CUT:

  [137] MCU Duke, POV Sara. He turns away from looking at the other woman, looks up at her, and smiles.

  CUT:

  [138] MLS other woman, working hard for attention.

  CUT:

  [139] MLS Duke, Sara. He takes her hand, she jumps down from the parapet, they walk off across the terrace . . .

  HOLD . . .

  CUT:

  48 EXT. VILLAGE, DOWN BY THE RIVER – LATE AFTERNOON [marked “dropped” by Collins in shooting script]

  [140] MWS musician, Puerto Rican, playing the quatro and singing.

  PULL BACK: Celia, sitting in the grass, listening to him.

  PULL BACK: Lovely-looking older Puerto Rican woman, leaning languidly against a tree, listening to him.

  PULL BACK: Victor at his easel, painting the scene.

  PULL BACK: Extreme WS, the whole scene, like a painting outside a painting.

  HOLD . . .

  DISSOLVE:

  49 INT. KITCHEN OF SUMMER HOUSE – EVENING

  [141] LOW SIDE-ANGLE WS Celia in foreground, Victor in background. Celia is sitting at the table grinding coffee to go in an espresso pot. Victor is in the background putting pastries on a tray. They have just finished dinner.

  VICTOR (o.c.)

  How come you people don’t like dessert?

  CELIA

  What . . .

  VICTOR

  All you eat for dessert is flan . . . you’re just like the Chinese . . . the basic food is full of variety, the desserts are paltry . . . sherbet, fresh pineapple, the old standby fortune cookie . . .

  He comes over with a tray of pastries . . .

  VICTOR

  The Italians understand the word ‘dessert’ . . .

  (pointing)

  . . . cannolis, napoleons, spumonis, tortonis . . .

  CELIA

  They have funny-sounding names, man . . .

  VICTOR

  Why do you always say ‘man’ . . .

  CELIA

  It’s like a beat . . . the words go da, da, da . . . then they need a beat at the end . . . man . . . that’s very American . . .

  They laugh. She hands him the ground coffee.

  CELIA

  Here, make the espresso . . .

  He goes over to do so . . .

  VICTOR

  How long have you been here . . .

  CELIA

  Two years . . . first in New York City, which smells bad and is ugly, then up here . . . I’m trying now to become an airline hostess so I can fly back and forth to Puerto Rico free . . .

  VICTOR

  You miss it . . .

  Celia nods.

  VICTOR

  (not hearing anything)

  What . . .

  CELIA

  (nodding)

  I nod my head yes . . . you can’t hear that, hard as I was nodding . . .

  They both laugh. He comes back to the table and sits down, looking hard at her . . .

  HOLD . . .

  CUT:

  50 INT. UPSTAIRS STUDIO – NIGHT

  [142] LS two shadows dancing. Salsa music playing.

  CELIA (o.c., softly)

  It’s three beats . . . one, two, and one . . . one, two, and one . . .

  DOLLY BACK and PAN gently to LS Victor and Celia dancing. The room is dark, lit only by the full moon.

  CELIA

  (softly)

  You slow down, man . . . one, two, and one . . . one, two, and one . . .

  HOLD . . .

  FADE-OUT:

  51 EXT. TERRACE OF UNIVERSITY – AFTERNOON

  [143] Profile MCU Duke.

  DUKE

  How’s the final treatise on ecstasy coming . . .

  SARA (o.c.)

  I’ve finished the first draft . . .

  PAN DOWN and PULL BACK to MS both of them. They are in costume. Sara is sitting, Duke is standing next to her looking out. It appears to be a break in the shooting. We hear George yelling at someone.

  GEORGE (o.c.)

  Vicky . . . where the hell is Vicky . . .

  SARA

  How is George your nephew . . .

  DUKE

  His mother is my sister . . .

  SARA

  (nodding)

  I see . . .

  George comes running into frame . . .

  GEORGE

  I’d like to try and do the tennis scene, Professor . . .

  DUKE

  (to Sara)

  Can’t he call you something else besides ‘professor’ . . .

  SARA

  (to Duke)

  He could call me Sara . . .

  DUKE

  (laughing)

  And Sara begat Rebekah, who begat Ruth . . . you would have some goddamn biblical name . . .

  CUT:

  [144] MS George; Sara, Duke on periphery. They’re still laughing, George is trying to get a word in edgewise . . .

  GEORGE

  This is an imaginary tennis scene, ladies and sirs . . . you’ve come up with this funny new routine . . . we’ve got about an hour before we lose the light, so I’ll skip the explanations, let’s just shoot the sucker . . .

  (turning around)

  Vicky . . .

  He moves away into LS.

  GEORGE

  (back to camera)

  They have to change into these tennis costumes . . .

  DISSOLVE:

  52 EXT. DIFFERENT PART OF TERRACE – LATE AFTERNOON [marked “been replaced” by Collins in shooting script]

  [145] SIDE-ANGLE WS Sara, Duke, film crew. Miming a game of tennis, their movements choreographed to heighten the comic effect. The cinematographer is shooting the scene. George is watching it carefully. There are others milling around watching or taking care of equipment.

  CUT:

  [146] MCU Sara. As she returns an imaginary ball the shot slides into slow motion. She looks pleased, happy, when all of a sudden she notices something out of the corner of her eye. Her face grows uneasy . . .

  CUT:

  [146A] MWS other woman, POV Sara. In a rather dark, shadowy corner she, too, plays out an imaginary game of tennis, miming Sara’s every gesture . . .

  CUT:

  [147] MS Duke, POV Sara. He catches the imaginary ball in his top hat, then propels it into the air with the hat and returns it with an imaginary racket . . .

  CUT:

  [148] SIDE-ANGLE WS Sara, Duke, film crew.

  GEORGE

  (yelling)

  Cut . . . cut . . . we’ve lost the light . . .

  The shot seems to be eclipsed by shadows . . .

  FADE-OUT:

  53 INT. KITCHEN OF SARA’S MOTHER’S APARTMENT – EVENING

  [149] TWO-SHOT, Sara, Leila; favoring Sara.

  SARA

  (laughing)

  I don’t try to understand a thing, I just do what I’m told . . .

  DOLLY BACK: Sara is standing next to her mother, who is cooking. She is drinking a glass of wine; the phone rings.

  SARA

  That’s Victor . . . I’m not here . . . yes, I am . . .

  Leila looks at her as she goes to answer it, exiting frame . . .

  LEILA (o.c.)

  Hello . . . I’m fine . . . same awful lines . . . no, she’s here . . . Sara . . .

  Sara puts down her wine, crosses with her mother, who comes back in and goes on with her cooking . . .

  HOLD . . . on Leila.

  SARA (o.c.)

  Hi . . . fine . . . I don’t know, I just do what I’m told . . . I play a tragic mulatto . . .

  Leila turns around quizzically for a second . . .

  CUT:

  53A INT. UPSTAIRS STUDIO OF SUMMER HOUSE – LATE EVENING

  [149A] MLS Victor on the phone, surrounded by his work.

  VICTOR

  (laughing)

  Then you’re doomed, baby . . . impure blood runs in your veins . . .

  He paces, as if not quite sure how to say what he wants . . .

  VICTOR

  (aiming for casualness)

  You planning to come home sometime . . . you get a day off, don’t you . . . okay, see you then . . .

  He hangs up, improvises an attitude . . .

  HOLD . . .

  CUT:

  54 EXT. TERRACE OF UNIVERSITY – EARLY AFTERNOON

  [150] MOVING SHOT, Sara and Duke in costume.

  TRACK BACK as they come toward the camera, making a complete square around the entire terrace.

  DUKE

  Are we supposed to talk . . .

  SARA

  I don’t know . . .

  DUKE

  What’s the purpose of the scene . . .

  SARA

  Something about the relationship between the characters, the space, and the light . . .

  DUKE

  Is this what they call an avant-garde movie . . .

  SARA

  It might be . . .

  DUKE

  How the hell did you ever get hooked into doing this . . .

  SARA

  I wanted to . . .

  DUKE

  Why . . .

  SARA

  It’s not abstract . . .

  DUKE

  What does that mean . . .

  SARA

  Everything I do is abstract . . .

  DUKE

  (understanding)

  Papers on ecstasy, that sort of thing . . .

  SARA

  (nodding)

  Yes . . .

  DUKE

  Do you have a husband?

  SARA

  Yes . . .

  DUKE

  Is he abstract . . .

  SARA

  (laughing)

  He used to be an abstract painter, now he only wants to paint people . . . places . . . recognizable things . . .

  DUKE

  He’s approaching middle age.

  SARA

  He’s already there . . .

  DUKE

  No children . . .

  Sara shakes her head no . . .

  DUKE

  Too concrete . . .

  She looks at him . . .

  SARA

  (realizing it)

  Maybe . . . I could never imagine it . . .

  She almost stops . . .

  GEORGE (o.c., yelling)

  Keep moving, this sucker is brilliant!

  DUKE

  (sighing apologetically)

  He’s just a nephew . . .

  SARA

  According to the faculty he’s very talented . . .

  DUKE

  He makes me feel old . . . doing this film makes me feel old . . . when I was his age there was no such creature called a Negro movie director . . .

  SARA

  (laughing)

  Would you have been better off as a minister . . .

  DUKE

  An annual salary, a built-in audience, the chance to theologize at will . . .

  He shrugs his shoulders.

  SARA

  I can’t see it . . . are there women . . .

  GEORGE (o.c., yelling)

  Now lift her on that parapet, Duke, make it a clean sweeping gesture . . . dolly in, Ricardo . . .

  Duke lifts her gracefully. Camera dollies in . . .

  DUKE

  (while doing so)

  I have a misanthropic personality, I like to read, think, account to no one for my time or whereabouts . . .

  GEORGE (o.c., yelling)

  I’m sorry I didn’t prepare you for this, but could you kiss . . . really kiss . . .

  They do as they’re told.

  GEORGE (o.c., yelling)

  Hold it, don’t stop . . . dolly in to close-up, Ricardo . . .

  Camera dollies in . . .

  HOLD . . .

  CUT:

  55 INT. UPSTAIRS STUDIO OF SUMMER HOUSE – LATE AFTERNOON

  [151] MLS Carlos, Victor POV through open window. Victor is pacing. Carlos is looking at the paintings and sketches that hang on the wall. Latin music is coming from downstairs.

  VICTOR

  I’m telling you . . . I feel like I’m about twenty-five . . . the most simple specific things about painting are finally clear to me . . .

  CARLOS

  (looking at the work)

  It’s your rhythm . . .

  VICTOR

  You can see it . . .

  Carlos turns and smiles.

  CARLOS

  I see it . . . it’s lovely . . . theatrical, too, but in a genuinely playful way . . .

  Victor becomes more animated, pleased at Carlos’s approval . . .

  VICTOR

  (laughing)

  I was always trying to be your kind of child . . . abstract, pure . . . I’m not. I’m a pure son-of-a-bitch . . . deceptive, vulgar, full of dirty tricks . . .

  He comes over to the window, moving into MS.

  VICTOR

  Only stories satisfy a crude mind . . .

  He looks out . . .

  VICTOR

  See the way that bridge is almost eclipsed by those willow trees . . .

  Carlos comes into frame, looks out, shakes his head . . .

  CARLOS

  (laughing)

  I have no interest in duplicating nature, man . . . everything I want to paint is up here . . .

  He touches his temple. Off-camera we hear footsteps down below. They both look down . . .

  CUT:

  56 EXT. BACK OF SUMMER HOUSE – LATE AFTERNOON

  [152] HIGH-ANGLE LS Celia, POV Victor and Carlos. She is coming across to the house, looking like the least abstract yet loveliest of paintings. She stops near the door.

  HOLD . . .

  CUT:

  57 INT. DINING ROOM OF SUMMER HOUSE – EVENING

  [153] WS Carlos, Victor, Celia, at the dinner table. Carlos and Celia are chattering away in Spanish. Victor is pouring wine, carving chicken, serving food. He throws in a Spanish word every few seconds as a jealous punctuation of their remarks.

  VICTOR

  (to Celia)

  His father’s Spanish . . . his mother is a pure well-bred American Negro . . .

  CELIA

  (not understanding)

  What . . .

  VICTOR

  And his father left home when he was six . . .

  CARLOS

  (laughing)

  Four, man . . .

  (to Celia)

  . . . this is the beginning of one of his jealous tirades . . .

  Victor tries to imitate them talking in Spanish. Celia and Carlos break out laughing . . .

  CARLOS

  (laughing)

  Victor was raised by a possessive mother who felt he should never be left out of anything . . .

  Off-camera we hear a car pull up, a door slam, then footsteps. Victor gets up . . .

  VICTOR

  That must be Sara . . .

  SARA (o.c.)

  Victor . . .

  She comes to the doorway, followed by Duke . . .

  CUT:

  [154] MCU Victor, POV doorway, turning around. A really strange expression takes over his face.

  SARA (o.c.)

  Hi . . .

  VICTOR

  (nodding)

  Hello hello . . .

  CUT:

  [155] WS whole group. Sara, seeing Carlos, leaves the doorway and runs over to hug him . . .

  SARA

  Carlos . . . what a long time it’s been . . .

  CARLOS

  It’s good to see you, Sara . . .

  SARA

  (she nods to Celia)

  Celia . . . this is a real party . . . this is Duke Richards, everybody, we’re working in the movie together . . .

  She designates everyone . . .

  SARA

  Duke, this is Carlos, an old family friend, and that’s Celia, a new family friend, and that’s Victor . . .

  Duke nods to everyone, everyone nods to Duke . . .

  SARA

  (looking at the table)

  Let me get two more place settings. Sit down, Duke . . .

  Victor shows him a seat . . .

  CUT:

  [156] MS Carlos, Duke sitting down opposite him.

  CARLOS

  (to Duke)

  Did you play in a movie called Tenth Street Exteriors . . .

  PAN to MS Duke.

  DUKE

  That’s right . . .

  CARLOS (o.c.)

  I remember you well, man, you were wonderful in that . . .

  DUKE

  Thank you very much . . .

  Sara crosses behind him, putting down a plate and silverware, then crosses to a seat . . .

  CUT:

  [157] MWS Sara, Duke, Carlos, Celia, POV Victor. Sara sitting down.

  SARA

  (with exaggerated joviality)

  We can have a real party . . .

  She smiles at everyone . . .

  HOLD . . .

  DISSOLVE:

  58 INT. LIVING ROOM OF SUMMER HOUSE – LATE AT NIGHT

  [158] SIDE-ANGLE WS Celia, Carlos, dancing, laughing, wildly and with pleasure. Duke and Sara are in the background, dancing in a more gentle fashion. Victor crosses into frame, dancing by himself but in obvious pursuit of attention.

  VICTOR

  (goading Carlos)

  Hey hey hey . . . the silent purist has a touch of lechery in his bones . . .

  Carlos looks at him suspiciously but keeps on dancing. Victor begins to dance beside them for a while, then dances away, grabbing Sara onto the center of the floor, pushing Celia and Carlos almost out of frame. They dance uneasily together . . .

  VICTOR

  I always forget you can’t dance . . . the basic rhythm escapes you.

  He walks away from her, grabs Celia from Carlos.

  CELIA

  Hey, man.

  CARLOS

  This is uncalled for, man, what kind of behavior is this . . .

  VICTOR

  (laughing)

  I resent your Latin ancestry, I’d like to express that resentment openly . . .

  CELIA

  (pulling back)

  Leave me out of it, man . . .

  She distances herself, starts to dance by herself.

  CELIA

  (dancing all the time)

  You come to a party, man, people dance, they fool around, none of this bullshit about who can dance with who what when and where, that’s not dancing . . . that’s no party, man . . .

  Duke breaks out laughing . . .

  DUKE

  (laughing)

  That’s very well put . . .

  VICTOR

  (turning to him)

  What do you think this is . . . a performance . . . a little cinematic moment . . .

  CARLOS

  Hey, my man . . .

  VICTOR

  Hey, man, my man. I mean, man, what’s with you, man . . . what’s the scene about, my man, my man . . .

  DUKE

  This is getting ridiculous, man . . .

  Celia laughs out loud . . .

  CUT:

  [159] MWS Celia, POV everybody.