FERRARI
SUPER: 1957
1 EXT. FARMHOUSE. CASTELVETRO. MORNING 1
Dawn over the Emilia. Still air... the flutter of ducks
rising off water. No sun as yet, just a bleak blue light,
streaking the East. A long way away the howl of a steam train
heading out across the flat Emilian plain towards Modena.
2 INT. LINA'S BEDROOM. CASTELVETRO. MORNING. 2
ENZO FERRARI wakes. He's in his 50s. In the distance he hears
the Naples/Milan Sleeper clatter over the points at
Castelfranco... He looks at his watch. Beside him is LINA
LARDI. She's 15 years younger with auburn hair. She stirs. He
untangles their limbs and slides out, letting her sleep.
3 INT. THE HALLWAY. CASTELVETRO. MORNING. 3
Dressed, he creeps past the boy's room. Its door open, his
son, PIERO LARDI, is asleep. He steps in, sits on the side of
the bed.
FERRARI tucks in the covers around him, like a cocoon. He
brushes aside his hair and kisses his forehead. Walls have
news paper clippings, as many bicycle racing as motor sports.
Then FERRARI is down the stairs. At the bottom he puts on his
shoes.
4 EXT. FARMHOUSE. CASTELVETRO. MORNING. 4
He opens the door of his old Peugeot 403.
He disengages the handbrake and shoves the car, so it will
freewheel down the incline towards the farm gates. So as not
to wake the family with its starting. He slips aboard.
5 INT. THE PEUGEOT. MORNING. 5
FERRARI draws the door shut. As he passes the gatepost, he
turns the car into the road. It gathers speed. Only now, he
flicks on the ignition, pulls out the choke, shifts from
neutral into second gear and releases the clutch, bumping the
engine into life.
2.
The revs climb. He slips into third.
A turn approaches. His right toe caresses the brake while his
right heel blips the throttle while his left touches the
clutch and he's shifted into neutral, revs the engine,
declutching again, upshifting into second -- all so fluidly
in a third of a second that it sounds like three ascending
notes on a scale.
He's a large man, adroitly driving the old Peugeot with the
skill of the racer he once was and still is.
He accelerates down the straight road ahead to town.
Meanwhile--
6 INT. PLATFORM. MODENA STATION. THE NIGHT TRAIN. MORNING. 6
It shudders to a stop. An opera company disembarks. The
SINGERS clutch their fur collared coats and hats against the
morning cold. The ORCHESTRA carry their instruments.
From the next carriage -- an overnight bag drops onto the
platform. From the bag hangs a pair of racing goggles. A man
dismounts: squat, wide-shouldered. He picks up the bag. He is
race car driver JEAN BEHRA.
The GUARD blows his whistle. There is a hiss of superheated
steam, a roar from the engine. From the last carriage a
second, younger man steps onto the platform. He too carries a
small bag from which hang two pairs of racing goggles.
Unshaven and wild-looking in a leather jacket and jeans, he
resembles Marlon Brando in THE WILD ONE. He is Alfonso Cabeza
de Vaca y Leighton, Marquis de Portago... better known as FON
DE PORTAGO.
He begins to walk up the platform following the others.
7 INT. FERRARI'S HOUSE IN MODENA, FERRARI BEDROOM. MORNING. 7
The phone rings by a bed. It has not been slept in. It is
Ferrari's. The door to the room opens. A sleepy woman of
about forty-seven with steely eyes and a wiry lissome body
picks it up. This is LAURA FERRARI. She is Ferrari's wife.
LAURA
Yes?
8 INT. STATION OFFICE. MODENA. MORNING. 8
The PORTER, as if a spy conveying an important secret --
3.
PORTER
Please inform Signor Ferrari that
Jean Behra has just arrived on the
overnight from Milan.
He bows to the telephone.
PORTER (CONT'D)
Thank you, most excellent and
gracious Signora.
9 INT. FERRARI'S HOUSE IN MODENA, BEDROOM. MORNING. 9
LAURA stares down at Enzo's empty bed, hangs up.
The phone rings again. She picks it up. This time it is
Ferrari's chief engineer, CARLO CHITI.
CHITI (V.O.)
Laura? It's Chiti. Is he there?
LAURA
He's taking a shower.
CHITI (V.O.)
Give him a message, please -- Jean
Behra is in town.
10 EXT. FORECOURT. MODENA STATION. MORNING. 10
The mysteriously important BEHRA stands by the curb. A
Maserati convertible pulls up. He stamps out his cigarette.
OMER ORSI - one of Maserati's owners - greets him with a
handshake and he piles in --
As they drive off the last of the OPERA COMPANY board an
upright old coach.
TENOR
(bitterly)
You will notice that -- for stars
of the racing world -- there is a
heroes' welcome. For us, not even a
porter.
As the coach takes off, we're left with FON DE PORTAGO. There
is no taxi. The bells for 7 a.m. mass begin to ring.
4.
11 EXT. INTERSECTION. VITTORIO EMANUELE. MORNING. 11
DE PORTAGO enters and carries his bag down the middle of the
deserted Corso. A small Peugeot scoots past him and comes to
a halt at a red light. DE PORTAGO recognizes the driver.
FERRARI checks his watch. He's late.
DE PORTAGO
Signor Ferrari!
DE PORTAGO runs towards the car.
FERRARI glances at the approaching Spaniard.
DE PORTAGO (CONT'D)
May I present myself. I am Alfonso
de Portago.
The light turns to green. FERRARI accelerates away--
DE PORTAGO slows to a walk. One look has confirmed everything
he had heard about the man. He'd be a bastard to work for.
He starts across a deserted intersection towards the Corso
Vittoria Emanuelle.
12 EXT. THE PIAZZA GARIBALDI. MODENA. MORNING. 12
The church bells are still ringing. A FLOWER WOMAN puts out
her wares on the corner. A nearby news kiosk opens its
shutters. FERRARI arrives in front of his house in the old
Peugeot.
The bus from the station has pulled up in front of the Opera
House a few doors down. A SMALL WELCOMING COMMITTEE of
patrons and workers has assembled to greet them.
One of them is GIACOMO "MINO" CUOGHI. A short, dapper
attorney, a very bright and confident man, with a limp from
childhood polio. He's FERRARI'S school friend and business
counselor.
A cry goes up from the STAGEHANDS among the welcoming
committee.
STAGEHAND
Hey, it's Ferrari.
There is a spontaneous burst of applause, their backs to the
opera singers, which FERRARI acknowledges as he gets out of
the car.
5.
CUOGHI
(shouts)
Good morning, Enzo! Your friends
are back.
He indicates the OPERA SINGERS...
FERRARI
This time, I hope in tune.
TENOR
More in tune than your cars in
Monaco last week.
Laughter... FERRARI smiles at the retort. He crosses the
cobble-stoned inner apron.
CUOGHI
Enzo, we have to talk...
FERRARI
That bad?
CUOGHI
I will come by later.
FERRARI opens the door to his house, a large burgher's
mansion, built in the Northern Italian style.
13 INT. LAURA'S SUITE. FERRARI'S HOUSE. MORNING. 13
LAURA hears the front door slam and FERRARI's footsteps on
the stone stairs.
She sits on her bed. Frozen anger registers on her face. She
hears him pass her door. She gets up, crosses to the bureau,
pulls open a drawer. Inside is a pistol.
His door closes.
14 INT. FERRARI'S SUITE, LARGO GARIBALDI. MORNING. 14
The phone is ringing. FERRARI ignores it. He crosses to the
shower, turns it on, comes back into the room. He opens the
shutters, letting in the morning light and the sound of the
bells...
He picks up the phone. It is CARLO CHITI again.
6.
15 INT. CHITI'S DINING ROOM. MODENA. MORNING. 15
CHITI
Behra's in town. Anyone tell you?
The Orsi boys collected him at the
station. Did she tell you? The word
is he's going to challenge our
record.
16 INT. FERRARI'S SUITE. LAURA IN THE DOORWAY. MORNING. 16
LAURA stands there. She has the handgun at her side.
FERRARI
Is the 801 ready?
CHITI
There's the workers mass at nine.
After that.
FERRARI
I'll call Castellotti.
(hangs up, to Laura)
Behra's here.
FERRARI glances over his shoulder. He dials the long distance
operator. Behind him is LAURA and the handgun. He didn't see
it.
LAURA
Really? So many phone calls. I
thought Frank Sinatra came to town.
FERRARI asks the operator for the Medici Hotel, Florence.
LAURA (CONT'D) (CONT'D)
What do I tell them?
(singsong)
Excuse me, please. My husband isn't
here. He is out whoring. Grazie.
Buongiorno!
The hotel comes on the line.
FERRARI
Signor Castellotti, please.
LAURA
I don't give a damn who you screw,
Enzo, or how many. The rule is that
you have to be here before the maid
arrives with the morning coffee.
That was the agreement. Was it not?
6A.
FERRARI
Laura, please!
7.
LAURA's gestures include her had with the gun. She's
interrupted by the arrival of the maid.
ALDA
Buongiorno, Signora,
Commendatore...
ALDA pushes into the room carrying a tray with two espressos
on it. She skirts LAURA, pushes aside the gun and places the
tray on the table on which the phone rests.
At this moment CASTELLOTTI comes on the line.
FERRARI
Castellotti!
17 INT. A BEDROOM. THE MEDICI HOTEL. MORNING. 17
Castellotti is in bed with his girlfriend, CECILLIA MANZINI.
CASTELLOTTI
Enzo. Do you know what time it is?
18 INT. FERRARI'S SUITE. MORNING. 18
FERRARI
Can you be at the Modena Autodrome
by eleven? Bring your lucky gloves.
CASTELLOTTI
(confused)
What gloves?
FERRARI
The gloves that will beat Behra who
has come to steal from you our
record.
ALDA
Will that be all, Signora?
CASTELLOTTI
I'll be there.
LAURA
That will be all.
8.
LAURA raises the gun. ALDA exits.
FERRARI puts down the phone.
FERRARI
Laura, the car broke.
The gun FIRES. Laura moved it slightly right. FERRARI dodges
sideways.
19 EXT. PANORAMIC VIEW OF MODENA. 19
The bells of the Ghirlandia mask the sound of the shot.
20 INT. FERRARI HOUSE. FOYER. MORNING. 20
ALDA presents GIUSEPPE - Ferrari's older driver -- with a
glass of coffee.
ALDA
Buongiorno, Giuseppe.
GIUSEPPE
What's going on in there?
He takes his coffee. There is a second shot.
ALDA
Her gentleness, the Signora, is
trying to shoot Il Commendatore...
21 INT. FERRARI'S SUITE. MORNING. 21
Then, LAURA lowers the gun and exits.
FERRARI, a little shaken, regains his balance.
22 INT. FOYER. THE FERRARI HOUSE. MORNING. 22
LAURA makes her way to her suite, her robe swirling around
her. Giuseppe, staring up at her.
LAURA
Buongiorno, Giuseppe.
LAURA sweeps through the foyer. To Giuseppe --
LAURA (CONT'D)
I let him live--
8A.
FERRARI appears and shouts at her.
9.
FERRARI
That gun was given to you for your
protection.
ADALGISA FERRARI, Ferrari's ancient mother in black, appears
with her cane--
Before she disappears around the corner to the kitchen --
LAURA
And, talk to Cuoghi. You're going
broke--
She slams shut a door O.S.
FERRARI looks down at GIUSEPPE.
FERRARI
Yes, I heard about Behra.
ADALGISA
I knew it would come to this.
We SEE her now, a tough old woman with piercing eyes.
FERRARI
Mama.
ADALGISA
You give her a gun, she'll use it.
FERRARI
She carries the pay roll for the
factory around in that handbag.
ADALGISA
I'd rearm Germany before I gave to
that woman a gun.
FERRARI starts back to his room.
FERRARI
Giuseppe will take you and Laura to
the cemetery this morning.
ADALGISA continues as FERRARI leaves --
ADALGISA
And don't forget the Workers Mass.
Unless you want to pay high wages
next year --
As he turns towards his rooms --
10.
FERRARI
Be nice to Laura.
LAURA returns. She has a bunch of flowers in her hand.
ADALGISA
Good morning.
LAURA
No one was hurt, okay? So don't
make a fuss.
ADALGISA
What? What have I said?
23 INT. LAURA' S APARTMENT. FERRARI HOUSE. MORNING. 23
From the window LAURA watches FERRARI cross the square below
to the flower seller to buy a bouquet of yellow flowers.
She's torn between her norms, anger and concern for him.
25 EXT. MODENA. STREET. DAY. 25
A convoy of the Maserati transporter cars and vans rumbles
through the masonry streets. It is the Maserati Works team.
In the last car sit ADOLFO and OMER ORSI and BEHRA.
Reveal, now, FERRARI, who crosses the cobbled street
diagonally towards the Barber's, glancing after the convoy.
26 INT. BARBER'S. LARGO GARIBALDI. DAY. 26
As FERRARI enters there are greetings from several MEN
reading their newspapers.
BARBER
Morning, Commendatore...
He ushers FERRARI into the empty seat. MATTEO, turns the page
of his newspaper.
MATTEO
Did you see who was in that car? It
was Jean Behra.
FERRARI
Don't panic, Matteo. If they take
the record, we shall take it back.
11.
MATTEO's skeptical LAUGH. FERRARI looks through the mirror at
him.
FERRARI (CONT'D)
So, how did our football team do
yesterday, Matteo?
MATTEO
You know damn well. We lost.
FERRARI
One long catalogue of disaster,
it's been. How long since you took
over?
MATTEO looks up sharply.
MATTEO
And what about Le Mans? Jaguar one,
two and three. What's that?
FERRARI
(dismissive)
From my mistakes I learn, whereas
the mistakes you make, you repeat.
Week after week. When you play
Bologna, I hope you win.
Ferrari warms to his theme.
FERRARI (CONT'D)
(searches for a suitable
threat)
Otherwise, I may relocate my
factory to Bologna so my drivers
will not be dispirited by living in
a city whose football team dwells
in the perpetual twilight of
failure...
Laughter. FERRARI closes his eyes.
MATTEO
The Modena Football Club is the
pride of Emilia.
All the newspapers come down in protest. Matteo is defiant,
the object of everyone's scorn.
12.
24 EXT. THE CEMETERY. SAN CATALDO. DAY. 24
FERRARI walks with a bouquet of yellow flowers across the
central courtyard of the cemetery.
It is vast, enclosed on four sides by high walls. Built into
the walls are elaborate mausoleums containing drawers which
house the dust of Modena's families. It is monumental because
death is monumentally remembered in Modena.
54 INT. THE FERRARI MAUSOLEUM. DAY. 54
FERRARI pulls up a chair to face a photograph and the
engraved name "Alfredo Ferrari," who is buried in the wall.
Dino died two years ago from muscular dystrophy. FERRARI sets
in a vase in front of Dino's vault the yellow flowers--
FERRARI
Cuoghi wants to meet. That means
bad news--
He leans forward, conversational, confiding--
FERRARI (CONT'D)
Your mother missed on purpose. One
day she won't. Then I'll be in here
with you.
(pause)
Again, I'm hearing voices in my
sleep. My brother and father. I see
their faces, too. Also, now,
Campari and Borzacchini, my good
friends who died on the same day at
Monza twenty-four years ago this
week on that evil afternoon.
(pause)
Ghosts.
(pause)
There was a time I loved your
mother beyond reason..
(beat)
She was a different creature then
But so was I.
(beat)
And I see you, too. Every moment I
close my eyes. That face, your
face, I want to see.
FERRARI kisses his hand and touches Dino's picture and his
name.
13.
FERRARI (CONT'D)
Okay. I go to deal with today.
A24 EXT. STREET OUTSIDE THE CEMETERY. DAY. A24
FERRARI's getting into the Peugeot to drive away as the Fiat
sedan pulls in. He nods to Laura and Giuseppe.
LAURA ignores him and briskly exits into the cemetery.
Giuseppe shrugs. FERRARI leaves.
ADALGISA, slower-paced, extricates herself from the sedan,
helped by GIUSEPPE. As they walk slowly towards the entry--
ADALGISA
Did I tell you of my son, Alfredo,
Enzo's older brother?
GIUSEPPE
Many times Signora.
They walk for a few moments in silence.
ADALGISA
A tragedy, I lost him in the Great
War.
GIUSEPPE
Yes, Signora.
ADALGISA
Let me tell you...the wrong son
died.
GIUSEPPE slows to a stop. ADALGISA sails on.
A25 INT. THE FERRARI MAUSOLEUM. SAN CATALDO. DAY. A25
Now LAURA stands with her flowers in front of Dino's tomb.
The exhortation, which is to grace the roof, is traced in
charcoal -- "Ad majorem ultra vitam."
A small candle burns on the ground at LAURA'S feet. She
stands there, immobile, grieving, melting...then she places
her flowers in a separate vase adjacent to Enzo's.
Meanwhile--
27-31 OMITTED 27-31
14.
32 INT. PARROCCHIA SAN BIAGIO CHURCH. MODENA. DAY. 32
(MM ONLY: perhaps delay Ferrari's entry till just before
Communion begins with the start of the music)
FERRARI makes his way to the second or third row and slips in
beside LAURA. Next to her is ADALGISA, then CUOGHI and
RANCATI, a journalist, CHITI, Ferrari's Chief Engineer, and
TAVONI, his assistant sit to the east, one row in front of
FERRARI.
The High Mass for all the MECHANICS AND WORKERS of the racing
equipes of Modena is in full swing. The church is packed with
TRADES UNIONS and COMMUNIST PARTY OFFICIALS.
About three quarters through the ceremony the PRIEST at the
altar consecrates the Host with a Latin prayer and raises the
wafer above the altar with two hands. One ALTAR BOY chimes a
bell.
Then, the PRIEST lowers the Host to the altar and raises the
chalice of wine over his head with prayer and as the ALTAR
BOY rings a bell --
33 EXT. THE PITS. THE AUTODROME. MODENA. DAY. 33
The ROAR of the Maserati 250F engine as BEHRA revs it to
bring fluids up to the correct temperature.
With a great SHRIEK of rubber, Behra pilots the Maserati
single-seater out of the pits. The acceleration and the smoke
drifting from its tires demonstrate the power at Behra's
disposal.
ADOLFO and OMER ORSI, the men who own MASERATI, watch the
Maserati pull away. The impression they make is of opulence
in sleekness.
34 INT. PARROCCHIA SAN BIAGIO CHURCH. MODENA. DAY. 34
At the start of Communion the CHOIR launches into `Ave
Verum', but although they are at full bore the sound of the
Maserati can be picked up beyond the upper register: a series
of screaming howls.
FERRARI surreptitiously slides his stopwatch out of his
pocket. He adjusts it to zero. His stopwatch is almost a
physical appendage and is burnished with use. Further down
the benches, TAVONI and CHITI remove theirs...
14A.
35 EXT. THE AUTODROME. MODENA. DAY. 35
BEHRA begins to put the Maserati 250 through its paces. The
car is all curves and squat purpose. As the Ave Verum wells
up over the roar of its engine, it lends to the speeding car
an aura of exultation.
He tears by the pits, brakes and dinks through a little
chicane, accelerating towards a long left hander.
As it comes around this time, approaching the start/finish
line, the engine howl increases, a MECHANIC points a revolver
into the air.
15.
36 INT. PARROCCHIA SAN BIAGIO CHURCH. MODENA. DAY. 36
In the church the distant scream of the Maserati engine is
heard. Stopwatches appear from pockets.
And as the music rises at the end of Communion --
37 EXT. THE AUTODROME. MODENA. DAY. 37
-- BEHRA blurs past the start-line. And the gun is FIRED--
38 INT. PARROCCHIA SAN BIAGIO CHURCH. MODENA. DAY. 38
At least forty stopwatches START. Their ticking works its way
furiously into the Ave Verum.
FERRARI concentrates on his pocket watch, without any attempt
to pretend otherwise.
39 EXT. THE AUTODROME. MODENA. DAY. 39
The ORSIS, like hooded crows, stare at their watches.
BEHRA winds the 250 through the pasture racing at Turn #2.
-- BEHRA's eyes, behind the oil-spattered goggles, are devoid
of emotion. He measures his line for the corner--
Against exultant sacred music, he and the Maserati are a
picture of profane purpose, speed and noise.
BEHRA enters the turn like Nuvolari. He takes an early apex,
inducing the rear to drift out precisely so the 250 is aimed
towards the long back straight. As the rear wheels regain
full traction, he rockets forwards --
40 OMITTED 40
16.
41 OMITTED 41
42 INT. PARROCCHIA SAN BIAGIO CHURCH, MODENA. DAY. 42
The PRIEST addresses the crowded church--
PRIEST
If Jesus had lived today, and not
2,000 years ago, he would have been
born in a small town like Modena.
He would have been -- not a
carpenter -- but a craftsman in
metal. Like yourselves...
(beat)
So a God who understood, as a
carpenter, the perfection of the
adze, appreciates as an engineer,
the precision of your lathe, the
nature of metal. How it can be
forged, shaped and hammered by your
skills into an engine holding
inside it fire to make power to
speed us through the world.
(beat)
Which is why we give thanks to Him
today.
The PRIEST raises his hand to deliver the Final Blessing to
the congregation --
42A EXT. THE AUTODROME. MODENA. DAY. (WAS SC. 41) 42A
Out of Turn #4, Behra has red-lined the tachometer, rocketing
towards the finish line.
-- BEHRA flashes by the pits. ORSI fires the second gunshot.
The MASERATI TEAM stopwatches shut the time away. Fixed
forever. A new lap record that beats Ferrari's and--
42B INT. PARROCCHIA SAN BIAGO. MODENA. DAY 42B
-- the stopwatches in church declare the same.
[MM ONLY: B CAM see Chiti upset. Tavoni. But...]
-- FERRARI'S blank stare -- which we will come to recognize
often in defeat -- is what overtakes his face.
-- Meanwhile the PRIEST's hand crosses his chest.
16A.
PRIEST
In nominee Patris, et Fillii, et
Spiritus Sancti...
43 EXT. PIAZZA PARROCCHIA SAN BIAGIO. MODENA. DAY. 43
FERRARI and his CLOSEST AIDES surge out of the church into
the small cobblestone forecourt --
CHITI
-- one thirty two point seven.
TAVONI
I had one thirty two point nine.
ONLOOKER
Signor Ferrari, a Maserati --
17.
FERRARI
Only for the moment.
ONLOOKER
When do you propose to take it
back?
FERRARI
Right now.
A small group - FERRARI and his AIDES - moves off with
purpose.
44 EXT. THE AUTODROME. MODENA. DAY. 44
The Ferrari factory van is already in the pit area. Out of
its back rolls Ferrari's 801 Monoposto. Lower than the
Maserati and longer, it is a mean-looking machine.
Arriving behind it is a 1957 Cadillac, a cabin cruiser with
fins.
CASTELLOTTI slides out, carrying his goggles and gloves. He
escorts his beautiful girlfriend, CECILLIA. Together, they
make their way towards FERRARI.
In the pits, MECHANICS have the hood off the red 801 and are
fine-tuning the engine. Its twelve cylinders vibrate in the
morning air.
CHITI tweaks the accelerator cable.
Separating from FERRARI, CASTELLOTTI hoists himself into the
cockpit, REVS THE ENGINE, checks instruments. The ROAR and
sharp crack threaten to fracture cement--
FERRARI
Until the tires warm up, take it
easy, then put your foot down.
She'll do 1:30 if given a chance.
CASTELLOTTI nods cheerfully.
CASTELLOTTI
(impatient, SHOUTS)
Look after Cecillia will you?
FERRARI is distracted by this irrelevance but gives the woman
a quick glance.
CASTELLOTTI looks at BEHRA in the Maserati pits, and salutes
him. BEHRA nods back.
18.
CASTELLOTTI accelerates out of the pit.
CECILLIA gives CASTELLOTTI a half-hearted wave, but doubts if
he saw it. She turns to see FERRARI, his hands hunched in his
long coat, studying her.
FERRARI
Cecillia Manzini?
(she nods; he places her)
I knew your mother.
CECILLIA
Did you?
But she already knew that. She looks away. Silence between
them. Interrupted by --
DE PORTAGO (V.O.)
Signor Ferrari?
FERRARI's attention is taken by the scruffy DE PORTAGO in the
leather jacket with the formal demeanor--
DE PORTAGO
I am Alfonso de Portago.
FERRARI
We met on the Largo Garibaldi?
DE PORTAGO
Yes sir. I was seeking to introduce
myself --
FERRARI
The light, it turned green --
(shrugs)
You bought one of my cars last year
and won Tour de France.
DE PORTAGO
Yes. Now, I'm looking for a works
drive.
FERRARI
I don't need another driver,
Portago. But, if someone drops
out --
FERRARI's eyes go back to the track as the 801 approaches and
rips by with shattering sound. DE PORTAGO nods and steps
back. The interview he sought is at an end.
FERRARI clocks the 801 as it speeds past the line. CHITI
chalks a time on board -- 1.41.
19.
It is later --
A chill mood has overtaken the pit area. The sky has become
overcast. CASTELLOTTI roars past again -- and again FERRARI
clocks the time, but it is slow...
CHITI
How's he doing?
FERRARI
He's slow.
We follow CASTELLOTTI round the track, past the sheep, across
the airstrip, down towards the houses, a left-hander taking
him alongside the Via Emilia, and then another back towards
the front straight and the pits.
The 801 flashes by... Again the time is two seconds short.
This time, DE PORTAGO walks onto the track, across from
FERRARI. He stoops to scrape up fresh liquid with his
forefinger. Still hot. He has FERRARI's eye.
FERRARI (CONT'D)
Oil?
DE PORTAGO
Brake fluid.
Almost immediately we HEAR the SHRIEK of rubber, brakes
locking, more SHRIEKING. They look round.
At the far end of the field...
ON CASTELLOTTI'S face for the briefest moment of surprise. No
brakes.
PAST LEFT FRONT TIRE OF 801 skidding, tire turned left,
RACING towards a concrete barrier which protects the corner
of the chicane. Completely CARTWHEELING, it hurtles into the
only piece of concrete on that side of the track -- a World
War II bunker that's become a stand with seats and a railing.
With colossal force outlying parts break away: wings, wheels
flying in all directions. CASTELLOTTI catapulted into the
air.
None of this can be seen from the spectators' viewpoint, only
the smoke now rising beyond the curve. There is a moment's
silence. Then the ENTIRE PIT STAFF runs across the concrete
track and the field;÷ towards it, their leather boots
thudding on the hard surface.
Behind FERRARI and CECILLIA, a WWII ambulance with its wheezy
siren lurches into motion.
19A.
As it passes CECILLIA it stops long enough to pull her and
CHITI on board, then it accelerates up the track towards the
black smoke.
DE PORTAGO stands transfixed, looking at the smoke.
20.
FERRARI
De Portago?
DE PORTAGO turns to look at him.
FERRARI (CONT'D)
Call my office Monday.
Ferrari looks to his left - the departing Maserati m
44A-44B OMITTED 44A-44B
44C EXT. FARMHOUSE. CASTELVETRO. PRE-DAWN 44C
Quiet, light from one downstairs window. The Peugeot, parked.
44D INT. FARMHOUSE. KITCHEN. CASTELVETRO. 5AM. 44D
A single light on. FERRARI is half-dressed. He has the
Italian coffee pot apart and is looking for coffee.
LINA appears in the kitchen.
LINA
Here, let me.
FERRARI
I woke you --
LINA
I was up.
FERRARI
Did I wake the boy?
LINA shakes her head. The coffee has begun to DRIP through.
They stand, wait, a moment, then--
LINA
I knew you wouldn't be able to
sleep.
(at his look)
-- you haven't said a word.
FERRARI
What is there to say? Newspapers,
the radio, they say it all--
LINA
They do?
(beat)
(MORE)
21.
LINA (CONT'D)
Was he your friend, the young
Castellotti? Was it the car's
fault, his fault?
FERRARI turns to her--
LINA (CONT'D)
Will you miss him?
FERRARI
Does that bring the boy back? Why
do you push things like that?
LINA
Why do you think? Because I know
they matter to you.
FERRARI
To me? Twenty four years ago this
week I lost my friends. Borzacchini
and Campari, scraped like dead
animals across the concrete at
Monza in metal I made. And, I knew
then it was, Enzo, build a wall...
NOTE: either "scraped" + "metal I made" play here or in
Mausoleum, not both.
FERRARI sees the coffee's ready. He fills a cup for her, and
one for himself.
LINA
Or?
FERRARI
(shrugs)
Or, Enzo, go do something else.
They remain standing, sipping their coffee, side by side.
Then he covers her hand, which she wraps around his arm and
turns to look at her, now, pulling her close. She knows
turmoil goes on within him, behind the words. They weather it
together, standing there.
LINA
When you grieve for one, you grieve
for them all.
45 OMITTED 45
21A.
46 INT. DINING ROOM. LARGO GARIBALDI. DAY. 46
ADALGISA sits at the table, reading the morning newspapers.
ADALGISA
'Ferrari is an industrial Saturn
devouring his own children... First
Tornaco, now Castellotti...
22.
FERRARI, dressed for the day ahead, has entered with a tray
of coffee. She looks up with hostile eyes--
ADALGISA (CONT'D)
If you continue killing the
nation's heroes, we will have to go
to America and live among
foreigners.
FERRARI puts her coffee on the table.
FERRARI
I did not kill Castellotti.
ADALGISA
The papers blame you.
FERRARI
It wasn't me. If anyone... it was
his mother.
ADALGISA is taken aback.
FERRARI (CONT'D)
It's true. He was engaged to
Cecillia Manzini. His mother wanted
him to marry a woman with more
class. As a result of the weight
she put on his shoulders, he became
distracted. He lost his
concentration, crashed and died.
ADALGISA looks out the window to the sky.
ADALGISA
He blames the mother!
FERRARI
What I am saying is, when a mother
interferes in this business, death
usually follows.
Satisfied that he's sufficiently wound up his mother, FERRARI
turns to go.
47 OMITTED 47
22A.
48 INT/EXT. LAURA'S APARTMENT. LARGO GARIBALDI HOUSE. MORNING.
48
LAURA
Call the bank. Cancel Castellotti's
salary.
23.
LAURA's talking to CARLO, her accountant. She watches Ferrari
in the square.
LAURA (CONT'D)
Call Chiti. I need a report on the
car for the Insurers.
She crosses into her adjoining office, a dark room dominated
by a picture of Dino with a black shroud over the frame. A
tenor voice, practicing, floats in the air from the opera
house next door.
LAURA (CONT'D)
And call the lawyers... These
journos have gone too far in their
headlines, attacking the
Commendatore.
CARLO
Yes, Signora.
Carlo exits.
49 OMITTED 49
50-53 OMITTED 50-53
55 INT. THE MODENA RAILWAY STATION. CASTELLOTTI'S CASKET. DAY.
55
It's draped in black.
It's at the front of a funeral cortege. Following the casket
is Castellotti's mother, a dignified older woman with a
silver topped cane, supported by her aristocratic family.
The distant view of the cortege is the PERSPECTIVE of--
FERRARI -- here after all. Hidden by steel pillars and
luggage trolleys near the station bar, separated by three
platforms from the cortege. He's there ti make his own
farewell to Castellotti.
CASTELLOTTI'S casket is preceded by a slow-marching BAND.
CASTELLOTTI'S CORTEGE is not a proletarian affair. He was a
child of the glittering Roman aristocracy. Mourners are in
black silk, leather, extravagantly coiffured. All quite alien
to the stolid burghers of Modena watching it proceed.
24.
Now, FERRARI sees CECILLIA in a black dress and long veil.
She's at the end of the cortege, devastated by grief -- but
her sensuality undeniable in black.
A WELL-DRESSED MAN -- turns back from the CASTELLOTTI FAMILY
and makes a small, discreet gesture to CECILLIA to stop.
FERRARI's POV: CECILLIA AND WELL-DRESSED MAN
The MAN intercepts her. We're some distance away, so their
exchange isn't entirely clear. Its meaning is. With great
charm --
WELL-DRESSED MAN
The Castellotti Family think it
best that you don't make the
journey to Rome...
As if she'd been struck --
CECILLIA
Scusi?
WELL-DRESSED MAN
Don't you agree?
She stares at him. Then, surprised at herself, she nods yes.
The victim of a thousand years of class subordination.
WELL-DRESSED MAN (CONT'D)
There is also the matter of several
pieces of...
NOISES of the train preparing to leave now prevent our
hearing all the words...
Ferrari watches. The pantomime is clear: CECILLIA removes a
gold watch/bracelet from her wrist, a necklace, a pendant...
hands them to him. After which he touches his hand to the
brim of his hat, turns and joins the others on the train.
CECILLIA is frozen, motionless -- until she senses someone
watching.
CECILLIA'S POV: FERRARI
He is across the tracks, motionless.
CECILLIA
Her gaze rests on him a moment. Then she turns, walks back
through the STEAM of the departing Funeral Train... out of
the station.
25.
55A OMITTED 55A
56 INT. HOTEL ROYALE. CORRIDOR ON FERRARI. EVENING 56
He finds the right room number, KNOCKS. A moment.
CECILLIA'S VOICE
Who is it?
FERRARI
Ferrari.
A moment. The door opens. Blonde CECILLIA still wears the
veil, but pushed back. She looks briefly to find his eyes,
then away.
CECILLIA
Come in.
57 INT. HOTEL ROOM. CECILLIA'S ROOM. EVENING 57
Her raw grief replaced by anger, CECILLIA is both edgy and
without navigation...no plans for tomorrow or the years to
come.
CECILLIA
Would you like some wine?
Doesn't wait for an answer; pours two glasses. We HEAR the
RATTLE of early air-conditioning. Abruptly--
CECILLIA (CONT'D)
You were at the station.
FERRARI
To see him off.
CECILLIA
Why were you not with the cortege?
FERRARI
I don't like ceremonies.
CECILLIA
Maybe you don't grieve--
FERRARI
Maybe you don't know anything about
me.
She drinks half her wine--
26.
CECILLIA
They took the jewelry. Did you see?
A ring, a bracelet, even a little
enamel pendant cost 20 lire he gave
me.
FERRARI
...Why did you give it back?
CECILLIA
They are who they are.
FERRARI
Do they have the right?
CECILLIA
How would I know? His family goes
back to ancient Rome!
FERRARI
Yes. And they're all a tight-assed
bunch.
Her first smile. She raises her glass. He raises his.
FERRARI (CONT'D)
Here's to Castellotti.
CECILLIA
A pain in the ass, but I loved him.
We had so much fun.
They drink, she looks away. For all her toughness, she seems
lost within.
He spots the half-packed case on the bed.
FERRARI
Where are you going?
CECILLIA
I can't pay the hotel bill.
FERRARI
What will you do?
CECILLIA
I don't know.
FERRARI
In our eyes you were married to
him, so you're due what we extend
to next of kin. And we'll help you
into something.
(MORE)
26A.
FERRARI (CONT'D)
In the meantime have them send to
us the hotel bill.
CECILLIA is unprepared for his generosity. After a pause--
27.
CECILLIA
Newspapers say I distracted him, I
killed him--
FERRARI
They say I killed him too. But we
both know who's responsible.
CECILLIA
His mother?
FERRARI
Of course.
She smiles, then the bittersweet tears begin.
He kisses her paternally, turns away to leave.
FERRARI - leaving - feels her touch on his shoulder. He turns
back. She folds into his arms. She doesn't want to be alone.
CECILLIA
(low)
I don't want to be alone.
His hand reaches for the zipper on the back of her long black
dress--
58 OMITTED 58
59 EXT. FACTORY GATES. MARANELLO. DAY. 59
Rain pours down.
The gates of the factory swing open. There is a low roll of
thunder split by the shriek of a downshifting V12. A mud
plastered sports car roars in with its top down and temporary
plates.
The rain-drenched gatekeeper keeps open the gates for the
humble Peugeot. It bowls in and comes to a halt.
FERRARI gets out of the Peugeot. GIUSEPPE runs over with a
large umbrella. FERRARI accosts the driver of the sports car
who greets him cheerfully.
TEST DRIVER
Commendatore.
28.
60 INT. THE RECEPTION AREA. FACTORY. DAY. 60
KING HUSSEIN is inside the reception room located outside the
gate, waiting to be admitted. He drinks an espresso, comes to
the window, looks out--
HUSSEIN
Isn't that Ferrari?
He takes a closer look at the car.
HUSSEIN (CONT'D)
Isn't that my new car?
61 EXT. FRONT YARD. FACTORY. DAY. 61
FERRARI leans into the DRIVER, half-drowned behind the wheel.
FERRARI
Why is the damn top down?
TEST DRIVER
I didn't want to get it wet.
The rain is pouring down, monsoon-style.
FERRARI
It belongs to King Hussein. Get it
inside! Make sure the cockpit's dry
before you hand it over --
TEST DRIVER
(cheerfully)
Yes, sir, Commendatore.
The car accelerates away, heading for the Finishing Shop.
The King sticks his head out of the gatehouse.
HUSSEIN
Ferrari!!
FERRARI holds his hands out in
greetings/supplication/apology, interpret them as you may.
TAVONI holds open the door to the office block. He follows
FERRARI inside.
62 INT. OFFICE BLOCK. FACTORY. DAY. 62
As FERRARI enters --
29.
FERRARI
Stall the King and tell them to get
a move on in the shop.
(beat)
Cuoghi, is he inside?
63 OMITTED 63
64 INT. FERRARI'S OFFICE. DAY. 64
FERRARI enters; CUOGHI rises. He's snappy, dapper and short.
He and Ferrari have been friends since school.
The room is starkly functional with no hint of paperwork. The
huge desk is bare except for a photograph of Dino and a vase
of fresh flowers.
FERRARI
(nods)
So?
CUOGHI
You're going broke. Laura's right.
FERRARI
How?
CUOGHI
"How?" You spend more than you
make. That's how.
FERRARI
The production cars pay for the
racing.
CUOGHI
I could run Portugal on what you
spend on racing. How many
production cars did you make last
year?
FERRARI
One hundred forty, one hundred
fifty...
CUOGHI
Ninety eight.
FERRARI
One hundred, ninety eight.
30.
CUOGHI
No. Ninety. Eight.
FERRARI pauses.
FERRARI
So, what do I do?
CUOGHI
Find a partner.
FERRARI
I have a partner. My wife. She is
very mean with money.
CUOGHI
A real partner. Like Agnelli at
Fiat or Henry Ford, someone who has
capital to pump in.
FERRARI doesn't like the idea.
FERRARI
Impossible. With money they want
control. I must have total control.
CUOGHI
The right partner would help with
the production cars -- while you
remain the boss and do as you like
with the racing.
FERRARI
It sounds too simple.
CUOGHI
It is not simple. It is impossible.
Because you are too small to
negotiate those terms. You have to
increase production to four hundred
customer cars a year. Then, maybe,
you're attractive and can
negotiate.
FERRARI
How do we make, nevermind how do we
sell, four hundred customer cars a
year?
CUOGHI goes to the window.
31.
65 CUOGHI'S POV. THE YARD. FACTORY GATE. MARANELLO. DAY. 65
He sees HUSSEIN standing at the window of Reception, looking
determined.
CUOGHI (V.O.)
Jaguar took the first three places
at Le Mans. Now their order books
are full. You win on Sunday; you
sell on Monday.
FERRARI (V.O.)
Last year we won 5 out of 8 Grand
Prix. So--?
CUOGHI (V.O.)
Do customers buy single seat Grand
Prix cars or sports cars?
66 INT. FERRARI'S OFFICE. MARANELLO. DAY. 66
CUOGHI turns away from the window to FERRARI.
CUOGHI
They buy sports cars. Win the Mille
Miglia. Italy's sports car race.
You can sell as many as you can
build. You already have kings
waiting in line...
Meanwhile...
67 INT. OUTER OFFICE. MARANELLO. DAY. 67
DE PORTAGO enters. TOMMASO looks up at him. Marlon Brando in
a scruffy leather jacket. He hands him a card with regal
formality.
DE PORTAGO
I am Alfonso de Portago, I have an
appointment with Signor Ferrari.
Meanwhile...
68 INT. FERRARI'S OFFICE. FACTORY. MARANELLO. DAY. 68
FERRARI
Jaguar races to sell cars. I sell
cars only to be racing. We are
different organisms.
32.
CUOGHI
Survive or you are no organism.
FERRARI
I have a choice?
CUOGHI
(quietly)
Win the Mille Miglia, Enzo. Attract
real finance...
CUOGHI collects his gloves and hat.
CUOGHI (CONT'D)
The world's changing. Racing's on
television. Advertising. Sponsors.
That means more competitors....
which means more technology, more
development which means you need
money. Lots of it.
(beat)
You seize the future, Enzo. Or you
are out of business.
And CUOGHI is out the door before FERRARI replies--
69 INT. OUTER OFFICE. DAY. 69
CUOGHI crosses through.
DE PORTAGO (V.O.)
Signor Ferrari?
FERRARI, following Cuoghi, sees DE PORTAGO.
TOMMASO
(impressed)
This is Don Alfonso de Cabeza Vaca,
the 11th Marquis de Portago.
FERRARI
I know who it is. Cuoghi--
DE PORTAGO
(affronted)
Hey, Ferrari--
He follows FERRARI who's following CUOGHI.
33.
70 EXT. OFFICE BLOCK ALLEYWAY TO YARD. DAY. 70
Before FERRARI can ask--
CUOGHI
(turns...)
One more thing. How did Laura get
her hands on the freehold to the
plant?
FERRARI
The Nazis were about to arrest me.
I put it in her name along with
half the shares. We built it
together.
CUOGHI
Get it back. If you face up to
Agnelli or Ford, you have to hold
all the cards.
FERRARI
Easier said than done.
(Cuoghi continues down)
One more thing --
As they exit and enter the yard--
71 EXT. THE YARD. DAY. 71
HUSSEIN
Ferrari!
HUSSEIN and Two Aides enter from Reception across the yard.
FERRARI
Your majesty.
As they start across the yard, CUOGHI laughs, referring to
Ferrari's customer base of kings, and, getting into his car -
-
FERRARI (CONT'D)
(to Cuoghi)
If I'm in bad shape, what of
Maserati?
CUOGHI
Worse. I give them six months.
They've gone to the French for
finance. And they, too, will try to
prove themselves at the Mille
Miglia.
(MORE)
33A.
CUOGHI (CONT'D)
Everyone's eye will be on it. Only
one team will win. Make sure it's
you.
34.
He drives away, DE PORTAGO enters.
DE PORTAGO
Ferrari!
FERRARI
Your Highness --
DE PORTAGO
Which Highness?
FERRARI points at HUSSEIN.
FERRARI
That Highness.
(to de Portago)
You. Get out to the track.
FERRARI turns to HUSSEIN.
FERRARI (CONT'D)
Your majesty, come this way.
HUSSEIN
I hope you got my measurements
right. Last time my feet could
barely touch the pedals.
72 OMITTED> 72
73 OMITTED 73
74 EXT. APRON. AUTODROME TEST TRACK. LATER. DAY. 74
TAVONI and his MECHANICS are clocking DE PORTAGO driving laps
in an 801. FERRARI joins them. The rain has stopped but the
track is still wet.
DE PORTAGO in the red 801 single seater races past, TAVONI
thumbs his stopwatch, FERRARI looks at the lap time. The
result meets with an understated approval.
FERRARI
How long's he been going like this?
TAVONI
One warm up lap, then ever since.
34A.
DE PORTAGO brakes on the wet for a left hander, feels the car
understeer and plane to the right. He steers into it, regains
traction, turns in and is through the left turn.
35.
FERRARI from the far side of the track hears the engine
howling up through the gears. Nearer, he hears the click of a
camera. He turns --
-- a LITHE BLONDE, the film star LINDA CHRISTIAN, sits on the
hood of a two-seater, taking photos of the 801 through a long
lens.
Sensing that she's being watched, she gives FERRARI an
interrogative stare. He doesn't react. She carefully snaps
him and nods before returning to frame the fast approaching
DE PORTAGO.
FERRARI admires her boldness. The 801 roars past, feet from
them. In a swirl of mist and spray FERRARI looks at his
watch. To TAVONI--
FERRARI
He reminds me of Varzi.
TAVONI gives him a quick look. Varzi got through a lot of
cars.
The Ferrari comes in. DE PORTAGO gets out. He is given a
towel and wipes the rain from his neck and face.
FERRARI approaches--
DE PORTAGO
Well, how did I do?
FERRARI
You drive like Varzi...
DE PORTAGO
Does that mean I'm hired?
FERRARI
Your duties will include testing
and road racing.
DE PORTAGO
The Mille Miglia?
FERRARI nods.
FERRARI
You'll drive a works 250. Not the
most powerful car in the race, but
reliable and it goes like hell
round corners, so I will expect you
to be in the points.
DE PORTAGO nods. FERRARI moves closer--
36.
FERRARI (CONT'D)
Actresses--
He points at the LITHE BLONDE.
FERRARI (CONT'D)
I have admiration, but keep them
away from the paddock. They
distract photographers. I want
their attention on my cars. You
understand?
DE PORTAGO nods.
75 OMITTED 75
A76 INT. THE CAVALINO RESTAURANT. MARANELLO. A76
A crowd of factory workers, drivers and engineers mill around
the entrance. The confusion is made worse by a cluster of
kids with autograph books, waiting to pounce on their
favorite drivers. One is PIERO. FERRARI, DE PORTAGO and
TAVONI pull up and get out.
FERRARI catches sight of COLLINS talking to a mechanic.
FERRARI
Peter--
COLLINS waits, surrounded by kids, shouting "me, me, me" as
he signs autographs
FERRARI puts an arm roughly around COLLINS. His affection for
Collins is special. Collins spent many nights at Dino
Ferrari's bedside when he was failing. After Dino died,
Ferrari gave him Dino's house in Maranello.
COLLINS
Hi Fon--
FERRARI
(to Collins)
Look after our new driver. He's wet
and hungry.
PIERO
Papa.
FERRARI looks down at PIERO holding up his autograph book.
PIERO (CONT'D)
Get his autograph.
36A.
FERRARI
Whose? Collins?
PIERO
De Portago's.
FERRARI takes the book from his son. DE PORTAGO and COLLINS
have already disappeared into the restaurant.
He looks down but the small boy has vanished.
FERRARI works the crowded room. He is specific about to whom
he talks. With locals it's in Modenese dialect. We SEE the
more animated gestures.
Food is plentiful, bowls of pasta, huge trolleys of boiled
meats, Lambrusco foaming into sturdy tumblers, the early
cherries...
In the background COLLINS leads DE PORTAGO into a private
room.
76 OMITTED 76
77 INT. PRIVATE ROOM. CAVALINO RESTAURANT. DAY. 77
COLLINS, steering DE PORTAGO, introduces him around the table
of YOUNG MEN--
COLLINS
Fon, meet Mike Hawthorn, the future
World Champion. Olivier Gendebien,
the best sports car driver in the
world. Taruffi, the oldest. Chiti,
the best engineer but always
anxious. And Bizzarini, working on
a project we are not allowed to
discuss.
He turns to DE PORTAGO.
DE PORTAGO
Arrivaderci Maserati.
37.
They all laugh.
FERRARI enters and works the crowded room. He is quite
specific about to whom he talks. With locals it's in Modenese
dialect.
At which point a great trolley of boiled meats is brought
into the private room.
HAWTHORN (O.S.)
So, de Portago, why come to this
neck of the woods when everyone
knows the future of chassis
technology with rear engines is in
England?
Everybody protests.
FERRARI enters and takes his place at the side of the table.
He never sits at the head.
FERRARI has heard it all before, dismisses the English and
their mid-engined Coopers as 'Garagistes' and proclaims the
supremacy of the front-engined racing car.
FERRARI
The ox must pull the cart. What we
need is more power. You hear that,
Chiti?
DE PORTAGO, happy to be in the middle of this group of
raucous men, listens to every word.
78-81 OMITTED 78-81
82 EXT. FRONT OF CASTELVETRO FARM. LATE AFTERNOON. 82
FERRARI is confronted by the orchard in full bloom.
LINA clings to a ladder, snipping off the unwanted shoots.
Where she has been working, the grass is carpeted with
blossoms. FERRARI lifts her down from the ladder and kisses
her perfunctorily. Her free hand encircles his neck and she
takes off his dark glasses. He pulls her to him and rotates,
leaning his back against the tree trunk. He relaxes with the
relief of someone who has had to structure responses for far
too long.
She laughs.
FERRARI
What's so funny?
38.
LINA
I wondered when you'd be back.
FERRARI
How can I stay away? It's the
cherries.
FERRARI (CONT'D)
Where's Piero?
LINA
On his way home from school.
(beat)
He asked me yesterday.
FERRARI
What?
LINA
Am I Piero Lardi or Piero Ferrari?
They look at each other -- a shared distress. They enter the
house.
83 EXT. A ROAD. THE FARM. CASTEVETRO. LATE AFTERNOON. 83
PIERO on a green bicycle, up the driveway, sees the Peugeot
and jumps off the bike and races towards the house: Ferrari
must be here.
PIERO runs up the drive.
A84 INT. KITCHEN. THE FARM. CASTELVETRO. LATE AFTERNOON A84
LINA, in an apron with a towel, is making tortellini, she
hears the door. She enters the hallway. Piero runs by her
into the dining room.
84 INT. DINING ROOM. THE FARM CASTELVETRO. LATE AFTERNOON. 84
FERRARI is in his shirt and suspenders at the table, looking
over two blueprints of an engine. PIERO bursts in --
PIERO
Papa, have you got it?
FERRARI
(remembers)
The autograph. No, he hasn't had a
proper picture taken yet.
38A.
LINA
What autograph?
39.
PIERO
De Portago. From Spain.
FERRARI
(to Lina, over his
shoulder)
He's going to drive for me.
PIERO suddenly hugs FERRARI. Done impulsively, without self
consciousness.
We SEE FERRARI's surprise and pleasure... and something more
complicated.
FERRARI (CONT'D)
Why do you like him so much?
PIERO
He drives like Varsi. I'm going to
be a driver -- like you!
FERRARI
No, no, not like me. I only won two
races.
Back to his blueprints, FERRARI compares a sharp curve inside
an intake manifold with a new blueprint and draws a circle
around a shallower curve. Initials it. PIERO rests his chin
on his small fist.
FERRARI (CONT'D)
(initiates)
This is much better.
PIERO
Why?
FERRARI
Okay. Pretend you're inside this
engine. You are tiny, like an ant.
Right here. Look up. What do you
see?
PIERO
A big tunnel.
LINA returns with crockery and a salad bowl, but hesitates,
observing from the doorway.
FERRARI
Like a pipe, yes? Pretend water
races through. And, when it hits
the side?
39A.
PIERO
Some will splash sideways.
FERRARI
But if we make the curve more,
gentle, more slippery. Like water,
fuel and air will move faster.
(MORE)
40.
FERRARI (CONT'D)
And that is all an engine does:
moves fuel in, sparks it into
rapidly expanding gases, moves old
gases out, new fuel in. Faster it
can do that, the more power you can
make.
During the above LINA comes forward with the salad and
settings.
PIERO
(looking over the re-drawn
galleries)
It looks better.
FERRARI
(pleased by the insight)
In all life, when a thing works
better, usually it is more
beautiful to the eye.
PIERO picks up his backpack and heads upstairs:
LINA comes from behind and kisses the top of his head.
LINA
Will we have supper together?
FERRARI
I'll sit with you and Piero... I
have business.
LINA
Will you come back after?
FERRARI
It depends. I'll try.
LINA
Depends on what?
FERRARI
How the business with her goes.
That kind of answer turns her mood. She sets out the last
crockery noisily-- He gets up. She has to move around him
briskly.
LINA
I'm too easy.
FERRARI
What do you mean?
41.
LINA
Too modern. I should give you lots
of shit like a normal Italian
woman.
FERRARI
I prefer you like you are.
LINA
Oh, I'm sure you do.
(beat)
What I should become is the
mistress: "Oh, Enzo! I feel so bad.
Give me a fur coat and a diamond
bracelet..."
(unspoken "now")
(shouts upstairs)
Piero!
(to Enzo, curt)
Sit down.
(she laughs)
Don't worry, I don't plan to change
who I am.
FERRARI
(sits)
Thank you.
LINA
"Thank you?" For nothing. It's not
for you.
FERRARI
Do you know what is the hardest
part of my life with you?
LINA
Zero. There is none.
FERRARI
There is.
LINA
What?
FERRARI
Being away.
(beat)
While with me? What do the English
say? A piece of pie?
LINA
Cake, Enzo. And, you're not.
42.
85 INT. DINING ROOM. LARGO GARIBALDI. EVENING. 85
FERRARI opens a bottle of Lambrusco. LAURA at the far end of
the table is scanning the figures left by Cuoghi. She looks
different, a touch of makeup.
FERRARI pours the Lambrusco, foaming into his glass -- then
crosses to the other end of the table to pour a glass for
LAURA. It's done with the patience of long routine and with a
certain formality.
The maid, ALDA, ladles raviolini into two soup dishes, hands
them to FERRARI, who places one by LAURA and takes the other
to his end of the table.
Next door, the orchestra is rehearsing the overture to La
Traviata.
FERRARI
Thank you, Alda.
ALDA nods and leaves.
FERRARI (CONT'D)
I saw Cuoghi today. He says our
days are numbered unless we find a
partner.
LAURA looks up.
FERRARI (CONT'D)
One of the big companies, Fiat --
or Ford.
LAURA
You've never had a boss. You won't
like it.
FERRARI doesn't contest this.
FERRARI
In order to attract this partner he
says we have to expand. He's
talking about building four hundred
cars a year.
LAURA
And how do we sell 400 cars a year?
FERRARI
We have to win the Mille Miglia.
Then orders for sports cars will
follow.
43.
LAURA
This man knows contract law. What
does he know about motor racing?
The Mille Miglia. A thousand miles
across regular roads with sheep and
dogs. Anything can happen.
He looks at her, says nothing.
LAURA (CONT'D)
What else?
FERRARI
You should assign me control of
your stock in the company and the
freehold.
LAURA
Because Henry Ford won't deal with
a woman?
FERRARI
No. Because if it comes to a deal,
it will be hard and fast. I have to
have all the cards in my hand.
LAURA
Half the cards are in my hand.
FERRARI
What do I say? Mr. Ford we have a
deal, but, first it must wait until
I ask my wife for permission.
LAURA
Yes.
LAURA thinks further... eventually looks up.
LAURA (CONT'D)
Okay, so you can deal, I'll give
you power of attorney over my
stock.
FERRARI nods, relieved.
LAURA (CONT'D)
In return for half a million
dollars.
She goes back to the raviolini.
FERRARI
I don't have half a million!
44.
LAURA
You will if you make a deal.
It's FERRARI's turn to consider--
FERRARI
Okay, I will give you a cheque.
Post dated.
LAURA
Not post dated.
FERRARI
I will give you a cheque on
condition that you promise me you
will not cash it until and unless
the deal goes through.
LAURA is not too happy about this.
FERRARI (CONT'D)
Is that reasonable?
LAURA looks at him, still unsure.
He gets up from the table, comes down to her end.
FERRARI (CONT'D)
Is that reasonable? We need this.
She stands up. Face to face. Glaring. Inches from him.
Then, she smiles. The "la donna buffa" he met 30 years ago is
suddenly in the room.
LAURA
One other condition.
FERRARI
What?
LAURA
I want my gun back.
FERRARI laughs.
Their mouths meet in a passionate kiss. He grabs her and
lifts her onto the table. Her legs wrap around him. She claws
at his back. There's something primal, almost savage to the
two of them together.
45.
86 INT. LAURA'S APPARTMENT/BEDROOM. NIGHT. 86
Both of them are on the bed, half-clothed.
She's smoking. FERRARI, untrousered, looks for his glasses.
LAURA
Did you sign de Portago?
FERRARI
Yes.
LAURA
I'll draw up a contract.
FERRARI
And I need money for Cecillia
Manzini.
LAURA
How much?
FERRARI
Twenty-five thousand.
This brings LAURA up short. He finds his glasses. She looks
at him.
FERRARI (CONT'D)
She's broke -- her mother told me.
LAURA
Poor girl.
LAURA's eyes are blazing.
LAURA (CONT'D)
Her mother? Have you been screwing
her mother?
FERRARI
What? Are you crazy. I want 25,000
dollars, in cash!
LAURA
You've been screwing the mother and
the daughter!
FERRARI
We have obligations to that family!
LAURA
So sympathetic!
45A.
And it starts again...
46.
88 INT. FERRARI'S OFFICE. MARANELLO FACTORY. DAY. 88
FERRARI reads a newspaper.
TAVONI is going through a box file of journalists in
preparation for a forthcoming press conference, attaching
reporters' file cards to specific press clippings attacking
Ferrari, blaming him for Castellotti's death.
In contrast, FERRARI is distracted by...
FERRARI
He's dating Linda Christian.
TAVONI
Who is?
FERRARI
De Portago. That blonde who follows
him around. Tyrone Power left Rita
Hayworth for her. She left Tyrone
Power for De Portago.
FERRARI lays the newspaper down or shows it briefly to Tavoni
or none of those.
TAVONI
What are you reading, Commendatore?
FERRARI
'Rome Merry Go Round'.
TAVONI
Want me to talk to Fon?
FERRARI
How do you talk to him? He's got a
permanent erection. I don't know
how he manages to get around the
circuit without breaking it off.
(he looks up)
What's on the schedule after the
press conference?
TAVONI
(itemizing)
A photo call. Chiti's outside.
(he hands Enzo a dyno
report)
This evening is the opera.
FERRARI
Send in Chiti.
46A.
FERRARI looks up.
FERRARI (CONT'D)
I've got two words for you, Chiti.
More. Power.
47.
CHITI looks at TAVONI, who shakes his head.
Defeated, CHITI withdraws as...
TAVONI
Next year we will have the new
engine.
FERRARI
(snaps)
Next year? We need it next week in
Rouen.
TOMMASO
(enters; taps watch)
Commendatore -- the Press
Conference.
TAVONI
Here's who will be there.
TAVONI gestures towards the clipped articles now in front of
FERRARI.
FERRARI'S focus, now, looking forward to this...
TAVONI (CONT'D)
I will exclude Di Massimo and
Fusaro. They're the worst.
FERRARI
No, no. I want them there.
...for FERRARI's premeditated and undisclosed intention.
89 EXT. THE YARD. FERRARI FACTORY. DAY. 89
FERRARI enters from the office block as a red 315 MM (Mille
Miglia) race car, fresh from a test in the mountains, roars
into the yard. Grey-haired TARUFFI -- veteran of a thousand
races -- climbs out. He is known as The Fox.
FERRARI
So, what do you think?
TARUFFI frowns.
TARUFFI
There's no ashtray.
FERRARI
Are you a prima donna?
47A.
TARUFFI
You tried flicking ash out of a car
at two hundred kilometers an hour?
FERRARI
I'm offering you a brand new car,
which has the edge on the Maserati.
48.
TARUFFI
Bullshit. The Maserati is faster.
And it has an ashtray--
FERRARI
If I put in an ashtray, will you
drive it in the Mille Miglia?
TARUFFI nods.
FERRARI (CONT'D)
Good. And don't ask me for a
navigator. You know every
kilometer. You've raced it sixteen
times.
He's drowned out as two red 335 MM sports racers also thunder
into the yard, muddied after their morning run.
DE PORTAGO and COLLINS lever themselves out, exhilarated.
FERRARI (CONT'D)
Get all these cleaned up before the
photo-call.
FERRARI indicates DE PORTAGO's car.
FERRARI (CONT'D)
How'd she handle?
DE PORTAGO
Good.
FERRARI
This is not "how was lunch? Good?"
I want to know brake wear. I want
steering, suspension, gear ratios,
final drive. If it's to run in the
Mille Miglia, it's got to be one
hundred percent.
He moves on leaving DE PORTAGO hot and humiliated.
On the far side of the yard, a bunch of auto-journalists --
in a designated space -- see FERRARI approach and applaud. An
explosive mixture of enthusiasts and rumor mongers. FERRARI's
eye catches one of the worst offenders. He smiles --
FERRARI (CONT'D)
Di Massimo? I am not "an assassin"
DI MASSIMO
It was a figure of speech,
Commendatore.
49.
FERRARI
Out!
FERRARI didn't want them excluded in advance so that he could
eject them himself.
FERRARI (CONT'D)
Fusaro, you said I was Saturn
devouring his young children.
FUSARO
I was merely quoting the Vatican,
Commendatore.
FERRARI
You, too, out. And you, Moretti. A
'widowmaker'? For the record
Castellotti was not married. Okay?
Out!
The three men leave and the rest, visibly chastened, don't
want to be evicted. FERRARI's eyes pan along their ranks.
They flinch.
FERRARI (CONT'D)
When we win, I can't see my cars
for shots of starlets' asses. When
we lose, you're a lynch mob. It's
enough to make the Pope weep.
There is uproar. FERRARI has to shout.
FERRARI (CONT'D)
Pay attention. This is the line up
for the French Grand Prix at Rouen
and for the Mille Miglia the
following week.
90 INT. THE BANK. MODENA. DAY. 90
COSETTI
Twenty three, twenty four, twenty
five...
LAURA sits in the BANK MANAGER's office. The Bank Manager,
COSETTI, finishes counting the 50,000 dollars, in lire and
pushes it across to her.
COSETTI (CONT'D)
How do you want me to itemize this?
LAURA begins to stuff the wads of notes into her bag.
49A.
COSETTI has open one of four large Ferrari ledgers.
50.
LAURA
As a bequest to Signora Manzini to
buy a property.
He nods.
LAURA (CONT'D)
She will have the use of it, but
we'll retain the freehold.
COSETTI
The same arrangement as in
Castelvetro...
LAURA
Castelvetro?
COSETTI adopts a look of confusion.
LAURA (CONT'D)
We have a property in Castelfranco.
COSETTI
Yes, yes. I'm sorry -- I got the
towns confused --
LAURA starts to close her bag, but instead extends over his
desk and glances at an upside down entry in the ledger.
LAURA
I'll also need a banker's order,
for a new driver. His name is de
Portago.
COSETTI
How do you spell that?
LAURA
d .. e .... P ... o ... r ...
COSETTI leans forward and writes down the name. It had been a
narrow escape.
91 EXT. BANK. MODENA. DAY. 91
LAURA walks towards the Alfa. GIUSEPPE opens the door.
LAURA
Castelvetro.
GIUSEPPE nearly has a heart attack but recovers.
51.
GIUSEPPE
As her gentleness the Signora
commands...
92 EXT. THE YARD. PRESS CONFERENCE. FERRARI FACTORY. DAY. 92
FERRARI
Next. Let me introduce my Spring
Team for the Mille Miglia.
Journalists and photographers now at the five Ferraris
destined for the Mille Miglia. The drivers, COLLINS, VON
TRIPS, GENDEBIEN, TARUFFI and DE PORTAGO stand beside them.
FERRARI introduces DE PORTAGO proudly to the photographers.
FERRARI (CONT'D)
This is de Portago, Castellotti's
replacement. He drives like
Varzi...
JOURNALIST
(to de Portago)
Hey Fon, is it true about Linda
Christian? She's your girlfriend?
The subject diverting from his race cars, Ferrari's
expression turns dark.
93 EXT. CASTELVETRO. DAY. 93
The Fiat drives through the village and exits down a country
road.
93A INT. FIAT - ON LAURA 93A
She glances at the note in her hand.
93B INT. FIAT - OVER GIUSEPPE 93B
GIUSEPPE
Where to now?
LAURA
Keep going...
GIUSEPPE
As the Signora wishes...
51A.
Instinctively he speeds up past a driveway.
LAURA
Stop.
He does.
LAURA (CONT'D)
Go back.
GIUSEPPE begins to sweat. He reverses the car.
LAURA (CONT'D)
Turn right.
Giuseppe turns up the poplar-lined Lardi driveway.
52.
94 EXT. THE YARD. MARANELLO. DAY. 94
FERRARI
This is my old friend Taruffi, last
time he was second, this time he
will be first.
He puts his arm round TARUFFI for the cameras.
FERRARI now arm in arm with PETER COLLINS.
FERRARI (CONT'D)
Peter Collins... Future World
Champion.
FERRARI with his arm round VON TRIPS.
FERRARI (CONT'D)
Taffy Von Trips -- a tiger.
95 EXT. LARDI FARM. DRIVEWAY. DAY. 95
The Fiat drives uphill between the rows of poplar trees. It
feels boldly invasive.
LAURA
Stop.
She gets out.
What has attracted LAURA's attention is a green boys bike.
97 LAURA'S FLASHBACK. EXT. HILLSIDE ROAD. DAY. (*OPTIONAL*) 97
On a yellow bike, twelve year old DINO freewheels down the
road, his legs splayed wide off the pedals -- thrilled,
shouting.
A younger FERRARI in equally high spirits, follows.
Then, the bike starts to tip, but FERRARI swoops Dino off the
bike, rescuing him. DINO laughs. LAURA smiles. Charismatic.
She takes FERRARI's arm. The three of them...
96 EXT. THE YARD. MARANELLO. DAY. 96
Meanwhile, FERRARI has his arm round GENDEBIEN.
52A.
FERRARI
This is Olivier Gendebien, the
fastest driver of road cars in the
World. He will be driving ________.
53.
HEADS TURN towards the open gate. LINDA CHRISTIAN gets out of
an arriving taxi.
VOICES
Hey Linda! Signorina!
The attention of the PRESS deserts the Master and focuses on
her.
LINDA CHRISTIAN in dark glasses and matador pants smiles at
the PRESS but does not allow them to waylay her as she
enters.
FERRARI eyes DE PORTAGO with that blank impassive stab.
DE PORTAGO shrugs as if to say -- it's nothing to do with me.
PHOTOGRAPHER
Linda, a shot of you by the car.
VOICES
With your boyfriend. And Mr.
Ferrari.
98 EXT. THE FARM. CASTELVETRO. 98
LAURA stands alone in the driveway. She stares at the green
bike and the F500-F2 model racecar, rusty from use.
Her eyes rake over the white house: well-tended; no sign of a
car.
98A EXT. THE FARM. DRIVEWAY. CASTELVETRO 98A
Back at the gate, Laura gets out of her car, crosses to the
post box. She opens it, pulls out two letters. They are
addressed to a Signora Lardi.
54.
Laura puts the envelopes back. We see she's taken the rusty
toy car.
99 EXT. THE YARD. MARANELLO. DAY 99
FERRARI, LINDA CHRISTIAN and DE PORTAGO have been backed
against the 335. FERRARI in the middle. PHOTOGRAPHERS are
angling for shots--
PRESS VOICE 1
Hey Linda, this way; Linda, over
here.
PRESS VOICE 2
Mr. Ferrari can we have a smile?
FERRARI sees among them the sports journalist, RANCATI -- he
of the plastic features and the mime artist's face.
FERRARI
Rancati. A word, after--
DE PORTAGO'S arm goes round FERRARI. FERRARI'S arm goes round
LINDA'S bum. A flash of surprise lights her face but is
quickly suppressed for the cameras.
FERRARI firmly draws her hips towards him, revealing the
yellow shield with the black horse on the side of the car.
Keeping her body clear of the emblem, he beams for the
cameras.
100 OMITTED 100
101 EXT. THE YARD. MARANELLO. DAY. 101
RANCATI and FERRARI stand together. RANCATI ready to
interview Ferrari for The Automotive Magazine.
FERRARI
Rancati, there's something I want
you to do for me.
RANCATI
Commendatore, may I be frank with
you --
55.
FERRARI
Yes Gino.
RANCATI
My article that you agreed to do
two months ago "The idea of
Ferrari." Every time I see you, you
put me off with --
RANCATI (CONT'D)
"Before I answer that question,
Rancati, there's something I want
you to do for me."
(he becomes agitated)
When do we begin, Commendatore?
FERRARI eyes him speculatively.
FERRARI
Before I answer that question,
there's something I want you to do
for me.
(beat)
Write an article suggesting that
there have been rumors that I am
talking to Henry Ford II about the
future of the factory.
RANCATI absorbs the weight of this revelation.
FERRARI (CONT'D)
At the end say you asked me
bluntly, and that I categorically
denied it.
RANCATI
And are you categorically denying
it?
56.
FERRARI
Of course. Categorically, I deny
it.
RANCATI tries to figure out the ramifications of this.
RANCATI
If I write this article, will you
give me an exclusive on your
private life?
FERRARI
If you promise not to publish it--
RANCATI
For the time being--
FERRARI
Until I authorize it--
RANCATI
O.K. It's a deal.
FERRARI gets to his feet.
102 OMITTED 102
57.
103 INT. KITCHEN. THE FARM. CASTELVETRO. DAY 103
FERRARI - coming from Rancati - enters the kitchen with an
ease to him we never see anywhere else (he may pour a glass
of wine and...) he leans against the wall by the window
watching the day end over the fields as Lina is making
Piero's dinner.
PIERO is in the kitchen absorbed in the racing section of a
newspaper while...
FERRARI
(to Lina)
You're going tonight?
(We don't know to where he's referring.)
LINA is in a cotton robe over a bra and stockings. There's
still a chill --
While she serves Piero...
LINA
Yes. With my friends. The ones you
don't like.
She goes upstairs to finish dressing.
103A INT. BEDROOM. THE FARM. CASTELVETRO - DAY 103A
ON LINA. FERRARI enters.
FERRARI
He's quiet. I didn't get him de
Portago's autograph.
LINA
It's not about that.
FERRARI
What is it?
LINA
In two weeks he'll be confirmed. As
whom...? Piero Lardi?
LINA looks at FERRARI.
57A.
LINA (CONT'D)
We said, when he was ten, we would
sort this out. Then Dino got ill...
he's still Piero Lardi. I'm out of
excuses.
FERRARI
Postpone the confirmation.
LINA
His whole class is being confirmed.
FERRARI
Say he lost faith in God.
58.
LINA
Enzo.
(beat)
Who else knows about him?
FERRARI
Nobody. Apart from the Chief of
Police.
LINA
The doctor?
FERRARI
Well, yes, the doctor.
LINA
And Piero's teachers?
FERRARI
The teachers.
LINA
And Tavoni? Sergio?
FERRARI
Of course, Tavoni.
LINA
And the bank manager?
FERRARI
Yes, the bank manager.
LINA
Enzo --
FERRARI
(vehemently)
Apart from them. No one.
LINA
Enzo, this is Italy, yes?
(meaning)
All of Modena knows.
FERRARI
Except Laura.
(pause)
And that must stay as it is.
Especially for now.
She looks askance at him.
59.
FERRARI (CONT'D)
What? You're going to tell me,
"Enzo, don't be so conventionally
Italian, so bourgeois..."
LINA
Don't make me sound like a beatnik.
FERRARI
You read French books.
LINA
What happened with us in the
war...happened. As with many.
Sometimes I wish it didn't.
FERRARI
How can you say that?
LINA
Because if I was a woman like I am
now, not 12 years ago, I would not
have interfered in another woman's
marriage... Yes?
She's adamant. He's aware, again, of why he's with Lina.
LINA (CONT'D)
And now she's lost a child. But,
the present is what the present is.
(beat)
And, in our world, right here...
between me. And you. And Piero?
What is best for Piero? Who speaks
for him?
FERRARI torn, in a dilemma.
LINA (CONT'D)
You're his father.
FERRARI
How do I reconcile this?
LINA
I don't know, but that makes it no
less important.
104 INT. OPERA HOUSE. EVENING. 104
The orchestra is warming up. People are beginning to take
their seats.
60.
105 INT. FERRARI'S APARTMENT. L.G. EVENING. 105
FERRARI ties his tie. The sound of the orchestra tuning can
be heard. Contemplating LINA's last words. We CUT AWAY before
he finishes.
106 OMITTED 106
107 INT. LAURA'S APARTMENT. LARGO GARIBALDI HOUSE. EVENING. 107
FERRARI enters, fully dressed.
LAURA is watching television. He is surprised to see she
hasn't changed.
FERRARI
Aren't you coming?
She shakes her head.
LAURA
Make an excuse for me.
FERRARI stares at her.
FERRARI
The cash for Cecillia?
LAURA
In my bag.
FERRARI crosses to her bag, picks out the package of money --
and does NOT SEE the rusted yellow toy car. We know where it
came from. He pockets the cash; looks at her and leaves.
108 EXT. THE OPERA HOUSE. SIDE ENTRANCE. NIGHT. 108
MIKE HAWTHORN, PETER COLLINS and his wife LOUISE, and other
STARS OF THE SCUDERIA are making their way inside.
DE PORTAGO and LINDA CHRISTIAN arrive. PHOTOGRAPHERS descend
on her. There are a few AUTOGRAPH HUNTERS and FANS in
attendance, all adding to the confusion at the side entrance.
61.
109 I/E. FRONT ENTRANCE. OPERA HOUSE. MODENA. NIGHT. 109
The whole of Modena seems to be trying to get into the
theatre. BUSINESSMEN, FARMERS, BANKERS and some of the
FERRARI MECHANICS. TAVONI with his WIFE. CHITI and his wife.
Off screen the orchestra is still tuning.
SEE LINA is not part of the racing group. She moves up the
stairs with her friends, a contemporary, younger crowd come
up through the center of the stairs and crowd. It's a party
of LINA plus THREE WOMEN FRIENDS and ONE MAN.
LINA
Where are you guys?
LULU
In the orchestra stalls.
110 INT. GRAND CIRCLE. OPERA HOUSE. NIGHT. 110
In the Grand Circle, FERRARI makes his way towards the centre
row of seats near the front.
Tuning stops.
LINA enters a box on FERRARI's right. She watches him as he
sits, noticing that Laura's seat is empty beside him.
FERRARI makes conversation with those he knows around him --
one man from the Barber's Shop.
Large, sleek, confident Adolfo ORSI and his son make their
way into their row. As they work their way behind FERRARI he
turns to chide them.
FERRARI
What's this about you're out
looking for financing? Fangio is
eating up all your money?
ADOLFO ORSI
You're angry because I won him from
you?
FERRARI
I let you have him. He costs the
same as two years overhead.
ADOLFO ORSI
It's not Fangio. The game's
changing Enzo because of
television.
(MORE)
61A.
ADOLFO ORSI (CONT'D)
With television it's going to
become big business. To do this one
has to be capitalised.
FERRARI
And this outside capital will
beneficiently bestow itself on you?
OMER ORSI
Of course... After we win the Mille
Miglia.
They continue to challenge each other as they find their
seats.
111 INT. ADALGISA'S APARTMENT. NIGHT. 111
ADALGISA opens the shutters and lets the distant music flood
in. She sits down on a chair next to her window and listens.
The TENOR, BRUSONI, launches delicately into 'Parigi O Cara'.
62.
112 INT. THE OPERA HOUSE. NIGHT. 112
The audience is quiet. Brusoni sweats profusely. It's not
just the heat: he is singing for his life. Careers have been
known to deconstruct here in Modena.
FERRARI listens to the words -- which he has heard a thousand
times, but which never fail to move him.
113 INT. LAURA'S ROOM. LARGO GARIBALDI HOUSE. NIGHT. 113
LAURA sits in a big chair close to the open casement facing
left. The sound of the tenor floats through the night air.
114 FLASHBACK. INT. THE APARTMENT OVER THE GARAGE. 1930'S. 114
FERRARI comes out of a bathroom, steaming from a shower, with
wet hair in a robe, singing the same aria. He is younger,
more animated.
Seizing LAURA's dress he clowns around the room, as if
dancing and singing to it.
She lies in the bed in a night gown with her arm round little
DINO -- helpless with laughter.
115 INT. ADALGISA'S APARTMENT. LARGO. GARIBALDI HOUSE. NIGHT. 115
ADALGISA listens as if in a trance, but to another singer,
another production, yet further back in time, his picture on
her dresser next to Alfredo, her dead husband and Alfredo her
dead son in uniform.
NOTE: get generic PHOTO of opera singer from about 1890 in
costume singing his heart out.
116 FLASHBACK. INT. MODENA RAILWAY STATION. 1917. (OPTIONAL - 116
TIME PERMITTING)
On a platform, crowds rushing by, ALFREDO dressed for war.
Confident, shining, but also prescient, as if already on his
way to heaven, he looks back and addresses his mother, a
silhouette in the cloud of steam.
The train begins to move.
ALFREDO in the crowd of soldiers loading into the train car
turns and waves and is lost in the crowd.
62A.
ADELGESA (V.O.)
The wrong son died.
117 FLASHBACK. EXT. AUTODROME. DAY. 117
Castellotti's car breaks up on impact.
118 FLASHBACK. INT. THE FARM. CASTELVETRO. DAY. 118
LINA holds FERRARI tight from the evening after Castellotti
crashed.
63.
120 INT. GRAND CIRCLE. OPERA HOUSE. MODENA. NIGHT. 120
LINA watches FERRARI. She sits in profile, spellbound.
119 INT. THE OPERA HOUSE. NIGHT. 119
Tears fill FERRARI's eyes...
A121 INT. THE OPERA HOUSE. NIGHT. A121
BRUSONI sings his heart out to the woman in bed against the
dying sunset.
121 FLASHBACK. INT. ASSEMBLY SHOP. THE MARANELLO FACTORY. 121
1945. DAY.
FERRARI and TWO WORKERS set aright a turned over lathe... He
is in the wreck of the Maranello factory: shelled by Germans,
bombed by the Americans, unroofed.
The same aria plays.
LINA approaches. She is young in a light floral shirt and
cardigan, but shows the same independence and compassion,
qualities which still attract Ferrari.
LINA
(proudly)
I'm pregnant.
FERRARI breaks into a smile.
122 INT. THE OPERA HOUSE. NIGHT. 122
The duet comes to an end on BRUSONI'S last notes. They hang
suspended in the silent House.
The AUDIENCE sits in a state of reverie.
At a loss, BRUSONI, dripping sweat, looks up at the gallery
which now explodes with applause.
A barrage of approval.
FROM BEHIND BRUSONI and the SOPRANO and the audience beyond.
123 EXT. RACE TRACK. ROUEN-LES-ESSARTS. DAY. 123
The angry front of DE PORTAGO'S 801 charges at us.
63A.
From DE PORTAGO'S POV: buffeted by the slipstream and
juddering over the uneven surface, DE PORTAGO hangs onto
BEHRA's 250F single-seater screaming out of a bend. Then
rockets even with BEHRA into the straight.
64.
124 EXT. RACE TRACK. DAY. 124
The cars, Maseratis, Ferraris and Vanwalls rocket through.
125 OMIT - MOVED AFTER 132 125
126 OMITTED 126
127 EXT. STRAIGHT. ROUEN-LES-ESSARTS. DAY. 127
We don't establish the order: except FANGIO a leading *
Maserati. Two Ferrari's (HAWTHORN and COLLINS) and then BEHRA *
and DE PORTAGO, others follow. *
128 OMITTED 128
129 INT. SCAGLIETTI BARN (VIA EMILIA) - DAY 129
SERGIO SCAGLIETTI -- wiry, tough with a gravely voice lounges
in casual clothes. In the bucolic stone barn - which could
have been a tractor shed - from the beams hang the wooden
bucks and frames for the most beautiful car bodies ever made
in Italy.
Ferrari pours Lambrusco into two tumblers while Scaglietti
tends a chicken on a spit over a coal fire in a cut down oil
drum.
FERRARI
Where is everybody?
SCAGLIETTI
I gave them the day off.
FERRARI
No wonder you're so late with
everything, Sergio.
SCAGLIETTI
Enzo. It's Sunday. My men work
weekends all through the year for
you. Their children haven't seen
them since the day they were born.
FERRARI
Well, here's to you and that pack
of colorblind louts you employ.
He turns and toasts them.
64A.
On a 1957 TV a fuzzy live broadcast of the French Grand Prix
plays. On the screen the camera position is at the finish *
line and the pits. The Commentator notes a Maserati driven by *
Fangio leads followed by Hawthorne in a Ferrari and then Jean *
Behra in a Maserati and newcomer Fon De Portago in a Ferrari. *
Moss trails them in a Vanwall. He points out Collins has *
pitted, withdrawn. Then it cuts to the score board. *
Then it cuts to COLLINS in the pit lane. Ferrari focuses on *
the banners behind the racers: SHELL, ENGLEBERT, PIRELLI.
Then, the commercial potential. *
130 OMITTED 130
133 EXT. FERRARI PITS. ROUEN-LES-ESSARTS. DAY. 133 *
Pulling into the Ferrari pit, COLLINS bails out. *
COLLINS' gear box is gone -- he shrugs philosophically. *
COLLINS *
Gearbox linkage. It's shot, fucked. *
He takes off his helmet. *
65.
131 EXT. DE PORTAGO'S CAR. TRACK. ROUEN-LES-ESSARTS. DAY. 131
DE PORTAGO -- through black smoke -- picks up a great spray *
of oil on his goggles, which after trying to clear he pulls
off.
The goggles fly away and are flattened by the following car.
DE PORTAGO pulls on his second pair which have been around
his neck.
He slingshots out of the slip stream and pulls even with
BEHRA as they rocket downhill into and through the straight, *
heading towards--
132 INT. SCAGLIETTI BARN - SCAGLIETTI WORKS - DAY 132
Watching the fuzzy black and white TV, Ferrari leans forward,
watching a long shot of two small cars intently as --
125 EXT. NOUVEAU MONDE (HAIRPIN TURN). ROUEN-LES-ESSARTS. DAY.
125
DE PORTAGO'S 801 and BEHRA's Maserati 250F are side by side
with Behra more on the correct line for the left-hander
racing at them. They're both racing for the same apex of the
turn.
Two objects can't occupy the same point in space at the same
moment in time. The Maserati 250F is inches ahead. They'll
crash. DE PORTAGO brakes, falls in behind. Behra through the
turn.
A133 INT. SCAGLIETTI BARN - SCAGLIETTI WORKS - DAY A133
Ferrari saw De Portago lift off and Behra sustain his lead.
Ferrari crosses to Scaglietti's telephone. *
133 EXT. FERRARI PITS. ROUEN-LES-ESSARTS. DAY. 133 *
TAVONI hangs up the wall phone in the pit. *
TAVONI *
(to Mechanic) *
Call in de Portago. *
66.
134 EXT. STRAIGHT. ROUEN-LES-ESSARTS. DAY. 134
DE PORTAGO, still slipstreaming BEHRA; makes out a board.
Then a second board, calling him in.
Cursing he brakes, flicks the wheel.
135 EXT. PITS. FROM DE PORTAGO'S POV. 135
The pit lane is a blur but suddenly he is at a stop behind
Collin's stationary car, which is swarming with MECHANICS.
COLLINS and TAVONI walk towards him.
TAVONI
Out, Fon. Peter's taking over.
DE PORTAGO can't believe it.
He pulls himself from the cockpit.
COLLINS
Thanks old man.
He swivels himself in. Behind him they're re-fueling. Ahead,
they're wheeling away Collins' car.
DE PORTAGO pulls off his gloves, pissed. COLLINS accelerates
off. DE PORTAGO, adrenalin still pumping through his body,
walks away trying to control his rage.
136 OMITTED 136 *
67.
137 EXT. WOODED COPPICE. ROUEN-LES-ESSARTS. DAY. 137
COLLINS in DE PORTAGO'S car is immediately sideswiped and *
rips off the track into a stand of young trees, narrowly *
missing the trunks, till --
-- Until he comes to a halt, the front wheels torn off. *
Slowly, he pulls himself out of the cockpit and staggers to
the nearest tree where he props himself up. He pulls off his
gloves, pushes up his goggles and looks at the wreck.
In the distance people are running through the trees towards
him.
COLLINS
Bloody hell!
138 EXT. PITS/TRACK. ROUEN-LES-ESSARTS. DAY. 138
OFF SCREEN a band plays the French National Anthem.
In the paddock: DE PORTAGO watches as nearby, COLLINS gets
painfully into a Marshall's saloon, his neck in a temporary
brace.
DE PORTAGO, his emotions veering between rage and concern for
COLLINS' injury, approaches.
DE PORTAGO
Are you O.K.?
COLLINS
Right as rain, mate. A bit shook
up.
(beat)
Sorry about your car, old boy. It's
a bit of a mess.
DE PORTAGO nods again and crosses to where the twisted
remains of the car is being manually heaved onto the factory
low-loader.
DE PORTAGO is still flushed with adrenalin.
DE PORTAGO
I could have taken him.
TAVONI shrugs.
DE PORTAGO (CONT'D)
Behra...
68.
No answer. The Marseillaise ends.
139 INT. DINING ROOM. CAVALINO. DAY. 139
FERRARI
You lack commitment.
The Spring Team, HAWTHORN, COLLINS, DE PORTAGO, GENDEBIEN and
VON TRIPS are sitting around the remains of lunch. Smoking,
but listening to FERRARI intently --
FERRARI (CONT'D)
Look at the Maserati team. Fangio,
Behra, Stirling Moss, hard nosed
pros. Men with a brutal
determination to win. A cruel
emptiness in their stomachs.
Detached men. Loyal to one thing.
Not the team. Loyal to their lust
to win.
(beat)
It rains. The track is slippery
with oil, an evil handling car,
will they falter? No.
(pause)
My Spring Team. Courageous?
Skillful? Yes. Youthful, recently
in school--
(looks at Von Trips and de
Portago)
Aristocrats straight from Almanac
de Gotha. Gentlemen sportsmen. Very
nice.
(stops; leans in)
On the straight into the tight
corner at Nouveau Monde? There's
only one line through it. Behra
pulls up next to you, challenging.
You're even. But two objects cannot
occupy the same point in space at
the same moment in time. Behra
doesn't lift. The corner races at
you. You have, perhaps, a crisis of
identity. Am I a sportsman or a
competitor? How will the French
think of me if I run Behra into a
tree? You lift. He passes. He won.
You lost.
(he looks at them; then)
At that same moment Behra thought:
fuck it, we both die.
(pause)
Make no mistake.
(MORE)
69.
FERRARI (CONT'D)
All of us are racers. Or we have
been. We all are certain it will
never happen to me.
(beat)
Then our friend is killed. We give
up racing forever on Monday. Then,
we are back racing by Sunday.
(beat)
We all know it is a terrible joy. A
deadly passion.
(beat)
And, if you get into one of my race
cars -- and no one is forcing you
to take that seat -- you get in to
win. Brake later. Steal their line.
Deny them space. Make them make the
mistake.
140 INT. THE CAVALINO. DAY. 140
FERRARI and DE PORTAGO exit.
DE PORTAGO
I would have taken him.
FERRARI gives him a look.
FERRARI
I'm changing the line-up for the
Mille Miglia. I want you and
Olivier to swap cars. He'll drive
the little coupe and you'll get the
335... can you handle it?
DE PORTAGO is knocked out by this offer.
DE PORTAGO
You're giving me the most powerful
car in the race?
FERRARI nods.
FERRARI
Put it another way, I'm giving
Gendebien the agile coupe.
DE PORTAGO
Won't he mind?
FERRARI
Of course he will. But he'll beat
you anyway.
69A.
141-146 OMITTED 141-146
147 INT. RECEPTION AREA. FERRARI'S OFFICE. DAY. 147
FERRARI comes up the stairs.
70.
TOMMASO
Signor Rancati on One.
148 INT. FERRARI'S OFFICE. MARANELLO. DAY. 148
FERRARI picks up the phone, presses 'One'.
FERRARI
Gino.
149 INT. OFFICE. AUTOMOTIVE GAZETTE. MILAN. DAY. 149
His eyes drop to his typewriter.
RANCATI
(reads into the phone)
'Enzo Ferrari, answering rumors
that he has been approached by the
Ford Motor Company with a view to
their purchasing the factory,
denies it categorically. Ferrari,
who has entered five cars in the
Mille Miglia, is presently gearing
up to meet the demand for his
highly successful GT...etc.'
150 INT. FERRARI'S OFFICE. MARANELLO. DAY. 150
RANCATI (V.O.)
Tomorrow's edition. I'll send you a
copy.
FERRARI
Very good. Thank you.
He puts the telephone down... dials a new number.
151-153 OMITTED 151-153
153A OMITTED 153A
154 INT. BANK OFFICE. MODENA. DAY. 154
COSETTI
This is the Power of Attorney which
Signor Ferrari requested you put
your name to--
71.
He passes the document across to LAURA -- six copies of it.
COSETTI (CONT'D)
And the check for five hundred
thousand dollars--
LAURA picks up the check, scrutinizes it, returns it to him.
LAURA
It has not been signed.
COSETTI looks up, shrugs --
LAURA (CONT'D)
The signing of these affidavits was
conditional on the exchange of the
check.
COSETTI
I'm sure it was an oversight.
LAURA smiles.
LAURA
Bullshit, Cosetti.
She picks the check up and puts it in her bag, nevertheless.
She studies the affidavits. Coffee is brought in on a tray.
She refuses the cream and sweeteners.
LAURA (CONT'D)
You have a pen?
She signs the Power of Attorney -- six times -- whilst
COSETTI looks on. His silence makes her realize how important
this transaction is, and how worried they had been that she
might not cooperate. Signing off, COSETTI looks relieved.
COSETTI
Excellent.
He holds out his hand to take the papers.
LAURA
I'll hold onto these, too, until I
get my check signed--
His hand is left hanging in the air.
COSETTI
Then I guess that will be all.
72.
LAURA
Not quite. I want information about
special payments, made by the
factory last year--
COSETTI can see it coming.
COSETTI
To whom?
LAURA
Lina Lardi.
COSETTI stares at her, struck dumb.
LAURA (CONT'D)
I want to know how much they are,
and for how long they have been
going on.
154A INT. FERRARI'S OFFICE. MARANELLO. DAY. 154A
TOMMASO enters ashen. He indicates the phone.
155 OMITTED 155
156 EXT. CALL BOX. MODENA. DAY. 156
LAURA is in a call box in the town center near the bank.
GIUSEPPE waits in the background in Laura's car.
LAURA (V.O.)
Enzo? Lina Lardi! Does that name
mean anything to you?
156A INT. FERRARI'S OFFICE. MARANELLO. DAY. 156A
FERRARI's face freezes as LAURA outlines her recent
investigation in cold and concise terms.
157 OMITTED 157
158 INT. CALL BOX. MODENA. DAY. 158
LAURA
The boy, I presume is yours?
73.
158A INT. FERRARI'S OFFICE. MARANELLO. DAY. 158A
FERRARI nods.
FERRARI
Yes.
159 OMITTED 159
160 INT. CALL BOX. MODENA. DAY. 160
She is silent for a moment. Then --
LAURA
I need to think about this, Enzo.
She doesn't hang up.
160A INT. FERRARI'S OFFICE. MARANELLO. DAY. 160A
FERRARI puts down his phone.
161-164 OMITTED 161-164
165 EXT. SCAGLIETTI WORKS. DAY. 165
SERGIO SCAGLIETTI in overalls is at a rusting cafe table. He
is pouring himself a glass of white Trebbiano when Ferrari's
car pulls onto the cracked forecourt. SCAGLIETTI directs the
bottle into a second tumbler.
FERRARI, hitching up his pants, trudges towards Scaglietti,
takes the tumbler and they drift towards the barn.
74.
167 EXT. BARN. DAY. 167
SCAGLIETTI unlocks the padlock, opens the door, revealing the
prototype of the 250 "pontoon fender," red Testa Rossa. Other
cars in varying states of finish pale next to its ferocious
beauty. It's like a red, low-slung snake about to strike.
Even FERRARI, who has seen everything, is stunned.
166 INT. THE BARN. SCAGLIETTI WORKS. DAY. 166
FERRARI wanders around the new Testa Rossa. He lays his hand
on the great throat of the fuel filler and finishes his wine.
SCAGLIETTI, who has followed with the bottle, refills the
glass.
FERRARI
She found out.
SCAGLIETTI
The boy?
FERRARI
That, too.
SCAGLIETTI kicks the rubber on the Testa Rossa.
SCAGLIETTI
So what do you think?
Up on the wall, above the drawing table, two pigeons in a
cage coo softly.
75.
FERRARI
The driver in front of it will piss
his pants when he sees it in his
mirror --
SCAGLIETTI nods.
FERRARI (CONT'D)
And when it passes, it has an ass
on it like a Canova sculpture.
(beat)
So, what do I do?
He refers to the business with Laura.
SCAGLIETTI
What do you want to do?
FERRARI
I want to leave her.
SCAGLIETTI
So. Do it...
FERRARI in a state of perfect dilemma shows in his
face...Yes. No.
SCAGLIETTI points to the cage hanging from one of the beams.
SCAGLIETTI (CONT'D)
You see that pigeon up there?
FERRARI nods.
SCAGLIETTI (CONT'D)
I left its door open, but it won't
come out. It's forgotten what
freedom is--
FERRARI
Freedom for that pigeon is pigeon
pie.
SCAGLIETTI
Tell Laura that you two should live
apart, you're going to live with
Lina and that you're going to
recognize the boy. Everybody thinks
that you should anyway.
FERRARI
I don't give a damn what everybody
thinks. What do you think?
76.
SCAGLIETTI
(less facetious)
There are a lot of people on your
payroll with families. The factory
needs continuity for Ferrari to
stay Ferrari. (but do you really
care what anybody thinks?)
FERRARI takes this in silence.
He finishes his wine. He looks up at the pigeon before he
leaves.
FERRARI
We have history.
(to cage)
Stay there pigeon, or you're dead
meat.
168 EXT. FERRARI'S HOUSE. L.G. DUSK. 168
The imposing house, FERRARI draws up in the Peugeot and gets
out.
169 INT. HALL. FERRARI'S HOUSE. L.G. DUSK 169
The door opens. FERRARI enters, shuts it and, girding himself
for the confrontation, makes his way across the hall to the
stairs.
170 INT. LAURA'S ROOM. FERRARI'S HOUSE. L.G. NIGHT. 170
FERRARI opens the door. LAURA is waiting for him, sitting at
the table. She has been going through the accounts.
FERRARI enters. She looks up coldly. He goes to the
sideboard, pours a glass of wine.
LAURA
The whole of Emilia knows, but not
me?
FERRARI
I thought it would break your
heart.
LAURA
You broke my heart years ago,
Enzo...
77.
FERRARI doesn't reply. And he doesn't believe it, either. It
was Dino who had broken her heart.
LAURA (CONT'D)
When did it start? According to
Cosetti the payments began in the
1940's.
FERRARI nods.
FERRARI
The war. The factory had been
bombed twice. It began during the
worst of it. She worked at
Carrozzeria Orlandi. You and Dino
were in the hills that year. By
Christmas she was pregnant. So I
bought Castelvetro and she went to
live there.
LAURA broods on this. We now notice that on her writing table
there are at least three photographs of Dino including the
photograph of Dino on the yellow bike.
LAURA
Is it that she's different from the
others?
FERRARI
I was in love with her--
Then he adds --
FERRARI (CONT'D)
And I still am.
Suddenly, from a position of righteousness, LAURA feels her
feet cut from under her.
Devastated. A whole new landscape of the past now presents
itself, in which all those nights when she thought he was off
whoring, he was actually with another 'wife'.
LAURA
I find myself sharing my whole life
with a woman I have never met.
LAURA starts to prowl the room.
LAURA (CONT'D)
It makes a mockery of you in those
years when Dino was ill and
dying...
78.
FERRARI
How can you say that?
LAURA
That boy? Is he going to inherit
our factory? Our name?
He doesn't answer.
LAURA (CONT'D)
We have a son. I don't want him to.
FERRARI stares at her.
FERRARI
One son, two sons, five sons. I
miss Dino any less?
(beat)
Every morning I see him in the
cemetery. The hospital he died in
is funded in his name. A school was
built in his honor...
LAURA
"Honor." Who gives a shit? You were
supposed to save him.
FERRARI
You blame me for his death!?
LAURA
You promised me he wouldn't die.
FERRARI
Everything! I did everything.
Tables, showing the calories he
could eat, what went in, what came
out. I graphed the degrees of
albuminuria, the degrees of
azotemia, diuresis -- I know more
about nephritis and dystrophy than
cars.
LAURA
Yes! Yes, I blame you! You told me
you wouldn't let him die. You
promised!
FERRARI
...the father, he deluded himself!
The great engineer. I will restore
my son to health. Swiss doctors,
Italian doctors. Bullshit. I could
not. I did not.
79.
LAURA
Cause you were so "consoled" at
Castelvetro, you lost your
attention. You had another boy
getting stronger while Dino got
weaker.
FERRARI is frozen by the accusation.
FERRARI
What goes on in your head? He got
sick! Dystrophy, kidneys. It
destroyed him. It destroyed you.
Destroyed us.
LAURA
What do you care? Why do you care?
You have another wife. Another son.
FERRARI
She is not my wife.
(pause)
But, he is my son--
LAURA goes eerily, completely calm --
LAURA
Move out. The best thing for you to
do is move.
FERRARI is suddenly exhausted.
FERRARI
If you want, I'll move upstairs. To
the outside eye, nothing will
change.
LAURA
No, everything will have changed--
FERRARI
This is our history, our life. We
are partners.
She looks at him bitterly.
She pauses, then produces the papers, relating to the power
of attorney.
LAURA
These are the papers, they give you
power to negotiate on my behalf.
79A.
Tears stream down her face, but she gives in to them not one
iota! She produces the check.
80.
LAURA (CONT'D)
There is a problem with your check;
you forgot to put your name to it.
In silence, FERRARI hauls out his big Waterman pen with its
violet ink. He looks at her --
FERRARI
This is a gun pointed at my head.
You cash it before I conclude a
deal, Ferrari is no more.
FERRARI signs. Hands it to her.
LAURA
That's right.
She scrutinizes the check, folds it away, and hands over the
power of attorney documents.
171 OMITTED 171
172 INT. THE HALLWAY. CHERRY FARM. NIGHT. 172
PIERO hears a car approach. He comes to the edge of the
stairs and looks down. He sees FERRARI enter and
LINA and FERRARI embrace -- FERRARI is trembling. He sets
down the case he brought.
She senses his distress and hugs him.
LINA
What is it?
As they walk towards the kitchen--
FERRARI
It's done.
The door closes leaving PIERO on the stairs puzzled.
She turns off the radio.
81.
173 INT. KITCHEN. CHERRY FARM. CASTELVETRO. NIGHT. 173
She sits at the table, her head in her hands. They've been
talking for a while.
Silence.... Eventually...
FERRARI
You'll come to Modena.
She looks up surprised.
FERRARI (CONT'D)
Why not? Modena is where I live.
Where we'll live.
LINA
That's her town.
FERRARI
It's our town.
LINA
It's not me.
(beat)
Piero. What does he do? Sneak
around?
(beat)
And as whom?
(pause)
She knows he's our boy?
FERRARI
She knows he's my son.
(pause)
But nothing has been resolved.
She faces FERRARI. He takes her hand. The dilemma is from
different perspectives but mutually shared.
174 OMITTED 174
175 INT. LINA'S BEDROOM. CASTELVETRO. DAWN. 175
LINA's eye opens. She hears the door latch shut with its
familiar double click, her eyes open wider.
LINA
Enzo?
82.
176 EXT. FARMHOUSE. CASTELVETRO. DAWN. 176
In the dawn air, FERRARI puts on his boots and is about to
open the door of his Peugeot when --
There is the sound of a casement window above him.
PIERO (V.O.)
Hey, Papa!
He looks up.
PIERO's head is framed at the window.
PIERO
De Portago's autograph!
FERRARI
You go back to sleep!
PIERO
Papa!
FERRARI looks up again.
PIERO (CONT'D)
(chanting)
Ferra - ri!
FERRARI chuckles, waves.
177 EXT. STARTING RAMP - DAY 177
CHORUS Ferra-ri! Ferra-ri!
The Piazza is packed on Saturday afternoon for the technical
inspection. A brass band, announcements on loudspeakers, the
flashing of photographers bulbs and the revving of a hundred
roadcars, herald the beginning of the Mille Miglia. The sound
of the Ferra-ri chorus dominates the square.
FERRARI makes his way through the chaotic crowd and cars.
This is the first time we have seen him mobbed this way. A
demi-god to his supporters, he nods at those he knows,
salutes others, shakes hands--
FERRARI enters, ADOLFO and OMER ORSI are at a table, signing
in, as are a number of other owner and factory team managers.
They collect the cards (libreto di marcia) that each driver
must show at every checkpoint.
A cream-colored TV camera like a small refrigerator is on a
heavy tripod focused on a TV COMMENTATOR narrating the event.
82A.
FERRARI
Good evening, gentlemen.
Everything's going like clockwork I
see.
(to the Orsis)
Good evening, Orsi.
RACE OFFICIAL
Signor Ferrari?
FERRARI
I'm entering five cars. Collins,
Taruffi, de Portago, Von Trips,
Gendebien.
178 OMITTED 178
83.
179-181 OMITTED 179-181
182 EXT. MARZOTTO HOTEL. MANERBIO. THAT NIGHT. 182
FERRARI parks the Peugeot in the forecourt near the front
door and gets out.
Five Mille Miglia cars are sitting on the lawn, the mechanics
still busily working on them -- but quietly, knowing that the
drivers are asleep.
FERRARI glides through, nearly unseen and enters the hotel.
183 INT. HALL/BAR. THE MARZOTTO. MANERBIO. NIGHT. 183
FERRARI is greeted by the owner, an old friend. He has been
coming each year since the war.
OWNER
Good evening, Commendatore.
FERRARI
And to you, my friend.
The OWNER nods him towards the bar. FERRARI doesn't break
stride.
CHITI and the CHIEF MECHANIC sit at a nearby table -- eating
a sandwich -- and talking in a low voice to TAVONI. Between
them sits what looks like a pair of Weber carburetors.
FERRARI joins them at the bar. Above them is a black and
white TV. Two Patrons and the Bartender are glued to it.
84.
TV COMMENTATOR
...and so the 24th Mille Miglia,
the World's longest and most
treacherous road race starts with
the dispatch of the smallest of the
racing cars...
FERRARI TV COMMENTATOR (CONT'D)
Make sure they show these at The factory cars, some of the
every control otherwise most powerful in the world,
they're disqualified. will start last - about 5
o'clock in the morning.
FERRARI hands TAVONI the five official entry cards.
ADOLFO ORSI is being interviewed --
ADOLFO ORSI
For Maserati, this is an important
race for us. Winning the Mille
Miglia would confirm our position
as the World's Number One
constructor of...
FERRARI ignores him, looks at CHITI and pulls his note book
from his pocket. There are neatly written notes in purple
ink.
FERRARI
I have a few last minute
instructions --
184 INT. DE PORTAGO'S BEDROOM. MARZOTTO HOTEL. NIGHT 184
DE PORTAGO sits at the dressing table. He has an envelope on
which he writes quickly --
DE PORTAGO
"In case I don't make it --"
He does not have the slightest doubt that he will, but wives
and girlfriends have to be written to --
DE PORTAGO (CONT'D)
I'm writing to Linda--
Reveal NELSON lies on his bed, smoking a cigarette and
checking through a number of maps which cover the route.
DE PORTAGO stares at a blank piece of paper.
DE PORTAGO (CONT'D)
What do I say?
85.
NELSON dictates it like a business letter --
NELSON
My darling Linda, in the unlikely
event that tomorrow is my last day
on earth, I am writing to you...
185 INT. COLLINS' BEDROOM. MARZOTTO HOTEL. 185
LOUISE lies asleep in bed. The book she has been reading
still in her hand. COLLINS finishes reading a two page letter
he has written to her. He now signs it "Peter". He folds it
and standing up -- slips it into the back of her book.
186 INT. TARUFFI'S ROOM. MARZOTTO HOTEL. 186
Clad in his underwear and smoking a cigarette. TARUFFI
carefully, almost ritualistically, places on his shirt for
tomorrow -- his worn and faded map of Italy, his wristwatch,
cigarettes, matches, his lucky key ring and a medallion of
St. Anthony.
187 OMITTED 187
188 INT. BAR. MARZOTTO HOTEL. 188
FERRARI, who has been giving notes all night, makes his final
point.
FERRARI
Refueling. Remind the mechanics,
the gas is to go into the tanks.
(MORE)
86.
FERRARI (CONT'D)
Not on the drivers - particularly
Taruffi. I'd prefer he not go up in
flames.
CHITI
Anything else...
FERRARI
No. That's it.
They all look at him, exhausted.
COLLINS leaps down the stairs, alert, cheerful.
COLLINS
Morning everybody, are we all set?
189 OMITTED 189
190 EXT. STARTING RAMP. NIGHT FOR DAWN. 190
The long line of cars -- nose to tail -- starts at the top of
the ramp and one is flagged and launches.
The shattering explosion of sound as the V.l2's rev-up and
echo terrifyingly off stone walls. We're in among the real
beasts.
CROWD, MECHANICS, CAMERA CREWS, PHOTOGRAPHERS, flashbulbs
popping, surround the ramp and the line of cars leading up to
it.
We SCAM past the departing car to the next car to depart and
then past (available ND exotics or) a D-Type Jaguar to
FERRARI, who shouts to GENDEBIEN in his 250 Coupe, looking up
at him--
FERRARI
This car knows its way round
blindfolded, Olivier. Take it easy
till you reach the coast. Once the
rain stops -- you can put your foot
down.
87.
GENDEBIEN powers his car further along the "up" ramp.
The TIMEKEEPER flashes his lamp. And the Jaguar D-Type in
front of GENDEBIEN screams into the dawn in a blaze of burnt
rubber and blistered air.
FERRARI (CONT'D)
Good luck.
As FERRARI continues to walk down the line, we begin to
realize that these cars, the last and fastest of the entries
are mostly Ferraris: 240mm's, Touring Testa Rossas, 860
Monzas.
A two-year-old Scaglietti Spyder Competition. The DRIVER is
sheltered against the rain by a golf umbrella. FERRARI wishes
him well.
TV COMMENTATOR
The 24th Mille Miglia, the world's
longest and most treacherous road
race, started with the dispatch of
the smallest of the racing cars.
Painted on each car is the time of
its departure. It is a race against
the clock.
(beat)
The factory cars, some of the most
powerful in the world, are starting
after five this morning.
(pause)
And now, I am most privileged to
have at my side Maserati's esteemed
owner, Cavaliere Adolfo Orsi.
ADOLFO ORSI
For Maserati, this is a most
important race. Winning the Mille
Miglia this year will confirm our
position as the World's Number One
race car constructor, especially
after our win by Manuel Fangio in
the Argentine Grand Prix.
DE PORTAGO watches FERRARI, still bending over the private
entry Ferrari (Monza?). Beside him, NELSON is scrutinizing a
map with the aid of a torch.
NELSON
(confiding)
The Italians aren't generous with
road signs.
87A.
DE PORTAGO
You know where we're going?
NELSON
No. Follow the taillights of the
car in front. Once the sun comes up
I'll see landmarks.
DE PORTAGO engages his clutch and creeps forward till he's
parallel with FERRARI.
FERRARI
Remember what I told you. Get behind
Taruffi or Collins, They know the
way. If you can hang onto him till
you reach Bologna, you're in with a
chance.
DE PORTAGO nods. FERRARI hesitates, leans in--
FERRARI (CONT'D)
One last thing. Can you autograph
this. It's for a very special young
man.
DE PORTAGO nods.
DE PORTAGO
What's his name?
FERRARI
Piero ...
He takes the book and Ferrari's pen.
FERRARI (CONT'D)
Piero.
(spells it)
P.I.E.R.O.
An OFFICIAL comes along with his torch, signaling for DE
PORTAGO to roll forward.
FERRARI (CONT'D)
If Moss or Behra attempt to pass,
wave them through. Your job is to
get round in one piece.
With a grin DE PORTAGO returns the book, duly signed.
DE PORTAGO
See you in Bologna--
87B.
FERRARI
Good luck.
As FERRARI rises, DE PORTAGO's car tailgates the car in front
(ND?) up towards the ramp.
FERRARI leans over VON TRIPS in 532.
FERRARI (CONT'D)
Comfortable, Taffy?
VON TRIPS nods.
FERRARI (CONT'D)
Keep an eye on Stirling, if he
passes you, let him go. Catch him
later. I know it's your first, but
I know you can win this.
VON TRIPS nods and FERRARI moves into --
-- the headlamps of COLLINS' 335 (534). He waits as it
rumbles up to him -- all 400 horsepower. COLLINS pokes his
head over the door, KLEMANTASKI, his navigator beside him.
FERRARI (CONT'D)
Morning, Peter.
COLLINS
It's going to be a good one!
(he gestures behind him)
FERRARI
This car can win. Once you are over
the mountains, you've got the legs
on the others... And then it will
be either you or de Portago.
Understand?
COLLINS nods.
COLLINS
You're forgetting Moss and Behra?
FERRARI
(dismisses them)
Watch out for stray dogs and
children: they're the real danger.
COLLINS smiles at the joke.
87C.
FERRARI - lit by the headlights of TARUFFI's car - moves to
where the veteran smokes a cigarette and displays an air of
calm which is only skin deep as he studies his blue race
book.
FERRARI (CONT'D)
You can win this one, Taruffi, if
you don't smoke yourself to death
before it's over--
He takes TARUFFI's fag out of his mouth and throws it away.
TARUFFI
What's the weather on the Futa
Pass?
FERRARI
Good. Maybe rain. Listen to me. You
need this race. How can you tell
your grandchildren that you picked
up every trophy in Europe but you
never won at Brescia?
TARUFFI lights another cigarette and begins to creep the car
forward.
88-89.
TARUFFI
Make sure I get the backup. No foul-
ups, you understand, at the fuel
stops, especially.
FERRARI
That's the spirit, Piero.
TARUFFI'S car moves forward.
FERRARI glances behind him over a privateer to the Maserati
450s of MOSS and BEHRA rumbling into frame - their drivers
sheltered by the ORSIS' umbrellas. MOSS's hand goes up in a
salute which FERRARI returns and then turns away.
ADOLFO ORSI, turns his back to FERRARI to confer with his two
drivers, first MOSS...
ADOLFO ORSI
The race plan. Behra stays behind
the lead Ferrari's. Waits. Some
will break down, eliminate
themselves. Then, he'll attack from
the back some time before Bologna
when there is an hour or two left.
(to Moss)
You? You take the lead at the start
and lead from the front.
191 OMITTED 191
90.
192 OMITTED 192
193 EXT. ON STARTING RAMP. NIGHT FOR DAWN. 193
Engines rev higher; the flag goes up --
[OPT: VON TRIPS (532)] COLLINS (534) and then TARUFFI (535)
shoot off the ramp, the way jets fly off a carrier, their
round tail lamps glowing like after-burners.
Immediately, they are followed by MOSS and BEHRA in their
Maseratis -- all of them struggling for traction on the wet
pavement.
When they are gone, FERRARI is left facing the ORSIS. Neither
of them speak. A relative silence falls on the wet and
desolate square. Everything hangs in the balance.
GIUSEPPE is at the Peugeot. He gets out of the passenger seat
and swings open the driver's door for Ferrari. FERRARI shakes
the hand of a COUPLE OF OFFICIALS as he, CHITI and TAVONI
clamber in.
The Peugeot accelerates out of the square on the tail of
others, all making their way south.
The RACE OFFICIAL swallows a glass of Grappa and indicates
the departing Modenese.
RACE OFFICIAL
For once he did not complain.
OFF the static officials --
194 INT. DE PORTAGO'S 335. NIGHT FOR DAWN. 194
NOTE: ROAD TO RAVENNA SEQ
DE PORTAGO, at breakneck speed, follows TARUFFI. He's
illuminated by the glare of MOSS' headlamps. Behind him the
big Maserati is on his tail all the way. As he hits the
straight, the large works cars speed up.
91.
194A EXT. ROAD TO RAVENNA - DAWN 194A
The works Ferrari's pass a few smaller fast Lancia's like
they're standing still on the long road across the flat
landscape.
Then they pass privateer and older Ferrari's and a Mercedes
gullwing.
Their speed on public roads on this stretch pushes to 240-
250kph and beyond.
195 EXT. ROAD THROUGH VALLEY. DAWN. 195
MOSS
Okay, I'm going to see what she can
do.
MOSS opens up the Maserati.
196 INT. DE PORTAGO'S 335. (TOP UP). 196
DE PORTAGO looks left as the Maserati sweeps by. He shifts
down. Nelson yells --
NELSON
Let him go, Fon.
But DE PORTAGO tucks in behind the Maserati, and is towed, as
the two race cars pass TARUFFI.
197 INT. TARUFFI'S CAR. 197
TARUFFI looks left, sees DE PORTAGO -- mouths "let him go".
198 EXT. LONG LEFT HAND CURVE. DAWN. 198
MOSS with DE PORTAGO behind are now on COLLINS' tail. MOSS
rockets forward to overtake on the inside.
199 INT. COLLINS 335. (TOP DOWN). 199
As the curve begins to tighten, COLLINS sees MOSS in his
mirror. He shifts left to block MOSS's line.
200 INT. DE PORTAGO'S 335. 200
DE PORTAGO right behind MOSS.
92.
201 EXT. RIGHT HANDER + MEADOW. DAWN. 201
The three cars accelerate around the curve; MOSS, hemmed in,
but taking advantage of the inside bend, edges ahead.
(OPTIONAL: TARUFFI catches up.) MOSS dinks to the right.
COLLINS moves right to block.
MOSS, instead passes COLLINS to the left, edging ahead. Side
by side, dicing for the lead. 260, 270kph. MOSS's Maserati's
nose edging ahead of COLLINS (double) Ferrari.
202 EXT. LONG LEFT HANDER. DAWN. 202
COLLINS with DE PORTAGO behind him, are on the outside of the
bend - i.e. the right side of the road.
SEE their feet brake; HANDS downshift, as they brake for the
left hand turn racing at them --
MOSS suddenly shoots ahead of COLLINS, as if he'll take the
turn full out without braking.
It is violent and inexplicable.
Suddenly, MOSS jerks the Maserati left and DISAPPEARS?!
DE PORTAGO (or double) quickly reacts.
203 INT. THE MASERATI IN THE MEADOW. 203
JENKS holds on, looks at MOSS quizzically--
The Maserati, shearing its mirrors, et al, plows across a
meadow, MOSS trying to hold it steady as it flies over uneven
ground.
MOSS
(shrugs)
No brakes.
MOSS down shifts rapidly to slough off speed.
204 EXT. MEADOW. DAWN 204
It travels this way for a hundred yards -- JENKS half out of
the cockpit, MOSS coaxing her down through the gears -- till
it comes to rest in a boiling rage, overhung by its own plume
of dust.
92A.
205 EXT. ROAD TO RAVENNA. DAWN. 205
The four Ferraris head away on the long straight through the
trees. TARUFFI passes DE PORTAGO so the order is COLLINS,
TARUFFI, DE PORTAGO, VON TRIPPS. BEHRA's Maserati right on
their tail.
206 EXT. MEADOW. DAWN. 206
MOSS's Maserati lies in the middle of a huge meadow. A low
mist drifts across it giving it an unworldly feeling.
93.
In the distance, the sound of cattle bells and the bark of a
dog. Far away the whine of the Ferraris as they climb the
hill.
MOSS leans forward in the cockpit and produces the offending
article from somewhere around his feet. The brake pedal. It
had snapped off at the stalk. He hands it to JENKS and turns
the ignition key. The big engine stumbles into life, MOSS
turns the wheel --
MOSS
Let's get this bugger home...
207 EXT. SMALL BAR EMILIA. EARLY MORNING. 207
A small bar. The OWNER opens his shutters as the Peugeot
(could be Fiat 1100TV), driven by FERRARI, stops outside.
FERRARI kills the ignition, gets out, followed by CHITI and
TAVONI.
(NOTE: location could be near the Bologna refueling point.)
208 INT. SMALL BAR. EARLY MORNING. 208
The radio is already on, with commentary on the race. FERRARI
makes for the telephone. He dials. The rest follow him in.
CHITI goes to the bar. Patrons are clustered around the
console radio --
FERRARI
(into phone)
Race Control?
At the counter CHITI orders espressos. The coffee trickles
into the warm cups.
RADIO BROADCASTER
The first car into Ravenna this
morning was a Fiat Cinquecento
timed at one hundred and forty on
the final section.
FERRARI takes a seat at the table. CHITI arrives with the
coffee.
FERRARI
Moss is out...
209 OMITTED 209
94.
210 EXT. APPROACHING RAVENNA. DAY.(OPT.) 210
The four Ferraris hurtle along the dead straight road like a
red posse. There is something predatory about the way they
pack one behind the other, and devour the stragglers, a
couple of Alfas. They are headed by COLLINS, TARUFFI, DE
PORTAGO and VON TRIPPS.
They are being tracked by BEHRA's Maserati as they charge
into --
211-212 OMITTED 211-212
213 EXT. RAVENNA. THE PIAZZA. DAY. 213
The screams as the Ferraris change down gears, between the
narrow medieval walls, are frightening. They're racing up on
a smaller and slower Alfa Romeo ahead of them.
The Alfa Romeo shoots out of the street into the piazza but
ends up losing it, understeers and runs straight into the
straw barrier. Crowds cheer. SPECTATORS crowd the roofs, the
balconies and windows.
A Ferrari appears, powers round the corner, applies opposite
lock, and accelerates. Behind it a second and then a third
Ferrari, all Testa Rossas -- all in Ferrari Vermillian -- and
then two other Ferraris, Competition 3-litres.
The CROWD is beside itself, a river of red roars from the
Brescia road into their square with ear shattering screams
and roars --
214 OMITTED 214
215 EXT. OUTSKIRTS OF RAVENNA. DAY. 215
ON DE PORTAGO'S 335, as it emerges from the walls and
accelerates.
NELSON
Jesus!
DE PORTAGO'S eyes widen -
94A.
216 INT. DE PORTAGO'S 335. DAY. 216
AHEAD of him is a solid wall of people. The road narrows into
a tunnel of cheering youths.
95.
NELSON
Wiggle the wheel.
The nose of the Ferrari hunts one way and then the other --
at one hundred and sixty miles an hour.
With a roar of delight and mock fear the centre of the crowd
scrabbles out of the way of the approaching car.
It roars in a raging blur through the narrow funnel vacated
by the crowd with a foot to spare on either side.
NELSON looks round.
NELSON (CONT'D)
Jesus...
DE PORTAGO
What's next?
CLOSE: NELSON looks at his schoolboy map.
216A EXT. APPROACHING FUTA PASS. CLOUDY MOUNTAIN PASS. 216A
COLLINS is swallowed by mist, DE PORTAGO behind him.
Ahead of them are the tail lights of GENDEBIEN's 250. COLLINS
overtakes it.
DE PORTAGO seeks to follow, but has to brake as the straight
dips into a downward right hander.
GENDEBIEN spirals down it with DE PORTAGO on his tail.
Driving deeper into the gorge, the two cars snarl around a
bulging rock-face down which cascades a mountain stream. The
cars power right through it.
216B EXT. APPROACHING FUTA PASS. 216B
The spectacular arched column spans a gorge -- across which
GENDEBIEN and DE PORTAGO streak.
Spectators crowd on all the trees and rocks.
The road widens just after the bridge and DE PORTAGO again
tries to pass. But he moves too early and shaves a concrete
post.
Notwithstanding the shattering impact -- he continues round
the outside of GENDEBIEN and out-accelerates him up the hill.
96.
Scattered crowd, sitting on rocks, applauds his aggression.
BEHRA thunders past, racing up onto DE PORTAGO's trail,
catching up, making his move, challenging --
217-220 OMITTED 217-220
221 INT. ANTE-ROOM TO FERRARI'S OFFICE. DAY. 221
The door opens. FERRARI enters from the stairs. TAVONI and
CHITI follow. TOMMASO looks up.
FERRARI
Good morning, Tommaso.
TOMMASO
Good morning. Signor Agnelli
called.
FERRARI
Get him for me.
He enters his office.
222 INT. FERRARI'S OFFICE. DAY. 222
On the desk is Rancatti's article from the Automotive Gazette
and a model of the new Testa Rossa. FERRARI picks it up, sits
down, turns it upside down, spins the wheel.
TAVONI and CHITI enter.
FERRARI
Sit down, gentlemen.
They sit.
FERRARI (CONT'D)
Okay. Let's talk about Monaco...
The phone rings. FERRARI picks it up.
FERRARI (CONT'D)
Yes?
TOMMASO (V.O.)
Signor Agnelli is on the phone.
FERRARI
(to the group)
Excuse me for one moment.
97.
AGNELLI (V.O.)
Ferrari, buongiorno.
FERRARI
Buongiorno, Avocato.
223 INT. AGNELLI'S OFFICE. TURIN. DAY. 223
Cutting between the two locations:
AGNELLI
I apologize for calling in the
middle of the race, Ferrari. But I
have this piece by Rancati in front
of me that's so disturbing.
FERRARI pulls forward the Automotive Magazine.
FERRARI
Avocato, it's fiction. I have
absolutely no idea where they get
their stories.
AGNELLI reacting to Ferrari's vehement denial, gestures to
his associate: now he knows it's true.
AGNELLI
This is important. Ferrari cannot
go to foreigners. You're a national
treasure.
An edge creeps into FERRARI's voice.
FERRARI
A "jewel in the crown of Italy--"
AGNELLI
Exactly--
FERRARI
Then why does the jewel have to
scrimp to put its cars into every
race?
AGNELLI
If it's that bad, why didn't you
call me?
FERRARI
I did. You said no.
AGNELLI
Impossible! When was this?
98.
FERRARI
1917.
AGNELLI
You were a child! Stop it.
FERRARI
I was 19. I needed a job.
(beat)
A secretary came back with a card.
One word written on it: No.
AGNELLI
That was a long time ago. In
business each day is a new day.
FERRARI
The personality of Fiat is
timeless. And today the offer you
would make would be full of
conditions...
AGNELLI
That is not so.
FERRARI
My bosses would be bookkeepers in
Turin --
AGNELLI
We should talk this over -- if
you're looking for financial
assistance talk to me, please, not
Ford.
FERRARI pauses.
AGNELLI (CONT'D)
You're busy now. Call me after the
race.
FERRARI
I'll call you first thing tomorrow--
He puts the phone down and thinks, all in all, a good call.
He looks up at CHITI and TAVONI.
FERRARI (CONT'D)
Where were we?
CHITI
Monaco.
99.
FERRARI nods.
224 EXT. ROME CHECKPOINT. 224
COLLINS slams through the narrow city streets. A chaos of
crowds on sidewalk leading into a Piazza, as TARUFFI, VON
TRIPS and DE PORTAGO thunder in and brake hard for the pits
at the end.
On camera set-up...
TV COMMENTATOR
Collins is the fastest ever to Rome
in the history of this race. On his
heels are three other drivers,
Taruffi, Von Trips and, incredibly,
Olivier Gendebien in the little
250.
In the Ferrari pits, the cars are refueled. MECHANICS crank
the hand pumps, whilst more swarm around DE PORTAGO's car,
trying to rectify the damage to his fender...
LINDA, in a headscarf, slips through security, gives DE
PORTAGO a hug.
LINDA
Hi--
DE PORTAGO is pleased to see her but is more concerned about
what is being done to his car.
Nearby in the piazza, BEHRA comes into the Maserati pits. He
gets out as the TEAM starts changing the wheels. He looks
cool and unflustered.
Back in the Ferrari pits, GENDEBIEN's 250 speeds in as
TARUFFI madly accelerates out, narrowly avoiding colliding.
VON TRIPS follows TARUFFI out, forcing him to race for the
exit.
DE PORTAGO slips back into his seat anxious to get away but
mechanics are still hammering, annoying him. He turns to
LINDA.
DE PORTAGO
Meet me in Brescia.
She leans in and kisses him.
LINDA
Tonight? I can't.
100.
CHIEF MECHANIC
(interrupting)
When you get to Bologna, change the
rubber. I'11 call ahead.
DE PORTAGO nods. With certainty --
DE PORTAGO
(to Linda)
I am going to win. I want you to be
there--
LINDA kisses him passionately.
LINDA
I'll try.
CHIEF MECHANIC
Watch out for sheep on the Futa.
NELSON slides in beside him.
DE PORTAGO
You know the way from here?
NELSON nods. DE PORTAGO accelerates across the square --
On the other side of which BEHRA tries to beat him to the
exit, but fails -- to a roar from the crowd. The two cars
stampede out heading north for the hills.
225 EXT. MOUNTAIN PASS. DAY. 225
COLLINS comes over the brow of the hill. Behind him is
TARUFFI. VON TRIPS is on his heels. Then, behind this pack is
a second.
Behind DE PORTAGO is GENDEBIEN. And behind GENDEBIEN, here
comes BEHRA in the big Maserati. As they hit the undulating
but straight road on top of the plateau, BEHRA begins to
overtake GENDEBIEN'S 250 GT. They're side by side. BEHRA
powers ahead, now challenging DE PORTAGO.
226 OMITTED 226
227 INT. THE FOYER. HOTEL GRAND HOTEL MAJESTIC. BOLOGNA. DAY. 227
The foyer is crowded with FERRARI OWNERS, ENGINEERS,
JOURNALISTS, REPORTERS, and FERRARIISTAS.
101.
FERRARI makes his entrance in dark glasses. There is a buzz
of applause and shouts of 'Bravo, Commendatore!' A COUPLE OF
RADIO MEN attempt to get a comment. On a small platform a
period TV camera is interviewing two executives from Fiat.
He moves past towards the desk --
He reaches the desk, takes a great bunch of flowers out of
the vase. The RECEPTIONIST, with a grin, accepts a $20 tip
and directs FERRARI to the elevator. He signals, "No" and
crosses to the stairs.
228 EXT. THE LOBBY. SECOND FLOOR. THE GRAND HOTEL MAJESTIC. DAY.
228
FERRARI arrives and walks down the hall towards his usual
suite. The door which precedes it opens and a female arm
comes out and hauls him inside.
229 INT. BEDROOM. FERRARI ROOM. GRAND HOTEL MAJESTIC. DAY. 229
The door opens revealing FERRARI holding a bouquet of flowers
with an ironic smile. Entering, he presents LINA with the
bouquet. They embrace.
There's room service with coffee, light food on the table
that she had ordered.
LINA
How much time?
FERRARI
The first cars arrive in an hour...
at about half past two.
FERRARI sits on the bed and falls back and pulls her down
next to him. She lies in his arms. A moment of repose from
his war of survival, their dilemma, coaching five drivers in
the Mille Miglia and the contest of the race itself.
230 EXT. MOUNTAINS. DAY. 230
BEHRA passes and is now ahead of DE PORTAGO. DE PORTAGO tucks
into BEHRA's slipstream. It's silent, there.
A corner is coming up, a dipping right-hander.
Then, DE PORTAGO sling shots out and starts to pull even with
BEHRA. DE PORTAGO and BEHRA, aware of each others presence,
hold their speed. NELSON closes his eyes.
101A.
The line for the turn cuts the apex midway through on the
inside.
102.
BEHRA edges forward, looks at DE PORTAGO. DE PORTAGO edges
even - it's a challenge. Two objects cannot occupy the same
space at the same moment in time. De Portago or Behra. A
repeat of the French Grand Prix. One must brake! Neither
does. Wheels touch!
And BEHRA goes over the edge.
DE PORTAGO slews the back of his Ferrari round, tries
opposite lock nearly loses it, hits the inside of the cutting
on the rebound, damages a strip of the fender and straightens
up -- and goes like the clappers downhill.
NELSON looks up. They're still alive. Looks round. There's no
sign of Behra.
231 EXT. MOUNTAINS. DAY. 231
BEHRA's car is plunging down the side of the steep slope like
a damaged aircraft.
Unseen boulders kick off the wheels, the fenders, the
exhaust. It surfs its way towards the road below. In the
distance the four Ferraris, having rounded the hairpin, are
switching back on what seems like a collision course.
Finally, the Maserati half tumbles, half lands onto the road,
followed by debris.
BEHRA clambers slowly out of the wreck.
TARUFFI avoids the debris and brakes when he sees BEHRA.
He reverses back to where he stands, lifts his goggles from
his blackened face and grins.
TARUFFI
Took the short cut, uh?
He waves Behra in, giving him a lift.
232 EXT. BOLOGNA CHECKPOINT (GAS STATION). DAY. 232
It's an AGIP gas station on a heavily treaded street. The
atmosphere among the half dozen Ferrari mechanics is
jubilant. Ferrari had dropped off tires. COLLINS' 335 skids
to a halt beside the gas pump. FERRARI is waiting to greet
him.
103.
FERRARI grabs COLLINS in two hands.
FERRARI
Everything OK?
COLLINS
The transmission's gone. I don't
know whether it's gears or the back
axle...
Behind him, CHITI is already checking the drive-train.
A MECHANIC offers COLLINS a banana, which COLLINS begins to
peel.
COLLINS (CONT'D)
Who's behind me?
FERRARI
Everyone. You're in the lead.
COLLINS
Yes. What about Moss?
FERRARI
Dropped out--
COLLINS
When?
FERRARI
Before Padua.
COLLINS
Why didn't you tell me?
COLLINS doesn't know whether to laugh or cry.
FERRARI
You had Behra to take care of.
COLLINS
I was worried about Moss!
FERRARI
They're both out.
104.
COLLINS grins through his tears --
COLLINS
But I've fucked the transmission!
FERRARI
Peter, you can do it. Take it easy--
COLLINS hands the rest of the banana to FERRARI and gets back
into the cockpit.
FERRARI hands the half eaten banana to CHITI, who hands it to
TAVONI, who hands it to a MECHANIC, who hands it to a group
of BOYS.
MECHANIC
You want Collins banana?
The THREE KIDS grab it.
COLLINS revs the engine, lets out the clutch.
As he takes off. A roar from the bystanders.
Almost colliding with outgoing Mercedes which brakes, COLLINS
roars off as VON TRIPS and TARUFFI pull in.
BEHRA climbs out, holds out his hand. TARUFFI shakes it.
Then both men get out of the car, whereupon BEHRA is
surrounded by REPORTERS. But he won't talk to them. He waves
his gloves at FERRARI, who gives him a respectful nod...
BEHRA finishes the long walk across the square, to where the
ORSIS, dumbfounded by the turn of events, await him. On their
faces the realization that this is the end of the road for
Maserati.
FERRARI, charged...
FERRARI
Taruffi! I give you a brand new
car. Look at it!
TARUFFI has pulled into the bay. As the PIT TEAM refuel the
car he staggers out of the cockpit, trying to straighten his
stiff legs.
TARUFFI
Brand new? The back axle's bent.
I've got only first, third and
fourth gears.
104A.
FERRARI
Any more damage, Taruffi, you pay
for.
TARUFFI dismisses this with a wave as he staggers towards the
portable lavatory.
TAVONI
Commendatore.
FERRARI finds CHITI and TAVONI facing him.
CHITI
Now that Maserati is out--
TAVONI
We're in danger of running the cars
into the ground.
CHITI
Order the drivers to hold their
positions
FERRARI
Why bother? They won't.
105.
CHITI
But if we continue at this pace--
TAVONI
For the future of the factory--
FERRARI
-- my factory is built on racing.
They are racers.
OPTIONAL: FERRARI touches his temple. GENDEBIEN sits in his
couple as it's being refueled.
FERRARI crosses to him.
FERRARI (CONT'D)
Problems, Olivier?
GENDEBIEN shakes his head.
FERRARI (CONT'D)
You're way ahead of your class.
GENDEBIEN
To hell with my class. I'm going to
win this outright.
FERRARI
You can do it. Collins' back axle's
gone, there's a problem with
Taffy's transmission. That leaves
Taruffi and he's lost a gear.
GENDEBIEN
So, it's me and de Portago--
At which point DE PORTAGO storms in towards the checkpoint
and gas station.
TARUFFI comes back, zipping up his overalls, as DE PORTAGO'S
335 pulls in.
106.
NELSON jacknifes out for a piss, DE PORTAGO eases himself out
to take a mug of coffee offered by a MECHANIC.
Meanwhile --
TARUFFI
(to Ferrari)
I think I can do it--
FERRARI
You better, you geriatric. If you
don't finish in the first three,
your wife will never speak to you
again. Nor will your children.
Taruffi turns the starter motor.
FERRARI (CONT'D)
Go for it.
To a great cheer, TARUFFI accelerates up the parkway. VON
TRIPS chases after him.
FERRARI approaches him, MECHANICS swarm over DE PORTAGO'S
car.
DE PORTAGO
How's Behra?
FERRARI
He's okay.
DE PORTAGO
He kept coming.
FERRARI
He brakes. You pass. You brake. He
passes. Or no one brakes...
DE PORTAGO's composure vanishes.
DE PORTAGO
What's going on here?
On the far side, FOUR MECHANICS have rolled forward new tires
for Portago's Borrani wheels ... notorious for the time they
take to change.
FERRARI
You need new rubber.
DE PORTAGO
I don't have time - check the
pressures.
107.
A WOMAN breaks through the cordon and pushes a bunch of
flowers into DE PORTAGO's hands. He is courteous enough to
smile a thank-you before she is bundled away.
FERRARI
Chiti, check the tires.
DE PORTAGO
Nelson, did you check the front
offside?
NELSON is back from the toilet.
NELSON
Yes. It's okay.
He swings himself into his seat. DE PORTAGO turns to FERRARI:
the frustration that he feels is palpable.
DE PORTAGO
Come on Ferrari! We're wasting
time.
FERRARI
(to Chiti)
Chiti, check the front offside.
As DE PORTAGO levers himself into the cockpit, he hands the
flowers to NELSON and starts the engine.
FERRARI inspects the nearside tires -- thoroughly.
NELSON
Come on. They're good.
FERRARI
Chiti!
CHITI appears on the far side of the 335.
CHITI
They're worn.
DE PORTAGO
Will it get us to Brescia?
CHITI hesitates.
OPTIONAL: GENDEBIEN pulls in.
DE PORTAGO puts his foot down and the car surges forward.
CHITI, TAVONI and FERRARI watch it roar across the square.
107A.
As it reaches the Via Marconi, NELSON throws the flowers
away. They scatter over his shoulder in the afternoon sun.
108.
It is an image that was to stay with FERRARI for a long time:
the red rear end of the car, the raised leather glove, palm
open, the scattering flowers.
233 EXT. LARGO GARIBALDI. DAY. 233
LAURA -- carrying a shopping bag full of groceries -- nears
her door. A van with a television mounted on its roof is
parked outside. Around the door are THREE PHOTOGRAPHERS.
She fishes for her keys, ONE PHOTOGRAPHER calls out --
PHOTOGRAPHER
Signora, why aren't you in Bologna
with your husband?
LAURA retorts with spirit.
LAURA
Why aren't you?
This gets a laugh. She opens the door, smiling.
234 INT. KITCHEN SECOND FLOOR. LARGO GARIBALDI. DAY. 234
LAURA enters with the shopping and dumps it on the table.
ADALGISA has been sitting watching television. But on LAURA'S
arrival she turns it off.
LAURA catches a furtive look on her face, senses it has
something to do with the television. She turns the TV back
on. As the picture appears, it shows FERRARI in close-up -
mid interview - talking to REPORTERS from the lobby of the
Majestic Hotel in Bologna as he's leaving the hotel. LINA is
in the background.
Instinctively, LAURA knows it is LINA. She looks cool, poised
and carries a bunch of yellow flowers. Laura points at Lina,
touches her on the screen.
COMMENTATOR
Signor Ferrari? Who's going to win?
FERRARI
It could be any of the first five.
COMMENTATOR
What about Gendebien's 250?
109.
FERRARI (V.O.)
He demonstrates that even the
smallest Ferrari can compete at the
highest level--
LAURA turns. ADALGISA is already leaving the room.
LAURA
You knew about her, and you never
told me!
ADALGISA retreats, steady under fire.
ADALGISA
He is entitled to an heir.
LAURA
I gave him one!
ADALGISA from the doorway turns, faces her --
ADALGISA (V.0.)
As it turns out, one was not
enough.
LAURA takes one last look at the television. FERRARI has
turned away. LINA is caught half turning, smiling a shy
goodbye.
All LAURA's pent up rage is released. She screams.
235 INT. FARM HOUSE. GUIDIZZOLLO. DAY. 235
A family is eating on a long table under the barrel-vaulted
ceiling in the large stone farm house including a MOTHER in
her late `20s, a robust woman --
MOTHER
Enrico, go back, wash your hands.
The EIGHT YEAR OLD SON goes to the utility sink and turns the
single faucet.
His FATHER is watching news unrelated to the Mille Miglia on
the black and white television.
His THREE YEAR OLD BROTHER is eating tortellini with his
hands and a spoon.
110.
236 EXT. THE STRAIGHT ROAD TO GUIDIZZOLLO. DAY. 236
The five red dots hurtle down the dead straight road.
COLLINS, TARUFFI, DE PORTAGO, GENDEBIEN and VON TRIPS.
237 INT. COLLINS' CAR. DAY. 237
He sees an intersection. A crowd of people, young and old --
are pressing to the side of the road.
HIS POV - the road ahead.
The crowd has spilled over the edge of the road. He is
closing in on them at nearly a 100 yards a second.
237A EXT. INTERSECTION. GUIDIZZOLO. DAY 237A
COLLINS passes in a storm of stone and dirt -- inches from
the faces of the kids.
POV -- from just behind the front wheel. A blur passes of
spring flowers, legs, dogs, cheering from the kid's faces.
TARUFFI screams past followed by a gap and then DE PORTAGO,
GENDEBIEN and VON TRIPS. Like nesting birds a few amateur
photographers record the event from the side of the road. One
from the branches of a tree.
238 INT. FARMHOUSE. DAY 238
The family tableau and newscast is split by the shriek of the
raw V12's at high revs, still distant. The sound is like a
rend in the air.
EIGHT YEAR OLD SON
They're coming!
And, he runs out the door, followed by his slower, younger
brother.
FATHER
(after)
Antonio!
He rises to run after them --
239 EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. 239
COLLINS and then TARUFFI pass. A gap.
110A.
And now it is DE PORTAGO racing in pursuit of COLLINS through
the rows of poplar trees on both sides, carrying their
implications, perhaps of fatedness.
ON DE PORTAGO - intent to catch them, only 20 minutes from
Brescia and the finish line.
111.
A239A EXT. THE STRAIGHT ROAD. THE FARMHOUSE. GUIDIZZOLO. DAY A239A
The FATHER hustles the THREE YEAR OLD BROTHER away. As he
looks back --
B239A EXT. THE STRAIGHT ROAD. GUIDIZZOLO. DAY B239A
COLLINS BLASTS through.
The family group to the north of the pathway to the house,
their thrilled reactions --
C239A EXT. THE STRAIGHT ROAD. GUIDIZZOLO. DAY C239A
STATIC CAMERA ON DE PORTAGO hurtling red projectile between
the even rows of poplars coming out of the curve to camera.
D239A EXT. THE STRAIGHT ROAD. GUIDIZZOLO. DAY D239A
ON DE PORTAGO - the intensity and determination, less than 20
minutes from the finish line in Brescia his face darkened
with the grit of the 10 hours racing so far.
239A EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. 239A
The distant red projectile racing at us.
PULL FOCUS to TIGER'S EYE. This one is broken, has a sharp
edge.
SLOW MO De Portago's tire hits it. See the laceration and
explosive force of the hot air ripping through the
laminations.
A239B EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. A239B
ON REAR De Portago's 335. The left front slowed we SEE the
rear swing to the right.
B239B EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. B239B
OVER DE PORTAGO as his rear comes out he counters by steering
to the right and coming on to the gas to gain adhesion so
that he can steer back onto the road and straighten the car.
...he stamps to the right to regain traction so he can steer
left and straighten out the car...
111A.
C239B EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. C239B
ALONG RIGHT SIDE CU RIGHT FRONT TIRE...but he's too far right
and slams into a concrete mile marker.
D239B EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. D239B
600fps ON DE PORTAGO'S RIGHT FRONT TIRE driving into and
exploding the concrete mileage marker. As it explodes...
E239B EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. E239B
WIDE FRONTAL ON ROAD. De Portago's 335 is twisted sideways -
his axis perpendicular to the road - and launches into the
air. It gains lift, the car acting like a wing as it rolls
and - seemingly benign - is airborne.
239B EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. 239B
The faces whip towards the oncoming car and begin to react in
milliseconds.
239C EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. 239C
ON THE CAR it rolls until part of the car, probably the rear,
hits the telephone pole snapping it half. That sends part of
the car towards the crowd as shrapnel and changes the
trajectory.
239D EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. 239D
Now the car is tumbling end over end at somewhere between 120-
140mph. Most of the car and pieces of it that exploded off
slam into the onlookers, coming apart.
240 EXT. STRAIGHT ROAD. GUIDIZZOLO. DAY 240
Remnants of the LOCAL FAMILIES, screaming with horror.
Dust obscures the road -- shapes of CHILDREN can be glimpsed
wandering confused through it. ADULTS pulling them clear as
the next cars bear down on them--
CUT TO
111B.
241 EXT. STRAIGHT ROAD. GUIDIZZOLLO. DAY. LATER 241
A YOUNG PRIEST makes his way down the hill, bearing in one
hand a chalice, in the other a round wafer of bread.
He moves slowly, as if in a dreamworld, into what seems like
a battlefield of drifting smoke and doll-like bodies. Through
the shrapnelled wood, we make out the wreckage of the red
racing car.
We glimpse in the wreckage and escaping steam from the
destroyed car the crushed body De Portago. The hand of a
YOUNG PRIEST places a holy wafer in the open mouth of ALFONSO
DE PORTAGO'S head, torn from its body.
242 EXT. THE SQUARE AT BRESCIA. CELEBRATION. DAY 242
A scene of unalloyed joy. A brass band is playing. There is a
carnival atmosphere.
112.
TARUFFI, the winner, his face blackened by oil spray stands
among the equally darkened GENDEBIEN and VON TRIPS. All three
hold Trophies, as people shower them with champagne and
flowers...
LINDA CHRISTIAN moves eagerly through the crowd, huge smile
from the excitement around her.
COLLINS and KLEMANTANSKI get out of a Ferrari van -- still in
their racing garb. Their faces are carbon black. They look
shell shocked. LOUISE, tearful, greets them, holds Collins
tightly. KLEMANTANSKI hugs her.
LINDA is swept towards the ramp, she spots them and waves.
LINDA
Where's Fon?
243 EXT. STRAIGHT ROAD. GUIDIZZOLLO. NIGHT 243
The wood is lit by the glare of television lights and the
headlamps of ambulances and the Fire Service.
BODIES are being carried upwards on stretchers.
A CARABINIERI car, its lights flashing, comes to a halt,
CHITI's big Alfa behind him and behind him the Ferrari Works'
vans.
FERRARI gets out of the Alfa and wades into the scene. CHITI
and TAVONI follow.
A POLICEMAN points out the ditch where the bulk of the car
had impacted...
FERRARI walks to the ditch, followed by CHITI, TAVONI. The
locals mill around, trying to help; relatives in shock. No
one seems aware he's there.
He looks around. Bodies, some swathed in plastic, are being
removed.
FERRARI looks up into the trees. Bits of the 335 are still
lodged there.
A SENIOR POLICE OFFICER arrives, he knows FERRARI --
SENIOR POLICE OFFICER
Commendatore?
CHITI produces a letter from the Parma police to collect the
car. While FERRARI wanders off--
113.
FERRARI's devastated. He'd learned to steel himself
(somewhat) to the deaths of drivers. This brutal savagery
wrought upon ordinary people by metal bearing his name, the
bloody carnage of it, tears him apart.
A FEMALE VOICE cries out in the darkness -- and FERRARI looks
up to see a woman, tearing away from the crowd of relatives
and onlookers, running towards the carnage, her bodice
stained with blood. It's the MOTHER from the farmhouse.
Police and firemen stop her and she breaks down in their
arms.
FERRARI's frozen in the sea of carnage.
244 INT. DE PORTAGO'S ROOM. MARZOTTO HOTEL. NIGHT. 244
Darkness. A light comes on. LINDA CHRISTIAN enters and shuts
the door. She surveys the room.
Fon and Eddie's dry cleaning hang neatly on the rail. His
half open grip stands on a luggage rack. Her photograph is
stuck in the mirror alongside a picture of his family.
Underneath are two envelopes.
She crosses and picks them up. One is addressed to her. She
sits down on the bed, opens it, lights a cigarette and reads.
DE PORTAGO (V.O.)
My darling Linda. Tomorrow may be
the last day of my life. So I'm
writing to you, but in the firm
expectation that: you will never
have to...
She reads on... a tear begins to flow down her cheek... She
pulls back her hair in a characteristic determined gesture
and keeps reading.
245 FLASHBACK - INT. PALAZZO. HALL. MODENA. DAY 245
DE PORTAGO enters from a morning run. He kicks off his low-
cut black track shoes.
A Housemaid starts down the stairs with a tray, having
brought Linda coffee.
DE PORTAGO
Linda? Are you up?
LINDA (V.O.)
(distant)
I'm upstairs.
114.
DE PORTAGO grins, pulls off his shirt -- strips. The
Housemaid looks away. DE PORTAGO, now naked, takes the stairs
three at a time.
DE PORTAGO
I'm coming.
He leaps from one giant step to the other and neither
slackening pace nor shortening stride continues to bound up
the stairs from one flight to the next -- up two flights, to
burst into her bedroom, stark bollock naked and so very much
ALIVE.
LINDA
Fon! Are you crazy?
DE PORTAGO
Yes!
She barely sets the coffee on the side table and dives her
head under the covers as he leaps on the bed.
He cocoons her in the duvet, but she escapes and wraps one
arm around his neck--
LINDA
Come here, you!
She pulls him into a kiss that gets serious in the yellow
morning light streaming in.
246 INT. DE PORTAGO'S ROOM. MARZOTTO HOTEL. NIGHT. 246
She finishes reading the letter and curls up on the bed.
LINDA
Oh, Fon--
247 EXT. BONEYARD. FACTORY. MARANELLO. MIDNIGHT 247
The factory is back from Brescia. They are in the process of
unloading cars plus Collins' abandoned 335. In the cold light
of the arc lamps, dented and covered in mud, the cars look
completely driven out.
The MECHANICS work in an unacustomed silence. The terrible
events at Guidizzolo are with them.
FERRARI is there, supervising the unloading.
115.
Every minute brings a new truck or tanker through the gates.
Now, a van rolls in, carrying the wreck of de Portago's
machine. Suddenly all work in the yard stops. FERRARI calmly
orders it towards the boneyard.
248 INT. OFFICE BLOCK. FACTORY. MARANELLO. NIGHT. 248
CUOGHI and RANCATI have been recruited to help answer a
torrent of calls. CUOGHI is working out of Ferrari's office.
RANCATI out of Tavoni's. TOMMASO is at his usual desk in the
outer office.
TOMMASO
(on the phone)
The Commendatore is not available--
RANCATI
(on the phone)
No. Signor Ferrari is not available
to answer your questions.
CUOGHI
(on the phone)
Enzo has his hands full at the
moment -- I will tell him you
called.
249 INT. THE BONEYARD. FACTORY. MARANELLO. NIGHT. 249
FERRARI
Here.
The chassis of De Portago's 335 is being dismembered.
FERRARI (CONT'D)
Wheels over there. Hood here.
Trunk...
The wheels, the cockpit, the twisted metal of hood and trunk
are now off-loaded and stacked separately.
FERRARI stares at the wreckage. It is unrecognizable.
A vision of the demented young woman swims before his eyes
running down through the trees, her dress red with blood.
CHITI kneels down by the front offside wheel, examines it.
FERRARI bends over and gently teases out a flower from behind
the transmission tunnel.
116.
CHITI turns over the wheel. It is buckled, the spokes
unsprung, the rim driven back to the boss. Most tellingly,
there is a long straight gash from external damage.
FERRARI studies the flower.
CHITI
This wheel hit a kerb stone, a
brick, something solid that cut it.
It wasn't the tire.
CHITI examines it. The shredded rubber is tangled around it
like seaweed. CHITI is trying to reassure him.
250 OMITTED 250
251 INT. FERRARI'S OFFICE. FACTORY. NIGHT. 251
FERRARI picks up the phone and dials the operator. On the
desk the flower sits in a vase.
FERRARI
Brescia, please...
And he gives the number....
252 INT. BAR. BRESCIA. NIGHT. 252
A BARMAN threads his way through the dancers on the crowded
dance floor to the crowded Ferrari table. He says something
to TARUFFI who gets to his feet and follows him back towards
the bar. WOMEN want to kiss him, MEN shake his hand.
253 INT. FERRARI'S OFFICE. FACTORY. NIGHT. 253
FERRARI
Piero?
TARUFFI comes on line --
FERRARI (CONT'D)
It's Enzo. I wanted to congratulate
you.
TARUFFI mentions the crash at Guidizzolo. He's concerned.
FERRARI (CONT'D)
What happened is separate from your
victory today, that will go into
the history books...
(MORE)
117.
FERRARI (CONT'D)
(he attempts a joke)
Of course your car is a mess. I
shall send you a bill.
(as Piero rises to the
bait, he cuts him off)
Goodnight Piero, once again I
salute you, and all my love to your
incredibly beautiful, long
suffering, immeasurably tolerant
wife.
He puts the phone down.
There is another number on the page. He picks up the phone
again -
FERRARI (CONT'D)
Brescia, please...
And again he gives the number written neatly in purple in his
diary.
A254 FLASHBACK. BOLOGNA. DAY. A254
The vision of the flowers once again. The opening leather
gloved hand, the floating blossoms swept up in the wind -
254 INT. DE PORTAGO'S ROOM. BRESCIA. NIGHT 254
The phone rings by the bedside. LINDA lies curled up on de
Portago's bed. She lets it ring for some time before
answering it.
LINDA
Yes?
Intercut with Ferrari's office.
FERRARI
Linda? Ferrari speaking. I want to
say how sorry I am.
(long pause, she says
nothing)
I know how much he meant to you.
Silently she begins to cry but it doesn't affect her voice.
LINDA
Don't worry. I don't blame you. Fon
knew and embraced the dangers.
(silence, then)
118.
FERRARI
Is there anyway I can help?
LINDA
It's you who needs help, Enzo.
She gently puts the phone down. He's shattered. As he sits
there, TOMMASO knocks on the door.
TOMMASO
The Police are on their way from
Rome. They want the car. Tavoni's
going to stay and handle it. The
press are outside the gate.
FERRARI shakes his head.
He looks at him.
As he exits, FERRARI picks up the single bloom.
255 OMITTED 255
256 INT. THE BONEYARD. FACTORY. MARANELLO. NIGHT. 256
Almost as if in a vigil, FERRARI sits in semi-darkness
staring at the wreck of the 335. SCAGLIETTI's feet can be
heard, but he neither looks up nor round at his approach.
SCAGLIETTI enters and stares at the car. An attempt had been
made to piece it together but it looks utterly destroyed.
SCAGLIETTI
Lina called me. She wants me to
bring you there--
FERRARI doesn't reply. SCAGLIETTI walks close to take a
critical look at the vehicle. After all he'd built it.
SCAGLIETTI (CONT'D)
What happened?
FERRARI stirs but doesn't answer.
SCAGLIETTI (CONT'D)
We all know death is nearby.
FERRARI nods.
118A.
FERRARI
Children don't know. Blood spilled
because of metal that I made.
(MORE)
119.
FERRARI (CONT'D)
Families don't know.
(pause)
How's the bird?
SCAGLIETTI
Still in the cage.
FERRARI
Sensible creature.
(pause)
I have to talk to those vultures.
Then drive me home.
257 INT. SCAGLIETTI'S OLD PICKUP. YARD. FACTORY. NIGHT. 257
SCAGLIETTI behind the wheel, driving --
SCAGLIETTI
The farm?
FERRARI
No. Largo Garibaldi.
(beat)
Phone Lina for me, will you? Tell
her I'll call. Maybe tomorrow. I
have business.
SCAGLLIETTI nods, his feature's expressionless -- but he's
thinking. This bird is going back into it's cage.
258 EXT. LARGO GARIBALDI. MODENA. NIGHT. 258
FERRARI gets out. He looks up at the house. The upper floors
are dark. He starts towards the entrance.
259 EXT. FERRARI'S HOUSE. LARGO GARIBALDI. NIGHT. 259
FERRARI lets himself in.
259A INT. FERRARI HOUSE. FOYER. NIGHT 259A
FERRARI enters, climbs the stairs carrying the full weight of
the tragedy.
260 INT. LIVING ROOM. FERRARI'S HOUSE. LARGO GARIBALDI. NIGHT.
260
ON THE TELEVISION: a MOB OF REPORTERS and TELEVISION NEWSMEN
surround Ferrari at the factory.
119A.
FERRARI (V.O.)
Italy is looking for a scapegoat.
Here I am.
120.
An explosion of questions and FLASHBULBS. Ferrari exits
through the gate back into factory. TAVONI addresses them --
TAVONI (V.O)
The tires were identical to the
tires on the race winning cars of
Taruffi and Gendebien. Nothing went
wrong with the tires -- Portago had
no problem with his.
It cuts to a COMMENTATOR, who speaks into camera:
COMMENTATOR
The feeling in Rome is someone is
responsible, must bear the blame.
Why did Ferrari -- allow de Portago
to proceed after his car received
frontal damage? He may be charged
with the crime--
FERRARI's footsteps on the stairs.
LAURA with only a cluster of candles lit and the television
on, turns off the volume. FERRARI enters. A shaft of half
light bleeds in from the adjacent room or the foyer after
Ferrari enters.
FERRARI
No lights?
LAURA
I've got a headache.
(beat)
The phone's been ringing all night!
I took it off the hook.
FERRARI comes into view.
LAURA (CONT'D)
You're in real trouble. To do with
the tires. The press are competing
for who can vilify you the most--
FERRARI
There was nothing wrong with the
tires. He hit something. Did you
take any calls?
LAURA
From the Gazette. Ugolini
FERRARI
What did you tell him?
121.
LAURA
I told him to fuck himself. And
then that man from Autosport? I
told him to fuck himself. And then
Henry Ford --
FERRARI
-- Ford?
LAURA
-- I told him --
(she hesitates)
-- to call back.
FERRARI breathes more easily.
FERRARI
Anyone else?
LAURA
Cuoghi. I told him to go fuck
himself. After that I took the
phone off the hook.
FERRARI
(ironic)
Great.
ADALGISA peers in the doorway, fully dressed beside a
suitcase.
FERRARI (CONT'D)
What are you doing, mama?
ADALGISA
I'm all packed. When do we leave?
FERRARI
We're not going anywhere -- go back
to sleep.
LAURA
This is God's way of punishing us.
FERRARI
Us? You think He slaughtered nine
people in Guidizzolo to get even
with you and me?
(pause)
As if we're not capable of
inflicting enough on each other.
122.
LAURA shifts in her chair so that she can see both the silent
television and FERRARI.
FERRARI (CONT'D)
There was a message from the bank.
You cashed the check. They're
calling insolvency experts. We're
done.
LAURA listens, unblinkingly. In a calm voice --
LAURA
The bank is getting hysterical over
nothing.
FERRARI
"Nothing?" You've bankrupted us!
LAURA
Stop it. What good are you doing
yourself.
(mocks him)
"I am a scapegoat--"a martyr."
(pause)
Who have you become, Saint
Sebastian? You stand there and let
them shoot arrows in your ass?
He looks at her.
LAURA (CONT'D)
Go beat the hell out of them. The
writers. Those hacks. Threaten
them. Extort them. Those still on
their feet -- the most
sanctimonious and hypocritical --
them, you give brown envelopes.
(she points at brown
envelopes stacked on the
table)
And they, too, then will discover --
"perhaps the Sage of Maranello has
been maligned unfairly. Moderation
should reassert itself in the
distinguished Italian press."
(pause)
And for that you need the cash.
And she indicates behind her banded stacks of bank notes.
FERRARI is silent. Before him is the younger Laura -- before
the war, before the tragedy of Dino's disease and death. No
one would suspect that in her current frame of mind she would
strategize and fund such an operation.
123.
FERRARI picks up a wad of money, looks at her.
LAURA (CONT'D)
You thought I'd pack a suit case
and go -- Yes?
FERRARI nods.
FERRARI
It crossed my mind --
LAURA
It crossed my mind, too --
And LAURA laughs. It's the second time that we have seen her
do so -- and we can see why Ferrari loved her.
FERRARI
You're financing this?
LAURA
Lending it.
FERRARI
And the conditions are?
LAURA
No conditions.
(pause)
There was a part of you in Dino. A
warmth, joy, your wit. He had that.
(pause)
I had that from you in our early
years. You gave it to your friends.
But after a time, not to me. I got
what was left when you came home
from the fights in the factory. The
ambition, drive, plots, paranoia.
Even our fucking, as if that could
save him. What I loved in you, I
found in him. Okay? Now, that's
gone.
LAURA has reached out across the table. FERRARI reaches out,
too, to hold her hand. He clutches hers firmly.
LAURA (CONT'D)
There is no condition. You have the
money.
(she pauses)
It is my request. For my grief for
our son, for the years building
this.
(MORE)
123A.
LAURA (CONT'D)
You do not acknowledge the boy with
the name Ferrari while I am alive.
124.
Their eyes connect. In the background the TV plays silently.
The fridge begins to hum.
LAURA withdraws her hand slowly.
FERRARI gets up, crosses the window, opens it, to show the
first light of dawn. LAURA looks up wearily. FERRARI turns to
her. He nods.
261-263 OMITTED 261-263
264 EXT. CEMETERY. DAWN. 264
Birds are singing, the cold sky is tinged with gold.
FERRARI walks across the central court towards the Mausoleum.
On a stone bench PIERO sits, wrapped in a coat, waiting for
him. FERRARI, surprised, sits next to him.
FERRARI
What are you doing here? How'd you
get here?
PIERO
Giuseppe brought me.
FERRARI
Your mother sent him, she wants me
to come home?
(PIERO nods "yes")
(OPTIONAL:)
You're supposed to be in school?
PIERO gives him a cynical look and shrugs.
FERRARI (CONT'D)
Have you been here before?
PIERO
No.
New thought:
FERRARI
Your mother and you will come to
live in Modena.
PIERO
Is the television reception better?
124A.
FERRARI
Much better. I can see the tower
from my window.
PIERO
Did you get de Portago's autograph?
125.
FERRARI
I did.
FERRARI stands, takes PIERO'S hand.
FERRARI (CONT'D)
(as they walk)
Come on, I'll introduce you to your
brother.
As they walk towards the Mausoleum.
FERRARI (CONT'D)
I wish you could have known him. He
would have taken you with him
everywhere...
END
265 EPILOGUE 265
SCROLL
Ferrari, charged with manslaughter
over the accident at Guidizzolo,
was exonerated by the courts.
When Laura died, Piero was
officially recognized as Ferrari's
heir.
Peter Collin and Michael Hawthorne
were killed in racetrack and road
accidents in 1957 and 1959.
In the following year Ferrari
regained the World Championship.
The red cars became the dominant
force in motor racing and still
are.
END
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