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1
00:01:31,410 --> 00:01:35,960
But in Sartre the question of absurdity
has clear historical antecedents.
2
00:01:36,000 --> 00:01:38,960
For one, a violent need
to explain war.
3
00:01:38,960 --> 00:01:41,710
Camus, Sartre,
the whole existential movement
4
00:01:41,760 --> 00:01:43,920
is a consequence...
5
00:01:43,970 --> 00:01:48,510
Or perhaps a better way to put it is a
reaction to the consequences of war.
6
00:01:48,550 --> 00:01:50,010
PROFESSOR:
The natural order...
7
00:01:50,060 --> 00:01:53,180
(chuckles)
The natural order, if there is such a thing,
8
00:01:53,230 --> 00:01:54,980
has been violated.
9
00:01:54,980 --> 00:01:56,850
Chaos exists,
10
00:01:56,900 --> 00:01:58,980
not as
a mental possibility
11
00:01:58,980 --> 00:02:01,690
but as a physical
and emotional fact.
12
00:02:01,730 --> 00:02:03,400
War is chaos,
13
00:02:03,440 --> 00:02:06,400
and war was the existentialists'
primary reality.
14
00:02:06,450 --> 00:02:09,410
♪♪ (headphones: jazz)
How to explain it in all its terrifying horror
15
00:02:09,450 --> 00:02:10,990
except by
acknowledging that...
16
00:02:10,990 --> 00:02:13,910
that no explanation
satisfies,
17
00:02:13,950 --> 00:02:18,250
that human existence must be
without rhyme, without reason,
18
00:02:18,290 --> 00:02:20,590
that in the face
of sustained horror
19
00:02:20,630 --> 00:02:22,590
the argument for
an absurd universe
20
00:02:22,630 --> 00:02:24,920
becomes the only
rational argument.
21
00:02:24,970 --> 00:02:27,930
Now, there are precedents, of
course, for this kind of thinking.
22
00:02:27,970 --> 00:02:29,930
In Nietzsche,
for example,
23
00:02:29,970 --> 00:02:33,560
in the logical positivist hypothetical
suspension of causal connections.
24
00:02:33,600 --> 00:02:36,020
But let's see how you handle
that in your term papers.
25
00:02:36,020 --> 00:02:39,150
I'm talked out. You're free to
leave, unless there are questions.
26
00:02:39,190 --> 00:02:42,940
Are we to include a discussion of The
Fall in our papers, Professor Rogers?
27
00:02:42,980 --> 00:02:45,940
Absolutely. And at least
one of Sartre's plays.
28
00:02:45,990 --> 00:02:48,030
Either No Exit
or The Flies.
29
00:02:48,030 --> 00:02:50,110
I had a question
about that, Professor.
30
00:02:50,160 --> 00:02:52,700
Where are they supposed to be
in No Exit?
31
00:02:52,740 --> 00:02:54,700
They're in a room with
no windows or mirrors.
32
00:02:54,750 --> 00:02:57,710
The door is locked, and they
must endure each other's company
33
00:02:57,750 --> 00:02:59,460
without relief
or privacy.
34
00:02:59,500 --> 00:03:01,330
And Sartre
defines this as hell.
35
00:03:01,380 --> 00:03:03,840
Seems a plausible definition to me.
(students laughing)
36
00:03:25,070 --> 00:03:27,610
I got that book on Genet.
Oh, good.
37
00:03:27,650 --> 00:03:30,820
It's the finest analysis of being
an outsider I've ever read,
38
00:03:30,860 --> 00:03:34,120
and it applies as much to race
as it does to homosexuality.
39
00:03:34,160 --> 00:03:37,330
Well, he talks of exclusion
in such clear terms.
40
00:03:37,370 --> 00:03:39,040
He makes you see...
41
00:03:39,080 --> 00:03:41,420
I mean,
really see and feel
42
00:03:41,460 --> 00:03:44,630
how a society can impose
group definitions
43
00:03:44,670 --> 00:03:47,050
that an individual
is powerless against.
44
00:03:47,090 --> 00:03:49,670
Oh, it's a good book.
It's a wonderful book.
45
00:03:49,720 --> 00:03:54,890
He touches every feeling, every mental
attitude connected with exclusion.
46
00:03:54,930 --> 00:03:56,720
I'm glad you found it.
47
00:03:56,770 --> 00:03:59,890
There are books that can
make a difference in a life.
48
00:03:59,940 --> 00:04:01,890
Next week is our last class.
49
00:04:01,940 --> 00:04:03,400
That's right.
50
00:04:03,440 --> 00:04:06,650
You've been a good group. I've
enjoyed this class tremendously.
51
00:04:08,110 --> 00:04:10,110
You're terrific.
52
00:04:10,110 --> 00:04:12,160
So alive and
53
00:04:12,200 --> 00:04:13,870
terrific.
54
00:04:13,910 --> 00:04:16,120
Well... thank you.
55
00:04:20,120 --> 00:04:22,120
Your husband
appreciates you?
56
00:04:24,130 --> 00:04:25,960
My husband?
57
00:04:26,000 --> 00:04:31,130
I mean... I-I-I bet your husband
appreciates you tremendously.
58
00:04:31,130 --> 00:04:33,800
You're so full of life.
59
00:04:34,850 --> 00:04:36,430
That's very sweet.
60
00:04:36,470 --> 00:04:38,720
I'll remember
to tell him.
61
00:04:43,150 --> 00:04:46,400
Well, I'll see you next semester
in Critical Approaches.
62
00:04:58,450 --> 00:05:01,330
MAN (on radio):
A whole category of problems
63
00:05:01,370 --> 00:05:06,170
revolve and revolve around
those abstract definitions
64
00:05:06,170 --> 00:05:09,420
of what is or is not acceptable as art.
(door closes)
65
00:05:09,460 --> 00:05:12,260
- (woman)Victor?
- I'm in here!
66
00:05:12,300 --> 00:05:15,260
(man continues talking
on radio)
67
00:05:17,260 --> 00:05:20,180
What's the insane moment
for today?
68
00:05:20,220 --> 00:05:23,180
- Just look in the refrigerator.
- Yeah?
69
00:05:23,230 --> 00:05:25,310
- Go on.
- All right, all right.
70
00:05:31,190 --> 00:05:33,110
Now what?
71
00:05:33,150 --> 00:05:35,490
Just bring the whole tray.
72
00:05:35,530 --> 00:05:37,200
Oh, boy.
73
00:05:43,000 --> 00:05:46,210
- Come on. Bring it up.
- You mean you want me to climb up?
74
00:05:46,210 --> 00:05:49,040
- It's a ceremony.
- Can't we have it on land?
75
00:05:49,090 --> 00:05:51,920
(sighs)
Oh, Victor.
76
00:05:51,960 --> 00:05:54,300
- (hiccups)
- (laughs)
77
00:05:54,340 --> 00:05:55,930
Okay, okay.
78
00:05:55,970 --> 00:05:59,220
- Oh, Victor, I'm falling!
- Aah! On your ass!
79
00:05:59,220 --> 00:06:01,220
What are we celebrating?
80
00:06:01,220 --> 00:06:05,230
Married to me for 10 years
and still can't say the word "ass"?
81
00:06:05,230 --> 00:06:06,810
What are we celebrating?
82
00:06:08,440 --> 00:06:12,150
They are buying
Landscapes in Blue, Sara.
83
00:06:14,240 --> 00:06:16,240
The museum?
84
00:06:17,780 --> 00:06:19,990
For their permanent collection.
85
00:06:20,030 --> 00:06:23,240
- (sighs)
- I'm a genuine success!
86
00:06:23,250 --> 00:06:25,500
Your husband is a genuine,
87
00:06:25,540 --> 00:06:28,000
black success.
88
00:06:28,040 --> 00:06:30,000
(both laughing)
89
00:06:32,920 --> 00:06:37,260
MAN (on radio): The black artist
must have absolute freedom
90
00:06:37,260 --> 00:06:39,260
to interpret
his experience,
91
00:06:39,260 --> 00:06:43,560
both stylistically
and in every other manner,
92
00:06:43,600 --> 00:06:46,770
as would any other artist.
93
00:06:46,810 --> 00:06:50,980
No demand can be considered
appropriate of him
94
00:06:51,020 --> 00:06:55,190
other than the one
simple, clear mandate
95
00:06:55,240 --> 00:06:58,200
that he interpret
that which is real for him
96
00:06:58,240 --> 00:06:59,740
in a meaningful way.
97
00:07:05,620 --> 00:07:08,210
Two more weeks!
98
00:07:08,250 --> 00:07:11,290
Why don't we take a place
for the summer?
99
00:07:11,290 --> 00:07:13,170
Where?
100
00:07:13,210 --> 00:07:16,170
The place upstate where all those
Puerto Rican ladies
101
00:07:16,210 --> 00:07:18,380
live in those old Victorian houses.
102
00:07:21,680 --> 00:07:23,430
I dream about that place.
103
00:07:23,470 --> 00:07:26,430
Yeah, well, you would. It's like a... a...
104
00:07:26,480 --> 00:07:28,640
a painting.
105
00:07:28,690 --> 00:07:30,390
I know.
106
00:07:30,440 --> 00:07:33,650
Why don't we take a house
for a month.
107
00:07:33,690 --> 00:07:35,900
I need to be near a library.
108
00:07:35,940 --> 00:07:37,900
They got libraries up there.
109
00:07:37,940 --> 00:07:39,900
Those ladies read all the time.
110
00:07:39,950 --> 00:07:42,320
You know what I think I'm gonna do?
111
00:07:42,320 --> 00:07:44,330
I'll pass myself off as a housepainter.
112
00:07:44,330 --> 00:07:47,040
I'm going from door to door
offering my services.
113
00:07:47,080 --> 00:07:51,080
Si, si. Me encanta, me encanta.
Si, si.
114
00:08:11,350 --> 00:08:14,360
On what basis did you arrive
at this conclusion?
115
00:08:14,360 --> 00:08:16,730
All the data seemed to point
in that direction.
116
00:08:16,780 --> 00:08:19,740
But that's the trap.
It's a purely speculative conclusion.
117
00:08:19,780 --> 00:08:22,860
Any logician would stand you
on your head.
118
00:08:22,910 --> 00:08:25,370
- Does that mean that I fail?
- Logically.
119
00:08:26,830 --> 00:08:29,790
(chuckles) No, your term paper
takes you out of danger.
120
00:08:30,910 --> 00:08:33,870
I like philosophy, but I don't like logic.
121
00:08:33,920 --> 00:08:37,880
A lot of students don't. Unfortunately,
it is one of the required courses.
122
00:08:37,920 --> 00:08:39,880
Are you teaching Critical Approaches?
123
00:08:39,920 --> 00:08:43,130
And an advanced course
in logical positivism.
124
00:08:43,180 --> 00:08:45,510
- Which I suggest you avoid.
- (chuckles)
125
00:08:45,550 --> 00:08:47,930
I still enjoyed the class.
126
00:08:47,970 --> 00:08:50,470
It's mostly you, I guess.
(chuckles)
127
00:08:50,520 --> 00:08:53,100
You're so bright
and lively.
128
00:08:53,150 --> 00:08:54,560
A real inspiration.
129
00:08:55,520 --> 00:08:57,400
Well, thank you.
130
00:08:58,400 --> 00:09:00,530
And lucky, with a husband and all.
131
00:09:00,570 --> 00:09:02,240
A husband?
132
00:09:02,990 --> 00:09:04,410
What?
133
00:09:06,410 --> 00:09:09,740
What is this thing they've all got
about my having a husband?
134
00:09:25,430 --> 00:09:28,430
(man)
Got you in a close-up, Professor.
135
00:09:30,600 --> 00:09:33,390
Oh, wow.
136
00:09:34,690 --> 00:09:36,940
You look just like
137
00:09:36,980 --> 00:09:40,440
Pearl McCormack
in The Scar of Shame,
138
00:09:40,440 --> 00:09:43,440
Philadelphia Colored Players, 1927.
139
00:09:43,450 --> 00:09:45,910
(Sara laughing)
140
00:09:48,160 --> 00:09:53,040
I've always wanted to know why, as a
filmmaker, you take so many of my classes.
141
00:09:53,080 --> 00:09:57,420
You could be a movie star, Professor!
142
00:09:58,460 --> 00:10:01,460
Dorothy Dandridge, Bright Road.
143
00:10:01,510 --> 00:10:04,470
Gerald Mayer, MGM, 1953.
144
00:10:08,050 --> 00:10:11,560
Any chance you'd act
in my senior project, Professor?
145
00:10:11,600 --> 00:10:13,270
Who...
146
00:10:14,980 --> 00:10:17,350
(laughing)
No.
147
00:10:19,270 --> 00:10:23,480
(laughing continues)
148
00:10:23,490 --> 00:10:25,280
Oh!
149
00:10:26,910 --> 00:10:28,860
(laughing continues)
150
00:10:35,500 --> 00:10:38,500
(footsteps
descending stairs)
151
00:10:55,680 --> 00:10:58,940
(woman speaking Spanish)
152
00:11:17,710 --> 00:11:19,370
(engine off)
153
00:12:17,600 --> 00:12:20,850
(no audible dialogue)
154
00:12:30,610 --> 00:12:34,030
(women speaking Spanish)
155
00:12:42,460 --> 00:12:46,000
(woman speaking Spanish)
156
00:12:59,430 --> 00:13:02,640
(laughing)
157
00:13:06,270 --> 00:13:09,230
(women speaking Spanish)
158
00:13:14,410 --> 00:13:16,490
WOMAN:
iAy! iAy! iAy!
159
00:13:16,530 --> 00:13:18,490
Ah-ah-ah-ah-aah!
160
00:13:21,710 --> 00:13:24,040
IEchale! iEchale!
161
00:13:25,380 --> 00:13:28,170
(trilling)
iAy! iAy!
162
00:14:24,770 --> 00:14:28,440
I'm sure he wouldn't mind some kind
of celebration, just the three of us
163
00:14:28,480 --> 00:14:30,110
(door slams)
164
00:14:30,150 --> 00:14:33,940
I don't think that would
be such a good idea. He hates parties.
165
00:14:33,990 --> 00:14:37,780
Huh? No, it's finished.
I turned in my grades today.
166
00:14:40,070 --> 00:14:41,780
Yeah.
167
00:14:41,830 --> 00:14:44,660
We can come on Friday, probably.
I'll ask.
168
00:14:46,080 --> 00:14:47,750
All right.
169
00:14:53,300 --> 00:14:55,760
Mama wants to celebrate with us.
170
00:14:57,380 --> 00:14:59,800
You did these today in Riverview?
171
00:15:00,760 --> 00:15:02,390
Yes.
172
00:15:05,640 --> 00:15:06,930
See any houses?
173
00:15:08,690 --> 00:15:10,100
Two.
174
00:15:11,310 --> 00:15:12,900
Wanna drive up on Sunday?
175
00:15:13,820 --> 00:15:15,480
Yeah.
176
00:15:18,070 --> 00:15:19,950
What's the matter?
177
00:15:23,120 --> 00:15:25,790
I feel light-headed.
178
00:15:25,790 --> 00:15:28,540
Like I've been walking around
in a dream.
179
00:15:29,960 --> 00:15:33,790
That place is unbelievable.
180
00:15:33,800 --> 00:15:36,380
It's like a whole new universe
to paint.
181
00:15:38,420 --> 00:15:40,800
You know, I could do
a whole series.
182
00:15:40,800 --> 00:15:43,350
Today was like a
183
00:15:43,390 --> 00:15:44,810
release.
184
00:15:46,930 --> 00:15:49,100
That's what one of the houses
looked like.
185
00:15:49,140 --> 00:15:51,230
It's pretty.
186
00:15:51,270 --> 00:15:53,610
Any libraries around?
187
00:15:55,820 --> 00:15:57,860
There's a small lending library.
188
00:15:59,200 --> 00:16:02,280
But odds are good
they don't carry Kant or Hegel.
189
00:16:03,830 --> 00:16:06,950
But you could drive down to New York
once or twice a week.
190
00:16:21,840 --> 00:16:23,470
You wanna eat out?
191
00:16:25,850 --> 00:16:27,430
We could.
192
00:16:27,470 --> 00:16:30,980
I need to save my strength
for all that driving back and forth.
193
00:16:31,020 --> 00:16:33,980
(sarcastically) "Drive down to
New York once or twice a week."
194
00:16:34,020 --> 00:16:36,980
If I did something artistic,
like write or act,
195
00:16:37,030 --> 00:16:39,780
would that get me
a little more consideration?
196
00:16:40,820 --> 00:16:42,780
If you were any good.
197
00:16:45,490 --> 00:16:47,910
Nothing I do leads to ecstasy.
198
00:16:51,870 --> 00:16:54,290
You stay in a trance.
You haven't noticed that?
199
00:16:54,330 --> 00:16:56,290
A kind of private, ecstatic trance.
200
00:16:56,340 --> 00:16:58,300
It's like living with a musician
201
00:16:58,340 --> 00:17:01,050
who sits around all day
blowing his horn.
202
00:17:02,180 --> 00:17:04,260
What's the matter?
203
00:17:04,300 --> 00:17:06,760
Hegel and the boys let you down?
204
00:17:14,100 --> 00:17:16,810
I could be another Dorothy Dandridge.
205
00:17:21,650 --> 00:17:23,780
I'm so reasonable.
206
00:17:25,990 --> 00:17:30,410
Uh, are you sure this hasn't got
something to do with your mother?
207
00:17:30,450 --> 00:17:33,330
My mother?
Well, she's an actress, isn't she?
208
00:17:33,370 --> 00:17:35,670
That was just an example.
209
00:17:35,710 --> 00:17:37,210
I see.
210
00:17:39,090 --> 00:17:42,920
Uh, look,
would you still like to go out and eat
211
00:17:42,920 --> 00:17:46,340
and put this mulatto crisis on hold?
212
00:17:46,390 --> 00:17:49,010
(laughing)
I'm sorry.
213
00:17:49,060 --> 00:17:51,260
I was just thinking about your mother
214
00:17:51,310 --> 00:17:54,270
and that bit she does
on the light-skinned Negro.
215
00:17:54,310 --> 00:17:57,940
What does all this ethnic humor
have to do with anything?
216
00:17:57,940 --> 00:18:00,980
Look, I'm fucking starving.
217
00:18:01,030 --> 00:18:03,940
I've had two espressos.
All day.
218
00:18:38,940 --> 00:18:40,900
SARA'S VOICE:
Yet our consciousness, delving down,
219
00:18:40,940 --> 00:18:42,900
which reveals to us the deeper we go,
220
00:18:42,940 --> 00:18:45,900
an ever more original personality
capable of private ecstatic experience
221
00:18:45,950 --> 00:18:47,900
that is often undefinable in words.
222
00:18:47,950 --> 00:18:50,910
To call it ecstasy forces us to borrow
from the theologians
223
00:18:50,950 --> 00:18:54,080
who have used the word in terms of man's
immediate connectedness and/or apprehension of...
224
00:18:54,120 --> 00:18:56,080
MAN: What on earth are you reading?
225
00:18:56,120 --> 00:19:00,000
I've rarely seen anyone read with
such concentration.
226
00:19:05,510 --> 00:19:08,590
Why are you reading
with such concentration?
227
00:19:09,590 --> 00:19:11,550
I'm doing research for a paper
228
00:19:11,600 --> 00:19:13,100
on ecstatic experience.
229
00:19:13,140 --> 00:19:15,770
From a theological perspective,
no doubt.
230
00:19:15,810 --> 00:19:19,020
No, though I'm using religious ecstasy
as a point of departure.
231
00:19:19,060 --> 00:19:20,730
Whose?
232
00:19:20,770 --> 00:19:24,730
Saint Thomas Aquinas, with his
rational repression of the experience?
233
00:19:24,780 --> 00:19:28,200
Or Saint Theresa,
who was a truly remarkable woman?
234
00:19:28,240 --> 00:19:32,490
Or we can go back a little further
to the deviant Gnostics
235
00:19:32,530 --> 00:19:35,240
who were really pre-Christian
in their thinking.
236
00:19:35,290 --> 00:19:40,170
Man in more intuitive harmony
with the divine, et cetera, et cetera.
237
00:19:40,210 --> 00:19:42,080
A definite psychic orientation.
238
00:19:42,130 --> 00:19:44,960
What's the thesis of your paper?
239
00:19:45,000 --> 00:19:49,090
That the religious boundaries
around ecstasy are too narrow.
240
00:19:49,130 --> 00:19:51,380
That if, as the Christians define it,
241
00:19:51,430 --> 00:19:54,850
ecstasy is an immediate
apprehension of the divine...
242
00:19:54,890 --> 00:19:57,350
- Hmm.
- then the divine is energy.
243
00:19:57,390 --> 00:19:59,680
Amorphous energy.
244
00:19:59,730 --> 00:20:02,650
Artists, for example, have frequent
ecstatic experiences.
245
00:20:02,690 --> 00:20:05,770
That's a lucid approach.
It's definitely pre-Christian.
246
00:20:05,820 --> 00:20:09,860
Christianity has had a devastating effect
upon man as an intuitive creature.
247
00:20:09,900 --> 00:20:12,160
- Wouldn't you say?
- Who are you?
248
00:20:12,200 --> 00:20:15,030
(scoffs)
In which life?
249
00:20:15,080 --> 00:20:17,410
In this life, I am an out-of-work actor
250
00:20:17,450 --> 00:20:20,410
who once studied for the ministry.
251
00:20:21,580 --> 00:20:23,540
In other lives, so the psychics tell me,
252
00:20:23,580 --> 00:20:27,090
I have been an Italian count,
an English lord,
253
00:20:27,090 --> 00:20:29,090
even a Confederate soldier.
254
00:20:29,090 --> 00:20:32,800
Apparently, this is
my first incarnation
255
00:20:32,840 --> 00:20:34,260
as a Negro.
256
00:20:35,430 --> 00:20:38,390
I must have built up
a lot of karmic debt.
257
00:20:38,430 --> 00:20:40,350
(laughing)
258
00:20:41,850 --> 00:20:44,020
You think that's funny?
259
00:21:09,510 --> 00:21:11,300
Victor?
260
00:21:11,340 --> 00:21:13,010
I'm sorry I'm late.
261
00:21:13,050 --> 00:21:16,010
I got talking to this
really wonderful man in the library,
262
00:21:16,050 --> 00:21:18,890
and I just lost track of the time.
263
00:21:18,930 --> 00:21:21,140
What... I can't hear you.
264
00:21:21,140 --> 00:21:23,350
I can meet you at Mama's.
265
00:21:23,390 --> 00:21:26,350
No, it would probably be easier.
266
00:21:26,400 --> 00:21:28,060
All right.
267
00:21:32,240 --> 00:21:34,200
♪♪ (jazz: man singing)
268
00:21:34,240 --> 00:21:37,450
To my son-in-law. That's what
happens when you have children.
269
00:21:37,490 --> 00:21:39,700
They beget husbands and paintings,
270
00:21:39,740 --> 00:21:42,700
and soon we're talking
about museums and galleries,
271
00:21:42,750 --> 00:21:45,120
and the whole world
becomes larger than life.
272
00:21:45,170 --> 00:21:46,580
(laughs)
273
00:21:46,630 --> 00:21:50,170
I always knew you'd try hard
not to be a failure.
274
00:21:50,170 --> 00:21:52,170
Oh, you're concerned about that?
275
00:21:52,170 --> 00:21:53,630
Oh, I've thought about it.
276
00:21:53,670 --> 00:21:55,180
Not with any blame, of course.
277
00:21:55,180 --> 00:21:58,180
I wouldn't blame you
for being a failure. I'm not white.
278
00:21:58,180 --> 00:21:59,760
(Victor, Sara laughing)
279
00:21:59,810 --> 00:22:01,770
Racial excuses are the best.
280
00:22:01,810 --> 00:22:03,770
I can always tell my friends
281
00:22:03,810 --> 00:22:06,190
that you were talented but unseen.
282
00:22:06,190 --> 00:22:08,190
That's very generous of you.
283
00:22:10,320 --> 00:22:12,280
SARA: How's the play going?
284
00:22:12,320 --> 00:22:14,280
Oh, it's one of those family dramas.
285
00:22:14,320 --> 00:22:17,280
I play someone's mother.
Someone else plays my husband.
286
00:22:17,320 --> 00:22:20,780
"I'll stand before God
as this family's guiding light,
287
00:22:20,830 --> 00:22:23,790
a beacon of strength and humility."
288
00:22:23,830 --> 00:22:26,210
It's a thoroughly colored play.
289
00:22:26,210 --> 00:22:29,040
Oh, yes, we sing, we dance.
290
00:22:29,090 --> 00:22:31,130
There's even a character
who runs track.
291
00:22:31,170 --> 00:22:32,710
(laughs)
292
00:22:32,760 --> 00:22:34,380
Leila, tell me something.
293
00:22:34,420 --> 00:22:36,590
What do you dream of doing?
294
00:22:36,630 --> 00:22:38,220
Oh.
295
00:22:40,050 --> 00:22:42,100
I... I'm not a snob, really.
296
00:22:42,140 --> 00:22:44,560
I don't long to do Macbeth.
297
00:22:44,600 --> 00:22:46,230
I...
298
00:22:46,230 --> 00:22:51,230
I would love to do
a real 60-year-old Negro lady
299
00:22:51,230 --> 00:22:54,070
who thinks more about men than God.
300
00:22:54,110 --> 00:22:56,070
(giggling)
301
00:22:56,110 --> 00:22:58,070
That's what you should do, darling.
302
00:22:58,110 --> 00:23:01,780
You should stop writing all those dissertations
and write a play about your mother.
303
00:23:01,830 --> 00:23:04,450
Oh! Oh, it would be
too eccentric, Mama.
304
00:23:04,500 --> 00:23:07,460
Nobody would believe
it's about a real person.
305
00:23:08,830 --> 00:23:12,000
You've got that bad look
you get when you're tired.
306
00:23:14,510 --> 00:23:16,460
I have two papers to finish.
307
00:23:16,510 --> 00:23:19,840
I'm not through the research
on either one.
308
00:23:19,890 --> 00:23:22,260
Still building your castles?
309
00:23:22,260 --> 00:23:24,720
(chuckles)
310
00:23:24,770 --> 00:23:28,100
When I was little Mama used to say,
311
00:23:28,140 --> 00:23:30,900
"Oh, she's busy building her castles,
312
00:23:30,940 --> 00:23:35,280
reaching up, up, up to some white,
private sky."
313
00:23:35,280 --> 00:23:38,280
♪♪ (continues)
314
00:23:38,280 --> 00:23:41,280
LEILA: Well... to us.
315
00:23:41,280 --> 00:23:43,280
(man singing)
♪ Does her thing ♪
316
00:23:43,280 --> 00:23:46,080
♪ In funny ♪
(Leila chuckles)
317
00:23:46,120 --> 00:23:47,660
(glasses clink)
318
00:23:47,710 --> 00:23:52,960
♪ Ways ♪♪
319
00:23:58,470 --> 00:24:02,090
VICTOR: Hey, wake up.
We're almost there.
320
00:24:02,140 --> 00:24:04,100
(Sara groans)
321
00:24:04,140 --> 00:24:07,310
I was dreaming we were moving
into this castle
322
00:24:07,310 --> 00:24:10,190
at the top of a huge mountain.
323
00:24:10,230 --> 00:24:14,150
It was so high up,
it was smothered in fog.
324
00:24:14,190 --> 00:24:17,320
That's a dream straight out of
last night's dinner.
325
00:24:17,320 --> 00:24:19,740
(Sara laughing)
326
00:24:43,640 --> 00:24:45,600
VICTOR:
Hey, George.
327
00:24:45,640 --> 00:24:47,350
- It's wonderful.
- I'm glad.
328
00:24:47,350 --> 00:24:49,180
SARA: Oh, it's so grand!
329
00:24:49,230 --> 00:24:52,190
WOMAN: It belongs to a writer that's
gone to Australia for the summer.
330
00:24:52,230 --> 00:24:54,560
VICTOR: Why would anybody go to
Australia for the summer?
331
00:24:54,610 --> 00:24:56,560
WOMAN: It's completely furnished.
332
00:24:56,610 --> 00:24:59,360
- (laughing)
- (chattering, faint)
333
00:25:10,290 --> 00:25:13,040
- VICTOR: Sara!
- I'm down here!
334
00:25:13,080 --> 00:25:17,210
Come upstairs! There's
an unbelievable studio up here!
335
00:25:17,250 --> 00:25:19,210
It's like a dream!
336
00:25:43,400 --> 00:25:45,780
(footsteps)
337
00:25:49,410 --> 00:25:51,410
It's pastoral.
338
00:25:51,410 --> 00:25:53,160
What do you mean?
339
00:25:53,210 --> 00:25:58,420
Uh, it's got nothing to do
with concrete and granite.
340
00:25:58,460 --> 00:26:01,500
It's soft. It's specific.
341
00:26:01,550 --> 00:26:04,050
Those things are abstractions.
342
00:26:05,970 --> 00:26:09,100
There are perfect
still lifes out there.
343
00:26:09,140 --> 00:26:11,430
I don't have to change a thing.
344
00:26:12,980 --> 00:26:14,850
It's a nice house.
345
00:26:14,890 --> 00:26:17,850
It'll be the first time
we ever lived in a house.
346
00:26:21,440 --> 00:26:23,440
- You look terrific.
- (chuckles)
347
00:26:23,440 --> 00:26:25,450
All healthy, correct.
348
00:26:25,450 --> 00:26:27,450
(both laughing)
349
00:26:32,450 --> 00:26:34,410
Where's that real estate lady?
350
00:26:34,460 --> 00:26:36,790
I'm gonna tell her
we gonna take this place.
351
00:26:40,040 --> 00:26:43,000
I think I'll paint you
right by that window.
352
00:26:43,050 --> 00:26:45,220
That'll be my first project.
353
00:26:46,510 --> 00:26:48,470
(footsteps)
354
00:27:12,240 --> 00:27:13,870
Carlos!
(chuckles)
355
00:27:13,910 --> 00:27:16,080
Classic artist-in-residence.
356
00:27:24,170 --> 00:27:26,210
Ever the purist.
357
00:27:26,260 --> 00:27:28,420
That's unfair, man.
358
00:27:28,470 --> 00:27:31,340
Well, it is pure.
359
00:27:31,390 --> 00:27:35,520
No narrative references anywhere.
360
00:27:35,520 --> 00:27:37,270
It never occurs to me.
361
00:27:37,310 --> 00:27:39,980
Well, it's beginning to occur to me.
362
00:27:41,230 --> 00:27:43,860
That's interesting.
363
00:27:47,530 --> 00:27:49,530
That really tells a story.
364
00:27:49,530 --> 00:27:53,990
♪♪ (drums)
♪♪ (man singing in Spanish)
365
00:27:54,030 --> 00:27:57,750
I have a need
to make specific references.
366
00:27:57,790 --> 00:28:02,210
♪♪ (continues, fades out)
367
00:28:09,050 --> 00:28:13,760
You know, you're amazing.
You just paint, like a child.
368
00:28:13,800 --> 00:28:15,510
(chuckles)
369
00:28:15,560 --> 00:28:17,520
I envy that a little.
370
00:28:18,350 --> 00:28:20,640
No matter how abstract,
371
00:28:20,690 --> 00:28:23,520
I still have landscape references.
372
00:28:23,560 --> 00:28:25,570
So you admit that.
373
00:28:25,570 --> 00:28:29,190
It's in the underpainting.
That's why I try and hide.
374
00:28:29,240 --> 00:28:32,200
There's nothing wrong
with telling stories.
375
00:28:32,240 --> 00:28:35,950
Lots of painters
reach a dead end with form.
376
00:28:35,990 --> 00:28:38,950
You know, you really
should see that place.
377
00:28:39,000 --> 00:28:42,170
- It'll even have you doing landscapes.
- (both laugh)
378
00:28:42,210 --> 00:28:45,590
We didn't even drink
for the acquisition.
379
00:28:45,590 --> 00:28:48,590
- I love the painting, man.
- (laughs)
380
00:28:49,920 --> 00:28:51,920
Hey!
381
00:28:54,430 --> 00:28:56,600
- Yeah.
- Give me my wine.
382
00:28:56,600 --> 00:28:58,600
(both laughing)
383
00:29:01,850 --> 00:29:03,730
Get some cups.
384
00:29:09,320 --> 00:29:11,650
- Gracias.
- De nada.
385
00:29:16,660 --> 00:29:18,330
Salud.
386
00:29:22,620 --> 00:29:24,710
- Not too bad.
- Not too good.
387
00:29:24,750 --> 00:29:26,710
(both laughing)
388
00:29:43,640 --> 00:29:48,190
You know, I realize for the first time
389
00:29:48,230 --> 00:29:52,030
that in many ways
I've made Carlos my mentor.
390
00:29:53,070 --> 00:29:55,950
- You do defer to him.
- No, that's not it.
391
00:29:55,990 --> 00:29:58,370
It's just that
392
00:29:58,410 --> 00:30:01,160
his work is very pure.
393
00:30:01,200 --> 00:30:03,660
In many ways I've tried to
emulate that purity,
394
00:30:03,660 --> 00:30:05,330
and it's not me.
395
00:30:05,370 --> 00:30:09,380
What is this? You sell a painting you
love, and you deny it?
396
00:30:09,420 --> 00:30:10,920
No.
397
00:30:10,960 --> 00:30:12,920
It's just that I never realized before
398
00:30:12,970 --> 00:30:15,550
what an influence he's had over me.
399
00:30:15,590 --> 00:30:17,220
Now it's over.
400
00:30:17,260 --> 00:30:18,680
Oh, Lord!
401
00:30:18,680 --> 00:30:20,640
Careful.
402
00:30:20,680 --> 00:30:22,100
Ah.
403
00:30:25,440 --> 00:30:26,770
What's over?
404
00:30:26,810 --> 00:30:28,770
You know, you have
an amazing knack
405
00:30:28,810 --> 00:30:31,770
for holding on to the thread
of a conversation.
406
00:30:31,820 --> 00:30:33,610
What's over?
407
00:30:35,700 --> 00:30:37,700
My efforts
408
00:30:37,700 --> 00:30:39,700
at purity.
409
00:32:10,790 --> 00:32:12,290
Excuse me.
410
00:32:12,330 --> 00:32:13,880
I'm spending the summer here,
411
00:32:13,920 --> 00:32:17,300
and I'd like to be able to borrow some
books on your library loan system.
412
00:32:17,340 --> 00:32:19,800
- Novels?
- No. Research books.
413
00:32:19,800 --> 00:32:22,800
- On what subject?
- Ecstatic experience.
414
00:32:26,390 --> 00:32:27,930
I see.
415
00:32:29,020 --> 00:32:31,060
Just fill out this form.
416
00:32:44,830 --> 00:32:47,410
There... Ah!
417
00:32:47,450 --> 00:32:50,160
Too representational.
418
00:32:50,210 --> 00:32:52,250
What do you mean?
419
00:32:52,290 --> 00:32:54,670
Too easy.
420
00:32:54,710 --> 00:32:58,050
You mean, to paint
people and things is a cop-out?
421
00:32:58,090 --> 00:32:59,760
I never put it that way.
422
00:32:59,800 --> 00:33:02,760
I just feel that abstract work
is purer, that's all.
423
00:33:02,800 --> 00:33:06,390
In the painterly sense,
it deals more with simpler truths,
424
00:33:06,430 --> 00:33:08,390
like color, form, space.
425
00:33:08,430 --> 00:33:10,730
And people and things are dishonest.
426
00:33:12,230 --> 00:33:14,770
What is this honesty cop-out bit?
427
00:33:14,810 --> 00:33:17,770
You want to nail me to the cross
for a coward and a cheat?
428
00:33:17,820 --> 00:33:20,860
(giggling)
It hurts to laugh when you can't move.
429
00:33:22,780 --> 00:33:24,860
Light. Ah!
430
00:33:24,870 --> 00:33:27,740
It's incredible from here.
431
00:33:27,780 --> 00:33:29,370
Mmm.
432
00:33:29,410 --> 00:33:30,910
You know, when you're thinking...
433
00:33:30,950 --> 00:33:34,460
When you're dealing with people,
you have to think of light differently.
434
00:33:36,040 --> 00:33:37,710
What?
435
00:33:39,880 --> 00:33:41,670
You have a good face.
436
00:33:41,720 --> 00:33:43,260
That's not what you said.
437
00:33:43,300 --> 00:33:45,510
(laughing)
438
00:33:45,550 --> 00:33:47,890
Why do you do that? Hmm?
439
00:33:48,810 --> 00:33:50,890
Say "what"
440
00:33:50,890 --> 00:33:53,640
when you've heard
every word I've said?
441
00:33:53,690 --> 00:33:55,980
What about my face?
442
00:33:56,020 --> 00:33:57,810
It's cold.
443
00:33:59,320 --> 00:34:00,900
Analytical.
444
00:34:00,900 --> 00:34:03,990
Can I stand still and hit you
at the same time?
445
00:34:04,030 --> 00:34:05,700
(chuckles)
446
00:34:05,740 --> 00:34:07,160
How about "noble"?
447
00:34:07,200 --> 00:34:09,370
- That's a word your mother hates.
- Ah.
448
00:34:09,410 --> 00:34:11,370
(laughs)
Ain't that a blip.
449
00:34:13,080 --> 00:34:14,910
Where'd that come from?
450
00:34:16,380 --> 00:34:17,920
I don't know.
451
00:34:17,920 --> 00:34:20,920
One of those things I've always
wanted to say at a faculty meeting.
452
00:34:20,920 --> 00:34:24,510
Turn to someone pompous,
like Warren or Levine,
453
00:34:24,550 --> 00:34:27,090
and say, "Ain't that a blip?"
454
00:34:27,930 --> 00:34:29,890
(laughs)
455
00:34:29,930 --> 00:34:32,220
That is totally unlike you.
456
00:34:32,270 --> 00:34:34,890
Mmm.
457
00:34:34,940 --> 00:34:36,940
- Are you pretty?
- Mmm.
458
00:34:36,940 --> 00:34:39,690
Or is it just the light?
459
00:34:39,730 --> 00:34:42,400
You want a murder
the first week in this house?
460
00:34:42,440 --> 00:34:44,820
(both laughing)
461
00:34:49,910 --> 00:34:51,330
The light!
462
00:34:56,080 --> 00:34:57,750
Up.
463
00:35:57,810 --> 00:36:00,140
(car horn honks)
(woman speaking Spanish)
464
00:36:12,280 --> 00:36:14,330
(car horn honking)
465
00:36:37,770 --> 00:36:40,730
(chattering in Spanish)
466
00:36:53,370 --> 00:36:56,740
♪♪ (percussion: Latin jazz)
467
00:37:12,680 --> 00:37:15,640
♪♪ (continues)
468
00:37:23,150 --> 00:37:27,110
(speaking Spanish)
469
00:37:27,110 --> 00:37:29,110
Me encanta,
me encanta.
470
00:37:29,110 --> 00:37:50,090
♪♪ (continues)
471
00:38:09,070 --> 00:38:10,480
♪♪ (ends)
472
00:38:16,200 --> 00:38:19,160
(typing)
473
00:38:20,870 --> 00:38:23,790
SARA'S VOICE: From the perspective
of comparative psychiatry,
474
00:38:23,830 --> 00:38:28,000
Louis Mars' research
on Haitian voodoo is instructive.
475
00:38:28,040 --> 00:38:31,590
He analyzes from a psychological
and physiological standpoint
476
00:38:31,630 --> 00:38:34,130
a subject
who is possessed.
477
00:38:34,170 --> 00:38:38,640
In this experience, the subject is
mounted by the god in question,
478
00:38:44,060 --> 00:38:46,020
(typing continues)
479
00:38:46,060 --> 00:38:48,940
i.e., his behavior
changes radically
480
00:38:48,980 --> 00:38:52,780
as he begins to assume
the personality of the god in question.
481
00:38:54,030 --> 00:38:56,200
Similar experiences are described
482
00:38:56,240 --> 00:39:00,200
by those who have studied
Greek and Roman Dionysian rites
483
00:39:00,200 --> 00:39:02,200
and African rites of passage.
484
00:39:02,200 --> 00:39:04,580
The striking note for our purposes
485
00:39:04,620 --> 00:39:09,210
is that during the experience the
possessed one is unconscious.
486
00:39:13,210 --> 00:39:17,050
Afterwards, he scarcely remembers
what happened to him.
487
00:39:17,090 --> 00:39:21,140
Yet a sensation of physical well-being,
of mental alertness,
488
00:39:21,180 --> 00:39:23,220
sometimes clairvoyance
489
00:39:23,220 --> 00:39:26,230
generally accompanies
the return to consciousness.
490
00:39:28,020 --> 00:39:31,230
The ecstatic moment is, so to speak,
491
00:39:31,230 --> 00:39:33,110
after the fact.
492
00:40:34,290 --> 00:40:36,710
When you read someone...
493
00:40:36,760 --> 00:40:38,710
For instance, looking at me,
494
00:40:39,550 --> 00:40:42,010
what happens inside you?
495
00:40:43,640 --> 00:40:45,600
I don't understand.
496
00:40:48,100 --> 00:40:50,310
Can you see my future?
497
00:40:51,310 --> 00:40:54,100
I see that you are very intelligent.
498
00:40:55,110 --> 00:40:56,520
And secretive.
499
00:40:57,690 --> 00:41:00,860
Anyone can say that.
My face tells you that.
500
00:41:02,030 --> 00:41:03,860
I don't understand.
501
00:41:07,700 --> 00:41:10,750
I want to understand
what it feels like
502
00:41:10,790 --> 00:41:13,920
to see something
that has not yet happened.
503
00:41:17,800 --> 00:41:20,010
I see you
504
00:41:20,050 --> 00:41:22,590
with a tall, dark man
505
00:41:22,630 --> 00:41:25,140
with a top hat.
506
00:41:25,180 --> 00:41:27,350
And they're taking your picture.
507
00:41:38,360 --> 00:41:40,440
This is ridiculous.
508
00:41:44,320 --> 00:41:46,660
What am I looking for?
509
00:42:21,730 --> 00:42:24,990
I'm not a gypsy or a priestess.
510
00:42:27,700 --> 00:42:30,160
I want magic.
511
00:42:30,200 --> 00:42:32,410
Real magic.
512
00:42:32,410 --> 00:42:34,410
All of a sudden, things
513
00:42:35,210 --> 00:42:36,620
start to happen.
514
00:42:38,080 --> 00:42:40,250
(laughing)
515
00:42:51,760 --> 00:42:53,430
Oh.
516
00:43:08,620 --> 00:43:10,490
How you doin'?
517
00:43:11,530 --> 00:43:13,450
Hot enough for you?
518
00:43:38,650 --> 00:43:40,940
(woman speaking Spanish)
519
00:43:40,980 --> 00:43:42,480
(woman ♪2 speaking Spanish)
520
00:43:42,520 --> 00:43:45,400
(Spanish continues)
521
00:43:45,440 --> 00:43:47,070
(woman ♪1 )
Oh!
522
00:43:48,490 --> 00:43:51,870
- (Spanish continues)
- Hey! I've been looking for you.
523
00:43:51,910 --> 00:43:55,490
- I want to paint you.
- You want to paint me?
524
00:43:55,500 --> 00:43:57,620
(Spanish)
525
00:44:01,500 --> 00:44:04,340
- Next it'll be her father.
- (laughing)
526
00:44:04,380 --> 00:44:06,510
- ♪Como se llama?
- Celia.
527
00:44:06,510 --> 00:44:08,510
Me llamo Celia.
528
00:44:08,510 --> 00:44:10,430
Why do you want to paint me?
529
00:44:10,470 --> 00:44:15,140
I'm from New York, and, uh,
I've taken a studio here for the summer.
530
00:44:15,180 --> 00:44:18,020
(Spanish)
531
00:44:18,060 --> 00:44:19,770
Painting around the village.
532
00:44:19,810 --> 00:44:23,810
(Spanish continues)
El burro sabe mas que yo.
533
00:44:23,860 --> 00:44:25,520
(all laughing)
534
00:44:27,610 --> 00:44:29,950
VICTOR:
We're in Germany, right?
535
00:44:29,990 --> 00:44:33,030
Berlin. We're just about to
pass the Reichstag.
536
00:44:33,070 --> 00:44:36,540
I look out the window and I see all these
guys in these green uniforms, right?
537
00:44:36,540 --> 00:44:38,660
Well, they're not Germans.
They're Russians.
538
00:44:38,710 --> 00:44:41,330
And I'm holding the damn painting
out the window to see the light.
539
00:44:41,370 --> 00:44:43,920
The next thing you know, bam, bam, bam!
They're shootin' at me.
540
00:44:43,960 --> 00:44:47,210
I dropped my best work out the window.
Stop. I'll be right back, okay?
541
00:44:47,260 --> 00:44:49,210
To get my things.
542
00:45:04,440 --> 00:45:05,770
(door opens)
543
00:45:10,360 --> 00:45:13,530
There's a place over there
I wanna work, okay?
544
00:45:30,720 --> 00:45:33,930
(bird screeching)
545
00:45:47,900 --> 00:45:49,570
SARA: Victor?
546
00:45:49,610 --> 00:45:51,570
(footsteps on stairs)
547
00:45:51,610 --> 00:45:52,940
Victor.
548
00:45:59,080 --> 00:46:01,950
(phone ringing)
549
00:46:07,420 --> 00:46:09,840
Hello? Who?
550
00:46:09,880 --> 00:46:13,090
Well, how did you get my...
(chuckles)
551
00:46:13,130 --> 00:46:15,630
You're kidding. I couldn't do that.
552
00:46:15,640 --> 00:46:18,760
Well, that's ridiculous.
That's going too far.
553
00:46:18,810 --> 00:46:20,720
I'm not an actress.
554
00:46:20,770 --> 00:46:22,930
(laughs)
I couldn't do it.
555
00:46:22,980 --> 00:46:26,190
That's all the more reason
to use a professional.
556
00:46:26,230 --> 00:46:27,730
No, it's your thesis.
557
00:46:27,770 --> 00:46:31,650
Using me might be considered,
uh, poor research.
558
00:46:32,820 --> 00:46:35,030
I know it's a dry analogy, George.
559
00:46:35,070 --> 00:46:37,910
Look, I can't do it.
All right?
560
00:46:37,950 --> 00:46:39,660
(chattering)
561
00:46:39,660 --> 00:46:41,660
I said, "Look, it's my life."
562
00:46:41,660 --> 00:46:43,700
VICTOR: Right. You do
what you want, right?
563
00:46:43,750 --> 00:46:46,420
- Right.
- (chattering)
564
00:46:46,460 --> 00:46:49,210
I'll give him a personal exhibition
of my work, right?
565
00:46:49,250 --> 00:46:52,380
- (laughing)
- Ah. Sara.
566
00:46:52,420 --> 00:46:55,170
This is Celia Cruz.
567
00:46:55,220 --> 00:46:57,880
No, it's not Celia Cruz.
She's a famous singer.
568
00:46:57,930 --> 00:47:02,010
Uh, but she's fabulous, actually.
569
00:47:02,060 --> 00:47:06,270
We've been in the woods.
He's been painting me, man.
570
00:47:06,310 --> 00:47:09,150
Pleased to meet you.
What's your name?
571
00:47:10,770 --> 00:47:13,690
Sara. I'm pleased, too, to meet you.
572
00:47:14,860 --> 00:47:16,900
Would you like some tea?
573
00:47:16,950 --> 00:47:18,860
I don't drink tea.
574
00:47:18,910 --> 00:47:22,370
Cafe mocha, Coca-Cola,
575
00:47:22,410 --> 00:47:23,830
7-Up, no alcohol.
576
00:47:23,870 --> 00:47:26,710
I don't drink alcohol.
577
00:47:26,710 --> 00:47:28,710
What about iced coffee?
578
00:47:31,710 --> 00:47:35,050
So, she wanted to know... She said,
"How the devil did you find this place?"
579
00:47:35,090 --> 00:47:38,220
I said, "I don't remember, but it had
something to do with Wedgewood."
580
00:47:38,260 --> 00:47:40,590
She said, "What's Wedgwood?"
She doesn't know what Wedgwood is.
581
00:47:40,640 --> 00:47:42,680
No way I can explain it to her, right?
582
00:47:42,720 --> 00:47:44,350
It's neither wood, nor is it wedged.
583
00:47:44,390 --> 00:47:45,930
I said I didn't have a piece of Wedgwood.
584
00:47:45,980 --> 00:47:48,770
I had a drink with a man
by the name of Wedgewood.
585
00:47:48,810 --> 00:47:50,730
And we had gone north.
586
00:47:50,770 --> 00:47:53,520
I don't remember where it was,
but after we crossed the bridge,
587
00:47:53,570 --> 00:47:56,860
it was 12 bars... saloons,
that is... north.
588
00:47:56,900 --> 00:47:59,950
So I said... As I got to thinking
about it, I said,
589
00:47:59,990 --> 00:48:02,990
"Well, you know, this is like old times."
590
00:48:03,030 --> 00:48:05,700
You know what it's like when you
get to thinking about old times.
591
00:48:05,750 --> 00:48:08,460
- Victor used to do that all the time.
- Ask her about old times.
592
00:48:08,500 --> 00:48:11,330
Go out and not come back
for a couple of days.
593
00:48:11,380 --> 00:48:14,210
Anyway, moving straight ahead.
594
00:48:14,250 --> 00:48:16,880
(laughing)
Here we are.
595
00:48:27,560 --> 00:48:30,890
Oh, you speak English well.
596
00:48:30,940 --> 00:48:33,310
She's not Negro.
She's Puerto Rican.
597
00:48:34,770 --> 00:48:37,610
Negro. Puerto Rican.
What does that got to do with it?
598
00:48:37,650 --> 00:48:39,820
I'm just telling you what she is.
599
00:48:41,070 --> 00:48:42,780
You got something
against Puerto Ricans?
600
00:48:42,780 --> 00:48:45,410
I don't know any Puerto Ricans.
601
00:48:45,450 --> 00:48:50,500
Well, they're an island people of Negro,
Indian and Spanish ancestry.
602
00:48:50,540 --> 00:48:52,750
Is this Puerto Rican history week?
603
00:48:52,790 --> 00:48:55,460
Actually, I find them
more mellow than we Negroes.
604
00:48:55,500 --> 00:48:59,760
Is it "we Negroes" or "us Negroes"?
605
00:48:59,800 --> 00:49:02,880
"We." "More mellow than we."
606
00:49:02,930 --> 00:49:05,800
Traditionally, the relationship between
Negroes and Puerto Ricans
607
00:49:05,810 --> 00:49:08,220
has been fraught with uneasiness.
608
00:49:08,270 --> 00:49:10,640
Is that right?
609
00:49:10,690 --> 00:49:14,520
The third world thinking
has readjusted some of that,
610
00:49:14,560 --> 00:49:15,900
I suspect.
611
00:49:17,650 --> 00:49:18,980
I see.
612
00:49:22,200 --> 00:49:26,780
♪♪ (salsa)
613
00:49:26,830 --> 00:49:29,330
♪♪ (continues)
614
00:49:35,420 --> 00:49:36,840
Getting tired?
615
00:49:39,840 --> 00:49:41,590
(louder)
Getting tired?
616
00:49:44,890 --> 00:49:46,930
Hey.
617
00:49:46,970 --> 00:49:49,350
I will never move again.
618
00:49:50,930 --> 00:49:52,850
(shouts)
You hear me?
619
00:49:55,690 --> 00:49:57,610
Get up!
620
00:49:57,650 --> 00:49:59,650
What are you doing? Get up!
621
00:49:59,690 --> 00:50:01,650
No! I'm painting your picture.
622
00:50:01,690 --> 00:50:04,990
Come on. First, you got the music so
damn loud, I can't hear myself think.
623
00:50:05,030 --> 00:50:07,660
Now you bend over at the waist.
Get up!
624
00:50:07,700 --> 00:50:09,410
- No!
- Get up!
625
00:50:09,450 --> 00:50:11,950
CELIA: No! No!
626
00:50:12,000 --> 00:50:14,580
♪♪ (continues)
627
00:50:33,430 --> 00:50:34,890
♪♪ (fades)
628
00:50:34,890 --> 00:50:37,310
MAN: Tilt down from those gargoyles.
629
00:50:37,360 --> 00:50:41,980
Take your time.
I want a nice, slow tilt.
630
00:50:42,030 --> 00:50:44,570
Straight down.
631
00:50:44,610 --> 00:50:48,280
MAN ♪2:Uh-huh.
And pan across those trees
632
00:50:48,320 --> 00:50:52,790
along that nice diagonal line.
633
00:50:52,830 --> 00:50:56,540
Yeah. Oh, that's deep, man.
That's truly deep.
634
00:50:56,580 --> 00:50:59,880
Now, dolly back into wide shot.
635
00:51:03,170 --> 00:51:07,010
Did you catch that subtle
mise-en-scene, mi amigo?
636
00:51:07,050 --> 00:51:08,930
I'm with you, man. I'm with you.
637
00:51:08,930 --> 00:51:12,310
Okay. Good, good, good.
Now give me a few minutes.
638
00:51:12,350 --> 00:51:15,390
Let me set up this next shot.
639
00:51:15,430 --> 00:51:17,850
Uh-huh.
640
00:51:17,900 --> 00:51:21,770
Uh, d-d-d-d-d-d...
641
00:51:35,080 --> 00:51:36,870
Professor Rogers!
642
00:51:38,500 --> 00:51:40,960
I don't believe it!
643
00:51:40,960 --> 00:51:43,130
Oh, man!
644
00:51:43,170 --> 00:51:45,300
Did you get the script?
645
00:51:45,340 --> 00:51:48,090
It's a takeoff on the theme
of the tragic mulatto.
646
00:51:49,340 --> 00:51:51,930
Oh, man! You actually came.
647
00:51:51,970 --> 00:51:53,510
(laughs)
648
00:51:53,560 --> 00:51:57,100
This is going to be magical.
649
00:51:57,140 --> 00:51:59,810
I'll get you a chair.
How 'bout some coffee?
650
00:51:59,850 --> 00:52:02,610
I just have to finish with my
cameraman. All right.
651
00:52:05,280 --> 00:52:07,240
Okay. Now...
652
00:52:07,280 --> 00:52:09,990
(continues, faint)
653
00:52:46,570 --> 00:52:50,990
For God's sake. And you haven't
even got a book in your hand.
654
00:52:52,030 --> 00:52:53,360
Professor...
655
00:52:55,030 --> 00:52:56,580
You've met.
656
00:52:56,620 --> 00:52:59,500
This is my uncle.
657
00:52:59,540 --> 00:53:02,040
Duke Richards, Professor Rogers.
658
00:53:02,040 --> 00:53:05,340
He's a pro.
Shades of Willie Bryant.
659
00:53:05,380 --> 00:53:07,670
I conned him into this.
660
00:53:07,710 --> 00:53:11,470
Now, you two play a vaudeville
team in a silent comedy.
661
00:53:11,510 --> 00:53:14,050
And you've come to this terrace
to rehearse a routine.
662
00:53:14,050 --> 00:53:16,140
Hey, Vicky!
663
00:53:16,180 --> 00:53:18,220
Vicky's made all the costumes for us.
664
00:53:18,270 --> 00:53:20,930
Hey, Vicky! Vicky!
665
00:53:20,980 --> 00:53:22,850
The professor's here!
666
00:53:22,900 --> 00:53:24,600
I told you I was out of work.
667
00:53:24,650 --> 00:53:26,770
What the hell's your excuse?
668
00:53:26,820 --> 00:53:30,070
- Hmm?
- (laughing)
669
00:53:33,070 --> 00:53:35,070
You live in an old rooming house,
670
00:53:35,070 --> 00:53:36,990
and there isn't much space or light.
671
00:53:37,030 --> 00:53:39,450
So on good days you come to
the terrace to rehearse.
672
00:53:39,500 --> 00:53:41,660
It's there that you, Duke,
meet another woman
673
00:53:41,710 --> 00:53:44,420
who's trying to compete with you,
Professor Rogers, as Duke's partner.
674
00:53:44,460 --> 00:53:47,090
She's always there
trying to get his attention.
675
00:53:47,090 --> 00:53:49,000
Then one day, you have a fight,
676
00:53:49,050 --> 00:53:51,090
and Duke goes off
to the terrace by himself.
677
00:53:51,090 --> 00:53:54,800
Then you, Professor Rogers, start to
feel badly and rush out to meet him.
678
00:53:54,840 --> 00:53:57,720
But when you get there, he's
rehearsing with this other woman.
679
00:53:57,760 --> 00:53:59,810
And in a fit of rage, she kills you.
680
00:53:59,850 --> 00:54:01,560
That's the plot.
681
00:54:01,600 --> 00:54:05,350
It's kind of an archetypal interpretation
of the "Frankie and Johnny" myth.
682
00:54:05,400 --> 00:54:07,360
And there's Nellie Bly.
683
00:54:08,820 --> 00:54:11,110
(no audible dialogue)
684
00:54:12,990 --> 00:54:15,950
(phone ringing)
685
00:54:23,000 --> 00:54:25,960
Uh-huh. Hello?
686
00:54:26,000 --> 00:54:28,380
Where are you?
687
00:54:28,420 --> 00:54:30,090
(shouts)
You're what?
688
00:54:30,130 --> 00:54:32,090
It's about five days shooting.
689
00:54:32,130 --> 00:54:34,920
What is this? You said you were
going to go to the library.
690
00:54:34,970 --> 00:54:36,590
What is this acting bit?
691
00:54:36,640 --> 00:54:39,100
I just... I just thought it might be fun.
692
00:54:39,140 --> 00:54:40,970
You're mad.
693
00:54:41,020 --> 00:54:44,060
I'm staying at Mama's.
694
00:54:44,100 --> 00:54:47,480
No, it's too long to drive. We start
shooting early in the morning.
695
00:54:50,150 --> 00:54:51,820
This is bullshit.
696
00:54:59,030 --> 00:55:01,450
There've always been women.
697
00:55:01,490 --> 00:55:04,790
And the very idea.
How does that make you feel?
698
00:55:04,830 --> 00:55:07,290
What do you mean,
"the very idea"?
699
00:55:07,330 --> 00:55:10,340
(chuckles)
Well, the idea that he lifts himself up
700
00:55:10,380 --> 00:55:13,500
and puts himself down
into someone else.
701
00:55:13,550 --> 00:55:16,800
(laughing)
702
00:55:16,840 --> 00:55:20,180
Mama, you grow more and more
outrageous every day.
703
00:55:20,220 --> 00:55:22,760
Well, some women get
stuck on that picture,
704
00:55:22,810 --> 00:55:24,470
and it drives them crazy.
705
00:55:24,520 --> 00:55:27,350
It's graphic enough!
706
00:55:27,390 --> 00:55:30,310
I remember once
when I was about 12,
707
00:55:30,360 --> 00:55:33,020
I overheard a conversation
between you and Welles.
708
00:55:33,070 --> 00:55:36,190
And you kept saying, "Take it out.
Oh, take it out, please."
709
00:55:36,200 --> 00:55:38,200
(laughing)
710
00:55:38,200 --> 00:55:42,490
And I said, "What in the world
could she want him to take out?"
711
00:55:42,530 --> 00:55:44,790
Was it his stamp collection?
712
00:55:44,830 --> 00:55:47,210
The garbage? I don't...
713
00:55:47,250 --> 00:55:48,830
Oh.
714
00:55:50,750 --> 00:55:54,130
The actual sex doesn't bother me.
715
00:55:54,170 --> 00:55:56,010
Victor has sex all the time
716
00:55:56,050 --> 00:55:59,380
with a color, a room, the way the
light falls across a building.
717
00:55:59,430 --> 00:56:01,220
All that private ecstasy.
718
00:56:01,220 --> 00:56:03,220
You envy that.
719
00:56:03,220 --> 00:56:07,140
Why can't I just go, lose control?
720
00:56:07,180 --> 00:56:09,020
I'm like that. Oh, yes.
721
00:56:09,060 --> 00:56:12,110
When I'm working a character,
I... I'm gone.
722
00:56:12,150 --> 00:56:15,570
I lift a finger, turn my head,
smile, drop a line.
723
00:56:15,610 --> 00:56:18,150
I'm always in complete control,
but I'm just gone.
724
00:56:18,200 --> 00:56:21,110
The gods have me, or Satan.
Somebody has got me.
725
00:56:22,410 --> 00:56:24,080
Welles envied that.
726
00:56:24,120 --> 00:56:26,410
One night he came backstage,
and I was
727
00:56:26,450 --> 00:56:30,500
in that kind of a trance, you know.
728
00:56:30,540 --> 00:56:34,250
My dear, he walked off.
Never came backstage again.
729
00:56:34,250 --> 00:56:35,750
(chuckles)
730
00:56:35,800 --> 00:56:38,010
I remember you like that.
731
00:56:38,050 --> 00:56:40,800
You would come in
to kiss me good night,
732
00:56:40,840 --> 00:56:43,430
and I used to say,
"Oh, her eyes are so bright.
733
00:56:43,470 --> 00:56:47,020
She must have gone to heavenand just
came back to say good night to me."
734
00:56:47,060 --> 00:56:49,270
Oh!
735
00:56:49,270 --> 00:56:53,350
The only thing I've known like that is
sometimes when I'm writing a paper,
736
00:56:53,400 --> 00:56:56,270
my mind suddenly takes
this tremendous leap
737
00:56:56,280 --> 00:57:00,280
into a new interpretation of the material,
738
00:57:00,280 --> 00:57:02,360
and I know I'm right.
739
00:57:02,410 --> 00:57:04,280
I know I can prove it.
740
00:57:04,280 --> 00:57:07,290
My head just starts dancing like crazy.
741
00:57:09,750 --> 00:57:11,290
(chuckles)
742
00:57:14,670 --> 00:57:17,710
But that's so cold, Mama, and so dry.
743
00:57:20,170 --> 00:57:23,930
How did someone like you produce a
child who thinks so very, very much?
744
00:57:40,320 --> 00:57:42,360
GEORGE: Okay, Frankie.
745
00:57:42,400 --> 00:57:45,370
♪♪ (saxophone)
746
00:57:49,330 --> 00:57:53,410
And stomp 'em, two, three, four.
747
00:57:53,460 --> 00:57:55,330
And...
748
00:58:00,050 --> 00:58:02,260
And dip.
749
00:58:02,300 --> 00:58:04,470
And reverse.
750
00:58:04,510 --> 00:58:06,180
Yeah!
751
00:58:11,350 --> 00:58:14,140
And walk around.
752
00:58:17,020 --> 00:58:19,360
And jaywalk, bump.
753
00:58:19,360 --> 00:58:23,360
Jaywalk, bump.
754
00:58:23,360 --> 00:58:25,530
And stay.
755
00:58:31,750 --> 00:58:36,120
And boogie, boogie, boogie, boogie.
756
00:58:37,330 --> 00:58:40,550
Okay, Johnny. Now, walk.
757
00:58:40,590 --> 00:58:42,880
♪♪ (saxophone continues)
758
00:58:46,430 --> 00:58:48,390
Just walk.
759
00:58:51,970 --> 00:58:54,390
Now, pan across that building.
760
00:58:54,390 --> 00:58:57,150
Make it a nice, clean sweep.
761
00:58:57,190 --> 00:59:00,520
Are you with me, my man?
Oh, I'm with you, man. I'm with you.
762
00:59:00,570 --> 00:59:02,610
GEORGE: Nice.
763
00:59:02,650 --> 00:59:04,740
Okay, Nellie.
764
00:59:04,780 --> 00:59:07,410
Now, shim-sham, double.
765
00:59:07,450 --> 00:59:09,620
Double, double.
766
00:59:09,660 --> 00:59:12,030
♪♪ (saxophone continues)
767
00:59:44,440 --> 00:59:47,490
VICTOR: How come you people
don't eat dessert?
768
00:59:47,530 --> 00:59:49,110
What?
769
00:59:51,120 --> 00:59:53,240
All you ever eat is flan.
770
00:59:53,290 --> 00:59:55,330
You're like the Chinese.
771
00:59:55,370 --> 00:59:58,210
You know, the only people that really
understand the word "dessert"
772
00:59:58,250 --> 00:59:59,670
are the Italians.
773
00:59:59,710 --> 01:00:02,750
Tortoni, spumoni, Napoleon.
774
01:00:02,790 --> 01:00:05,920
They are funny-sounding names, man.
775
01:00:05,960 --> 01:00:07,920
Why do you always say "man"?
776
01:00:11,300 --> 01:00:13,260
It's like a beat.
777
01:00:14,470 --> 01:00:19,190
The words go, "Da, da, da."
778
01:00:20,600 --> 01:00:23,480
Then they need a beat at the end.
779
01:00:23,480 --> 01:00:25,570
"Man."
780
01:00:25,610 --> 01:00:27,570
That's very American.
781
01:00:29,780 --> 01:00:31,740
Give me some coffee.
782
01:00:34,490 --> 01:00:36,490
How long have you been here?
783
01:00:36,500 --> 01:00:38,960
Two years.
784
01:00:39,000 --> 01:00:40,920
First in New York City.
785
01:00:40,960 --> 01:00:43,790
(liquid pouring)
Which smells bad, ugly.
786
01:00:44,880 --> 01:00:46,750
Then up here.
787
01:00:48,260 --> 01:00:51,720
I'm trying out to become an airline hostess
788
01:00:51,760 --> 01:00:53,640
so I can fly
789
01:00:53,680 --> 01:00:55,760
back and forth to Puerto Rico.
790
01:00:56,810 --> 01:00:58,390
Free.
791
01:00:59,520 --> 01:01:01,480
Do you miss it?
792
01:01:05,110 --> 01:01:06,520
Huh?
793
01:01:08,650 --> 01:01:11,990
I nod my head yes.
You can't hear that?
794
01:01:12,030 --> 01:01:13,990
Hard as I was nodding?
795
01:01:38,720 --> 01:01:41,560
♪♪ (jazz blues)
796
01:02:25,190 --> 01:02:28,110
So how's the final treatise
on ecstasy coming?
797
01:02:28,150 --> 01:02:30,150
Oh, I finished the first draft.
798
01:02:30,190 --> 01:02:33,690
Vicky! Where the hell is Vicky?
799
01:02:33,740 --> 01:02:36,990
How is George your nephew?
800
01:02:37,030 --> 01:02:39,030
His mother is my sister.
801
01:02:39,080 --> 01:02:40,830
Oh, I see.
802
01:02:40,870 --> 01:02:43,620
Uh, I'd like to try and shoot the
next scene, Professor.
803
01:02:43,620 --> 01:02:47,960
- Now, uh...
- Can't he call you something besides "Professor"?
804
01:02:48,000 --> 01:02:49,670
Oh, he could call me "Sara."
805
01:02:49,710 --> 01:02:51,590
Sara.
806
01:02:51,630 --> 01:02:53,840
And Sarah begat Rebekah,
who begat Ruth.
807
01:02:53,880 --> 01:02:56,510
You would have some
goddamned biblical name.
808
01:02:56,550 --> 01:02:58,930
Okay, ladies and sirs.
809
01:02:58,970 --> 01:03:02,310
Now, uh, in this next scene,
you come up with this funny routine.
810
01:03:02,350 --> 01:03:05,730
I hate to rush you, but we got about
an hour before we lose the light.
811
01:03:05,770 --> 01:03:09,520
So I'll skip the explanation.
Let's just shoot the sucker! Vicky!
812
01:03:09,560 --> 01:03:11,440
They've gotta change
into those new costumes.
813
01:03:11,480 --> 01:03:15,110
No, no! It's the seduction scene!
814
01:03:39,590 --> 01:03:42,350
♪♪ (saxophone)
815
01:03:53,730 --> 01:03:55,320
(snaps fingers)
816
01:04:08,580 --> 01:04:09,920
GEORGE: Cut!
817
01:04:11,880 --> 01:04:14,210
- Beautiful.
- Oww! Whoo-whoo!
818
01:04:14,250 --> 01:04:16,010
- That's beautiful.
- Yeah! Hoo-hoo-hoo!
819
01:04:16,050 --> 01:04:18,010
Yeah-ah-ah-ah-ah!
820
01:04:18,050 --> 01:04:19,630
Ah!
821
01:04:21,180 --> 01:04:22,720
Mwah!
822
01:04:22,720 --> 01:04:24,350
[ Kisses ]
823
01:04:27,730 --> 01:04:29,730
What do you mean, you danced?
824
01:04:29,730 --> 01:04:34,690
Can you imagine that? Professor
Sara Rogers doing your basic shim-sham?
825
01:04:34,730 --> 01:04:36,730
- (laughing)
- Well.
826
01:04:36,740 --> 01:04:40,530
I don't understand a thing.
I do what I'm told.
827
01:04:40,570 --> 01:04:43,910
- (rings)
- If that's Victor, I'm not here.
828
01:04:43,950 --> 01:04:45,910
- Hello.
- (whispers) Yes, I am.
829
01:04:47,000 --> 01:04:49,620
Fine. I'm just fine.
830
01:04:49,660 --> 01:04:51,290
Same old terrible lines, yeah.
831
01:04:51,330 --> 01:04:54,250
No, no, no. She's right here.
832
01:04:54,290 --> 01:04:55,750
Sara.
833
01:05:00,760 --> 01:05:02,760
Hi.
834
01:05:02,760 --> 01:05:04,180
Fine.
835
01:05:05,760 --> 01:05:07,520
I don't know.
836
01:05:07,560 --> 01:05:10,520
I was just telling Mama,
I do what I'm told.
837
01:05:11,770 --> 01:05:15,610
I play a tragic mulatto.
838
01:05:16,780 --> 01:05:18,780
You, uh,
839
01:05:18,820 --> 01:05:20,990
intend to come home sometime, right?
840
01:05:22,610 --> 01:05:24,780
I don't know.
841
01:05:24,830 --> 01:05:26,990
They do give you a day off?
842
01:05:28,910 --> 01:05:31,500
Maybe I'll come up on Saturday.
843
01:05:33,580 --> 01:05:35,790
Okay.
844
01:05:35,790 --> 01:05:37,840
I'll see you then.
845
01:05:37,880 --> 01:05:39,460
(rings)
846
01:05:55,980 --> 01:05:58,690
- Are we supposed to talk?
- I don't know.
847
01:06:00,780 --> 01:06:02,820
What's the purpose of the scene?
848
01:06:02,820 --> 01:06:04,820
Something to do with the relationship
849
01:06:04,820 --> 01:06:08,830
between the characters,
the space, the light.
850
01:06:08,830 --> 01:06:11,830
This what they call one of those
avant-garde movies?
851
01:06:11,830 --> 01:06:14,830
It might be.
852
01:06:14,830 --> 01:06:17,460
How the hell did you ever get
hooked into doing this?
853
01:06:17,500 --> 01:06:19,800
- I wanted to.
- Why?
854
01:06:19,840 --> 01:06:21,960
- It's not abstract.
- What does that mean?
855
01:06:22,010 --> 01:06:24,720
Everything I do is abstract.
856
01:06:24,760 --> 01:06:28,140
Oh. Papers on ecstasy.
That sort of thing.
857
01:06:28,180 --> 01:06:30,390
Yes.
858
01:06:30,430 --> 01:06:33,350
- You have a husband?
- Yes.
859
01:06:33,390 --> 01:06:35,730
- Is he abstract?
- (laughs)
860
01:06:35,770 --> 01:06:37,730
He used to be an abstract painter.
861
01:06:37,770 --> 01:06:40,610
Now he only wants to paint people.
862
01:06:41,650 --> 01:06:43,280
He's approaching middle age.
863
01:06:43,320 --> 01:06:45,610
He's already there.
864
01:06:45,660 --> 01:06:48,820
- No children?
- No.
865
01:06:48,870 --> 01:06:50,200
Too concrete.
866
01:06:51,870 --> 01:06:53,790
Maybe.
867
01:06:53,830 --> 01:06:55,250
I could never imagine.
868
01:06:55,290 --> 01:06:58,710
GEORGE: Keep moving!
This sucker's brilliant!
869
01:06:58,750 --> 01:07:01,880
- Ugh.
- He's only a nephew.
870
01:07:01,880 --> 01:07:04,880
According to the faculty,
he's very talented.
871
01:07:04,880 --> 01:07:07,970
Yeah, well, he makes me feel very old.
872
01:07:08,010 --> 01:07:12,850
In fact, doing this movie
makes me feel very old.
873
01:07:12,890 --> 01:07:17,900
You know, when I was his age, there was no
such creature called "a Negro movie director."
874
01:07:17,900 --> 01:07:21,360
- Would you have been better off as a minister?
- Oh, I don't know.
875
01:07:21,400 --> 01:07:24,360
Built-in audience,
a chance to theologize at will.
876
01:07:24,400 --> 01:07:27,660
I can't see it. Are there women?
877
01:07:27,700 --> 01:07:31,910
Now lift her up on that parapet, Duke!
878
01:07:31,950 --> 01:07:35,910
Make it a nice, clean gesture.
879
01:07:36,920 --> 01:07:39,630
I have a misanthropic personality.
880
01:07:39,670 --> 01:07:42,040
I like to read, think,
881
01:07:42,090 --> 01:07:45,920
account to no one f
or my time or whereabouts.
882
01:07:45,920 --> 01:07:49,930
I'm sorry I didn't prepare you for this,
883
01:07:49,970 --> 01:07:53,760
but could you kiss?
884
01:07:53,810 --> 01:07:55,680
Really kiss?
885
01:08:18,920 --> 01:08:22,330
Do you know,
I really feel like I'm 25 years old.
886
01:08:22,380 --> 01:08:26,710
Th-The simple things about painting
are finally clear to me.
887
01:08:28,010 --> 01:08:29,970
It's you, already.
888
01:08:31,550 --> 01:08:33,970
- You see it?
- I see it.
889
01:08:33,970 --> 01:08:35,760
It's lovely.
890
01:08:35,810 --> 01:08:40,440
Theatrical, too,
but in a genuinely playful way.
891
01:08:40,480 --> 01:08:44,020
You know, I've always wanted
to be your kind of child.
892
01:08:44,070 --> 01:08:45,980
Pure, abstract.
893
01:08:45,980 --> 01:08:50,990
But I am not. I'm vulgar, deceptive,
and I'm full of dirty tricks.
894
01:08:52,570 --> 01:08:57,950
Do you see the way that bridge is
obscured by those willow trees?
895
01:08:58,000 --> 01:09:01,080
I have no interest
in duplicating nature.
896
01:09:01,120 --> 01:09:04,380
Everything I want to paint
is up here.
897
01:09:13,340 --> 01:09:14,930
Come here.
898
01:09:17,600 --> 01:09:19,020
You see that?
899
01:09:25,190 --> 01:09:27,150
Is that up here?
900
01:09:29,030 --> 01:09:31,450
(laughing)
901
01:09:33,030 --> 01:09:35,820
Hey! Celia!
902
01:09:35,870 --> 01:09:37,700
Come here!
903
01:09:37,740 --> 01:09:39,790
(laughing)
904
01:09:41,960 --> 01:09:44,170
(speaking Spanish)
905
01:09:44,210 --> 01:09:46,170
(mock Spanish)
906
01:09:47,750 --> 01:09:49,460
You two never stop talking.
907
01:09:49,510 --> 01:09:52,050
You haven't stopped talking
since you got here.
908
01:09:52,050 --> 01:09:54,470
...in Puerto Rico...
"In Puerto Rico."
909
01:09:54,510 --> 01:09:57,050
You're not in Puerto Rico.
910
01:09:57,060 --> 01:10:00,180
(Spanish)
911
01:10:00,230 --> 01:10:03,060
All right. Enough. Enough.
912
01:10:03,060 --> 01:10:05,560
Quiet! Quiet!
913
01:10:05,610 --> 01:10:08,070
It's not important! It's not important.
914
01:10:08,070 --> 01:10:10,730
- (Spanish continues)
- Listen. No, wait a minute.
915
01:10:10,780 --> 01:10:13,070
- Uh-huh. Gracias.
- Excuse me.
916
01:10:14,070 --> 01:10:16,070
(Spanish resumes)
917
01:10:17,660 --> 01:10:20,370
This is very important.
I have something I want to tell you.
918
01:10:20,410 --> 01:10:22,450
I have something... This is...
919
01:10:22,500 --> 01:10:24,580
Uh... Uh! Uh!
920
01:10:24,620 --> 01:10:26,830
Shh.
921
01:10:26,880 --> 01:10:29,380
His father is Spanish,
922
01:10:29,420 --> 01:10:33,260
but his mother is a full-blooded
American black woman.
923
01:10:35,090 --> 01:10:36,720
What?
924
01:10:36,760 --> 01:10:39,100
His father left home
when he was six years old.
925
01:10:39,100 --> 01:10:41,390
Four, man.
926
01:10:41,430 --> 01:10:44,350
This is the beginning
of one of his jealous tirades.
927
01:10:44,390 --> 01:10:47,100
(laughs) Victor was raised
by a possessive mother
928
01:10:47,110 --> 01:10:50,860
- who felt he should never be left out of anything.
- Oh... oh.
929
01:10:50,900 --> 01:10:53,240
- SARA: Victor.
- Huh?
930
01:11:06,120 --> 01:11:07,960
Carlos! Oh!
931
01:11:08,000 --> 01:11:10,290
- (laughs)
- How good it is to see you.
932
01:11:10,340 --> 01:11:14,130
- Good to see you, Sara.
- Oh, thank you.
933
01:11:14,130 --> 01:11:16,090
Oh, this is Duke Richards, everybody.
934
01:11:16,130 --> 01:11:19,010
We're doing a movie together.
935
01:11:19,050 --> 01:11:22,010
Um, Duke, this is Carlos,
an old family friend.
936
01:11:22,060 --> 01:11:23,850
- Carlos.
- Glad to meet you.
937
01:11:23,890 --> 01:11:26,350
And this is Celia, a new family friend.
938
01:11:27,440 --> 01:11:28,980
Celia.
939
01:11:29,020 --> 01:11:31,360
And this is Victor.
940
01:11:31,400 --> 01:11:33,820
Hello.
941
01:11:33,860 --> 01:11:38,160
Were you in that movie,
Ten Street Exteriors?
942
01:11:38,160 --> 01:11:41,160
- Yes, that's right.
- I remember you well, man.
943
01:11:41,160 --> 01:11:43,200
- You do?
- You were wonderful in that.
944
01:11:43,240 --> 01:11:46,040
- Oh!
- Thank you. How kind of you.
945
01:11:46,080 --> 01:11:49,170
This is gonna be a-a real party.
946
01:11:49,170 --> 01:11:51,170
♪♪ (salsa)
947
01:11:59,300 --> 01:12:01,180
Well, well, well, well.
948
01:12:01,180 --> 01:12:04,220
The silent purist has a touch of
lechery in his bones.
949
01:12:04,270 --> 01:12:07,140
- Come here, darling.
- Hey, man. Come on.
950
01:12:07,190 --> 01:12:09,140
- No, I want to dance.
- (arguing)
951
01:12:10,480 --> 01:12:12,520
You don't wanna dance with me?
952
01:12:12,570 --> 01:12:15,610
Sara, darling.
I want to show you something.
953
01:12:15,650 --> 01:12:18,110
♪♪ (vocalizing)
954
01:12:19,320 --> 01:12:22,120
I always forget you can't dance.
955
01:12:26,200 --> 01:12:27,830
Hey, man!
956
01:12:27,870 --> 01:12:30,210
- What kind of behavior is this, man?
- You know what?
957
01:12:30,210 --> 01:12:32,460
I really resent your Latin ancestry,
958
01:12:32,500 --> 01:12:35,710
and I reserve the right to express it.
959
01:12:35,760 --> 01:12:38,760
- That's right.
- Leave me out of it, man.
960
01:12:40,220 --> 01:12:42,970
You come to a party, people dance.
961
01:12:43,010 --> 01:12:44,430
They fool around.
962
01:12:44,470 --> 01:12:47,560
None of this bullshit
about who can dance with who,
963
01:12:47,600 --> 01:12:49,230
what, when and where.
964
01:12:49,270 --> 01:12:52,400
That's no dancing.
That's no party, man.
965
01:12:55,900 --> 01:12:58,440
Hey. Now, that's really well put, baby.
966
01:12:58,490 --> 01:13:01,240
What is this, a performance?
A cinematic moment?
967
01:13:01,240 --> 01:13:02,860
- Hey, hey, hey, man.
- Huh?
968
01:13:02,910 --> 01:13:04,620
Hey, man. Hey, man. Hey, man.
969
01:13:04,660 --> 01:13:06,290
Get a hold of that. Don't do it.
970
01:13:06,330 --> 01:13:09,250
This is really beginning
to get pretty strange.
971
01:13:09,250 --> 01:13:11,620
(laughing)
972
01:13:11,670 --> 01:13:14,880
That's very good. That's like dancing.
973
01:13:14,920 --> 01:13:16,670
Man, man, man.
974
01:13:16,710 --> 01:13:19,260
You say that enough times,
you can't stop.
975
01:13:19,260 --> 01:13:22,260
You just go,
"I don't know, man.
976
01:13:22,260 --> 01:13:24,260
And this is how it goes, man.
977
01:13:24,260 --> 01:13:27,680
And I believe
it's always happening, man!"
978
01:13:27,720 --> 01:13:29,350
You know, that's really very true
979
01:13:29,390 --> 01:13:32,060
and, uh, very well put.
980
01:13:32,100 --> 01:13:33,730
There's a rhythm of speech
981
01:13:33,770 --> 01:13:36,360
and how that sometimes
defines the truth.
982
01:13:36,400 --> 01:13:39,280
What the fuck is he talking about?
983
01:13:39,280 --> 01:13:41,900
Leave it to you to run into
some goddamn actor.
984
01:13:41,950 --> 01:13:44,280
What the hell do you two talk about
on the screen?
985
01:13:44,320 --> 01:13:47,160
You sit there and read
from Plato's Republic?
986
01:13:47,200 --> 01:13:49,290
Huh? You wanna dance with me?
987
01:13:49,290 --> 01:13:52,290
You wanna dance with me?
I'll dance by my goddamn self.
988
01:13:52,290 --> 01:13:54,880
Watch this. Ready for it? This is it.
989
01:13:54,920 --> 01:13:58,300
Come on. Let's get on down.
Take up with the music. Get it on.
990
01:13:58,300 --> 01:13:59,840
You know what I think
we should do?
991
01:13:59,880 --> 01:14:03,300
I think we should all go out and sleep
under the stars tonight.
992
01:14:45,720 --> 01:14:48,470
I dare everybody to follow me!
993
01:14:51,020 --> 01:14:52,350
Oh.
994
01:14:57,860 --> 01:15:00,360
Come in the... Damn, it's cold!
995
01:15:00,360 --> 01:15:02,360
Shit! Come in!
996
01:15:02,360 --> 01:15:04,690
- Come on!
- It takes me back to my childhood.
997
01:15:04,740 --> 01:15:08,370
(speaking Spanish)
998
01:15:08,410 --> 01:15:11,370
I go in, but just like I am.
999
01:15:11,370 --> 01:15:12,830
Oh!
1000
01:15:13,870 --> 01:15:15,370
(gasps)
1001
01:15:19,380 --> 01:15:20,710
(coughs)
1002
01:15:22,380 --> 01:15:24,050
Is it cold?
1003
01:15:25,170 --> 01:15:27,010
(laughing)
1004
01:15:29,760 --> 01:15:31,390
I hate water.
1005
01:15:31,390 --> 01:15:33,390
I feel like I'm drowning in the bathtub.
1006
01:15:33,390 --> 01:15:35,600
I hear you, honey.
1007
01:15:40,400 --> 01:15:41,980
IAy!
1008
01:15:43,150 --> 01:15:44,860
I'm cold.
1009
01:15:44,900 --> 01:15:47,360
SARA: I'll go get you some clothes.
1010
01:15:50,320 --> 01:15:52,370
(splashing)
1011
01:15:53,490 --> 01:15:55,080
(coughing)
1012
01:15:58,250 --> 01:16:00,420
VICTOR: Where's the rest of 'em?
1013
01:16:00,420 --> 01:16:03,420
(Carlos speaking Spanish)
1014
01:16:03,420 --> 01:16:05,710
It's true.
1015
01:16:05,760 --> 01:16:08,430
It's damn irresistible.
1016
01:16:12,100 --> 01:16:14,060
(Duke shouts)
1017
01:16:18,440 --> 01:16:20,400
It's cold.
1018
01:16:20,440 --> 01:16:23,980
(men conversing, laughing)
1019
01:16:40,120 --> 01:16:44,460
Ah.
(growling)
1020
01:16:44,460 --> 01:16:46,800
Give me some bag.
1021
01:16:46,840 --> 01:16:50,470
What you doing?
You think this is a funny moment?
1022
01:16:50,470 --> 01:16:52,720
This is no funny moment!
1023
01:16:52,760 --> 01:16:56,100
(growling)
1024
01:16:56,140 --> 01:16:59,480
(laughing) Give me some bag.
Give me some bag!
1025
01:16:59,480 --> 01:17:03,480
Stop! Leave me out of it, man!
What you doing?
1026
01:17:03,480 --> 01:17:06,320
(shouting in Spanish)
1027
01:17:07,650 --> 01:17:09,490
Ah-ah-ah-ah-ah! Oh!
1028
01:17:09,490 --> 01:17:12,490
You think you can go around
taking that thing out in front of me?
1029
01:17:12,490 --> 01:17:16,280
It's uncalled for for you to fling your
little private ecstasies in my face!
1030
01:17:16,330 --> 01:17:19,040
This is not one of your classes.
Don't lecture to me.
1031
01:17:19,080 --> 01:17:22,000
Don't fuck around then!
1032
01:17:22,040 --> 01:17:25,170
Don't you take your dick out
like it was artistic,
1033
01:17:25,210 --> 01:17:27,840
like it's some goddamn paintbrush!
1034
01:17:27,880 --> 01:17:29,710
Maybe that's what's uneven,
1035
01:17:29,760 --> 01:17:32,220
that I got nothin' to take out!
1036
01:18:17,220 --> 01:18:19,310
I'm on shaky ground.
1037
01:18:19,350 --> 01:18:23,520
Well, that's not
the kind of feeling you like.
1038
01:18:24,560 --> 01:18:26,270
Order.
1039
01:18:26,310 --> 01:18:29,020
That's what Victor loves about me
1040
01:18:29,070 --> 01:18:32,440
is there's no chaos anywhere.
1041
01:18:32,490 --> 01:18:34,450
That's the quality in you
1042
01:18:34,490 --> 01:18:39,370
that even I admit to counting on.
1043
01:18:41,040 --> 01:18:42,580
Mama?
1044
01:18:55,300 --> 01:18:58,640
♪♪ (saxophone)
1045
01:19:33,090 --> 01:19:35,340
Okay, now, Johnny, dip her.
1046
01:19:35,380 --> 01:19:38,390
Same sweeping gesture
you used with Frankie.
1047
01:19:38,430 --> 01:19:39,760
Ah.
1048
01:19:44,640 --> 01:19:46,180
Yes.
1049
01:20:33,270 --> 01:20:35,690
GEORGE: Okay, Frankie.
1050
01:20:35,690 --> 01:20:37,440
Raise the gun.
1051
01:20:52,250 --> 01:20:54,210
Take your time.
1052
01:21:02,010 --> 01:21:04,800
And when it feels right,
1053
01:21:04,850 --> 01:21:07,350
blow him away.
1054
01:21:09,270 --> 01:21:10,600
(gunshot)
1055
01:21:37,550 --> 01:21:40,090
(wind gusting)
1056
01:21:51,350 --> 01:21:57,770
MAN: ♪ Lately I have had
some trouble sleeping ♪
1057
01:21:59,650 --> 01:22:02,900
♪ Sandman hasn't paid a call ♪
1058
01:22:02,950 --> 01:22:05,780
♪ In days ♪
1059
01:22:09,160 --> 01:22:15,880
♪ I guess it's in keeping ♪
1060
01:22:15,920 --> 01:22:18,960
♪ That love does her thing ♪
1061
01:22:19,000 --> 01:22:22,800
♪ In funny ways ♪
1062
01:22:25,590 --> 01:22:27,010
♪ Tried to dine ♪
1063
01:22:27,050 --> 01:22:31,850
♪ But nothing's appetizing ♪
1064
01:22:33,270 --> 01:22:40,480
♪ Lost the taste for truffles
and flambe ♪
1065
01:22:43,200 --> 01:22:50,330
♪ I'm just realizing ♪
1066
01:22:50,370 --> 01:22:53,710
♪ That love does her thing ♪
1067
01:22:53,750 --> 01:22:56,790
♪ In funny ways ♪
1068
01:22:59,840 --> 01:23:03,590
♪ I used to count myself ♪
1069
01:23:03,630 --> 01:23:06,680
♪ A roguish sort of gent ♪
1070
01:23:07,800 --> 01:23:10,680
♪ The sort that heaven sent ♪
1071
01:23:10,720 --> 01:23:16,140
♪ To womankind ♪
1072
01:23:16,190 --> 01:23:19,770
♪ Oh, can I see ♪
1073
01:23:19,820 --> 01:23:23,780
♪ That you were lying there in wait ♪
77728
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