guido Nervoso 1 (Grit and Mama ‘Guido Nervoso It Recitative & Cavatina: Only You B Minor Tarantella, ‘Tarantella I Grand Ctnal Finale ‘After Grand Canal Simple [Be On Your Own Luss Exit 1 Canvt Make This Movie Waltz from Nine Getting Tall Reprises Bows Exit Music ‘The alternate Grand Canal Sequence is labeled as follows: 18a 1B Grand Canal Sequence part 1 Grand Canal Sequence part 2 Parts ate also available forthe following numbers in alternate keys: o 1s 20 ‘My Husband Makes Movies (coupled with 6C Reporters’ Return) up a tone to B flat major~ piano and conductor scores avaiable, ‘[Link] from the Vatican—down a tone to B flat major Nine= down 2 major third (0 A flat major—condator score availa ‘The Bells of St. Sebastian—down a tone to G minor Be On Your Own—up a tone to E minor piano score available. Ground Plan (Performers “Home-Bases") Ramp Nine ACT ONE As the houselights do, a church bell ings nine cme. Lights up ona large whit-ted room: enormous windows inthe ‘ear. Around the room there are white-tied boxes. The ‘lace bears a resemblance oa sieambath in a sanitorium or 4 spa. The sensei conveved ofa dreansspace—~ perhaps one by Magritte or De Chirico. Siting on a bax ps. is GUIDO CONTIN, the renowned film director. Nearby is his wife LUISA. LUISA is talking to GUIDO, but GUIDO's mind is elsewhere Luisa. Guido, mi stai ascoltando? He was a teacher of mine from school, priest, T hadn't seen im in years. Anyway, he vas amazed to hear I was maried to you. He said, “What's it Ike being matried to Guido Contini?™ (A woman's sensuous laugh is heard from offstage. LUISA ‘Continues to talk, bu i Halon and softer, telling GUIDO ‘hat she'd like fo spend mare ime alone with hin, describing the dinner she's prepared for him, recalling the events of her day. The focus of our attention shits (othe woman about fo ‘enter GUIDO’ thoughts: CARLA.) Cana. (entering soucily, unnoticed by LUISA) Ob. Guido, Guido, “Guido! Just to think of him my heart cominela fare boompa-boompa~you should fee it. Guido e mio amore. Its true. And whats more, 1 know Guido e completamente in Ramorato dl met You sez, I know what Guido really needs. am ‘what Guldo realy needs. If only my husband would give me a divoree—then Guido could get is divorce, and we could get tmattied! (CARLA and LUISA continue to speak as GUIDO'S: MOTHER enters. CARLA wonders how LUISA can live witha ‘man who doesn't love her, then details her bland Ife itt her Iasband.) ‘Goino's Mors. I have never understood any of my son's films. Its true, Lever know what Guido is thitking. I never knew —even when he was a child 'Necnornons. (entering) Guido Contni isa charlatant To, see a film dtecied by Contint isto experience a world —n, nota 2 NINE world, a conceit out of touch with reality. I's no wonder to me that his fast three films have been flops. Oh, Lknow most of you think Guido Contial i a genius. A cantaloupe Is genius com- pared £0 Contini! (rom offstage, acl of hands is heard.) Ah, forgive me. [am not used to being 2 film producer. Lam ustd to being a etc. (NECROPHORUS beckons and LA FLEUR centers with a flows) ‘La Fcun. Bon soli! I have not always been an intelectual! (NOTE: From this point until GUIDO's interruption, entrances ‘and speeches overlap, slowly building 10 a eacophonous ‘rescendo.) (DIANA and MARIA enter together, as NECROPHORUS ‘continues t0 critique CONTINTS films in English and Greek: They lack coherence, they lack cohesiveness. What ‘kind oa world is Contini dealing wih?” LA FLEUR mean hile recalls in French, memories of the Folies Berges.) Duaxa. (upon entering, with a Brith accent) Guido told you what? (LINA/LEO DARLING entes, as DIANA and MARIA continue the dialogue below:) Liww/Lt0 Daauino. Guido! (LINA/LEO whispers in LA FLEUR's ear.) ‘La Futon, Quoi? (To she audionce:) Excusez-moi. Cete pet sonne vient toujours afembeter. (To LINA/LEO:) Crest pas vrai, Lixa/Ls0. Guido! Ta FisuR. Guido! Francesca Francesco, (entering, © LA FLEUR) Ma cherie (fon cher! (FRANCESCA/FRANCESCO continues talking as MAMA MADDELENA, ANNABELLA, GIULIETTA/GIULIO, nd RENATA/RENATO enter together, speoking the dialogue below. We are now seeing GUIDO's two prime rele: his wife and his imagination. As always, LUISA raver notices any of these other women because they are it GUIDO's mind.) NINE B Ws Guido that 1 really want to moet. Guido Conti makes the ‘most wonderful films. I've seem every film that Guido ever made. (FRANCESCA/FRANCESCO and LA FLEUR chat.) "Masia. (continued from above) Guido ha detto che Ia part © Dias, Guido? ‘Mania. Guido! DuaNa. But Guido gave the part to me. ‘Mania. No, Guido ha dato fa parte a me. Duasa. To you? Mania. A me! Duawa, Guido? ‘Mania. Guido se stesso! Duna. Well, 'm going to ask Guido. ‘Masta. Perche? Non ¢ necessato, Diana. Because Guido gave the part to me. ‘Mania. Manoa hai la parte signorina! Dua. do so have the part— Guido promised, ‘Manin. Quate promessa? Va chiedere a Guidot Duasa: Where is Guido? ‘Mania. Guido e casa mia Dina. Guido’ at your house? ‘Masia. E nel mio leto, Diawa. Guide's in your bed? (MARIA nods.) I thought he was in my bed. ‘Mania. Basia, la parte schifosa, Diawa, He showed you the script? ‘Mania. Si, naturalmente usa. What @ shit) (DIANA and MARIA look at one another and laugh. They chat.) ‘Maia MADDELENA. (as she enters) Guido Contin isa prince. He's crazy man, but hes a prince. And he's prince who loves everybody. At this moment, tes loving someone on the first floor, (Four GERMANS enler=OLGA/OTTO VON STURM, HEIDI VON STURM, ILSA VON HESSE, and GRETCHEN/ HANS VON KRUPF.) on the second floor, on the third floor, ‘on the fourth floor, inthe dining room, i the lobby, inthe base. ment, on the roof, onthe terrace, in the gardens, on the Stal ‘ease, inthe sauna. Such energy. Che uomo! ‘GIUUBTEA/ Givi & RENATA/RENATO. (25 they enter) Guido! Runara/Rawazo, (peering through a keyhole) Il Signor Con- line Gul al bagnil (RENATA/RENATO calls GIULIETTA/ “ NINE GIULIO, who has been staring into space, 10 come look through the keyhole.) ‘Giutuerta/G1uL0. (looking) What's tha? ‘Aswaseita. (ar she enters) Guido. Perche? Perch, signor? Perehe me ne rimuner cosi? Questa ela mia vital Guido! - Tn smiy dream, Guido ses me and smiles. He comes over, we're ina ‘crowd. He takes off my dress, no one seems to notice. Ile down ‘on a coffee table, and he has me there on the table. When it's ‘ver, he says, "Yes, I think you'll be wonderful in’ my new film’—and 1 become a sar. Could it happen? Perhaps. One rust never give up hope ‘Gunnans. (as Hey enter) Ein, ein en zwei dre. awe dtl. Ein, ein, cin 2¥el del. Guido! (CLAUDIA, OUR LADY OF THE SPA, ond A VENETIAN ‘GONDOLIER enter as the GERMANS continue simulta- neously.) 1c. Guido hast cin mand Oro, Guide's filmen sind das tiben zum loo loo. ausgezichnet mit vielen ‘Guido ist nein vandermensch. schonen Damen. Ach, die Gott, wenn Guido's mund auf brusten, iebeinen, dc kleinen| mein bras, meine beine, mein fussn das treiben zum laoloo. pope, mein Kline fusse. Heelige musik? Guido ist cin Heige musik! Guido is der fubrender Geist! mann auf meinem traumen. ‘spi. Guido hast augen das trelben zum fo0-foo, Got, wenn nur sein augen war auf meine nakte tad Genmaniseh led: Gott ‘wenn Guide spielen auf meine eine, meine grosse pope, Him: ‘mel! Guide ist der mann auf meinem auinen, Tusa, Guido hast hande das treiber zum coo'soo! Gott, wenn ‘nur zen hande paddling mein popo. In Hamburg, das existe fiche. Ach, Guido ahn meine Bein spielt, an tocine brust ‘Guida ist der mann auf meigem traumen. Ich liebe Guida! ‘Grereuen. Guido hast in HANS, Guido’ filmen sind popo das tefben zum prga! ausgezeicnet~ mit vielen Guido ist mein wundemenschSchonen Damen. Gott, die ‘Guido spielen auf meine grosse grossen brusten, die grossen brust, meine grosse um-tum! fun-tum das treiben zum Ab, foten rich! Zu elfen garga! Toten reich! Zu helfen mit mit ‘OvavOrn. (continued) Ah, (Fraulein) komm! Ein, en, ein swell (The GERMANS join i as CLAUDIA begins 0 sing NINE, 1s GUIDO's name, and as DIANA and MARIA continue with the Jollowine:) “Manta, Baciateml. (MARIA and DIANA kiss.) Diawa. Wait a minute, if Guido showed you the sri, that ‘means you got the part. Masia. Sic e vero! (MARIA pushes DIANA.) Diana: Come back here, you tart! (hy ah, 14 FLEUR brea wo, A NUN eters Ith inen andj women start calling and singing the name Gubio. peas * ‘QUIDO, sensing his contrat in jeopardy, rises lke a conductor and rakes to hs box wifi were a pd Indeed, he ven rates baton and brings the (en and) women fo sieee and attention. They st on ther respective boxer, GUIDO, baton in hand, begins co conduct them in an OVERTURE.) ‘Gutoo. One, two, thre, Four (The OVERTURE is sung.) Luisa. (ar the OVERTURE comes to an end) Guido, Ihave to tell you, this is just not my idea of a successful marriage (GUIDO conducts a chord.) ‘Guiwo. What? (chord) Lotsa. You fold me we were going to spend the evening far {ngiT don’ think you've heard a word I've said all night! (chor) ‘Guipo, Luisa, thar’s not tue, Ive heaed everything Youve sai. Everything. (chord) Lotsa. What miss most, think, is honesty. (chord) ‘Gutpo. Luisa, darling, believe me, I think you are the most honest woman I have ever met. (chord) Luss. (coldly) Thank you. Guido, how would you like # divorce? (chord) ‘Guibo. (is mind on his “orchesta”) What? (chord) Luisa. Because if you don't change your ways, Lam going to leave you! (That ges through. Huge chord.) ‘Guibo. (quieting te chord) Luisa, daring, listen, this isnot a ‘good moment in my life. ‘Luss, Nor in mine! (chord) Goro. AS it happens, at this moment J have a great many things on my mind. ‘Lots. (like ie) I can imagine. (chord) 16 NINE ‘Canta, (rising saucily and singing) AHHH... Guipo. (panicking) Down! Get down! Luisa (as CARLA gets down) Guido, are you paying atten- tion to me? ‘Guoo, Absolutely! La Fisux, Continil Are you trying to avoid me? Gupo. Absolutely not! La Furux. Teertainly hope not. (LA FLEUR's mysterious ac- ‘comple, LINA/LEO, points @ small gun at GUIDO, who ‘rales his arms in panic) ‘Guapo's Morutk. (sings) GUIDO! ‘Guipo. MamaY (LITTLE GUIDO enters on a run.) Guipo's Motuen. (looking af LITTLE GUIDO) Guido, where are you running (0? Guido . . (LETTLE GUIDO runs ver 10 her and hugs her. GUIDO hues hinself, his ees shut, smiling af the memory.) Guo. Mama, Mama, Mama— Luts (with alarm) Guido, are you alright? Guo. Of course I'm allright? Why do you always ask me that? Tam nota child! (NECROPHORUS lauphs mockingly.) fam a mature lalian film divector! (Orhers pick up the laugh.) ‘And as such, perfectly capable of conducting my own affairs! (ilencing them) Ssssh! (turning 0 LUISA) Luisa, listen, Uve fot an idea. Why don't we go away together? You know, Fomeplace quiet, where I can clear my mind. And live like ‘monk. (MUSIC, Venice begins 10 appear on the horizon. OUR LADY (OF THE SPA comes forward with an enticing, soothing sil.) (vn Lay of rite Spa. Here in Venice, at Fontane di Luna, Europe's most exclusive spa, rejuvenation awaits you ‘GUIDO. A spal That's where well go! Fontane di Lunat ‘Ouk Lapy oF raz Spa. At Fontane di Luna there are naters fed. by springs coming from somewhere deep, deep down~ springs of purity and health, springs renowned for their amazing Fstorative powers. ‘Guioo. I's what I need? ‘Our apy oF THE Sea. With these myserious waters we ‘caress and soothe— (Guiwo. (10 LUISA, trying 0 charm her’ 1 can lien a wb! Up to herel And only you will know who Tam. NINE 7 ‘Our Laby or mu Sra. Emerging from your tub, you wll find us waiting to embrace you with soft, warm linen towels. (GUIDO begs LUISA with his eve.) ‘Lotsa. All raht. But it’ the lst chance Pm giving you. Gono. Tes all Taskt AIT need! (MUSIC. Venice becomes clearer. We are at the spa.) ‘Our Lapy oF tas Sea, The spa was bull in 1443 by Michel. ‘ozzo ashe summer residence ofthe notorious Pope Innocent I, better known to history a1 Bastard. The miraculous mineral foustain around which the palazzo was constructed fs over here inthe garden. Tuts. It looks abit like a convent school I once went to. ‘Gewo. I looks lke my old parochial school. (GUIDO stats 10 hide his face with his scarf.) Luisa. Guido, what are you doing? ‘Guise. Making sure no one recognizes me, A Tot of famous ‘people come to this place, you know. Lua. Guido— Guio, What? Luis. 1 you don't want to be recognized, why don't we goto spa that’s Tess well-known? Guo. Because if I do that, people wil get the idea that rm hiding? "Aaanicaw Ravoxtex, Guarda! Its Guido Continit ‘Guivo. Oh my Goal Guio # Lois. (together) Reporters! (LITTLE GUIDO runs off.) ‘Giuuerza/Gruu0. Guido Contin Rexata/ Renato, Guido Contalt Reronzens & Sen PuopLe, Guido Contin’ is here at the spal (sina) NOT SINCE CHARLIE CHAPLIN HAS THERE EVER BEEN FILM DIRECTOR LIKE THIS— GUIDO CONTIN! Guivo, This fs not what I wanted [Reronzens « Sta Proris. EVERYTHING HE DOES GETS WORLD ATTENTION WHETHER IT's A HIT OR A MISS~GUIDO CONTINI! Guo. (to LUISA) Thete’s something I forgot (0 tell you. Burns Reporree. What're you doing here, Guido? ‘Ausnican Reroxrea. [sit true your next projects in trouble? Gersua Reronten, We understand your producers suing ‘you for breach of contract! 18 NINE ‘Guo, Please! One ata time! No one’s suing me! And what rakes anyone think my next project sin trouble? Rerourens a Sea Prorts. ing) HE WRITES THE SCRIPT! ‘Guo. Its going to be wonderfull Reronrens « SPA PEOr HE WRITES THE SCORE! Goio. Make a lot of money! Reponvers « Sra Peoris. HE'S THE DIRECTOR! Guapo. Win a fot of prizes! Raronvens « Sra ProPis. AND EVEN MORE HE'S A CONSUMMATE ACTOR! Goro, Thank you, that's very kind of you Luisa, (daly) What next project? Goro, as going £0 tell you this evening, ‘Aueteak Resontex. So whats your new flim about, Guido? Guiwo. . do not discuss «surge until Fe finished writing it! Gexnaw Reronren. Your producer claims you haven't even started it ‘Guo. That's ridiculous! Where ip she/he? (Geno ReroteR. In Paris. (AMERICAN ReronTER. Trying to find you. ‘Basnst ReroxeR, Does your wife know you're traveling with this woman? (gestures (oward LUISA) ‘Guibo. This is my wife Canta, (sines) GUIDO... ‘Gutno, Carla! My God! What're you doing here in Venice? (He sneaks aivay Jrone LUISA and pulls CARLA aside.) Canta. Ld fo see you right ava. Pn staying a the Albere0 (Caldo, numero cinque-

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