Enzo Ferrari (Martin & Mann) (10.26.15) (Rev.) (Digital)

ENZO FERRARI
written by
Troy Kennedy Martin
current revisions by
Michael Mann
10.26.15
WGAW
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ENZO FERRARI
1 EXT. FARMHOUSE. CASTELVETRO. MORNING 1
Dawn over the Emilia. Still air... the flutter of duck off
water. The clouds are fixed, 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.
It is Spring 1957.
2 INT. LINA'S BEDROOM. CASTELVETRO. MORNING. 2
FERRARI wakes in Lina's bed. In the distance he hears the

Naples/Milan Sleeper clatter over the points at
Castelfranco... He looks at his watch. LINA stirs. He
untangles their limbs and slides out, letting her sleep.
3 INT. THE HALLWAY. CASTELVETRO. MORNING. 3
Dressed, he creeps past PIERO's room, its door open, the boy
asleep. He steps in, kisses his head. On the walls are
Ferrari banners and news paper clippings. Then Ferrari’s down
the stairs with their inevitable creaking.
4 EXT. FARMHOUSE. CASTELVETRO. MORNING. 4
He puts on his shoes and opens the door of his small Lancia.
He unclips the handbrake under the dash and, with a shove,

allows the car to begin to freewheel down the incline towards
the farm gates.
5 INT. THE LANCIA. MORNING. 5
Now he slips aboard and draws the door shut as he passes the
gatepost. He turns the car into the road and it gathers
speed. It is only now that he flicks on the ignition, pulls
out the choke, shifts from neutral into second gear and
releases the clutch, bumping the engine into life... and *
drives away. Small. *
6 INT. PLATFORM. MODENA STATION. MORNING. 6
In a great cloud of steam the night-train shudders to a stop

and an opera company begins to disembark;
2.
the SINGERS clutch their fur collared coats and hats, the
ORCHESTRA carry their instruments.
From the next carriage an overnight bag is tossed onto the

platform. Then a man dismounts: squat, wide-shouldered,
modishly dressed, he picks up the bag from which hang a pair
of racing goggles. His name is JEAN BEHRA.
The GUARD blows his whistle. There is a hiss of superheated

steam, and a roar from the engine. From the last carriage a
young man steps onto the platform. Younger than Behra,
unshaven and wilder-looking, he too carries a small bag from
which hang two pairs of racing goggles. In a leather jacket
and jeans, he looks like Marlon Brando in THE WILD ONE. His
name is FON DE PORTAGO. *
He begins to walk up the platform following the others.
7 INT. FERRARI'S HOUSE. LARGO GARIBALDI. MORNING. 7
The phone rings by Ferrari's bed, which has not been slept
in. The door to the room opens and a sleepy woman of about
forty with steely eyes and a wiry lissome body picks it up.
She is Ferrari’s wife, LAURA FERRARI. *
LAURA
Yes?
8 INT. STATION OFFICE. MODENA. MORNING. 8
PORTER
Please inform Signor Ferrari that
Jean Behra has just arrived on the
overnight from Milan.
He bows.
PORTER (CONT’D)
Thank you, most excellent and
gracious Signora.
9 INT. FERRARI'S ROOM. LARGO GARIBALDI. MORNING. 9
LAURA stares down at Ferrari's empty, comfortless bed.
The phone rings again. She picks it up. It is Ferrari's chief *

engineer, CARLO CHITI. *
CHITI (V.O.)
Laura? It’s Chiti. Is he there?
3.
LAURA
He’s taking a shower.
CHITI (V.O.)
Will you give him this message --
Jean Behra's in town.
10 EXT. FORECOURT. MODENA STATION. MORNING. 10
BEHRA stands by the curb as a Maserati convertible pulls up.

He stamps on his cigarette. The two ORSI brothers greet him
with a handshake and he piles in --
As they drive off the last of the OPERA STARS board an

upright old coach.
TENOR
(bitterly)
You will notice that -- for stars
of the racing world -- there is a
heroes’ welcome. But for us, not
even a porter.
As the coach takes off, DE PORTAGO steps into shot. As the

bells for 6 o'clock mass begin to ring, he starts to walk
across the deserted square towards the Corso Vittoria
Emanuelle.
11 EXT. INTERSECTION. VITTORIA EMANUELLE. MORNING. 11
DE PORTAGO carries his bag down the middle of the deserted

Corso. A small Lancia scoots past him and comes to a halt at
a red light. DE PORTAGO recognizes him.
The driver checks his watch. He’s late.
DE PORTAGO
Signor Ferrari!
He runs towards the car.
Ferrari glances at the approaching Spaniard.
DE PORTAGO (CONT’D)
I'm Fon de Portago. I'm --
The light turns to green and FERRARI accelerates away...
DE PORTAGO slows to a walk. Just one look had confirmed

everything he had heard about the man. He'd be a bastard to
work for...
4.
12 EXT. THE PIAZZA GARIBALDI. MODENA. MORNING. 12
The church bells are still ringing. A FLOWER WOMAN up her

wares on the corner of the Viali dei Caduti. Nearby news
kiosk opens its shutters as FERRARI arrives in the old
Lancia.
In front of the Opera House, the bus from the station stands,
the OPERA COMPANY unloading its gear. A SMALL WELCOMING
COMMITTEE is on the steps of the Opera House to greet them.
One of them is FINI, FERRARI's school friend. Fini is short,

confident, owner of a national food company and gives Ferrari
business advice.
A cry goes up from the STAGEHANDS among the welcoming

committee.
STAGEHAND
Hey, it's Ferrari!
There is a spontaneous burst of applause, which FERRARI

acknowledges as he gets out of the car.
FINI
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 were in
Monaco last week.
Laughter... FERRARI smiles at the retort as he crosses the

cobble-stoned inner apron.
FINI
And, we have to talk...
FERRARI
That bad?
FINI
(it is)
I will come by later.
FERRARI opens the door to his house, a huge burgher's

mansion, built in the Northern Italian style.
5.
13 INT. LAURA' S APARTMENT. FERRARI'S HOUSE. MORNING. 13
LAURA hears the front door slam, FERRARI's footsteps on the

stone stairs.
She sits on her bed. Her face registers a kind of frozen

anger. As she hears him pass her door she gets up, crosses
to the bureau, pulls open a drawer. Inside is a pistol.
On the floor above a door slams.
14 INT. FERRARI'S APARTMENT, LARGO GARIBALDI. MORNING. 14
The phone is ringing. FERRARI ignores it. He crosses to the

shower, turns it on, comes back into the room, stripping off
his shirt. He opens the shutters, letting in the morning
light and the sound of the bells...
Then he picks up the phone. It is CARLO CHITI again.
15 INT. CHITI'S DINING ROOM. MODENA. MORNING. 15
A huge V.l2 racing engine rests on the dining table. It is in

the process of being reassembled.
CHITI
Do you know Behra's in town? The
Orsi boys have just picked him up
at the station. The word is he's
going to challenge our record.
16 INT. FERRARI'S APARTMENT. MORNING. 16
LAURA stands at the door to the apartment. She has the

handgun at her side.
FERRARI
Is the 801 ready?
CHITI
There's the workers mass at nine.
So after that. *
FERRARI
I'll call Musso.
FERRARI dials the long distance operator. LAURA’S gun is

pointed at him.
FERRARI asks the operator for the Medici Hotel, Florence.

6.
FERRARI (CONT’D)
Behra's here.
LAURA
Really? I thought it was Frank
Sinatra.
(beat)
So many phone calls. What do I tell *
them?
(in a singsong voice)
Excuse me. My husband’s not here.
He is out whoring. Thank you. Bon
Giorno.
The hotel comes on the line.
FERRARI
Signor Musso, please.
LAURA
Enzo, I don't give a damn who you
screw. The rule is that you have to
be presentable before the maid *
arrives with the morning coffee.
That was the agreement, was it not?
LAURA is interrupted by the arrival of the maid.
ALICIA
Bon giorno, Signora,
Commendatore...
ALICIA pushes into the room carrying a tray with two

espressos on it. She skirts LAURA, brushes aside the gun, and
places the tray on the table on which the phone rests.
FERRARI
Laura, please!
As ALICIA retreats, Laura raises the gun again. At this

moment MUSSO comes on the line.
FERRARI (CONT’D)
Musso!
17 INT. A BEDROOM. THE MEDICI HOTEL. MORNING. 17
MUSSO is in bed with FIAMMA BRESCHI.
MUSSO
Enzo! Do you know what time it is?
7.
FERRARI
You should be at the Modena
Autodrome by eleven. Bring your
lucky gloves.
ALICIA
Will that be all, Signora?
LAURA
That will be all, Alicia.
ALICIA exits. LAURA raises the gun. *
FERRARI puts the phone down and confronts LAURA.
FERRARI
Laura, the car broke down!
Laura moves the gun slightly right and FIRES. FERRARI jumps
sideways.
19 EXT. PANORAMIC VIEW OF MODENA. 19
The bells of the Ghirlandia mask the sound of the shot.
20 INT. GUEST ROOM. FOYER. DAY. 20
ALICIA presents PEPE –- Ferarri’s older driver -- with a

glass of coffee.
ALICIA
Bon giorno, Pepe.
PEPE
What's going on up there?
He takes his coffee.
ALICIA
Her gentleness, the Signora is
trying to shoot the Commendatore...
There is a second shot.
Then, LAURA lowers the gun and exits.

8.
FERRARI, a little shaken, regains his balance, relieved that

he has survived.
22 INT. HALL. THE FERRARI HOUSE. L.G. DAY. 22
Passive, LAURA makes her way down the stairs, her silk robe
swirling around her. Pepe, staring up at her.
LAURA
Bon giorno, Pepe.
LAURA sweeps across the landing. To Pepe below... *
LAURA (CONT’D)
I let him live...
FERRARI appears and shouts down at her. *
FERRARI
That gun was given to you for your
protection.
She enters her room and slams the door shut.
He looks down at PEPE.
FERRARI (CONT’D)
Yes, I heard about Behra.
At this moment Ferrari's ancient mother, ADELGESA FERRARI, in *

black shuts the door of her apartment above them and begins
to descend stairs with her cane. Even before she is in sight,
she speaks:
ADELGESA
I knew it would come to this.
She comes into sight, a tough old woman with piercing eyes.
FERRARI
Mama.
ADELGESA (CONT.)
You give her a gun, she'll use it.
FERRARI
She carries the pay roll for the
factory around in her handbag.
ADELGESA
I'd rearm Germany before I gave to
that woman a gun.
9.
As she sweeps by FERRARI...
FERRARI
Pepe will take you and Laura to the
cemetery this morning.
PEPE looks up surprised: this is the first he's heard of it.
ADELGESA continues down the stairs.
ADELGESA
Don't forget the Workers Mass,
Enzo. Unless you want to pay higher
wages next year --
FERRARI
-- I'll be there.
As he makes his way back upstairs --
FERRARI (CONT’D)
And be nice to Laura.
As ADELGESA passes Laura's apartment door, LAURA opens it,

wild eyed. She has a bunch of flowers in her hand.
ADELGESA
Good morning, Laura.
LAURA
No one was hurt, okay? So don't
make a fuss.
ADELGESA
What? What have I said?
The two begin to walk down towards the hall.
23 OMITTED 23
24 EXT. THE CEMETERY. SAN CATALDO. DAY. 24
LAURA walks alone with her flowers across the floor of the
cemetery. ADELGESA -- slower paced -- and PEPE trail behind
her. It is a huge amphitheater -- the size of a football
stadium and is filled with monuments, for death is
monumentally remembered in Modena. Around the perimeter is a
giant rectangular portico. Built into its inner walls are
mausoleums and thousands of drawers which house the dust of *
families, each remembered by a flickering light.
10.
ADELGESA
Did I tell you of my other son,
Alfredo, Enzo’s older brother?
PEPE
Many times Signora.
They walk for a few moments in silence.
ADELGESA
I lost him in the Great War.
PEPE
Yes, Signora.
ADELGESA
And let me tell you... the wrong
son died.
PEPE trips on the paving, ADELGESA sails on.
A25 INT. THE FERRARI MAUSOLEUM. SAN CATALDO. DAY. A25
LAURA stands with the black flowers in front of Dino's tomb --

He died two years ago from muscular dystrophy. The
exhortation which is to grace the roof is only half-traced in
charcoal -- "Ad majorem ultra vitam."
A small candle burns on the ground at LAURA'S feet. She

stands there, immobile, hopelessly grieving... then slowly
places the flowers beside it.
25 EXT. MODERNA. STREET. DAY. 25
"The wrong son", strides diagonally across the street towards

the Barbers.
As he does so, a small convoy of cars and vans rushes past

him with a strident tooting of horns. It is the Maserati
Work's team. In the last car sit the ORSIS and BEHRA. FERRARI
acknowledges their jeers and continues on his way.
26 INT. BARBERS. LARGO GARIBALDI. MORNING. 26
FERRARI
Morning, gentlemen.
As FERRARI enters there are greetings from several MEN

reading their newspapers.
11.
BARBER
Morning, Commendatore...
He ushers FERRARI into the empty seat.
BARBER (CONT’D)
Did you see who was in that car?
Jean Behra.
FERRARI
No need to panic, if they take the
record from us, we shall take it
back.
A skeptical LAUGH. FERRARI looks through the mirror at the

row of men. The sceptic, GIORGIO, turns the page.
FERRARI (CONT’D)
So, Giorgio. How did our football
team do yesterday?
GIORGIO
You know damn well. We lost.
FERRARI
One long catalogue of disaster it’s
been since you took over.
GIORGIO looks up sharply.
GIORGIO
What about Monaco? Maserati one,
two and three. Le Mans -- Jaguar
one, two and three. What’s that?
FERRARI
Yes. But from my mistakes I learn,
whereas the mistakes you make you
repeat week after week.
Ferrari warms to his theme.
FERRARI (CONT’D)
When you play Bologna, I hope you
win. Otherwise...
(he searches for a
suitable threat)
I may have to relocate my factory *
to a city which refuses to live in
the perpetual twilight of defeat... *
GEORGIO
The Modena Football Club is the
pride of Emilia!
12.
All the newspapers come down in protest. Giorgio stands

defiant, the object of everyone's scorn.
[OMITTED SCENES 27-30]
31 EXT. THE AUTODROME. DAY. 31
The Maserati 250 is run off the low-loader, watched carefully

by BEHRA, wearing a leather jacket and helmet.
Behind him, the ORSI BROTHERS, the men behind the MASERATI
company, take off their jackets and hang them up on some
nails driven into the concrete shelter. Like the rest of the
crew, they wear nylon shirts with suspenders holding up their
pants. No sign of the tracksuits of the next generation.
These are individuals.
32 INT. THE CHURCH OF ST. AGOSTINO. MODENA. DAY. 32
The High Mass for the mechanics of Modena is in full swing.

The huge church is packed, with TRADES UNIONS and COMMUNIST
PARTY OFFICIALS, the MAYOR OF MODENA and all the MECHANICS
AND CRAFTSMEN of the racing equipes.
FERRARI quietly makes his way to the front bench and slips in
beside LAURA. Next to her is ADELGESA, then RANCATI and PEPE,
FORGHIERI, CHITI, Ferrari's Chief Engineers, and finally
TAVONI, his assistant.
33 EXT. THE PITS. THE AUTODROME. MODENA. DAY. 33
With a great shriek of rubber, the Maserati snakes off,

heading out onto the grass-tufted circuit. The acceleration
and the smoke drifting from its tires demonstrate some sense
of the power at Behra's disposal.
34 INT. THE CHURCH OF ST AGOSTINO. MODENA. DAY. 34
The CHOIR has launched into a Mozart 'Te Deum', 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 and adjusts it to zero. His stopwatch is almost a
physical appendage and is burnished with use. Further down
the benches, FORGHIERI, TAVONI and CHITI remove theirs...
13.
35 EXT. THE AUTODROME. MODENA. DAY. 35
BEHRA begins to put the 250 through it paces. It's a

beautiful car to look at, all curves and squat purpose. Now,
as the Te Deum 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, past sheep,
stray dogs and a COUPLE of RACING BICYCLISTS out for a
morning's spin.
As it comes around for a second time, a MECHANIC, a hundred

meters short of the pits, fires a revolver into the air.
36 INT. CHURCH OF ST. AGOSTINO. MODENA. DAY. 36
In the church, a host of stopwatches are whipped from

pockets.
And as the music rises --
-- BEHRA blurs past the start-line and a second gun goes off.
At least forty stopwatches mark the time, and their ticking

works its way furiously into the Mozart anthem.
On the altar the BISHOP bends over the Host, muttering a

Latin prayer and glancing at his own watch, which ticks
furiously.
In the congregation FERRARI concentrates on his stopwatch,

without any attempt to pretend otherwise.
The ORSIS, like hooded crows, stare at their watches as BEHRA

winds the 250 through the pasture and past the sheep on the
far side of the field again.
-- BEHRA's eyes, behind the oil-spattered goggles, are devoid

of any kind of emotion as he measures his line for the
corner.
Against the exultant sacred music, he and his car are a

picture of profane purpose, of speed, vibration and noise.
14.
BEHRA takes the final bend in a long drifting curve, letting

the rear wheels slide, as --
-- the BISHOP raises the monstrance and the bell tolls --
-- BEHRA flashes by the pits and ORSI fires the third gunshot *
and the stopwatches shut the time away. Fixed forever, a new
lap record. There is no doubt in the minds of the MASERATI
TEAM that they have made it.
42 INT. CHURCH OF ST. AGOSTINO, MODENA. DAY. 42
-- nor in FERRARI's, as that blank stare -- which we will

come to recognize so often in defeat -- overtakes his face.
Meanwhile the congregation, which has been standing, now sits

down.
The BISHOP climbs the pulpit, and addresses the crowded

church.
BISHOP
If Jesus had lived today, and not
2,000 years ago, he would have been
born in a small town like Modena,
and 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 the lathe.
Understands the nature of metal. How
it can be fired, forged, shaped and *
transcend into an engine breathing *
fire and power by your skills. *
(beat)
Which is why we give thanks to Him
today.
43 EXT. PIAZZA ST. AGOSTINO. MODENA. DAY. 43
FERRARI and his CLOSEST AIDES surge out of the church.

15.
CHITI
I had one thirty two point seven --
FORGHIERI
-- thirty two point nine.
ONLOOKER
Signor Ferrari, a Maserati...
FERRARI
Only for the moment.
ONLOOKER
When do you propose to take it
back?
FERRARI
Right now.
There is a great cheer and the crowd surge into the piazza --
FERRARI and his AIDES follow.
The Ferrari factory van is in the pit area. Out of its back
rolls Ferrari's 801 Monoposto. Lower than the 250, and
longer, it is a mean-looking machine.
Arriving behind it is a 1957 Cadillac, a cabin cruiser with

fins.
MUSSO eases himself out. Carrying his goggles and gloves, he

escorts his beautiful fiance, FIAMMA. Together, they make
their way towards FERRARI.
At the pits, the MECHANICS have the hood of the 801 off and
are fine-tuning the engine. Its twelve cylinders vibrate in
the morning air.
MUSSO reaches FERRARI and they briefly shake hands. FERRARI

shows him the stopwatch and points at BEHRA who, in the
Maserati pits, watches them idly.
The red 801 stands by the crude cement shelter. The engine
shivers as FORGHIERI tweaks the accelerator cable.
MUSSO hoists himself into the cockpit, checks instruments,

REVS ENGINE. The roar and sharp crack threaten to fracture
cement. *
16.
FERRARI
Until the tires warm up, take it *
easy, then put your foot down. *
She'll do 1:28 if given a chance. *
MUSSO nods cheerfully... He shouts back --
MUSSO
(impatient, SHOUTS back)
Look after Fiamma will you!
FERRARI is taken aback by this irrelevance but gives the

woman a quick, irritated glance.
MUSSO looks at BEHRA and salutes him. BEHRA nods back.
Then MUSSO accelerates out of the pit. *
FIAMMA gives MUSSO 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
Fiamma Breschi?
(she nods; he places her)
I knew your mother.
FIAMMA
Did you?
But she already knew it. So, she looks away. Silence between *
them. Interrupting.
DE PORTAGO (V.O.)
Signor Ferrari?
FERRARI's attention is taken by the scruffy DE PORTAGO --
DE PORTAGO
I am the Alfonso de Portago.
FERRARI
We met on the Largo Garibaldi?
DE PORTAGO
Yes sir. I was seeking to introduce
myself --
FERRARI
(shrugs)
The light turned green --
(remembers)
In one of my cars, you won Tour de
France last year.
17.
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.

DE PORTAGO nods and steps back. The interview is at an end.
FERRARI clocks the 801 as it speeds past the line. FORGHIERI

chalks a time on board -- 1.41.
It is later --
A kind of chill mood has overtaken the pit area: the sky has
become overcast; Musso roars past again -- and again FERRARI
clocks the time, but it is slow...
FORGHIERI
How's he doing?
FERRARI
He's slow.
We follow Musso 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
pits.
The 801 flashes by... Again the time is two seconds short.
DE PORTAGO walks towards FERRARI across the track, stooping

to scrape up fresh liquid with his forefinger. Still hot. He
shows FERRARI.
FERRARI (CONT’D)
Oil?
DE PORTAGO
Brake fluid.
Almost immediately we hear the shriek of rubber, brakes

locking. They look round.
At the far end of the field, the 801 hits an iron barrier
which protects the corner. Cartwheeling, it hurtles into the
only piece of concrete on the entire track -- a small World
War II bunker. With colossal force it breaks into its
constituent parts: bonnet, wings, wheels flying in all
directions.
18.
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 begin to run up the
concrete apron towards it, their leather boots thudding on
the hard surface.
Behind FERRARI and Fiamma, a WWII ambulance engages its

wheezy siren and lurches into motion. As it passes Fiamma it
stops long enough to pull her and FORGHIERI on board, then it
accelerates up the track towards the black smoke.
DE PORTAGO stands transfixed, looking at the smoke.
FERRARI
De Portago?
DE PORTAGO turns to look at him.
FERRARI (CONT’D)
Call my office Monday.
44A OMITTED 44A *
44B COMBINED WITH SC. 64 44B
44C EXT. FARMHOUSE. CASTELVETRO. NIGHT 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 starts to make

coffee.
LINA appears at the foot of the stairs.
LINA
Here, let me.
FERRARI
I woke you --
LINA
I was up.
FERRARI
Is the boy up.
19.
LINA shakes her head: No. 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 one word about
the crash. You think if you lock it
in the vault, it will all stay
inside?
FERRARI
It’s not a secret. The newspapers
have it all --
LINA
-- the secret is how are you? Was
he your friend? Did he live alone? *
Will you miss him? Or not? What? *
FERRARI
All those things... why do you ask
them like that? What do they matter
to you?
LINA
‘Cause you’re thinking them. *
(beat)
Why do you think? *
FERRARI would go to her -- but, instead, see’s the coffee’s

made. He fills a cup for her, and one for himself.
They remain standing, sipping their coffee. Then he turns,

grips her hand, looks at her, and holds it tightly. It’s as
if -- standing there in the kitchen -- they’re weathering it
together. It says everything.
45 INT. THE STAIRS. LARGO GARIBALDI. DAY. 45
FERRARI makes his way up the stairs with a tray of coffee.
46 INT. ADELGESA'S APARTMENT. LARGO GARIBALDI. DAY. 46
ADELGESA sits at a table, reading the morning newspapers.
As FERRARI enters, she begins to quote from it:

20.
ADELGESA
'Signor Ferrari is an industrial
Saturn devouring his young...
First Castelotti, now Musso...
She looks up with hostile eyes...
ADELGESA (CONT’D)
If you go on killing the nation's
heroes, we will have to go live in
America with foreigners.
FERRARI puts her coffee on the table.
FERRARI
I did not kill Musso.
ADELGESA
The papers blame you.
FERRARI
If anyone was responsible, it was
his mother.
ADELGESA is taken aback.
FERRARI (CONT’D)
It's true. He was engaged to Fiamma
Breschi. His mother wanted him to
marry a woman with more class. As a
result of the pressure she put on
him, he crashed the car and died.
ADELGESA looks up to heaven.
ADELGESA
He blames the mother!
FERRARI
What I am saying is that when a
mother interferes in this business,
death usually follows.
Satisfied that he's got his mother into a state of frenzy,

FERRARI turns to go.
47 OMITTED 47
48 INT. LAURA'S APARTMENT. LARGO GARIBALDI HOUSE. MORNING. 48
From the window LAURA watches FERRARI cross the square below
to the flower seller on the corner.
21.
She’s torn between hatred for what he is doing to her and

concern for what he is going through.
A young woman, CARLA, her secretary, stands behind her,

holding a note pad.
Laura glances at her.
LAURA
Call the bank. Cancel Musso's
salary.
She watches Ferrari buy yellow flowers.
LAURA (CONT’D)
Call the Insurers, inform them of
the loss of the car.
She crosses to her adjoining office, a dark room stuffed with

leases and records... a tenor voice, practicing, floats in
from the opera house next door.
LAURA (CONT’D)
Call the factory. Tell Chiti I will
need a report for the insurance
company.
She moves towards her desk.
LAURA (CONT’D)
Then call the lawyers... The
Commendatore is going to have to
intimidate these journos about the
headlines. They've gone too far
this time...
CARLA
Yes, Signora.
She exits.
49 INT. ASSEMBLY SHOP. FERRARI FACTORY. DAY. 49
FERRARI crosses through the deserted shop and down the line
of half assembled cars.
On the wall is an ad hoc shrine to Musso. Photographs and a

candle, a blaze of flowers...
A FITTER is tightening an engine into a chassis --

22.
FITTER
Not going to the funeral,
Commendatore?
FERRARI shakes his head.
FERRARI
I don't go to the funerals.
FERRARI stops at the shrine... when he hears ENGINE SOUNDS.
50 OMITTED 50
51 EXT. THE YARD. FERRARI FACTORY. DAY. 51
FERRARI steps into the yard. Two Mille Miglia cars, fresh
from a test in the mountains roar into the yard. TARUFFI --
veteran of a thousand races -- climbs out of one of them,
pushing up his goggles. He is known as “THE FOX.” FERRARI
looks at him.
FERRARI
So, what do you think?
TARUFFI frowns.
TARUFFI
There's no ashtray.
FERRARI
Are you an opera singer? Spoiled?
TARUFFI
Have you tried flicking ash out of
a car at one hundred and fifty
miles an hour?
FERRARI
I'm offering you a brand new car,
which has the edge on the Maserati.
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.
23.
FERRARI (CONT’D)
And don’t ask me for a navigator.
You know every inch you've raced it
sixteen times.
52 EXT. THE STATION SQUARE. BOLOGNA. DAY. 52
SOLEMN MUSIC.
The funeral cortege, led by a BAND, slow-marches towards the

station. Behind the cortege, amongst others, FIAMMA, her
MOTHER and TAVONI in mourning attire.
53 EXT. CEMETARY. SAN CATALDO. DAY 53
FERRARI crosses the open square towards the Ferrari Mausoleum

built into the perimeter wall. In the distance he hears
solemn funeral music blowing on the breeze.
54 INT. THE FERRARI MAUSOLEUM. DAY. 54
FERRARI’s hand places the yellow flowers beside his wife’s.

He stands in front of Dino’s vault. He waves his hand in a
gesture of caution at the picture of his son --
FERRARI
If your mother could shoot I'd be
in here with you.
He pulls up a chair to face Dino in the wall.
FERRARI (CONT’D)
Fini wants to meet. “Urgent,” he
says. That means bad news.
(beat, then:)
They’re taking Musso home today...
These aristos, half of them are *
watching what the others are
wearing... Grief... Theater...
(he stops, then:)
Ghosts. I hear voices sometimes. *
Especially, Borzacchini and
Campari, after that evil
afternoon... And, my brother,
Alfredo. Ghosts.
(beat)
I see your face, too, every moment *
I close my eyes. That face, I want
to see. *
FERRARI kisses his hand and touches the wall with his hand.
24.
FERRARI (CONT’D)
I’m going to go deal with today.
See you tomorrow...
55 INT. THE RAILWAY STATION. PLATFORM. BOLOGNA. DAY. 55
The funeral dirge is heard. Awaiting the cortege on the

platform are PHOTOGRAPHERS, POLICEMEN, and OFFICIALS.
An express THUNDERS through, drowning out the FUNERAL MUSIC.

The dirge resounds.
MUSSO'S CORTEGE appears, gloves and yellow-and-black flowers.
Unlike the Workers Mass at St. Agostino, this is not a

proletarian affair: Musso was a child of the glittering
society of the Roman aristocracy. His mourning family are in
black silk, leather, extravagantly coiffured.
Quite alien to the burghers of Modena, and to Ferrari... who

doesn't seem to be present.
FIAMMA appears now, in a black dress and long veil. She's at

the very end of the followers of the cortege, devastated by
grief --but her sensuality undeniable in black.
FERRARI -- he's here after all... but across the rails by the
station bar, half-hidden by luggage trolleys. He will make
his own farewell to his driver.
THE FUNERAL TRAIN waits, its engine steams, covered by large

bows of black ribbon.
When FIAMMA moves forward to join the MUSSO FAMILY on the

train, one of them -- a WELL-DRESSED MAN -- turns back and
makes a small, discreet gesture: stop.
FERRARI’s POV -- FIAMMA and WELL-DRESSED MAN
as the MAN intercepts her. We're some distance away, so their

exchange isn't entirely clear. But its meaning is:
WELL-DRESSED MAN
The Musso Family think it best that
you don't make the journey to
Rome...
As if she'd been struck:
FIAMMA
Pardon?
25.
WELL-DRESSED MAN
Don't you agree?
She stares at him... Then surprised, herself, that she nods

yes. The victim of a thousand years of class hierarchy.
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... but the pantomime is clear: Fiamma
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.
Fiamma is motionless... until she senses someone's attention

to her. She turns:
FIAMMA'S POV: FERRARI
Across the tracks, motionless.
FIAMMA
Her gaze rests on him a moment more. Then she turns, walks
through the STEAM of the departing Funeral Train... out of
the station.
55A OMITTED 55A
56 INT. HOTEL ROYALE. CORRIDOR. EVENING 56
Ferrari finds the right room number, KNOCKS. A moment.
FIAMMA'S VOICE
Who is it?
FERRARI
Ferrari.
Another moment before the door opens. Fiamma still wears the
veil, but pushed back. She looks briefly to find his eyes
behind the tinted glasses, then away.
FIAMMA
Come in.
26.
57 INT. HOTEL ROOM. FIAMMA’S ROOM. EVENING 57
We HEAR the laboring RATTLE of an early air-conditioner...

until Fiamma turns it off, opens windows to STREET SOUNDS.
With her grief a few days old, replaced by anger at many

things, Fiamma is edgy, without plans for tomorrow, or for
the years to come.
FIAMMA
Would you like some wine?
Doesn't wait for an answer, starts to pour 2 glasses.

Abruptly:
FIAMMA (CONT'D)
You were at the station?
FERRARI
To see him off.
(beat)
And he said look after Fiamma.
FIAMMA
Why were you not with the cortege?
FERRARI
The ceremony, I don’t like it. *
FIAMMA
Maybe you don’t feel grief...
FERRARI
Maybe you don’t know anything about
me.
She drinks half her wine:
FIAMMA
They took the jewelry he gave me.
Did you see? A ring, a bracelet,
even a little enamel pendant cost
20 lire.
FERRARI
...Why did you give it back? *
FIAMMA
Because they are who they are.
FERRARI
You think they have the right?
27.
FIAMMA
How would I know? His family goes
back to ancient Rome!
FERRARI
And are a tight-assed bunch. *
Her first smile. She raises her glass. He raises his.
FERRARI (CONT’D)
Here’s to Musso.
FIAMMA
A pain in the ass, but I loved him.
We had so much fun in so short a
time.
They drink, she looks away.
Then, she looks back at him. For all her toughness, she looks
vulnerable.
He spots the half-packed case on the bed.
FERRARI
Where you going?
FIAMMA
Leaving Modena.
FERRARI
Why?
FIAMMA
I can't pay the hotel bill.
FERRARI
Fiamma, in our eyes you were
married to him, so you're due what
we extend to next of kin. We’ll
help you into something. In the
meantime don't worry about the
bills here...
Fiamma is overwhelmed by his generosity. She fights back the

tears.
FIAMMA
The newspapers say I distracted
him, I killed him --
FERRARI
They say I killed him too. But we
both know who's really responsible-
28.
FIAMMA
His mother?
FERRARI
Of course.
He kisses her paternally and turns to go --
As he’s leaving, she touches his shoulder. He turns to her.

She folds into his arms. Now the tears flow.
58 OMITTED 58
59 EXT. FACTORY GATES. MARANELLO. DAY. 59
There is a roll of thunder, the rain pours down.
The gates of the factory open and a mud plastered open sports
car, with temporary (MO - Modena) plates, roars through.
The rain-drenched gatekeeper keeps the gates open as a little

Lancia bowls in after it and comes to a halt.
PEPE runs round with a large umbrella and FERRARI gets out of
the Lancia. FERRARI accosts the driver of the open sports
car who greets him cheerfully.
TEST DRIVER
Yo! Commendatore!
60 INT. THE GATEHOUSE. FACTORY. DAY. 60
Meanwhile, outside the gate in the gatehouse reception area,

KING HUSSEIN, waiting to be admitted, comes to the window and
looks out.
HUSSEIN
Isn't that Ferrari?
He takes a closer look at the car in the courtyard.
HUSSEIN (CONT’D)
And isn't that my new car?
61 EXT. FRONT YARD. FACTORY. DAY. 61
FERRARI leans down and over the DRIVER, who sits, half --
drowned, at the wheel, surrounded by a snug tonneau cover.
29.
FERRARI
Why's the top down?
TEST DRIVER
I didn't want to get it wet.
The rain is now pouring down, monsoon-style.
FERRARI
This car belongs to King Hussein.
Get it inside, and 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.
But 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 into the office block and FERRARI
exits.
62 INT. OFFICE BLOCK. FACTORY. DAY. 62
FERRARI makes his way up the stairs, followed by TAVONI.
FERRARI
How long's the King been here?
TAVONI
Since eight.
FERRARI
Stall the King and tell them to get
a move on in the shop.
63 INT. THE ENGINE SHOP. DAY. 63
Hussein's Ferrari rolls in and immediately hoses are turned

on it. As the DRIVER steps out, MECHANICS roll out new
Borrani chrome wire wheels and CHITI comes forward with a
checklist.
30.
CHITI
Brakes?
DRIVER
Okay.
CHITI
Steering?
DRIVER
Pulling to the right.
Chiti shouts to a MECHANIC.
CHITI
Get her onto the jacks.
64 INT. FERRARI'S OFFICE. FACTORY. DAY. 64
The room is starkly functional with no hint of paperwork; the

huge desk bare except for a photograph of Dino and a vase of
fresh flowers.
FERRARI enters. FINI rises, snappy and dapper, as always. He

and Ferrari have been friends since school.
FERRARI
(nods)
So?
FINI
You’re going broke. Laura was
right.
FERRARI
How?
FINI
“How?” You spend more than you
make.
FERRARI
The production cars pay for the
racing.
FINI
I could run Portugal on what you
spend on the race team. How many
productions cars did you make last
year?
31.
FERRARI
One hundred fifty, one hundred
seventy-five...
FINI
Ninety eight.
FERRARI
One nighty eight.
FINI
Ninety eight.
FERRARI
What do I do?
FINI
You have to find a partner.
FERRARI
I have a partner. My wife. She’s
very good.
FINI
A real partner. Like Agnelli at
Fiat or Henry Ford, someone who has
money and will pump it in.
FERRARI doesn't like the idea.
FERRARI
Impossible. With money comes
control. I have to have total
control.
FINI
The right partner could supervise
making production cars -- while
you remain the boss and do as you
like with the racing.
FERRARI
Sounds too simple.
FINI
It’s not simple. It’s impossible.
You're too small. To negotiate *
terms like that, you have to *
increase to four hundred cars. Then
you’re desirable and can bargain.
FERRARI
How do we make, nevermind how do we
sell, four hundred cars a year? *
32.
HUSSEIN (V.O.)
Ferrari!
65 FINI'S POV. THE YARD. FACTORY. MARANELLO. DAY. 65
Hussein has emerged from the gatehouse looking determined.
FINI (V.O.)
Jaguar took the first three places
at Le Mans last year and now their
order books are in the thousands.
Win on Sunday, you sell on Monday. *
66 INT. FERRARI'S OFFICE. FACTORY. MARANELLO. DAY. 66
FINI turns away from the window.
FINI
Win the Mille Miglia and you can
sell as many as you can build.
You've got Kings waiting in line to
buy them.
67 INT. OUTER OFFICE. FACTORY. MARANELLO. DAY. 67
DE PORTAGO comes up the stairs. MARISA looks up at him.

Young Marlon Brando in a leather jacket. He hands her a card *
with formality. *
DE PORTAGO
I'm Alfonso de Portago, I have an
appointment with Signor Ferrari.
68 INT. FERRARI'S OFFICE. FACTORY. MARANELLO. DAY. 68
FERRARI
Jaguar’s racing only to promote
their business of selling cars. I
am in business only to be racing.
We are different organisms.
FINI
You have to survive or you're no
organism.
FERRARI
Do I have a choice?
33.
FINI
(quietly)
Win the Mille Miglia and attract
financing or... you perish, Enzo.
FINI collects his gloves and hat.
FINI (CONT’D)
The world's changing. Television
will bring advertising and
sponsors. So racing will get
bigger. That means much more *
expensive. Seize the future. Now
FINI is through the door before FERRARI replies.
69 INT. OUTER OFFICE. FACTORY. DAY. 69
FINI crosses and starts downstairs. FERRARI enters, stops

seeing the report on Musso’s car on MARISA's desk.
FERRARI
Get a copy to Signora Laura.
DE PORTAGO (V.O.)
Signor Ferrari?
FERRARI looks up: DE PORTAGO.
MARISA
This is Don Alfonso de Cabeza Vaca,
the 11th Marques de Portago.
FERRARI, resenting the interruption --
FERRARI
I know who it is.
He dumps the report in MARISA's hands and makes for the

stairs.
FERRARI (CONT’D)
Fini...
DE PORTAGO
(insulted)
Hey! Ferrari!
He follows FERRARI.
34.
70 INT. STAIRS. OFFICE BLOCK. FACTORY. LATE AFTERNOON. 70
FERRARI follows FINI down the stairs...
FINI
(turning...)
One more thing. How did Laura get
her hands on the freehold to the
plant?
FERRARI
The Nazis were about to arrest me.
It was the sensible thing to do.
FINI
Get it back -- when you face up to
Ford or Fiat you must hold all the
cards.
FERRARI
Easier said than done.
FINI
A deal can’t be conditional upon
“maybe my wife will or will not go *
along.”
FERRARI
One more thing --
71 EXT. THE YARD. FACTORY. MARANELLO. DAY. 71
HUSSEIN
Ferrari!
HUSSEIN enters from the gatehouse.
FERRARI
Your majesty!
FINI laughs, referring to Ferrari’s customer base of kings as

he gets into his car --
FERRARI (CONT’D)
If I'm in bad shape, what about
Maserati?
FINI
I give them six months. Same boat. *
They’re talking to Citroen. Who *
wins the Mille Miglia. It’s you or *
them, Enzo.
35.
He accelerates away.
DE PORTAGO enters.
DE PORTAGO
Ferrari!
FERRARI
Your Highness --
DE PORTAGO
Which Highness?
Ferrari points at Hussein.
FERRARI
That one.
(to De Portago)
You. Go out to the track.
FERRARI turns to HUSSEIN.
FERRARI (CONT’D)
Your majesty, come this way.
HUSSEIN
I hope you got my measurements
right this time. Last time my feet
could barely touch the pedals.
72 INT. THE ENGINE SHOP. MARANELLO. DAY. 72
The roller-door goes up to reveal the 250 Spyder -- crimson,

gleaming wet... faultless.
HUSSEIN is overcome with emotion.
FERRARI nods. The MECHANIC opens the hood and the KING looks
at the gleaming twelve cylinder engine.
He comes round and embraces FERRARI, and turns to thank

CHITI, FORGHIERI and SERGIO SCAGLIETTI, who have come forward
to be introduced.
FERRARI
Your Highness, this is Engineer
Chiti, who designed the engine;
Forghieri, who was responsible for
the chassis and Sergio Scaglietti,
who made up the bodywork.
HUSSEIN shakes the hand of each in turn, but SERGIO's, he

won't let go of. He looks at Ferrari.
36.
HUSSEIN
This is the greatest artist since
Michelangelo... and I have been
asked to present him with this
special gift --
He nods to an AIDE, who comes forward with a cage, covered

with gold cloth. He takes off the cloth and hands the cage to
the KING, who hands it over to SERGIO.
HUSSEIN (CONT’D)
From the Amman Motor Club to you,
Signor Scaglietti!
SERGIO, perplexed but grateful all the same, looks at the two
pigeons sitting within the cage.
SERGIO
Thank you, Your Majesty.
HUSSEIN
They're beautiful, n'est pas?
SERGIO
Yes, but...
(his voice falters)
...how do you cook them?
CHITI
In oil with anchovies --
FORGHIERI
No -- roasted with sage, Perugia
style.
The KING looks from one to the other.
HUSSEIN
You don't cook these beauties,
gentlemen. You race them.
73 EXT. APRON. FIORANO TEST TRACK. DAY. 73
Sheltered by Tavoni's umbrella, DE PORTAGO slides into the

cockpit of the 801. He is wearing two sets of goggles, one
round his neck, the other on his helmet.
DE PORTAGO
How long do I drive?
TAVONI
You gotta full tank, don’t you? You
drive till it's empty.
37.
DE PORTAGO nods.
The engine bursts into life, but is muffled by the downpour.

The rain gets heavier as, watched by the critical eyes of
half a dozen people standing under umbrellas, he drives out
onto the track.
74 EXT. TRACK. LATER. 74
FERRARI joins the spectators. The rain has stopped but the
track is still wet.
As the red 801 passes, he thumbs his stopwatch.
DE PORTAGO brakes on the wet, feels the car slide. Then he is

over the humpback bridge and into a tight right-hander.
On the far side of the field the rain-muffled snarl of the

engine begins its howl up through the gears. Above it,
FERRARI hears the click of a camera close by and turns --
-- to see, a LITHE BLONDE, the film star LINDA CHRISTIAN,

sitting on the hood of a two-seater, taking pictures of the
801 through a long lens.
Sensing that she is being watched, she turns and gives

FERRARI an interrogative stare. When he doesn't react, she
carefully snaps him before returning to frame the now fast
approaching DE PORTAGO.
FERRARI admires her boldness... The 801 roars past, feet away
from the ONLOOKERS, in a swirl of mist and spray. FERRARI
looks at his watch again. The result meets with an
understated approval.
FERRARI
How long's he been going like this?
TAVONI
Since lap one.
FERRARI
He reminds me of Varzi.
TAVONI gives him a quick look. Varzi got through a lot of

cars.
The Ferrari comes in and DE PORTAGO gets out. He is given a

towel and wipes the rain from his neck and face.
FERRARI approaches him.

38.
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
Especially the Mille Miglia.
You'll be driving a works 250.
It's not the most powerful car in
the race, but it's reliable and it
goes like hell round corners, so I
will expect you to be in the
points.
DE PORTAGO nods.
FERRARI (CONT’D)
Finally, actresses --
He points at the LITHE BLONDE.
FERRARI (CONT’D)
I have admiration, but keep them
away from the paddock -- they
distract photographers attention *
from my cars. You understand?
DE PORTAGO nods.
75 EXT. THE CAVALINO RESTAURANT. MARANELLO. 75
A crowd of factory workers, drivers and engineers mill round

the crowded doors, the confusion made worse by a cluster of
kids with autograph books who are waiting to pounce on their
favorite drivers.
PEPE stops the car on the track beside the restaurant and
FERRARI, DE PORTAGO and TAVONI get out.
39.
They are joined by half a dozen hungry apprentices who race

across the Highway to get to their lunch.
FERRARI
Peter!
COLLINS turns, catches sight of DE PORTAGO and FERRARI.
COLLINS
Hi Fon!
COLLINS is surrounded by kids, shouting "me, me, me" as he

signs autographs.
He and DE PORTAGO shake hands over their heads. FERRARI puts

an arm around COLLINS. The affection he has for him is
special. Collins spent many nights at Dino’s bedside when he
was failing. After Dino died, Ferrari gave Collins his
apartment.
FERRARI
(to Collins)
This is our new driver. Look after
him will you, he's wet and hungry.
COLLINS nods.
PIERO
Papa!
FERRARI looks down at his son holding up his autograph book. *
PIERO (CONT’D)
Get his autograph.
FERRARI
Whose?
PIERO
De Portago's.
FERRARI takes the book. But DE PORTAGO and COLLINS have

already disappeared into the restaurant.
He looks down but the small boy has vanished.
76 INT. THE CAVALINO RESTAURANT. DAY. 76
The room is crowded, hectic. The food is plentiful, ravioli,

sauces, a huge tray of boiled meats. Plates of cold meat,
cured ham, beef jerky. A giant piece of Parmesan cheese
grated directly onto the individual plates.
40.
Lambrusco foaming into sturdy tumblers; bowls of fruit; the

early cherries...
FERRARI enters and begins to work the room. Although he

appears aimless, he is quite specific about who he talks to.
FERRARI
Hey, Luigi, how's your son.
LUIGI
I've sent him to his Grandmothers.
FERRARI grins.
FERRARI
Better than jail I guess.
He turns to a younger man and shakes his hand.
COLLINS (V.O.)
Gentlemen, this is the Marques de
Portago, who has come here looking
for a drive, and found one...
77 INT. PRIVATE ROOM. CAVALINO RESTAURANT. DAY. 77
The group of mostly YOUNG MEN are already around the table as
DE PORTAGO, steered by COLLINS, enters.
COLLINS
Fon, this is Mike Hawthorn, the
future World Champion. Olivier
Gendebien, the best sports car
driver in the world. Taruffi, the
oldest. Forghieri, the best
designer. Chiti, the best engineer.
And Bizzarini who is working on a
special project, so secret that we
are not allowed to discuss it.
He finally turns to DE PORTAGO.
COLLINS (CONT’D)
So, what do you say to such a
distinguished company?
DE PORTAGO
Arrivaderci Maserati.
They all cheer. At which point the great trolley containing

the boiled meats is brought in, accompanied by bowls of pasta
and sauces.
41.
HAWTHORN
So, tell us, de Portago, why did
you want to come to this neck of
the woods when everyone knows the
future technology is in England?
Everybody protests at this, but HAWTHORN is unfazed.
At this point FERRARI enters the room and takes his place at
the head of the table. The argument continues around him. The
English talking about the new Cooper, weight distribution,
disc brakes, space frames and mid-engines.
FERRARI has heard it all before, dismisses the English as

'Garagistes' and proclaims the supremacy of the front-engined
racing car.
FERRARI
The ox must still pull the cart.
What we need is more power. You
hear that, Chiti?
DE PORTAGO, just happy to be in the middle of this group of

raucous men, listens to every word.
78 EXT. THE CAVALINO. MARANELLO. DAY. 78
FERRARI comes out of the Cavalino. PEPE is waiting by the

Peugeot. He crosses to the car.
PEPE gets in, leans over and opens the passenger door.
FERRARI gets in.
79 INT. LANCIA. DAY. 79
FERRARI
(to Pepino)
Home.
PEPE
By Castelvetro?
FERRARI nods.
PEPINO puts his foot on the gas and the Peugeot scorches off.
80 OMITTED 80 *
42.
81 EXT. THE FARM. CASTELVETRO. EVENING. 81
The little Peugeot comes to a halt in front of the house, and

FERRARI gets out. As he takes the path to the back of the
house, PEPE runs the Peugeot down the drive to the gate where
he parks it in a blot of shade, a siesta on his mind.
82 EXT. REAR OF CASTELVETRO FARM. EVENING. 82
FERRARI is confronted by the cherry orchard in full bloom.

He walks towards it. Here, in the midst of the wet blossom,
LINA clings to a ladder, snipping off the late, unwanted
shoots. Where she has been working, the grass is carpeted
with blossom. FERRARI lifts her down from the ladder and
kisses her perfunctorily, and then her free hand encircles
his neck and she takes off his glasses. He pulls her to him
and hugs her with the relief of someone who has had to keep
feelings hidden for far too long.
She smiles.
FERRARI
What’s so funny?
LINA
I wondered when you’d be back.
FERRARI
I can’t stay away. It’s the
cherries.
She hits him as they move towards the house, arm in arm.
FERRARI (CONT’D)
Where’s Piero?
They disappear into the house.
83 EXT. THE DRIVE. THE FARM. CASTEVETRO. EVENING. 83
PIERO on a yellow bicycle, swerves off the road onto the

driveway, sees the Peugeot and jumps off the bike and races
towards the house: Ferrari must be here.
PIERO runs up the drive.
84 INT. THE KITCHEN. THE FARM CASTELVETRO. EVENING. 84
LINA’s heating coffee; FERRARI’s at a rough wooden table --

as PIERO burst in:
43.
PIERO
Papa! Have you got it?
FERRARI
Got what?
(remembers)
The autograph! No, he hasn’t had a
proper picture taken yet.
LINA
What autograph?
PIERO
(to Lina:)
De Portago! From Spain.
FERRARI
He’s going to drive for me -- full
time. You know?
PIERO
He is?
PIERO suddenly hugs Ferrari, kisses his cheek. Done

impulsively, without self consciousness.
We SEE FERRARI’s surprise and pleasure... as something more

complicated (which we’ll come to know). He covers with:
FERRARI
What do you like so much about him?
PIERO
He’s fantastic! Like Varsi --
FERRARI
Where’d you learn all that stuff?
PIERO
I’m going to be a driver -- like
you!
FERRARI
No, no, not like me. I only won two
races outright.
PIERO
-- like Musso, then.
FERRARI. His shock, before:
FERRARI
No, no, no.
44.
PIERO picks up his backpack, grabs a sandwich from the table

and heads upstairs:
PIERO
Bye papa!
An afterglow...
LINA
Will we have supper together?
FERRARI
I’ll sit with you and Piero... I
have business later.
LINA
Will you come back after?
FERRARI
Depends. I’ll try.
LINA
Depends on what?
FERRARI
How it goes.
Beat. That kind of answer frustrates her. She begins to

prepare things for an early dinner...
LINA
I’m so easy.
He’s moved by her slender back as she kneels at the stove. He

goes over, brings her to her feet.
FERRARI
You’re not so easy. And, you know
very well what the hardest part is -
of life with you.
LINA
What’s that?
FERRARI
Being away.
(beat)
While me? I’m -- what do the
English say? A piece of pie?
LINA
Cake, Enzo... And, you’re not.
But, she accepts his embrace.

45.
85 INT. DINING ROOM. LARGO GARIBALDI. EVENING. 85
FERRARI mixes the salad; opens a bottle of Lambrusco, pouring

it 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 comes in with the pasta: a large bowl of Raviolini

floating in a clear broth.
LAURA sits at the far end of the table and scans the figures
left by Fini.
The MAID ladles the pasta into two soup dishes and hands them
to FERRARI, who places one by LAURA and takes the other one
to his end of the table.
He sits down. Next door, the orchestra is hatting up with

the overture to La Traviata.
FERRARI
Thank you, Maria.
MARIA nods and leaves the room.
FERRARI (CONT’D)
I saw Fini 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
And in order to attract this
partner he says we have to expand.
He's talking about us building four
hundred cars a year.
LAURA
And how do we sell them?
FERRARI
We have to win the Mille Miglia.
Then orders will come in...
46.
LAURA
This is a man who makes cheeses and
wine! He knows nothing about motor
racing. The Mille Miglia is a
lottery.
He looks at her, says nothing.
LAURA (CONT’D)
Anything else?
FERRARI
Yes, that you should assign me
control of your stock in the
company and the freehold.
LAURA
Why? Because Henry Ford won't deal
with a woman?
FERRARI
(exasperated)
No. Because if it comes to it, it *
will be hard and fast, I will need
all the cards in my hand.
LAURA thinks on this... and eventually looks up.
LAURA
Very well, I'll give you power of
attorney over my stock.
FERRARI nods, relieved.
LAURA (CONT’D)
In return for half a million
dollars.
He looks up at her, pained. There is a silence whilst he

thinks about it.
FERRARI
I don't have half a million.
LAURA
You will if you make a deal.
It’s Ferrari's turn to consider. Eventually...
FERRARI
Okay, I will give you a post dated
cheque --
47.
LAURA
-- not post dated.
FERRARI
I will give you a cheque on
condition that you promise me you
won't cash it until and if the deal
goes through...
LAURA is not too happy about this.
FERRARI (CONT’D)
Is it reasonable?
LAURA looks at him, still unsure.
He gets up from the table, comes down to her end.
FERRARI (CONT’D)
Is it a deal? We need this.
She stands up. Face to face. Inches from him.
LAURA
I want my gun back.
FERRARI takes this as a sexual challenge.
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.
86 INT. LAURA’S APPARTMENT/BEDROOM. NIGHT. 86
Both of them are on the bed, half clothed.
She smoking, whilst 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 Fiamma
Breschi.
48.
LAURA
How much?
FERRARI
Fifty thousand.
This brings LAURA up short. She looks at him.
FERRARI (CONT’D) *
She's broke. Her mother told me --
LAURA *
Have you been screwing her? *
LAURA turns, her eyes blazing.
FERRARI *
What? *
LAURA
You've been screwing the mother!
FERRARI
I want 50,000 dollars, in cash.
LAURA
You've been fucking the mother and
the daughter!
FERRARI
We have obligations to that family!
LAURA
So sympathetic!
And it starts again...
87 EXT. VIA EMILIA EST. DAY. (OPTIONAL) 87 *
The front of DE PORTAGO's 335 at speed -- buffeted by the

slipstream from COLLIN's car.
DE PORTAGO starts to edge alongside.
At a farm gate, a FARMHAND holds back the cattle as DE

PORTAGO and COLLINS battle it out.
From the air:
The two red cars speeding along the dead straight road, which
hardly diverges a meter from Bologna to Modena. As they
reach the ford, DE PORTAGO pulls ahead. And then the spray
explodes above their heads as they storm through the water...
49.
88 INT. FERRARI'S OFFICE. MARANELLO FACTORY. DAY. (OPTIONAL) 88 *
FERRARI
He's dating Linda Christian.
He looks at TAVONI, who is going through a box file on

journalists, checking on the forthcoming press conferences.
TAVONI
Who is?
FERRARI
De Portago. She was at the track
the other day.
FERRARI lays the newspaper down.
TAVONI
What are you reading, Commendatore?
FERRARI glances at the title.
FERRARI
'Rome Merry Go Round'.
TAVONI
Want me to talk to him?
FERRARI
How do you talk with de Portago? *
He's got a permanent erection. I
don't know how he manages to get
round the circuit without breaking
it off.
(he looks up)
What's on the schedule?
TAVONI
Press conference, then photo call.
A meeting about Rouen at three. Oh, *
and Chiti's outside. This evening, *
the opera. *
FERRARI
Send him in.
FERRARI looks up.
FERRARI (CONT’D)
I've got two words for you, Chiti.
More. Power.
CHITI looks at TAVONI, who shakes his head.

50.
Defeated, CHITI withdraws, closing the door.
TAVONI
Next year we'll have the new
engine.
FERRARI
Next year. We need it next week in
Rouen.
MARISA (V.O.)
Commendatore -- the Press.
Ferrari looks at his watch.
FERRARI
Avanti!
89 EXT. YARD. DAY. 89
The two red 335 Mille Miglia sports cars thunder into the
yard to join the other three machines muddied after a morning *
run.
COLLINS and DE PORTAGO lever themselves out, exhilarated.

FERRARI exits from the office with TAVONI.
FERRARI
Get these cleaned up before the
photo-call.
TAVONI nods. As they pass the drivers, FERRARI indicates DE

PORTAGO's car.
FERRARI (CONT’D)
How'd she handle?
DE PORTAGO
No complaints.
FERRARI
This is not “how was lunch?” I want
to know brake wear! The steering,
the suspension, the gears. You're
driving it in the Mille Miglia.
Its got to be one hundred percent.
He moves on leaving DE PORTAGO hot and humiliated.
On the far side of the road, a bunch of auto-journalists --

waiting for the right moment to cross -- see FERRARI and
applaud.
51.
An explosive mixture of enthusiasts and rumor mongers, they

have run riot in the tabloids since Musso's death. FERRARI's
eye catches one of the worst offenders as they cross and
enter the gates.
FERRARI (CONT’D)
Di Massimo? I am not "an assassin"
DI MASSIMO
It was a figure of speech,
Commendatore.
FERRARI
Out! And you, Fusaro, you said I
was Saturn devouring its young.
FUSARO
I was merely quoting the Vatican.
FERRARI
Out! You too, Moretti. A
'widowmaker'. For the record Musso
was not married.
The three men leave the forecourt and the rest visibly flinch
he pans his eyes along their ranks.
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 Grand Prix at Rouen and for
the Mille Miglia the following
week.
90 INT. THE BANK. MARANELLO. DAY. 90
COSETTI
Forty nine, fifty...
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?
52.
LAURA begins to stuff the wads of notes into her bag.
LAURA
As a loan to Signora Breschi.
He nods.
LAURA (CONT’D)
We'll retain the freehold on any
property she buys with it, but she
will have the use of it.
COSETTI
The same arrangement as at
Castelvetro...
LAURA
Castelvetro?
COSETTI looks confused.
LAURA (CONT’D)
We have a property in Castelfranco.
COSETTI
Yes, yes. I'm sorry -- for one
moment I got them confused --
LAURA pretends to believe him. She closes her bag.
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. MARANELLO. DAY. 91
LAURA walks towards the Lancia. PEPE opens the door.
LAURA
Castelvetro.
PEPE nearly has a heart attack but recovers.

53.
PEPE
As her gentleness the Signora
commands...
92 EXT. THE YARD. FERRARI FACTORY. MARANELLO. DAY. 92
Journalists and photographers mill around the factory cars.

The five Ferraris destined for the Mille Miglia are on view.
The drivers, COLLINS, VON TRIPS, GENDEBIEN, TARUFFI and DE
PORTAGO stand beside them.
FERRARI
Let me introduce My Spring Team.
FERRARI introduces DE PORTAGO proudly to the photographers.
FERRARI (CONT’D)
This is de Portago, Musso's
replacement. He drives like
Varzi...
JOURNALIST
(to de Portago)
Hey Fon, is it true about Linda
Christian? She's your latest girl?
93 EXT. CASTELVETRO. DAY. 93
The Lancia arrives on the outskirts of the village. PEPE

brings the car to a stop at the crossroads.
PEPE
Where to now?
LAURA watches him.
LAURA
Keep going...
PEPE
As the Signora pleases...
Instinctively he swings the wheel left, away from the farm,

but Laura is watching.
LAURA
No. Take a right.
PEPE begins to sweat. He reverses the car to the centre of

the road and begins to turn it to the right.
54.
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. COUNTRY LANE. CASTELVETRO. DAY. 95
The car comes to a bend. Again PEPE is about to take the left
hand fork when LAURA intervenes --
LAURA
Right again.
PEPE realizes now that at every junction LAURA will second-

guess him. He accelerates up the road towards the farm.
LAURA (CONT’D)
Stop!
The car stops at the track which leads to the house.
LAURA looks at him; he stares down at the wheel, not daring

to lift his head.
She gets out.
What has attracted LAURA's attention is a yellow boys bike.
96 EXT. THE YARD. MARANELLO. DAY. 96
FERRARI has his arm round Gendebien.
FERRARI
This is Olivier Gendebien, the
fastest driver of road cars in the
World. He will be driving Musso’s
335.
55.
PHOTOGRAPHER
Hey, it's Linda!
HEADS TURN towards the open gate where LINDA CHRISTIAN

stands.
VOICES
Hey Linda! Signorina!
The entire PRESS desert the Master and bolt up to the gates
to greet her.
MISS CHRISTIAN in dark glasses and matador pants. She smiles

at the PRESS, but does not allow them to waylay her.
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.
97 FLASHBACK. EXT. HILLSIDE ROAD. DAY. 97
On a yellow bike, twelve year old DINO freewheels down the

road, his legs splayed wide off the pedals -- laughing.
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...
98 EXT. THE FARM. CASTELVETRO. 98
LAURA stands in the drive and stares at the yellow bike.
Her eyes rakes over the garden: well-tended; the garage, no

sign of a car.
The post box is at the gate. She opens it, pulls out two
letters. They are addressed to a Signora Lardi. She puts them
back and shuts the box.
56.
99 EXT. THE YARD. MARANELLO. DAY 99
FERRARI, LINDA CHRISTIAN and DE PORTAGO have been backed

against the 335. FERRARI in the middle, to either side,
TARUFFI and GENDEBIEN. PHOTOGRAPHERS are angling for shots,
on their knees, on top of other cars, looking sideways --
PRESS VOICE 1
Hey Linda, this way; Linda, over
here.
PRESS VOICE 2
Mr. Ferrari can we have a smile?
Ferrari sees among the press RANCATI -- he of the plastic

features and the mime artist's face.
FERRARI
Rancati. A word, please...
PRESS VOICE 3
Fon, get a little bit closer.
FON'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. VILLAGE CAFE. TUSCAN HILLS. DAY. 101
RANCATI and FERRARI sit by a table with a glass of wine,

enjoying the view of the valley below. RANCATI, pulls out a
beaten up Olivetti ready to interview Ferrari for The
Automotive Magazine. FERRARI toys with a stopwatch in his
hand.
RANCATI
Commendatore -- may I be frank with
you --
FERRARI
Yes Gino.
57.
RANCATI
My article that you agreed to do
two months ago “The idea of
Ferrari,” we have not begun even.
Every time I see you, we start, and
then you put me off.
A snarling V.8 can be heard winding up through the valley.
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 takes a gulp from his glass, wipes his mouth and eyes
him speculatively.
FERRARI
Before I answer that question,
Rancati, there's something I want
you to do for me.
Suddenly a roaring Maserati 250 driven by BEHRA appears at *

the corner in a blur and accelerates past them, scudding
stones from under its tires... FERRARI clicks the stopwatch.
The car disappears as suddenly as it had come. FERRARI squints
at the watch.
He resets it.
FERRARI (CONT’D)
I want you to write an article
suggesting that there have been
rumors that I am talking to Henry
Ford II about the future of the
factory.
RANCATI digests this slowly.
FERRARI (CONT’D)
End by saying that you asked me
bluntly about this and that I
categorically denied it.
RANCATI
And are you categorically denying
it?
FERRARI
Of course. Categorically.
RANCATI tries to figure out the ramifications of this.

58.
The second Maserati 250f comes roaring by, driven by Stirling *

Moss.
Then the ORSI's truck, following the Maseratis up the hill,

brakes as ORSI spots FERRARI.
ORSI #1
Hey Ferrari are you spying on me
again?
ORSI points at RANCATI.
ORSI #1 (CONT’D)
Write this in your paper Rancati.
He spies on people.
And ORSI's truck accelerates away.
RANCATI
Were you spying on him?
FERRARI stops his stopwatch, gets to his feet.
FERRARI
Tomorrow we'll bring our cars up
here and see if we can better their
times.
RANCATI
If I write this article, will you
give me an exclusive on your
private life?
FERRARI nods.
FERRARI
If you promise not to publish it --
RANCATI shrugs.
RANCATI
For the time being --
FERRARI
Until I authorise you.
RANCATI
O.K. It's a deal.
FERRARI gets to his feet.

59.
102 EXT. THE FARM. CASTELVETRO. DAY. 102
FERRARI knocks on the front door. It opens to reveal PIERO,

who holds a crumpled piece of paper up to him.
PIERO
Look, Papa! Taruffi's autograph.
LINA appears at the top of the stairs. She’s in a cotton robe

over a bra and stockings, half made up.
FERRARI
You’re going --
LINA
To the opera, later, with my
girlfriends.
103 INT. KITCHEN. THE FARM. CASTELVETRO. DAY 103
PIERO is in the dining room, absorbed in the racing section

of a newspaper while in the kitchen... FERRARI, as always,
with an ease to him we never see anywhere else and a glass of
wine. They lean against the stone sink top watching the day
end over the fields.
FERRARI
I’ll get him De Portago’s
autograph.
LINA
It’s not about a signature on a
picture.
FERRARI
What is it about, then? *
LINA
He’s growing up and wants to be
with his father and know his place
in the world.
FERRARI
He knows.
LINA
He wants other people to know. Like
a normal boy. In two weeks he’ll be
confirmed. As whom...?
LINA looks at FERRARI.

60.
LINA (CONT’D)
I’m out of excuses. We said, when
he was ten, we would sort out
things. Then Dino got ill... He’s
still Piero Lardi.
FERRARI
Postpone the confirmation.
LINA
His whole class is being confirmed.
FERRARI
Say...maybe he doesn’t believe in *
God.
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
Yes, the teachers.
LINA
And Tavoni? Sergio?
FERRARI
Of course, Tavoni.
LINA
And the bank manager?
FERRARI
Yes, the bank manager.
LINA
Enzo --
61.
FERRARI
(vehemently)
Apart from them. Absolutely no one. *
LINA
This is Italy -- yes?
Meaning the whole world knows, except Laura.
FERRARI
A little bit longer. It has to stay
quiet. Precisely right now, I can’t
have the repercussions. *
LINA
Repercussions?
FERRARI
From Laura. Okay? *
104 INT. OPERA HOUSE. EVENING. 104
The orchestra is warming up. People are beginning to take

their seats.
105 INT. FERRARI'S APARTMENT. L.G. EVENING. 105
The sound of the orchestra tuning can be heard through the

open windows.
FERRARI puts on his jacket and makes his way out of the door.
106 INT. STAIRWAY. L.G. EVENING. 106
FERRARI comes down the stairs, hesitates at Laura's door.
107 INT. LAURA'S APARTMENT. LARGO GARIBALDI HOUSE. EVENING. 107
FERRARI enters.
LAURA is watching the television. He is surprised to see she

hasn't changed.
FERRARI
Aren't you coming?
She shakes her head.
LAURA
Make some excuse for me.
62.
FERRARI stares at her.
FERRARI
Did you get the cash for Fiamma?
LAURA
It's in my bag.
FERRARI crosses to her bag, picks out the package of money --

and the rusted model car. Instinctively, he knows where it
came from. He pockets the cash; looks at her, puts the toy on
the table without comment and leaves.
108 EXT. THE OPERA HOUSE. NIGHT. 108
LINA arrives in a large American car with a party of FRIENDS.

They move into the Opera House. MIKE HAWTHORN, PETER COLLINS
and his wife LOUISE, and other STARS OF THE SCUDERIA arrive
on the scene.
Last to arrive is DE PORTAGO, with LINDA CHRISTIAN.

PHOTOGRAPHERS descend on her. Once again there are AUTOGRAPH
HUNTERS and FANS in attendance, all adding to the confusion
at the entrance to the foyer.
109 INT. FOYER. 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.
LINA moves up the stairs. She does not appear to be part of

the racing crowd. She’s come with friends, a contemporary,
younger crowd.
110 INT. GRAND CIRCLE. OPERA HOUSE. EVENING. 110
In the Grand Circle, FERRARI makes his way towards the centre
row of seats near the front. *
LINA makes her way into 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 --

mostly from the Barber's Shop -- about the Lambrusco: they
are worried that an early frost could destroy the vines.
The ORSIS make their way into the row, as they work their way
past FERRARI he chides them.
63.
FERRARI
What's this about Citroen buying
Maserati?
ORSI #1
We're talking.
FERRARI
But Citroen's a French company.
ORSI #1
The games changing Enzo. It's going
to become big business. To do all
this you got to be capitalised.
FERRARI
Citroen's going to do that for you?
ORSI #1
After we win the Mille
Miglia...certainly.
They continue to brag and insult each other as they find

their way to the center of the row...
111 INT. ADELGESA'S APARTMENT. EVENING. 111
ADELGESA opens the shutters and lets the distant music flood
in. She sits down on a chair by the window and listens.
The TENOR, BRUSONI, launches delicately into 'Parigi O Cara'.
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 the Emilia.
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. The

sound of the tenor floats through the night air.
114 FLASHBACK. INT. THE APARTMENT OVER THE GARAGE. 1950’S. 114
FERRARI comes out of the shower, singing the same aria. He is

younger, more animated.
64.
Seizing LAURA's corsets he clowns around the room, playing

them like an accordion.
She lies in the bed in a silk night gown with her arm round
little DINO -- helpless with laughter.
115 INT. ADELGESA'S APARTMENT. LARGO. GARIBALDI HOUSE. NIGHT. 115

One floor above, ADELGESA listens as if in a trance, but to
another singer, another production, yet further back in time.
116 FLASHBACK. EXT. MODENA RAILWAY STATION. 1917. 116
On a platform, crowds rushing by, ALFREDO dressed for war.

Confident, shining, but also prescient, as if already on his
way to heaven, he addresses ENZO who stands on the platform.
ALFREDO
Enzo, look after mama -- Every day,
bring her breakfast for me!
The train begins to move.
ENZO begins to run after the train and his older brother. *
ENZO
I promise!
ADELGESA (V.O.)
The wrong son died.
117 FLASHBACK. INT. AUTODROME. DAY. 117
Musso's car breaks up on impact.
118 FLASHBACK. INT. THE FARM. CASTELVETRO. DAY. 118
As cherry blossoms fall, LINA holds FERRARI tight from the *

evening after Musso crashed. *
LINA
When you weep for one, you weep for
them all...
Tears fill FERRARI's eyes...

65.
120 INT. GRAND CIRCLE. OPERA HOUSE. MODENA. NIGHT. 120
LINA watches FERRARI. She sits in profile, spellbound.
121 FLACHBACK. INT. ASSEMBLY SHOP. THE MARANELLO FACTORY. 121

1945. DAY.
FERRARI turns over a sketch of a new racer... He is in the

wreck of the Maranello factory: shelled by Germans, bombed by
the Americans, unroofed, half-flooded.
The same aria plays. *
LINA comes through the lintel -- no door, no roof, broken

walls. She is young, shy, but shows the same compassionate
quality which still attracts Ferrari. FERRARI looks up at
her.
LINA
(proudly)
I'm pregnant.
FERRARI smiles.
The aria has come to an end. The last note hangs 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 flowers, programs, streamers, bras
and hats...
A barrage of heartfelt thanks and firm approval.
BRUSONI looks at the SOPRANO, kisses her, looks at the

CONDUCTOR, smiles triumphantly and bows...
123 EXT. NOUVEAU MONDE (HAIRPIN TURN). ROUEN-LES-ESSARTS. DAY.123
From DE PORTAGO'S POV. Buffeted by the slipstream and

juddering over the uneven surface, DE PORTAGO hangs onto
BEHRA round the bend.
124 EXT. RACE TRACK. DAY. 124
The cars, Maseratis, Ferraris and Vanwalls rocket down the

hill.
66.
125 EXT. STRAIGHT. ROUEN-LES-ESSARTS. DAY. 125
From DE PORTAGO'S POV. BEHRA’s Maserati 250F is getting away *

from him, and the snout of MOSS'S Vanwall is drawing level.
126 EXT. STRAIGHT/PITS. ROUEN-LES-ESSARTS. DAY. 126
FERRARI watches unemotionally as the cars zoom by in a blur

of color and noise. He clicks the stopwatch in his hand and
stares at it.
We establish the order: FANGIO in the leading Maserati. *

HAWTHORN and COLLINS trailing in their respective Ferrari's. *
Then BEHRA and DE PORTAGO, MOSS following in the Vanwall.
128 EXT. PADDOCK. ROUEN-LES-ESSARTS. DAY. 128
FERRARI steps up to the truck which carries the BBC mobile TV

studio.
129 INT. BBC MOBILE STUDIO. ROUEN-LES-ESSARTS. DAY. 129
FERRARI stands by the door, his eyes growing accustomed to

the darkness. Facing a number of studio monitors at a console
sits the DIRECTOR, the VIDEO MIXER and SOUND ENGINEER another
source (another vehicle) a COMMENTATOR feeds in his excited
description of the race.
FERRARI now sees that the truck is filled with people,

including LINDA CHRISTIAN, watching the race.
Recognising FERRARI, an assistant offers him a chair at the

console which FERRARI accepts with thanks. On the screen the
leading cars pour through Six Freres and down towards Nouveau
Monde.
There is a gasp of horror as one of the tailenders loses it

and begins to spin. FERRARI looks at the multiple screens...
at the future.
There is a tremendous crash. As the tailender slams into the *

wall and bursts into flames. *
The spinning tailender spins towards the wall as -- *
The leading cars speed blindly through the oily smoke. *

67.
130 OMITTED (MOVED INTO SC. 129) 130 *
131 EXT. DE PORTAGO'S CAR. TRACK. ROUEN-LES-ESSARTS. DAY. 131 *
DE PORTAGO -- through black smoke with red flame -- 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.
In front of him BEHRA pulls away on the long downhill

straight.
132 EXT. PADDOCK. ROUEN. DAY. 132
FERRARI enters from the van and makes towards the Ferrari
pit.
SERGIO falls into line beside him.
FERRARI
They're getting away from us on the
straight.
SERGIO shrugs.
SERGIO
You need a new engine.
133 EXT. FERRARI PITS. ROUEN-LES-ESSARTS. DAY. 133
HAWTHORN'S 801 comes in and the MECHANICS swarm all over it.
The filler cap is snapped open and the power-nozzle goes in --
but not before HAWTHORN and cockpit are drenched with fuel.
FERRARI sees a MECHANIC lighting up and swipes the cigarette

from his mouth, crushing it in one hand while slapping the *
MECHANIC with his big open hand, all in one rapid movement. *
He turns back to see HAWTHORN wiping his face, his eyes

burning with the fuel.
HAWTHORN
Do you expect me to drive like
this?
68.
FERRARI
You want to quit? It’s fine. Get
out.
This is how their decisions occur, in frozen moments.

HAWTHORN slips the car into gear and the combined PIT TEAM
push him down the lane until his engine starts firing.
As they leave, a second car comes roaring in, its gearbox

gone. It's COLLINS -- he shrugs philosophically.
COLLINS
Gearbox linkage. It's broken.
He begins to get out.
FERRARI
(to Forghieri)
Call in De Portago.
DE PORTAGO, 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 FERRARI are walking towards him.
FERRARI
Out. 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 taking the

opportunity to refuel the car. Ahead, they’re wheeling away
Collins' car.
DE PORTAGO pulls off his gloves, pissed and as COLLINS

accelerates off, he turns, adrenalin still pumping through
his body and walks away trying to control his disappointment.
69.
136 EXT. TRACK. ROUEN-LES-ESSARTS. DAY. 136
HAWTHORN passes MOSS in the Vanwall and works his way up

towards FANGIO and BEHRA as the road disappears into the
trees
COLLINS appears in his mirror.
HAWTHORN smiles and dinks his car through the next bend.
Now he looks in his mirror again, but no sign of PETER.
He twists his head back --
137 EXT. WOODED COPPICE. ROUEN-LES-ESSARTS. DAY. 137
COLLINS' car rips through the trees narrowly missing the

trunks, till --
-- He broadsides one then gets spun into another coming to a

halt, the front wheels torn off.
Slowly he pulls himself out of the cockpit and staggers

nearest tree where he props himself up. He slowly 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
The band plays the French National Anthem.
ON BBC TV: BEHRA stands on a makeshift podium holding aloft *

the Rouen trophy. The crowd (being French) sing the
Marseillaise triumphantly. Beside him stand MOSS (2nd) and
HAWTHORN (3rd) There follows the usual tomfoolery with
champagne.
In the paddock: DE PORTAGO watches as FERRARI supervises the

loading of de Portago's car -- what's left of it. Nearby,
COLLINS gets painfully into a Marshall's saloon, his neck in
a temporary brace.
DE PORTAGO strolls back to him, his emotions still veering

between rage and concern for COLLINS' injury.
COLLINS glances up.

70.
DE PORTAGO
Are you O.K.?
COLLINS
Right as rain. A bit shook up.
DE PORTAGO nods barely permitting himself to speak.
COLLINS (CONT’D)
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.
FERRARI glances at him. DE PORTAGO is still flushed with

adrenalin.
DE PORTAGO
I could have taken him.
FERRARI looks at him askance.
Behra...
FERRARI
De Portago, you'd get better odds
becoming King of Spain, than taking *
Behra.
On the podium, the Marseillaise ends. BEHRA raises the

trophy.
The ORSIS clamber onto the podium behind him, raising their
arms, sharing the glory.
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, Moss, hard nosed pros. Men
with a heartless, brutal
determination to win. With a cruel
emptiness in their stomachs.
(MORE)
71.
FERRARI (CONT’D)
Egocentric, detached men. Loyal to
one thing. Not the team. Their lust
to win. Rain, a track slippery with
oil, an evil handling car, they
will not falter.
(pause)
My Spring Team? Courageous?
Skillful? Yes. And young, recently
in school --
(looks at Von Trips and de
Portago)
Aristocrats straight from Almanac
de Gotha. Gentlemen. Sportsmen.
(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, racing for the line. You’re
even. Two objects cannot occupy the
same point in space at the same
moment in time. Behra doesn’t lift.
The corner races at you. Perhaps, *
you have a crisis of identity: am I *
a sports man or a competitor? Or,
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)
Behra at that same moment thought:
fuck it, we both die.
(pause)
Make no mistake. All of us are
racers or have raced. Our passion
is dangerous.
(beat)
If you get into the race car -- and
no one is forcing you to -- you get
in to win. Brake later. Steal their
line. Deny them space. Pressure *
them, make them make mistakes.
140 EXT. THE CAVALINO. DAY. 140
FERRARI and DE PORTAGO exit. *
DE PORTAGO
Behra!
FERRARI nods.
I could have taken him.
72.
FERRARI gives him a disgusted glance.
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 coupe.
DE PORTAGO
Won't he mind?
FERRARI
Of course he will, but he'll beat
you anyway.
141 OMITTED 141
142 OMITTED (MOVED INTO SC. 143) 142 *
143 INT. MAUSOLEUM. DAY. 143 *
FROM INSIDE the mausoleum we SEE: *
FERRARI approach in the spring rain, his flowers for Dino *

tucked under his raincoat. *
Leaving, passing him without a word, is LAURA, black umbrella *

held high. *
FERRARI *
Laura? *
She passes him without a glance. Frozen. *
FERRARI (CONT’D) *
Laura! *
73.
She doesn't reply. He mounts the steps with growing *

frustration and enters, shakes the rain from the flowers... *
and lays them next to Laura's.
Then he looks up and addresses Dino.
FERRARI (CONT’D)
(to Dino)
There was a time when I loved your
mother with a lust beyond reason.
But she was a different creature
then. And so was I...
(beat)
Television. That is the future. I *
can see my cars at every corner and
from every conceivable angle. With
such a set up in my office, I would
never leave Modena. And it means
sponsors and bigger competition and
bigger budgets. So what am I to do, *
Dino, huh? *
147 INT. RECEPTION AREA. FERRARI'S OFFICE. DAY. 147
FERRARI comes up the stairs.
MARISA *
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
RANCATI
(into phone)
How does this read?
His eyes drop to his typewriter.

74.
RANCATI (CONT’D)
'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...
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. *
FERRARI (CONT’D)
The special project? *
BIZZARINI (V.O.) *
(nods)
It's on the bench right now.
FERRARI nods.
FERRARI
Keep it going, I'll be down soon.
151 OMITTED 151 *
152 EXT. THE SQUARE. MARANELLO. DAY. 152
The Lancia lurches into the muddy park. PEPE parks it under
the shelter of an old tree. He opens the rear door and LAURA
emerges.
LAURA
Get some breakfast, Pepe.
He watches her cross the square towards the bank.
153 OMITTED 153 *

75.
153A INT. TEST HOUSE. MARANELLO FACTORY. DAY. 153A *
The V.12 is screaming on the bench. The name 'Ferrari' on its *

side is blurred by vibration. *
FERRARI enters. CHITI is there, too. White-coated ENGINEERS *

hunch over the engine, glancing at the instruments. *
154 INT. BANK OFFICE. MARANELLO. DAY. 154
COSETTI
This is the Power of Attorney which
Signor Ferrari requested you put
your name to...
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.
Nevertheless, she picks the check up and puts it in her bag,

then 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.
76.
COSETTI
Excellent.
He holds out his hand to take the papers.
LAURA
I'll hold onto these -- til I get
my check signed --
His hand is left hanging in the air.
COSETTI
Then I guess that will be all.
LAURA
Not quite. I want some information
about special payments, made by the
company 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.
155 INT. TEST HOUSE. MARANELLO FACTORY. DAY. 155
Suddenly, the engine explodes. FERRARI ducks. The top comes *

off, the back end splits open, cracking the window. Boiling *
oil squirts everywhere. The ENGINEERS curse. The whole room *
is enveloped in steam... Finally there is silence. *
CHITI *
I don’t know if we will get there *
this year. Next year, certainly. *
FERRARI *
What you don’t understand, Chiti, *
is that there may not be a next *
year. *
Steam hisses from the radiator pipes, and the engine block *
begins to contract... The phone rings. *
77.
BIZZARINI grabs it, listens, indicates the telephone to *

FERRARI. FERRARI crosses to the phone. *
156 EXT. CALL BOX. MARANELLO. DAY. 156
LAURA is in a call box on the outskirts of the town. PEPE,

who has trailed her here in the Lancia (she had refused a
ride) watches in deep gloom. He realizes that something is
going down and that his boss is in trouble.
LAURA (V.O.)
Enzo? Lina Lardi! Does that name
mean anything to you?
FERRARI's face freezes as LAURA outlines her recent

investigation in cold and concise terms.
158 INT. CALL BOX. MARANELLO. DAY. 158
LAURA (V.O.)
The boy, I presume is yours?
FERRARI nods.
FERRARI
Yes.
160 INT. CALL BOX. MARANELLO. DAY. 160
She is silent for a moment. Then --
LAURA
I need to think about this, Enzo. *
161 INT. TEST HOUSE. THE FACTORY. MARANELLO. DAY. 161
FERRARI puts down the phone. *
The OTHERS are wiping themselves down, finding their glasses, *

notepads and fountain pens.
BIZZARINI looks at FERRARI. FERRARI looks at the mess.

78.
165 EXT. SCAGLIETTI WORKS. (VIA EMILIA EST.) DAY. 165
FERRARI's car draws onto the cracked concrete forecourt.
SCAGLIETTI stands in his overalls by a rusting cafe table. He

is pouring himself a glass of white Trebbiano when he sees
FERRARI, he directs the bottle into a second tumbler.
FERRARI gets out and, hitching up his pants, trudges towards

the barn where some of the most beautiful cars in Italy are
made.
FERRARI
Where's everybody?
SERGIO
I gave them the afternoon off.
Seeing the Mille Miglia tomorrow.
FERRARI takes the tumbler.
FERRARI
No wonder you're so late with
everything, Sergio.
He drifts into the barn. SERGIO follows him in.
166 INT. THE BARN. SCAGLIETTI WORKS. DAY. 166
SERGIO
(amiably)
Listen, Dettore... my men work
weekends all through the year for
you. Some of their children haven't
seen them since the day they were
born.
FERRARI
Well, here's to you, and that pack
of color blind, cackhanded louts
you employ.
He turns and toasts him.
SERGIO
And here's to you and the Mille
Miglia.
79.
FERRARI wanders across the floor, heavy with wood shavings.

The frames for the cars hang from the roof -- the walls, or
are set on blocks. It could be a tractor shed for all its
ordinariness, yet it was truly a temple to beauty.
Eventually he comes to the chassis of the new Testa Rossa,

with its huge aluminum fuel tank hunched behind the driver's
seat. He lays his hand on the great throat of the fuel
filler, and finishes his wine.
SERGIO, who has followed with the bottle, refills the glass.
FERRARI
She found out. About the boy.
SERGIO kicks the rubber on the Testa Rossa.
SERGIO
What do you want me to do with this
one?
Up on the wall, above the drawing table, the pigeon given to

Sergio by King Hussein starts cooing softly.
FERRARI
I want the driver in front of it to
piss in his pants when he sees it
in his mirror --
SERGIO nods.
FERRARI (CONT’D)
And when it passes him I want an
ass on it like a Canova sculpture.
Still carrying his glass, SERGIO crosses to a table in the

corner crammed with pens, crayons, cartridge paper. He pulls
out half a dozen drawings and floats them one-handed back to
the fuel tank, so that they lie for FERRARI to look at.
FERRARI studies them carefully. SERGIO had anticipated his

demands and is already half-way there.
FERRARI (CONT’D)
So, what do I do?
He refers to the business with Laura.
SERGIO
What do you want to do?
FERRARI
I want to leave her.
80.
SERGIO
Well. Do it...
FERRARI is uncertain. The reluctance shows in his face...
SERGIO points to the roof where the cage given him by Hussein
hangs from one of the beams.
SERGIO (CONT’D)
You see that pigeon up there?
FERRARI
The King's?
SERGIO nods.
SERGIO
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.
SERGIO
Tell Laura that you're going to
leave her, 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 about what
everybody thinks! What do you
think?
SERGIO
(less facetious)
There are a lot of people on your
payroll with families,
responsibilities. The factory needs
continuity for Ferrari to stay
Ferrari.
FERRARI takes this in silence.
SERGIO (CONT’D)
You want to see Bizzarini's
project?
FERRARI finishes his wine and gets to his feet. He looks up

at the pigeon before he leaves.
81.
FERRARI
Stay there pigeon, or you're dead
meat.
167 EXT. BARN. DAY. 167
SERGIO unlocks the padlock, opens the door, revealing the

prototype of the S.W.B. G.T.O.. Of all the cars in the barn,
this is the most stunning. Even FERRARI, who has seen
everything, is impressed.
168 EXT. FERRARI'S HOUSE. L.G. DAY. 168
FERRARI draws up in the Peugeot and gets out.
169 INT. HALL. FERRARI'S HOUSE. L.G. DAY 169
FERRARI shuts the door 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. DAY. 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...
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 '45.
FERRARI nods.
82.
FERRARI
The war. The factory had been
bombed twice. She was working in
the office through the worst of it.
You and Dino were in the hills all *
summer. By Christmas she was
pregnant. So I leased 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 she different from the others?
FERRARI
I was in love with her --
And then he adds --
FERRARI (CONT’D)
I still am.
Suddenly, from a position of righteousness, LAURA feels her

feet cut from under her.
Devastated, she can think of no reply. 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. It
makes a mockery of you in the years
when Dino was ill and dying...
FERRARI
How can you say that?
LAURA prowls the room, dangerous but silent.
LAURA
The boy? Is he going to inherit our
factory, in our name?
He doesn’t answer.
LAURA (CONT’D) (CONT’D)

I don’t want him to. We have a son -
FERRARI stares at her, enraged.

83.
FERRARI
One son, two sons, five sons, you
think I miss my Dino any less?
(beat)
Every morning I see him in the
cemetary. 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
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. I blame you! You told me you
wouldn’t let him die.
FERRARI
I deluded myself! ...the father
deluded himself -- The engineer. I
will restore my son to health.
Bullshit. Swiss doctors, Italian
doctors. And I could not. Okay.
LAURA
Because you were so “consoled” at *
Castelvetro you lost your
attention. And you had another boy
to replace him.
FERRARI is frozen by the accusation.
FERRARI
What goes on in your brain? He got
sick! Dystrophy, kidneys. It
destroyed him. It destroyed us.
84.
LAURA
What do you care? You have another
wife and another son.
FERRARI
She is not my wife.
(pause)
But, he is my son --
LAURA goes eerily, completely calm --
LAURA
The best thing for you to do would
be to move out.
FERRARI is suddenly exhausted.
FERRARI
I’ll keep the apartment upstairs as
my office. And Adelgesa will remain
on the top floor. To the outside
eye, nothing will change.
LAURA
In fact everything will have
changed --
FERRARI
No. Our partnership continues. It
is our factory, our history. *
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.
Tears fill her eyes, but she doesn't give in to them.
LAURA (CONT’D)
There is a problem with your check;
you forgot to put your name to it.
She produces the check. 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, the factory is
finished.
85.
FERRARI signs.
She scrutinizes the check, presses a roll of blotting paper

across it and folds it away, and hands over the power of
attorney documents.
LAURA
Now we are partners-in-business
only.
FERRARI
It will always be more than
business.
LAURA
And less than marriage.
He cannot answer that.
171 EXT. THE CHERRY FARM. NIGHT. 171
FERRARI drives the Peugeot up to the house. Switches off the

engine and the lights. As he gets out, LINA opens the door.
She stands silhouetted in the light.
FERRARI pulls his case from the passengers seat and walks
towards her.
172 INT. THE HALLWAY. CHERRY FARM. NIGHT. 172
PIERO comes to the edge of the stairs and looks down. He sees
LINA and FERRARI embrace -- FERRARI is trembling.
She sense his distress and hugs him.
LINA
What is it?
They walk towards the kitchen. The door closes leaving PIERO
on the stairs puzzled. 'What was done?'
173 INT. KITCHEN. CHERRY FARM. CASTELVETRO. NIGHT. 173
She sits at the table her head in hands. They’ve been talking
for a while.
FERRARI
Nothing has been resolved about
Piero.
86.
Silence.... Eventually...
FERRARI
(CONT’D)
I want you to come to Modena.
She looks up surprised.
FERRARI(CONT’D)
Find an apartment... Put Piero into
the Academy.
LINA
Are you serious? Are you serious!
FERRARI
Why not? Modena is where I live. *
Where we’ll live. *
LINA
It's where your wife lives. It's
her town.
LINA, ever optimistic, tries to look on the upside.
LINA (CONT’D) *
You’re telling me she knows? *
FERRARI *
Yes. She knows he’s our boy. *
LINA
Piero can chase for his autographs *
without coming home with that
guilty look. And you and I, okay.
At least we can lie in on mornings - *
She faces FERRARI.
LINA (CONT’D)
Can't we?
FERRARI nods.
174 COMBINED WITH SC. 173 174
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.
87.
LINA
Enzo!!
176 EXT. FARMHOUSE. CASTELVETRO. DAWN. 176
In the dawn air, FERRARI puts on his boots and is about to

open the door of his small Lancia 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
Remember! de Portago's autograph!
FERRARI
You go back to sleep!
PIERO
Hey, Papa!
FERRARI looks up again.
PIERO (CONT’D)
(chanting)
Ferra - ri!
FERRARI chuckles, waves.
177 EXT. THE PIAZZA BRESCIA. NIGHT. 177
CHORUS Ferra-ri! Ferra-ri!
The sound of a brass band, announcements on loudspeakers, the

cheering crowd, 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 as a good part of the crowd are Ferrari fans.
FERRARI makes his way through the crowd. 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 with others...
88.
178 INT. RACE OFFICE. PIAZZA BRESCIA. NIGHT. 178
FERRARI enters, the two ORSIS are at the table along with a
number of other owner and factory team managers. They are
here to sign in their entries and collect the cards that each
driver must show at every stop.
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.
179 EXT. RACE OFFICE. PIAZZA BRESCIA. NIGHT. 179
ON THE RAMP. The first of the Mille Miglia cars, a Fiat 600
waits, its rally lights blazing.
The MARSHALL waves his flag and the little car shoots off
into a tunnel of spectators.
RADIO COMMENTATOR
And so the 24th Mille Miglia, the
World's longest and most
treacherous roadrace starts with
the dispatch of the first and
smallest of the racing cars.
Behind it a stream of Fiats continue to swarm past like angry *

bees. *
180 OMITTED 180
181 OMITTED 181 *
182 EXT. MARZOTTO HOTEL. MANERBIO. NIGHT. 182
FERRARI parks the Lancia in the forecourt near the front door *
and gets out.
89.
RADIO COMMENTATOR
The factory cars, some of the most
powerful in the world, will be the
last to start - about 5 o'clock *
tomorrow morning.
The four or five Mille Miglia cars are sitting on the lawn, *
the mechanics still working on them -- but quietly, knowing
that the drivers are asleep.
FERRARI, looks at them and enters the hotel...
183 INT. HALL/BAR. THE NARZOTTO. 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. Are the
drivers asleep?
The OWNER nods.
OWNER
Can I get you something? Some
coffee perhaps?
Ferrari's own voice can be heard on television in the bar,

being interviewed on a pre-recorded programme.
FERRARI nods. He crosses to the bar area.
CHITI sits at a nearby table -- eating a sandwich -- and

talking in a low voice with two of his ENGINEERS. Between
them sits what looks like a pair of Weber carburettors.
FERRARI joins FORGHIERI and TAVONI at the bar. He hands him

the five official entry cards.
FERRARI
Make sure they show these at every
control otherwise they're
disqualified. *
FORGHIERI nods and counts them.
CHITI crosses to join him.
FERRARI (CONT’D)
No problem with the Scrutineers?
90.
CHITI shakes his head. *
Interviewed on television, the Orsis are being questioned *

about the race --
ORSI #1
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 FORGHIERI. *
FERRARI
I have a few last minute
instructions --
He pulls his note book from his pocket. They are neatly hand
written in purple ink.
184 INT. DE PORTAGO'S BEDROOM. MARZOTTO HOTEL. 184
DE PORTAGO sits at the dressing table. 'He has an envelope on

which he writes quickly --
"In case I don't make it --"
It is obvious that he does not have the slightest doubt that

he will, but girlfriends have to be written to --
DE PORTAGO
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.
What do I say?
NELSON dictates it like a business letter -- his delivery a

parody of what De Portago should be feeling.
NELSON
My darling Linda, tomorrow may be
the last day of my life, so I am
writing to you...
91.
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 INT. GENDEBIEN'S ROOM. MARZOTTO HOTEL. 187
Fully dressed, GENDEBIEN slips his envelope with practised *

ease into the frame of the dressing table mirror. Another
envelope lands on the table, flipped by VON TRIPS from his
bed on the other side of the room.
GENDEBIEN looks round, grins and lodges that one too in the
mirror frame.
He stands, crosses to the door and switches out the light,

then falls onto his bed. As he lies in the dark, his eyes
wide open, VON TRIPS cuts in.
VON TRIPS
You know that bridge just past
Ravenna? Do we go straight on or
right at the fork?
188 INT. BAR. MARZOTTO HOTEL. 188
The TV set, shows the bigger cars now leaving the ramp,
Jaguars and the two litre Alfa's and older Ferraris...
FERRARI, who has been giving notes all night, makes his final
point.
FERRARI
Finally, Refuelling. Remind the
mechanics, the gas is to go into
the tanks. Not all over the drivers
- particularly Taruffi or he'll go
up in flames.
FORGHIERI
Anything else...
92.
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. THE SQUARE. BRESCIA. DAWN. 190 *
The long line of cars -- nose to tail -- trail out of the

square. *
The shattering explosion of sound as the V.l2’s rev-up, and *

echo terrifyingly off stone walls. *
Rain pelts down on the umbrella'd CROWD. MECHANICS, CAMERA

CREWS, PHOTOGRAPHERS, flashbulbs popping, surround the ramp
and the line of cars leading up to it.
A TELEVISION COMMENTATOR speaks to camera.
COMMENTATOR
...and now it is the turn of the *
large works Ferraris and Maseratis.
This year, Maserati will be
challenging the might of the
Ferraris. And it has been rumored
that the future of each company may *
well depend on the outcome...
(fades)
FERRARI stands, holding an umbrella against the heavy

downpour. GENDEBIEN in his 250 Coupe, huddled up against the
rain, looks up at him.
Behind him, the rest of the big cars await their turn.
FERRARI leans over shouting into his ear.
FERRARI
This car knows its way round
blindfolded, Olivier. So take it
easy till you reach the coast. Once
the rain stops -- you can put your
foot down.
GENDEBIEN nods.
93.
The TIMEKEEPER flashes his lamp. And the D-Type Ecurie Ecosse
in front screams into the dawn in a blaze of burnt rubber and
blistered air.
FERRARI (CONT’D)
Good luck.
GENDEBIEN powers his car onto the ramp.
Another car rumbles up behind him; it's a two-year-old

Scaglietti Spyder Competition. The DRIVER is sheltered
against the rain by a golf umbrella. FERRARI waves at the
DRIVER, then walks down the line, past the 500 Testa Rossa of
SIRO SPRACI, another private entry, to whom he also waves.
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 etc -- and a couple of works entered Maserati 450's.
Finally, FERRARI reaches the 315s of Piero TARUFFI and VON

TRIPS. Both have the right hand drive configuration so
beloved of racing drivers. FERRARI leans over VON TRIPS.
FERRARI (CONT’D)
Comfortable, Taffy?
VON TRIPS nods.
FERRARI (CONT’D)
Keep an eye on Stirling, if he
passes you, let him go.. I know
it's your first, but you can win
this one.
VON TRIPS nods again.
FERRARI moves to TARUFFI's car, where the veteran smokes a

cigarette and displays an air of calm which is only skin
deep.
FERRARI (CONT’D)
You can win this race, Taruffi, if
you don't smoke yourself to death
before it's all over --
He takes TARUFFI's fag out of his mouth and throws it away.

TARUFFI sticks another fag in his mouth.
TARUFFI
They say it's snowing on the Futa.
94.
FERRARI
It's just dusting. Now listen to me.
You need this race, Piero. How can
you tell your grandchildren that
you picked up every trophy in
Europe but you never won at
Brescia?
TARUFFI lights the cigarette and begins to creep the car

forward.
TARUFFI
You just make sure I get the
backup. No foul-ups, you
understand, at the fuel stops --
FERRARI
That's the spirit, Piero.
TARUFFI's car moves forward, FERRARI finds himself in the

headlamps of COLLINS' 335. 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)
Good morning, Peter.
COLLINS
It's a good one for ducks.
FERRARI
No joking, Peter. This car can win.
Once you get over the mountains,
you've got the legs on the
others... And then it will be
either you or de Portago, you
understand?
COLLINS nods.
COLLINS
You're forgetting Moss and Behra?
FERRARI
Just watch out for stray dogs and
children: They're the real danger.
COLLINS smiles grimly.

95.
191 INT. DE PORTAGO' S FERRARI (335). (SOFT-TOP UP) BRESCIA. 191

DAWN.
DE PORTAGO watches FERRARI, bending over Collins' car, still

exhorting the English driver. Beside him, NELSON is
scrutinising a map with the aid of a torch.
NELSON
It's a good thing it's still dark,
or we'd be shitting ourselves down
some of these roads.
DE PORTAGO
You know where we're going?
NELSON
No. Just follow the car in front.
Once the sun comes up, we'll be
okay.
As COLLINS' car moves on, DE PORTAGO engages his clutch and

creeps forward till he's parallel with FERRARI.
FERRARI
Remember what I told you. Find
Olivier - and stick behind him. He
knows the way. If you can hang onto
him till you reach Bologna, you're
in with a chance.
DE PORTAGO nods. FERRARI hesitates.
FERRARI (CONT’D)
One last thing. Can you autograph
this. It's for a very, very special *
young man.
DE PORTAGO nods.
DE PORTAGO
What's his name?
192 EXT. THE SQUARE. BRESCIA. DAWN. 192
FERRARI
Piero ...
He takes the book and Ferrari's pen.
FERRARI (CONT’D)
Piero.
(spells it)
P.I.E.R.O.
96.
An OFFICIAL comes along with his torch, signalling 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 --
FERRARI
Good luck.
As he rises to his feet, DE PORTAGO's car tailgates COLLINS

and TARUFFI up towards the ramp.
Then the Maserati 450s of Moss and Behra rumble into frame -
their drivers sheltered by the ORSIS' umbrellas. MOSS's hand
goes up in a salute which FERRARI returns.
193 EXT. STARTING RAMP. BRESCIA. DAWN. 193
Their engines rev higher; the flag goes up -- *
DE PORTAGO’s 335 shoots off the ramp, the way jets fly off a *
carrier, their round tail lamps glowing like after-burners, *
following COLLINS and TARUFFI. *
Almost immediately, they are followed by MOSS and BEHRA in

their Maseratis.
When they are gone, FERRARI is left facing the ORSIS. Neither
of them speak. A relative silence falls in the wet and
desolate square.
PEPE turns up with the Peugeot, gets out and swings open the
passenger door. FERRARI shakes the hand of a COUPLE OF
OFFICIALS as CHITI and FORGHIERI clamber in.
The little car accelerates out of the square on the tail end *
of a dozen cars, 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.
97.
194 INT. DE PORTAGO'S 335. DAWN. 194
DE PORTAGO follows TARUFFI at breakneck speed, illuminated by

the glare of MOSS' headlamps. Behind him the big Maserati
seems on his tail all the way but, as he hits the straight,
it moves to overtake.
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

past TARUFFI.
197 INT. TARUFFI'S CAR. 197
TARUFFI looks left, sees DE PORTAGO -- mouths "let him go".
198 EXT. LONG LEFT HAND CURVE. PAWN. 198
MOSS and DE PORTAGO 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 blocks MOSS's line. *
200 INT. DE PORTAGO'S 335. 200
DE PORTAGO comes up behind MOSS.

98.
201 EXT. THE LONG LEFT HANDER. DAWN. 201
The three cars accelerate around the curve; MOSS, hemmed in,
but taking advantage of the inside bend edges ahead. TARUFFI *
has now caught up. The road switches right.
202 EXT. LONG RIGHT HANDER. DAWN. 202
COLLINS and DE PORTAGO, now on the inside bend, gain on MOSS

and pass him.
To their left, MOSS is losing it. TARUFFI passes MOSS. MOSS

is now wide on the left and slowing.
203 INT. THE MASERATI. 203
JENKS looks at MOSS.
MOSS
No brakes.
He sees a track coming up on the left. He takes it.
204 EXT. MEADOW. DAWN 204
The Maserati explodes through the gate, shearing its mirrors

and ploughs across the meadow, MOSS trying to qold it steady
as it flies over the uneven ground. It travels this way for a
hundred yards -- JENKS half way 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.
205 EXT. ROAD TO VERONA. DAWN. 205
The four Ferraris head up the hill through the trees, BEHRA's
car in hot pursuit.
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. 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 stirs in the cockpit, leans forward 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 --
99.
MOSS
Let's get this bugger home...
207 EXT. GUIDIZZOLLA. LITTLE TOWN. EMILIA. EARLY MORNING. 207
A small bar shows some life. The OWNER is opening his

shutters. The Peugeot stops and FERRARI gets out, followed by
CHITI, FORGHIERI and TAVONI.
208 INT. SMALL BAR. GUIDIZZOLLA. EARLY MORNING. 208
The TV is already on, with commentary on the race. FERRARI

enters and makes for the telephone. He dials. The rest follow
him in. FORGHIERI goes to the bar. The others sit down,
facing the television, which is live from Ravenna.
FERRARI
(into phone)
Race Control?
At the counter FORGHIERI orders espressos. The coffee

trickles into the warm cups.
TV FRONT MAN
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. FORGHIERI arrives with the

coffee.
FERRARI
Moss is out...
209 OMITTED 209 *
210 EXT. FURTHER BEHIND ON THE ROAD TO RAYENNA. DAY. 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 VON TRIPS, then COLLINS, *
TARUFFI and DE PORTAGO.
They are being tracked, at a safe distance, by BEHRA's

Maserati.
100.
211 EXT. PIAZZA. COASTAL TOWN. DAY. 211
A tiny sportscar pitches into a dozen bales of hay sending

chaff exploding into the air. There is a great cheer from the
CROWD. This is 'Crash City'. The Mille Miglia course doglegs
through the square forcing the cars into a premature turn to
skirt the fountain.
There is a Fiesta atmosphere. The cafes are full, SPECTATORS

crowd the roofs, the balconies and windows.
Another car loses it on the turn and slides into the hay. The
crowd cheer again.
212 EXT. NARROW STREET. COASTAL TOWN. DAY. 212
In line ahead, the private entry Ferraris hurtle towards the

entrance of the square.
The screams as they change down, between the narrow mediaeval

walls, are awesome. Ahead of them is an Alfa Romeo.
213 EXT. THE PIAZZA. COASTAL TOWN. DAY. 213
The Alfa Romeo shoots out of the street, and straight into
the straw barrier.
Behind it, the first of the Ferraris appears, powers round

the corner, applies opposite lock, and accelerates. Behind it
a second and then a third Ferrari, all Testa Rossa's -- all
in Ferrari Vermillian -- and then two other Ferraris,
Competition 3-litres.
The CROWD is beside itself, a river of red seems to be

pouring from the Brescia road into their square, with ear
shattering screams and roars --
214 OMITTED 214 *
215 EXT. OUTSKIRTS. RAVENNA. DAY. 215
DE PORTAGO'S 335 hauls its ass round a hairpin and

accelerates.
216 INT. DE PORTAGO'S 335. DAY. 216
ED
Jesus!
101.
DE PORTAGO'S eyes widen -
From his POV - ahead of him is a solid wall of people. In the

centre, the road disappears into a tunnel of cheering youths.
ED (CONT’D)
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
begins to scrabble out of the way of the approaching car.
It roars, past a raging blur, through the narrow funnel

vacated by the crowd with a foot to spare on either side.
Ed looks round.
ED (CONT’D)
That was close.
DE PORTAGO
What's next.
ED looks at his schoolboy map.
ED
The mountains...
217 EXT. CLOUDY MOUNTAIN PASS. MONTESIBILINI. DAY. 217
DE PORTAGO trails COLLINS into the mist.
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.
218 EXT. THE BRIDGE. MONTESIBILINI. DAY. 218
The spectacular arched column spans a gorge -- across which

GENDEBIEN and DE PORTAGO now streak.
Spectators crowd on all the trees and rocks.

102.
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.
The crowd, sitting on the rocks, applauds his aggression.
BEHRA thunders over, hot on DE PORTAGO's trail.
219 EXT. YARD. MARANELLO. DAY. 219
PEPE drives FERRARI into the yard. FERRARI gets out of the
car. The car radio is still reporting progress on the race.
220 INT. THE FACTORY OFFICES. DAY. 220
FERRARI climbs the stairs to his office. Around him he can

hear the office radios relaying the race.
221 INT. ANTE-ROOM TO FERRARI'S OFFICE. DAY. 221
He enters the outer office. FORGHIERI and CHITI are waiting.

MARISA looks up.
FERRARI
Good morning, Marisa.
MARISA
Good morning. Signor Agnelli
called.
FERRARI
Can you 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.
FORGHIERI and CHITI enter.
FERRARI
Sit down, gentlemen.
They sit.
103.
FERRARI (CONT’D)
Let's talk about Monaco...
The phone rings. FERRARI picks it up.
FERRARI (CONT’D)
Yes?
MARISA (V.O.)
Signor Agnelli is on the phone.
FERRARI
(to the group)
Excuse me for one moment.
AGNELLI (V.O.)
Enzo!
FERRARI
Gianni?
223 INT. AGNELLI'S OFFICE. TURIN. DAY. 223
Cutting between the two locations:
AGNELLI
I apologize for calling in the
middle of the race, Enzo. But I have
this piece by Rancati in front of
me.
FERRARI pulls forward the Automotive Magazine.
FERRARI
Gianni! 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 an important matter, Enzo. *
The loss of Ferrari to foreigners.
Even the thought of it upsets me.
You're a national treasure.
An edge creeps into FERRARI's voice.
FERRARI
A jewel in the crown of Italy --
104.
AGNELLI
Exactly --
FERRARI
Then does the jewel in the crown *
have to scrimp and save to put its *
cars into every race?
AGNELLI
If it's that bad, why didn't you
call me?
FERRARI
Because the kind of offer you would
make would be full of conditions...
AGNELLI
That is not so, Enzo --
FERRARI
No? The bosses of my factory would
be businessmen in Turin --
AGNELLI
Enzo, we should talk this over
before this gets out of hand -- 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
Gianni, 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 FORGHIERI.
FERRARI (CONT’D)
Where were we?
FORGHIERI
Monaco.
FERRARI nods.
105.
224 EXT. PIAZZA NAVONA. ROME. 224
COLLINS accelerates fast out of the chaos of crowds in the *

Piazza Navona, as TARUFFI, VON TRIPS and DE PORTAGO thunder
in.
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.
At the Ferrari pits, the cars are refuelled. MECHANICS

cranking the hand pumps, whilst more swarm around DE
PORTAGO's car, trying to rectify the damage to his fender...
LINDA 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.
On the other side of 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 pulls out, narrowly avoiding him. 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. He embraces LINDA.
DE PORTAGO
Meet me in Brescia.
LINDA
Tonight? I can't.
CHIEF MECHANIC
(interrupting)
When you get to Bologna, change the
rubber. I'11 call ahead.
DE PORTAGO nods.
DE PORTAGO (TO LINDA)

I'm going to win and I want you to
be there...
106.
LINDA kisses him passionately.
LINDA
I'll try.
CHIEF MECHANIC
And watch out. There's snow on the
Futa.
ED slides in beside him.
DE PORTAGO
You know the way from here?
ED nods. DE PORTAGO starts the engine, the car accelerates

with a wiggle across the square --
On the other side of which BEHRA back in the cockpit, 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. FUTA PASS. DAY. 225
It is snowing. COLLINS comes over the brow of the hill, and

straight into the snowstorm. Behind him is TARUFFI. VON TRIPS
is on his heels. And hard behind him is DE PORTAGO.
Behind DE PORTAGO is GENDEBIEN. And behind GENDEBIEN, BEHRA.

As they hit the undulating but straight road on top of the
plateau, BEHRA begins to overhang the 250 GT. On either side
drifts of snow edge the road, making it a bumpy ride.
226 OMITTED (MOVED INTO SC. 227 226 *
227 INT. THE FOYER. HOTEL EXCELSIOR. BOLOGNA. DAY. 227
Through the ornate front doors, the Peugeot draws up. *

FERRARI, heading inside past PAPARAZZI, aiming their cameras *
at him. *
The foyer is crowded with FERRARI OWNERS, ENGINEERS,

JOURNALISTS, TELEVISION CREWS, and FERRARIISTAS.
FERRARI makes his entrance and there is a buzz of applause

and shouts of 'Bravo, Commendatore!' A COUPLE OF RADIO MEN
attempt to get a comment from him as he moves past towards *
the desk --
107.
He reaches the desk, and takes a great bunch of flowers out

of the vase. The RECEPTIONIST, with a grin, accepts a $20
tip.
228 EXT. THE LOBBY. SECOND FLOOR. THE EXCELSIOR. DAY. 228
The lift doors open and FERRARI 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 SUITE. EXCELSIOR. DAY. 229
FERRARI finds himself facing LINA, who kisses him

passionately.
He gets suddenly turned on. He pushes the door shut and *

simultaneously presents her with the flowers and starts *
taking off his clothes. The TV is on in the background. *
FERRARI
Does Tavoni know you're here?
LINA shakes her head.
LINA
Does he know you are?
FERRARI grins. He has a wicked glint in his eye.
FERRARI
Not yet.
230 EXT. FUTA. DAY. 230
BEHRA, having overtaken GENDEBIEN now, moves out of DE

PORTAGO's slipstream and begins to overtake him.
A corner is coming up, a dipping right-hander.
DE PORTAGO, aware of BEHRA's presence, holds his speed.

NELSON closes his eyes.
BEHRA edges forward, looks at DE PORTAGO. It’s a challenge.

Two objects cannot occupy the same space at the same time. De
Portago or Behra. He must brake! But neither does --
BEHRA goes over the edge.

108.
DE PORTAGO slews the back of his Ferrari round, tries

opposite lock nearly loses it, hits the inside of the cutting
on the rebound, tears a strip off 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. ESCARPMENT. FUTA. DAY. 231
BEHRA's car plunges down the side of the steep slope like a
damaged aircraft,spouting snow, which eventually obscures it.
Unseen boulders kick off the wheels, the fenders, the

exhaust. Now nothing but a rumbling, invisible object in a
giant white breaker, it surfs its way towards the road below,
where in the distance the four Ferraris, having rounded the
hairpin, are speeding back on what seems like a collision
course.
Finally, it breaks free and tumbles nose first onto the road
followed by an avalanche of ice, snow and rock.
BEHRA clambers slowly out of the wreck, looking like the

abominable snowman. A fog of powdered snow hangs in the air.
COLLINS, meanwhile, appears out of it, 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.
COLLINS
Took the short cut, uh?
He waves Behra in, giving him a lift.
232 EXT. PIAZZA MAGGIORE. BOLOGNA. DAY. 232
The atmosphere in the Ferrari pits is jubilant as COLLINS'

335 skids to a halt beside the Ferrari fuel bowser, where
FERRARI is waiting to greet him. BEHRA holds out his hand.
COLLINS 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... FERRARI embraces COLLINS. *
FERRARI *
Everything OK? *
109.
COLLINS *
The transmission's gone. I don't *
know whether it's gears or the back *
axle... *
Behind him, CHITI is already peering into the car, turning on *

the ignition; checking the drive-train. *
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.
A MECHANIC offers COLLINS a banana, which COLLINS begins to *

peel.
COLLINS (CONT’D) *
Who's behind me?
FERRARI
Everyone.
COLLINS
What about Moss?
FERRARI
You blew him 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
You saw them both off.
COLLINS grins through his tears --
COLLINS
But I've fucked the transmission!
110.
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

FORGHIERI, who hands it to a MECHANIC, who hands it to a
group of BOYS.
MECHANIC
You want Collins banana?
The THEE KIDS looks at it -- and grab.
COLLINS revs the engine, lets out the clutch.
As he takes off -- to a roar from the crowd, a procession of

Ferraris enter the square led by VON TRIPS followed by
GENDEBIEN and TARUFFI...
As COLLINS passes him, on the way out, he points to his

engine and makes a thumbs down sign --
VON TRIPS nods...
TAVONI
Commendatore.
FERRARI looks around, to find CHITI, TAVONI and FORGHIERI

facing him.
TAVONI (CONT’D)
Now that Maserati is out --
FORGHIERI
We're in danger of running the cars
into the ground.
CHITI
Order the drivers to hold their
positions
FERRARI
They won’t.
FERRARI, charged, turns his head and calls out. *
FERRARI (CONT’D)
Taruffi! I give you a brand new car
and look at it!
111.
TARUFFI has just trundled into the bay. The hood of his car
is missing, revealing a steaming engine bay. As the PIT TEAM
refuel the car he staggers out of the cockpit, trying to
straighten his stiff legs.
TARUFFI
What do you mean, brand new? The
back axle's bent. I've only got
three gears, and I lost the hood
over the Futa.
FERRARI
Any more damage, Taruffi, you pay
for.
TARUFFI dismisses this with a wave as he staggers towards the

portable lavatory. Meanwhile the three continue to argue --
CHITI
But if we continue at this pace --
TAVONI
For the future of the factory --
FERRARI
-- the factory is built on racing. *
FERRARI touches his temple. GENDEBIEN sits in his coupe as

its being refuelled.
FERRARI (CONT’D)
No 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 into the square.
He accelerates away heading for Porta San Felice.

112.
TARUFFI comes back, zipping up his overalls, as DE PORTAGO'S

335 pulls up in GENDEBIEN'S bay.
NELSON jacknifes out for a piss, DE PORTAGO eases himself out

to take a mug of coffee offered him by a MECHANIC.
TARUFFI
(to Ferrari)
I think I can make it --
FERRARI
You foul mouthed geriatric, listen. *
If you don't finish in the first
three, your wife will never speak
to you again, nor will your
children.
TARUFFI
I want this one.
He turns the starter motor.
FERRARI
Then go for it.
To a great cheer, TARUFFI accelerates across the square. VON

TRIPS chases after him.
As the MECHANICS swarm over DE PORTAGO'S car, FERRARI

approaches him.
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.
113.
FERRARI
You need new rubber, Fon.
DE PORTAGO
I don't have time - check the
pressures.
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
It's worn.
DE PORTAGO
Will it get us to Brescia?
CHITI hesitates.
114.
DE PORTAGO puts his foot down and the car surges forward.
CHITI, FORGHIERI and FERRARI watch it roar across the square.
As it reaches the Via Marconi, NELSON throws the flowers

away. They scatter over his shoulder in the afternoon sun.
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 (OPT) -- *

nears her door. A van with a television mounted on its roof *
is parked outside. Around the door there are already THREE
PHOTOGRAPHERS.
As she fishes fer 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.
ADELGESA has been sitting watching television. Bit 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 and turns the TV back on
again. As the picture appears, it shows FERRARI in close-up,
talking to REPORTERS. LINA is with him.
Instinctively, LAURA knows it is LINA. She looks cool, poised

and carries a bunch of yellow flowers.
COMMENTATOR
Signor Ferrari? Who's going to win?
FERRARI
It could be any of the first five --
115.
R.J. #3
What about Gendebien’s 250?
FERRARI
He's demonstrated that even the
smallest Ferrari can compete at the
highest level --
LAURA turns, but ADELGESA is already leaving the room.
LAURA
You knew about her, and you never
told me!
ADELGESA retreats, steady under fire.
ADELGESA
He is entitled to an heir.
LAURA
I gave him one!
But ADELGESA is already out of the room.
ADELGESA (V.0.)
As it turns out, one was not
enough.
LAURA takes one last look at the television. FERRARI has

turned away but LINA is caught half turning, smiling a shy
goodbye.
All LAURA's pent up rage is released and she screams.
235 INT. CHURCH GUIDIZZOLLA. DAY. 235
A wedding is taking place in a tiny side altar. The place is

garlanded with spring flowers.
The PRIEST faces the young BRIDE and GROOM.
PRIEST
And, Francesca, daughter of
Giancarlo and Maria --
A YOUNG MAN opens the door --
YOUTH
They're here.
116.
236 EXT. THE ROAD TO GUIDIZZOLLA. DAY. 236
The five red dots hurtle down the dead straight road.
COLLINS, GENDEBIEN, TARUFFI, VON TRIPS, DE PORTAGO.
237 INT. COLLINS CAR. DAY. 237
He sees the intersection, the crowd of kids...
From his POV - The road ahead.
The crowd has spilled down the embankment and are scrambling
to get back up. He is closing in on them at nearly a 100
yards a second.
238 EXT. THE CHURCH. GUIDIZZOLLA. DAY 238
Watched by a furious BRIDE, the WEDDING PARTY, run down

towards the road, wrecking her moment of romance.
239 EXT. CORNER. VIA BRESCIA. GUIDIZZOLLA. DAY. 239
COLLINS passes in a storm of stones and dirt -- inches from

the faces of the kids watching from the ditch.
TARUFFI and VON TRIPS scream by closely followed by

GENDEBIEN. Like nesting birds, a phalanx of amateur cameramen
record the event from the branches of the trees.
And now it is DE PORTAGO.
POV -- from just behind the front wheel. A blur of spring

flowers, legs, dogs, cheering kids faces -- and then a white
milestone coming up fast. The stone is directly in line
with the middle of the tire and as it hits it, the tire
explodes.
The noise whips the faces round towards the oncoming car. It
cartwheels towards them at over l80 miles per hour. It flies
over their heads and into the trees, where it boomerangs --
coming apart -- from one to the other in a series of muffled
explosions.
240 EXT. THE HILL BELOW THE CHURCH. DAY 240
The WEDDING PARTY, screaming with horror, scrambling clear.

117.
A crowd of dust obscures the road -- shapes of CHILDREN can

be glimpsed wandering confused through it. ADULTS scrambling
to pull them clear as the next cars bear down on them...
CUT TO
241 EXT. WOODED HILLSIDE. GUIDIZZOLLA. DUSK 241
The noise and confusion have gone.

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.
Coming to the edge of a gully, the PRIEST hesitates. Then he

makes his way down into the gully, to put the holy wafer on
the tongue of the decapitated head of ALFONSO DE PORTAGO,
whose body lies suspended in the tree above it.
242 EXT. THE SQUARE AT BRESCIA. DAY 242
This is a scene of unalloyed joy. A brass band is playing.

There is a carnival atmosphere.
Standing on roof of Gendebien's car are TARUFFI, the winner,

his arm around 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,

getting off on 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
tiqht. KLEMANTANSKI hugs her...
As LINDA is swept towards the ramp, she spots them and waves.
LINDA
Where’s Fon?
243 EXT. WOODS HILLSIDE. GUIDIZZOLLA. 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.

118.
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 surveys the scene. CHITI and
TAVONI follow.
A POLICEMAN points out where the bulk of the car had

impacted...
FERRARI walks up into the wood, followed by CHITI, TAVONI,

FORGHIERI. The locals mill around, trying to help; relatives
weep. No one seems aware he’s there.
He looks around. More bodies, swathed in plastic, are being

removed.
FERRARI looks up into the trees, where bits of the 335 are
still lodged.
A SENIOR POLICE OFFICER arrives, he knows FERRARI --
SENIOR POLICE OFFICER

Commendatore?
CHITI produces a letter from the Parma police to collect the

car.
FERRARI’s devastated. He’d learned to steel himself somewhat

to the deaths of drivers, but the 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 running down a hill towards them in a
wedding dress, the veil torn, her bodice stained with blood.
The police 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
LINDA CHRISTIAN enters and shuts the door. She turns on the
light and surveys the room.
The beds have been made up, 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.
119.
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. HALL. TALL HOUSE. MONACO. DAY 245
DE PORTAGO enters, kicks off his shoes --
DE PORTAGO
Linda? Where are you?
He pulls off his shirt -- strips.
LINDA (V.O.)
(distant)
I'm upstairs.
DE PORTAGO grins and, 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, three
flights, to burst into her bedroom, stark bollock naked and
so very much ALIVE.
LINDA (V.O.)
Fon!
246 INT. DE PORTAGO'S ROOM. MARZOTTO HOTEL. NIGHT. 246
She finishes reading the letter and curls up on the bed.
LINDA
Fon.
247 EXT. YARD. FACTORY. MARANELLO. MIDNIGHT 247
The factory team are back from Brescia. They are in the
process of unloading Taruffi's, Gendebien's and Von Trips'
cars plus Collin's abandoned 335.
120.
In the cold light of the arc lamps, dented and covered in

mud, they look completely driven out.
The MECHANICS work in an unacustomed silence. The terrible

events at Guidizolla are with them.
The drivers are not around. Only FERRARI is there to

supervise the unloading
Every minute brings a new truck or tanker through the gates

Their crews still elated at the Ferrari victory and unaware
of the seriousness of the events at Guidizzolo.
Finally a van rolls in, carrying the wreck of De Portago's

machine. For a second all work in the yard stops, as a
gesture of respect, but FERRARI calmly orders it towards the
boneyard.
248 INT. OFFICE BLOCK. FACTORY. MARANELLO. NIGHT. 248
In various offices, FINI and RANCATI have been recruited to

help answer a torrent of calls. FINI is working out of
Ferrari's office. RANCATI out of Tavoni's. MARISA is at her
usual desk in the outer office.
FINI
(on the phone)
As you can appreciate, Enzo has his
hands full at the moment -- but
I'll tell him you called.
MARISA
(on the phone)
The Commendatore is not available --
RANCATI
(on the phone)
No. Signor Ferrari is not available
to answer your questions.
249 INT. THE BONEYARD. FACTORY. MARANELLO. NIGHT. 249
FERRARI
Here!
The chassis of the 335 crashes onto the cement floor.
FERRARI (CONT’D)
Wheels over there. Hood here.
Trunk...
121.
He points. The wheels, the cockpit, the twisted metal of hood

and trunk are now off-loaded and stacked separately.
As the van drives off, FERRARI is left staring at the

wreckage. It is unrecognizable.
A vision of the demented bride swims before his eyes running

down through the trees, her white gown 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.
CHITI turns over the wheel. It is buckled, the spokes

unsprung, the rim driven back to the boss.
FERRARI studies the flower.
CHITI *
This wheel hit a kerb stone, a *
brick, something solid. It wasn’t *
the tire. *
CHITI examines it. The shredded rubber is tangled around it *

like seaweed. Chiti is trying to reassure him. *
FERRARI becomes aware of FINI standing behind him. *
FINI
It's late, you should go home.
FERRARI shakes his head, straightens up.
FERRARI
Thanks for coming in to help.
FINI
Marisa asked me to give you these.
I guess you will want to call them.
FERRARI takes the paper, glances at it and nods. FINI

hesitates.
FINI (CONT’D)
And I think Henry Ford called the
house and talked to Laura...
FERRARI
Ford?
FINI
And, Agnelli, I talked to him this
morning. Many assurances but --
(MORE)
122.
FINI (CONT'D)
(he nods to the wrecked
car)
-- he’ll talk further when this is
over.
FERRARI *
I’m forever in your debt, my *
friend. *
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 triumphantly
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)
That is separate from your victory
today, it will go into the history
books...
(he attempts a joke)
Of course your car is a mess. I
shall be sending you a bill.
(MORE)
123.
FERRARI (CONT’D)
(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.
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 the factory offices at Maranello.
FERRARI
Linda? This is Enzo. 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 the risks.
(silence, then)
FERRARI
Is there anyway I can help?
124.
LINDA
It's you who needs help, Enzo.
He gently puts the phone down, shattered. As he sits there, *

MARISA knocks on the door.
MARISA
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.
Do you need anything?
She looks at him, concerned.
As she 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. SERGIO's feet can be heard,
but he neither looks up nor round at his approach.
SERGIO enters and stares at the car. An attempt had been made
to piece it together but it looks utterly destroyed.
SERGIO
Lina called me. She wants me to
bring you there...
FERRARI doesn't reply. SERGIO walks close to take a critical

look at the vehicle. After all he'd built it...
SERGIO (CONT’D)
What happened?
FERRARI stirs but doesn’t answer. *
SERGIO (CONT’D) *
Horrible. Drivers, we all know, get *
killed doing this.
FERRARI nods.
FERRARI
A wedding party does not, not
children. A bride groom. *
(MORE)
125.
FERRARI (CONT'D)
Their blood got spilled by metal
that I made on this evil afternoon.
(pause)
How's the bird?
SERGIO
Still in the cage.
FERRARI
Sensible creature.
(pause)
I have to talk to those vultures.
Then drive me home.
257 INT. SERGIO'S OLD PICKUP. YARD. FACTORY. NIGHT. 257
SERGIO behind the wheel, driving --
SERGIO
The farm?
FERRARI
No. Largo Garibaldi.
SERGIO 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
SERGIO'S old truck comes to a halt. FERRARI gets out. He

looks up at the house. The upper floors are dark. He turns to
SERGIO.
FERRARI
Phone Lina will you? Tell her I'll
call. Maybe tomorrow. I have
business here.
He turns away towards the house.
259 EXT. FERRARI'S HOUSE. LARGO GARIBALDI. NIGHT. 259
FERRARI lets himself in.
260 INT. LAURA’S APARTMENT. FERRARI'S HOUSE. LARGO GARIBALDI. 260

NIGHT.
ON THE TELEVISION a MOB OF REPORTERS and TELEVISION NEWSMEN

surround Ferrari.
126.
FERRARI (V.O.)
Italy is looking for a scapegoat.
Here I am.
An explosion of questions and FLASHBULBS as Ferrari exits

through the gate back into factory. TAVONI addresses them --
TAVONI
The tires were identical to the
tires on the race winning cars of
Taruffi and Gendebien. Nothing went
wrong with their tires -- Portago
had no problem with his.
It cuts to a COMMENTATOR, who speaks into camera:
COMMENTATOR
It’s the feeling in Rome, on a
catastrophe of this scale, someone
must bear the blame, and Ferrari --
allowing De Portago to proceed
after his car had received frontal
damage -- may be charged with
the...
FERRARI’s footsteps on the stairs.
LAURA with only a few candles lit, and the television, turns
down the volume. FERRARI enters the dark room.
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 deep shit, you know that?
To do with the tires --
FERRARI
There was nothing wrong with the
tires. Did you take any calls?
LAURA
Ugolini called from the Gazette.
FERRARI
What did you tell him?
127.
LAURA
I told him to go fuck himself. And
then that man from Autosport? I
told him to go 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
Fini. I told him to go fuck
himself. After that I took the
phone off the hook.
FERRARI
(ironic)
Great.
ADELGESA peers in the doorway, fully dressed beside a

suitcase.
FERRARI (CONT’D)
Mama! What are you doing?
ADELGESA
I'm all packed. When do we leave?
FERRARI
We're not going anywhere -- go back
to sleep.
LAURA
I see this as God’s way of
punishing us.
FERRARI
Us? You think He slaughtered 13
people in Guidizzolo to get even
with you and me? As if we're not
capable of inflicting enough pain
on each other.
LAURA shifts in her chair so that she can see both the silent
television and FERRARI.
128.
FERRARI (CONT’D)
There was a message from the bank.
You’ve cashed the check. They’re
calling insolvency experts. As if I
wasn’t in enough trouble --
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 martyr... a scapegoat!”
(beat)
Who are you, Saint Sebastian? To *
stand there and let them shoot
arrows up your ass? *
(beat)
Go beat the hell out of them. The *
motorsport writers. The hacks. *
Threaten them. Extort them. Those *
still on their feet -- the most
sanctimonious, hypocritical, *
persistent -- you give brown *
envelopes.
(she points at the cash
stacked on the table)
And then they, too, will...
discover... “perhaps the Sage of *
Maranello has been maligned
unfairly, and objectivity and
moderation should reassert itself
in the distinguished Italian
press.” *
(pause)
For that you need cash.
And she indicates the stacked five-hundred dollars of bank

notes on the table.
FERRARI is silent. Before him is the younger Laura, before

tragedy of Dino’s disease and death struck. No one would
suspect that, in her present frame of mind, she would
strategize and fund such an operation.
FERRARI picks up a wad of money, looks at her.

129.
LAURA (CONT’D)
I guess you thought I’d pack a suit
case and go...
FERRARI nods.
FERRARI
It crossed my mind... *
LAURA
It crossed my mind, too... *
And LAURA laughs. It’s the first 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.
(beat)
There was a part of you in Dino. A *
part of you you never showed to me, *
except in our early years. A
warmth, a joy, your wit. You *
revealed it to your friends. But
never to me after a while. All I
got is what was left when you came
home, the ambition, the drive... *
the remorseless pursuit of power, *
plots, the paranoia, even our
fucking, as if that could save *
him... So, what I loved in you, I
found in him. And, now he’s gone.
LAURA has reached out across the table. FERRARI reaches out,
too, to hold her hand. He clutches it firmly.
LAURA (CONT’D)
There is no condition. Have the *
money either way. It is my wish. *
For my grief, for my son’s memory,
for our history. You do not
acknowledge the boy with the name
Ferrari while I’m alive.
In the background the TV plays silently. The fridge begins to

hum.
130.
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 nods.
264 EXT. CEMETERY. DAWN. 264
Birds are singing, the cold sky is tinged with gold.
FERRARI walks across the amphitheater towards the Mausoleum --
-- on the steps of which PIERO sits wrapped in a coat,

waiting for him. FERRARI does not see the boy till he reaches
the lowest step. Then he looks up.
PIERO
I've been waiting for you.
FERRARI mounts the steps, stops.
FERRARI
How did you get here?
PIERO
Pepino brought me.
FERRARI nods.
FERRARI
Your mother wants me to come home?
PIERO nods.
FERRARI (CONT’D)
You haven't been here before, have
you?
PIERO shakes his head.
FERRARI (CONT’D)
Come on, I'll introduce you to your
brother.
PIERO stands up. FERRARI takes his hand. Together they walk
up towards the Mausoleum.
FERRARI (CONT’D)
I wish you could have known him. He
would have taken you with him
everywhere.
131.
PIERO
Did you get de Portago's autograph?
FERRARI
Yes.
PIERO
What did it say?
FERRARI
“Bite life in the ass.”
PIERO laughs.
265 EPILOGUE 265
SCROLL
Ferrari was charged with
manslaughter over the accident at
Guidizzolo, but was later
exonerated by the courts.
Lina moved to Modena. When Laura

died, Piero Ferrari was officially
recognized as Ferrari's heir.
Apart from Olivier Gendebien,

Ferrari's beloved 'Spring Team'
were all killed in racetrack and
road accidents between 1957 and
1959.
In the following year Ferrari

regained the World Championship. In
the years that followed the red
cars came to dominate World motor
racing.
END

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ENZO FERRARI

Troy Kennedy Martin

1 EXT. FARMHOUSE. CASTELVETRO. MORNING 1

2 INT. LINA'S BEDROOM. CASTELVETRO. MORNING. 2

FERRARI wakes in Lina's bed. In the distance he hears the

3 INT. THE HALLWAY. CASTELVETRO. MORNING. 3

4 EXT. FARMHOUSE. CASTELVETRO. MORNING. 4

He unclips the handbrake under the dash and, with a shove,

5 INT. THE LANCIA. MORNING. 5

6 INT. PLATFORM. MODENA STATION. MORNING. 6

In a great cloud of steam the night-train shudders to a stop

From the next carriage an overnight bag is tossed onto the

The GUARD blows his whistle. There is a hiss of superheated

He begins to walk up the platform following the others.

7 INT. FERRARI'S HOUSE. LARGO GARIBALDI. MORNING. 7

8 INT. STATION OFFICE. MODENA. MORNING. 8

9 INT. FERRARI'S ROOM. LARGO GARIBALDI. MORNING. 9

LAURA stares down at Ferrari's empty, comfortless bed.

The phone rings again. She picks it up. It is Ferrari's chief *

10 EXT. FORECOURT. MODENA STATION. MORNING. 10

BEHRA stands by the curb as a Maserati convertible pulls up.

As they drive off the last of the OPERA STARS board an

As the coach takes off, DE PORTAGO steps into shot. As the

11 EXT. INTERSECTION. VITTORIA EMANUELLE. MORNING. 11

DE PORTAGO carries his bag down the middle of the deserted

The driver checks his watch. He’s late.

He runs towards the car.

Ferrari glances at the approaching Spaniard.

The light turns to green and FERRARI accelerates away...

DE PORTAGO slows to a walk. Just one look had confirmed

12 EXT. THE PIAZZA GARIBALDI. MODENA. MORNING. 12

The church bells are still ringing. A FLOWER WOMAN up her

One of them is FINI, FERRARI's school friend. Fini is short,

A cry goes up from the STAGEHANDS among the welcoming

There is a spontaneous burst of applause, which FERRARI

He indicates the OPERA SINGERS...

Laughter... FERRARI smiles at the retort as he crosses the

FERRARI opens the door to his house, a huge burgher's

13 INT. LAURA' S APARTMENT. FERRARI'S HOUSE. MORNING. 13

LAURA hears the front door slam, FERRARI's footsteps on the

She sits on her bed. Her face registers a kind of frozen

On the floor above a door slams.

14 INT. FERRARI'S APARTMENT, LARGO GARIBALDI. MORNING. 14

The phone is ringing. FERRARI ignores it. He crosses to the

Then he picks up the phone. It is CARLO CHITI again.

15 INT. CHITI'S DINING ROOM. MODENA. MORNING. 15

A huge V.l2 racing engine rests on the dining table. It is in

16 INT. FERRARI'S APARTMENT. MORNING. 16

LAURA stands at the door to the apartment. She has the

FERRARI dials the long distance operator. LAURA’S gun is

FERRARI asks the operator for the Medici Hotel, Florence.

The hotel comes on the line.

LAURA is interrupted by the arrival of the maid.

ALICIA pushes into the room carrying a tray with two

As ALICIA retreats, Laura raises the gun again. At this

17 INT. A BEDROOM. THE MEDICI HOTEL. MORNING. 17

MUSSO is in bed with FIAMMA BRESCHI.

18 INT. FERRARI'S APARTMENT. MORNING. 18

ALICIA exits. LAURA raises the gun. *