电影剧本：闻香识女人 (Scent of A Woman) （29）
内景。 豪华前厅 － 第五大道酒店 － 下午
富丽堂皇的大厅充满豪华之气，茶桌配着镀金的椅子，棕榈叶和榕树环绕着舞池。一群高雅的纽约人在轻声细语交谈，陪衬着优雅的三重奏。一个侍者在听史雷德点饮料。
史雷德：一杯双份杰克丹尼尔加冰，给这个年青人来杯莎莉谭宝。
查理：等等（对侍者）你们有啤酒吗？
侍者：有。我能看一下你的身份证吗？
史雷德举起手杖戳向侍者。
史雷德：你小子下半辈子还想不想走路了？
侍者：先生，我－－
史雷德：我是这儿的老顾客。我儿子快23岁了。你去问前台的吉儿波特先生，他是我的朋友。
侍者掂量着怎么办。
侍者（对查理）：要点哪个牌子的啤酒？
史雷德：施利茨。如果没有施利茨，那就布拉茨好了。
侍者离开。史雷德捶下查理的肩膀。
史雷德（继续）：你到底还是个俗人。（四下张望）谁跟我们一起共饮，我闻到旁边一股清新的皂香。
查理：女人。
史雷德：’女人’ 嘿！（嗤笑）如果你称呼她为’女性’，你一定喜欢她了，否则不会这么轻佻地叫她这个。栗色秀发？
查理：棕色。
史雷德：芳龄22？
查理：你当我什么了，马戏团的伙计？
史雷德用盲眼瞪着查理。
史雷德：查理，当我们停止求偶的那一天就是我们的死亡之日。（过了一会儿）出击行动。
查理：去哪儿？
史雷德：你知道哪儿？
史雷德起身，兴奋的抿笑。
史雷德（继续）：查理，这女孩和你天仙配，绝对漂亮，是吗？
查理：还不错。
史雷德：哐！这孩子来劲了。
确实，邻桌的中国叫唐娜的女孩真的美丽绝伦。
史雷德（继续）：得，小子，凑过去，凑过去。
查理很窘迫，起身，引导史雷德走向唐娜。他躲在史雷德身后扭扭捏捏地跟着。
史雷德（继续）（对唐娜）：对不起，小姐，我们能奉陪吗？
唐娜打量着这两个人，一个是奇帅的中年盲人和陪伴他的一个拘谨的年青人。
唐娜（愉快的）：哦，我在等个人。
史雷德：他到了吗？
唐娜：还没有，但是他随时－－
史雷德：噢，’随时’，那你现在干什么呢？
唐娜（微笑）：我在等他。
史雷德：那么你不介意我们和你一起等？
唐娜又笑了。
唐娜：不介意。
史雷德已经拉开椅子坐下来，查理也跟着坐下，史雷德朝唐娜倾过身。
史雷德：你闻上去用的像是奥格威姊妹牌香皂。
稍停一下。
唐娜：太绝了。
史雷德：对，我的拿手戏。
唐娜：确实是奥格威姊妹牌香皂。（对查理）我的奶奶送给我三块作为圣诞礼物。史雷德：我非常喜欢你的奶奶。我认为她也会喜欢查理的。
查理（对唐娜）：别听他乱讲。
史雷德：你叫什么？
唐娜：唐娜。
史雷德：你好唐娜。 我是弗兰克，这位是－－
唐娜：他是查理。
史雷德（对查理）：她挺喜欢你。
唐娜笑了。唐正瞧着查理呢。
史雷德（继续）（诱惑地）：奏的是什么音乐？
唐娜：桑巴，也许是探戈吧？
唐娜轻轻地耸耸肩。
史雷德：对，是探戈。你跳探戈吗，唐娜？
唐娜：我很想，但是－－
史雷德：但是什么？
唐娜：麦克不跳。
史雷德：’麦克’，就是你在等的那个人吗？
唐娜：麦克认为探戈太歇斯底里了。
史雷德：你告诉麦克我认为他才歇斯底里。
查理（对唐娜）：别听他乱讲。我之前是不是已经说过了？
唐娜咯咯的笑了。
史雷德：你知道这曲探戈的名字吗？
唐娜：探戈还有曲名？
史雷德：当然。这只叫做’拉普纳拉达’。
史雷德的西班牙语很标准完美。
史雷德（继续）：你知道是什么意思吗？
唐娜：不知道－－
史雷德：“戳刺“。
唐娜又偷扫了查理一眼。
史雷德（继续）：请你跳个舞好吗？
唐娜征询查理，他点头赞同。此时，他和唐纳一副亲密无间的样子。史雷德和唐娜起身。
史雷德（继续）（对唐娜）：你的手呢？
史雷德接过她的手。
史雷德（继续）：查理，我需要这儿的方位。
查理倾身靠近史雷德。
查理：你正对着一个40乘20英尺的舞池，你面对的是长侧，左边靠中间的地方有棵棕榈植物探出来，右边是乐队－－
史雷德扬手示意他打住，递给他手杖。他和唐娜一起步入舞池。她抬起双臂，他拥着她，瞬时间，他倆跳起了探戈。
史雷德的舞跳的极好。他随着音乐精确地踏在点上。开始，唐娜唯一能做的就是跟上他的步子，但是他舞带的好极了，没过多久，她已经成为一个完美的舞伴。三重奏开始进入独奏。舞池清空，只剩下史雷德和唐娜，节拍开始加快。几缕汗水沿着唐娜的面颊淌下，但是中校仍然镇定，舞步准确，游刃有余。唐娜跳舞的同时，时不时和查理相视。突然，随着一声响亮的滑奏，探戈结束了。在三重奏乐队曲间休息之前，他们和坐在桌子边的顾客一块儿鼓起掌来。
唐娜领着史雷德回到查理边上。
唐娜：弗兰克，你真是个非常好的舞伴。
史雷德：那要等到和查理跳完一曲才能说。
查理：他扯谎，我不会跳舞。
史雷德（对唐娜）：他很可爱吧？事实上，他不但会跳舞，还能高歌一曲呢。
唐娜：拉普纳拉达。
史雷德：戳刺。
一阵沉默。查理在史雷德和唐娜两人中间来回巡视。一个年轻英俊的青年麦克夹着一只公文包走过来。
麦克：你好，亲爱的。
唐娜：哟！
他们相互拥抱。
唐娜（继续）：这是弗兰克，这是查理。
麦克：你好，弗兰克。你好，查理。（对唐娜）对不起，我来迟了－－
唐娜：没关系，他们两人陪着我玩。我得说时间过的可真快。
史雷德（对麦克）：你的女友探戈跳的真棒。
麦克（对唐娜）：你终于找到一个可以跳探戈的舞伴了。（对查理微笑）我们握个手吧。
他摇着查理的手。
唐娜：不是，不是，是和弗兰克－－
麦克：见鬼，那我和你俩都握个手。
麦克摇着史雷德和查理的手。
麦克（继续）：亲爱的，这地儿挺不错，但是我们和达诺和凯萝在格林威治村有约。
唐娜：好的，好的。
麦克伸手掏兜要付账单，兜里的硬币叮铃作响。
史雷德：别掏兜了，麦克，这账我付了。
麦克：那太感谢了。
唐娜亲下弗兰克，又亲下查理，然后突然转身离开。
麦克（继续）：再见，伙计。
于是唐娜和麦克走掉了。查理看着他们消失，史雷德瞪着麦克刚才站立的地方。
史雷德（发愣地）：’达诺和凯萝’。
INT. GRAND FOYER, FIFTH AVENUE HOTEL - AFTERNOON
The lush atmosphere of an ornate public room, tea tables and
gilt chairs, palm fronds and ficus trees surround a dance
floor. The chatter of a sophisticated New York crowd mingles
with the music of an elegant trio. A Waiter is taking
Slade’s order for drinks.
SLADE
Double Jack Daniels on the rocks.
Bring the young man a Shirley
Temple.
CHARLIE
Not so fast.
(to Waiter)
You got beer?
WAITER
Yes. Can I see some I.D.?
Slade raises his cane to the Waiter.
SLADE
Interested in walking the rest of
your life, Chappie?
WAITER
Sir, I--
SLADE
I’m a regular here. My boy’s going
on twenty-three. Speak to Mr.
Gilbert in the front office, he’s a
friend of mine.
The Waiter weighs the situation.
WAITER
(to Charlie)
Any particular beer?
SLADE
Schlitz. No Schlitz, Blatz.
The Waiter goes, Slade punches Charlie on the shoulder.
SLADE (CONT’D)
You’re human.
(peering around)
Who are we drinking with? I’m
getting a nice, soap-and-water
feeling next to us.
CHARLIE
Female.
SLADE
’Female!’ Hey!
(cackles)
If you’re calling her ’female,’ you
must like her o you wouldn’t be
playing it so casual. Chestnut
hair?
CHARLIE
Brown.
SLADE
22?
CHARLIE
What am I, a guy at a carnival?
Slade drills Charlie with his blind stare.
SLADE
The day we stop looking, Charlie,
is the day we are dead.
(after a moment)
Move.
CHARLIE
Where?
SLADE
You know where.
Slade gets up, chuckling excitedly.
SLADE (CONT’D)
Charlie, this girl was made for
you. God-dam beautiful, isn’t she?
CHARLIE
Not bad.
SLADE
Bingo! The boy’s alive.
In fact, DONNA, the young woman at the adjacent table, is a
knockout.
SLADE (CONT’D)
(nudging Charlie)
C’mon, son, perambulate,
perambulate!
Charlie, embarrassed, gets up and steers Slade towards
Donna. Hiding behind Slade, Charlie does a weird balancing
act between being present and not being present.
SLADE (CONT’D)
(to Donna)
Excuse me, senorita, could we join
you?
Donna takes in this pair, the stunning, blind, middle-aged
man and his young, awkward companion.
DONNA
(pleasantly)
Well, I am expecting somebody.
SLADE
He’s here?
DONNA
No, but any minute--
SLADE
Okay, ’any minute.’ What are you
doing right now?
DONNA
(smiles)
I’m waiting for him.
SLADE
So you don’t mind if we wait with
you?
Donna smiles again.
DONNA
No.
Slade has already pulled up a chair. He sits down, Charlie
joins him as Slade leans into Donna.
A moment.
SLADE
You smell like a bar of Ogilvie
Sisters soap.
DONNA
That’s amazing.
SLADE
Good, I’m in the amazing business.
DONNA
It is Ogilvie Sisters soap.
(to Charlie)
Granny gave me three bars for
Christmas.
SLADE
I’m crazy about your grandmother.
And I think she would have liked
Charlie, too.
CHARLIE
(to Donna)
Don’t pay any attention to him.
SLADE
What’s your name?
DONNA Donna.
SLADE
Hi Donna, I’m Frank and...
DONNA
That’s Charlie.
SLADE
(to Charlie)
She likes you.
Donna laughs, she is looking right at Charlie now.
SLADE (CONT’D)
(seductively)
What’s that music?
DONNA
Samba. Or is it a tango?
Donna’s shoulders sway gently.
SLADE
Yes, it’s a tango. You tango,
Donna?
DONNA
I love to. But--
SLADE
But what?
DONNA
Michael doesn’t.
SLADE
’Michael,’ who you’re waiting for.
DONNA
Michael thinks the tango’s
hysterical.
SLADE
Tell Michael I think he’s
hysterical.
CHARLIE
(to Donna)
Don’t pay any attention to him. Or
did I say that already?
Donna giggles.
SLADE
You know the name of this tango?
DONNA
Tangos have names?
SLADE
Of course, this one’s called La
Punalada.
Slade’s Spanish is perfect.
SLADE (CONT’D)
You know what that means?
DONNA
No--
SLADE
’The Stab.’
Donna risks another look at Charlie.
SLADE (CONT’D)
Would you like to dance?
Donna checks with Charlie, he gives a reassuring nod and, in
this moment, endears himself to Donna completely. Slade and
Donna rise.
SLADE (CONT’D)
(to Donna)
Your arm?
Slade takes Donna’s arm.
SLADE (CONT’D)
I need some coordinates here,
Charlie.
Charlie leans into Slade.
CHARLIE
You’re looking at about forty by
twenty. You’re facing the long end.
Halfway down on the left there’s a
palm plant sticking out, on the
right side’s the band--
Slade puts up his hand to tacit Charlie, hands him his cane.
He moves out to the dance floor with Donna, she raises her
arms, he takes hold of them, and in an instant they are into
a tango.
Slade is a marvelous dancer, he moves in perfect consonance
with the music, at first it is all Donna can do to keep up
with him but he leads so brilliantly, after a while she
becomes a perfect partner. The little trio is into the
number now, the dance floor clearing for Slade and Donna,
the tempo speeds up, rivulets of sweat run down Donna’s
cheek but the Colonel remains cool and precise and in
command. As Donna dances, her eyes keep meeting Charlie’s
eyes when suddenly, with a great glissando, the tango ends
and the trio takes a brief break but first they, and the
customers at the tables, applaud.
Donna leads Slade back to Charlie.
DONNA
Frank, you are one incredible dancer.
SLADE
Wait ’til you see Charlie.
CHARLIE
He’s a liar, I don’t dance.
SLADE
(to Donna)
Isn’t he a charmer? Truth is, not
only can he dance, he can sing you
a helluva tune.
DONNA
La Punalada.
SLADE
The stab.
Silence, Charlie looks from Slade to Donna and back again.
MICHAEL, an attractive young man, approaches, he carries an
attache case.
MICHAEL
Hi, honey.
DONNA
Hey!
They embrace.
DONNA (CONT’D)
This is Frank and this is Charlie.
MICHAEL
Hi Frank, hi Charlie.
(to Donna)
Sorry I’m late--
DONNA
That’s okay, these two guys
entertained me. I got to tell you,
the time flew.
SLADE
(to Michael)
Your girl does a helluva tango.
MICHAEL
(to Donna)
At last. You found someone to tango
with.
(smiling, to Charlie)
Let me shake your hand.
He pumps Charlie’s hand.
DONNA
No, no, it was Frank--
MICHAEL
What the hell, I’ll shake both your
hands.
Michael pumps Slade’s and Charlie’s hands.
MICHAEL (CONT’D)
Honey, this looks like ’the place,’
but we got a date with Darryl and
Carol in the village.
DONNA
Okay, okay--
Michael reaches in his pocket to pay the check, his change
jingles.
SLADE
Take your hand out of your pocket,
Michael, I’ll get this.
MICHAEL
Why thank you.
Donna kisses Frank, and now she kisses Charlie. Then
suddenly she hurries away.
MICHAEL (CONT’D)
’Bye, guys.
And Donna and Michael are gone. Charlie watches them
disappear as Slade stares in the direction where Michael
last stood.
SLADE
(emptily)
’Darryl and Carol.’
富丽堂皇的大厅充满豪华之气，茶桌配着镀金的椅子，棕榈叶和榕树环绕着舞池。一群高雅的纽约人在轻声细语交谈，陪衬着优雅的三重奏。一个侍者在听史雷德点饮料。
史雷德：一杯双份杰克丹尼尔加冰，给这个年青人来杯莎莉谭宝。
查理：等等（对侍者）你们有啤酒吗？
侍者：有。我能看一下你的身份证吗？
史雷德举起手杖戳向侍者。
史雷德：你小子下半辈子还想不想走路了？
侍者：先生，我－－
史雷德：我是这儿的老顾客。我儿子快23岁了。你去问前台的吉儿波特先生，他是我的朋友。
侍者掂量着怎么办。
侍者（对查理）：要点哪个牌子的啤酒？
史雷德：施利茨。如果没有施利茨，那就布拉茨好了。
侍者离开。史雷德捶下查理的肩膀。
史雷德（继续）：你到底还是个俗人。（四下张望）谁跟我们一起共饮，我闻到旁边一股清新的皂香。
查理：女人。
史雷德：’女人’ 嘿！（嗤笑）如果你称呼她为’女性’，你一定喜欢她了，否则不会这么轻佻地叫她这个。栗色秀发？
查理：棕色。
史雷德：芳龄22？
查理：你当我什么了，马戏团的伙计？
史雷德用盲眼瞪着查理。
史雷德：查理，当我们停止求偶的那一天就是我们的死亡之日。（过了一会儿）出击行动。
查理：去哪儿？
史雷德：你知道哪儿？
史雷德起身，兴奋的抿笑。
史雷德（继续）：查理，这女孩和你天仙配，绝对漂亮，是吗？
查理：还不错。
史雷德：哐！这孩子来劲了。
确实，邻桌的中国叫唐娜的女孩真的美丽绝伦。
史雷德（继续）：得，小子，凑过去，凑过去。
查理很窘迫，起身，引导史雷德走向唐娜。他躲在史雷德身后扭扭捏捏地跟着。
史雷德（继续）（对唐娜）：对不起，小姐，我们能奉陪吗？
唐娜打量着这两个人，一个是奇帅的中年盲人和陪伴他的一个拘谨的年青人。
唐娜（愉快的）：哦，我在等个人。
史雷德：他到了吗？
唐娜：还没有，但是他随时－－
史雷德：噢，’随时’，那你现在干什么呢？
唐娜（微笑）：我在等他。
史雷德：那么你不介意我们和你一起等？
唐娜又笑了。
唐娜：不介意。
史雷德已经拉开椅子坐下来，查理也跟着坐下，史雷德朝唐娜倾过身。
史雷德：你闻上去用的像是奥格威姊妹牌香皂。
稍停一下。
唐娜：太绝了。
史雷德：对，我的拿手戏。
唐娜：确实是奥格威姊妹牌香皂。（对查理）我的奶奶送给我三块作为圣诞礼物。史雷德：我非常喜欢你的奶奶。我认为她也会喜欢查理的。
查理（对唐娜）：别听他乱讲。
史雷德：你叫什么？
唐娜：唐娜。
史雷德：你好唐娜。 我是弗兰克，这位是－－
唐娜：他是查理。
史雷德（对查理）：她挺喜欢你。
唐娜笑了。唐正瞧着查理呢。
史雷德（继续）（诱惑地）：奏的是什么音乐？
唐娜：桑巴，也许是探戈吧？
唐娜轻轻地耸耸肩。
史雷德：对，是探戈。你跳探戈吗，唐娜？
唐娜：我很想，但是－－
史雷德：但是什么？
唐娜：麦克不跳。
史雷德：’麦克’，就是你在等的那个人吗？
唐娜：麦克认为探戈太歇斯底里了。
史雷德：你告诉麦克我认为他才歇斯底里。
查理（对唐娜）：别听他乱讲。我之前是不是已经说过了？
唐娜咯咯的笑了。
史雷德：你知道这曲探戈的名字吗？
唐娜：探戈还有曲名？
史雷德：当然。这只叫做’拉普纳拉达’。
史雷德的西班牙语很标准完美。
史雷德（继续）：你知道是什么意思吗？
唐娜：不知道－－
史雷德：“戳刺“。
唐娜又偷扫了查理一眼。
史雷德（继续）：请你跳个舞好吗？
唐娜征询查理，他点头赞同。此时，他和唐纳一副亲密无间的样子。史雷德和唐娜起身。
史雷德（继续）（对唐娜）：你的手呢？
史雷德接过她的手。
史雷德（继续）：查理，我需要这儿的方位。
查理倾身靠近史雷德。
查理：你正对着一个40乘20英尺的舞池，你面对的是长侧，左边靠中间的地方有棵棕榈植物探出来，右边是乐队－－
史雷德扬手示意他打住，递给他手杖。他和唐娜一起步入舞池。她抬起双臂，他拥着她，瞬时间，他倆跳起了探戈。
史雷德的舞跳的极好。他随着音乐精确地踏在点上。开始，唐娜唯一能做的就是跟上他的步子，但是他舞带的好极了，没过多久，她已经成为一个完美的舞伴。三重奏开始进入独奏。舞池清空，只剩下史雷德和唐娜，节拍开始加快。几缕汗水沿着唐娜的面颊淌下，但是中校仍然镇定，舞步准确，游刃有余。唐娜跳舞的同时，时不时和查理相视。突然，随着一声响亮的滑奏，探戈结束了。在三重奏乐队曲间休息之前，他们和坐在桌子边的顾客一块儿鼓起掌来。
唐娜领着史雷德回到查理边上。
唐娜：弗兰克，你真是个非常好的舞伴。
史雷德：那要等到和查理跳完一曲才能说。
查理：他扯谎，我不会跳舞。
史雷德（对唐娜）：他很可爱吧？事实上，他不但会跳舞，还能高歌一曲呢。
唐娜：拉普纳拉达。
史雷德：戳刺。
一阵沉默。查理在史雷德和唐娜两人中间来回巡视。一个年轻英俊的青年麦克夹着一只公文包走过来。
麦克：你好，亲爱的。
唐娜：哟！
他们相互拥抱。
唐娜（继续）：这是弗兰克，这是查理。
麦克：你好，弗兰克。你好，查理。（对唐娜）对不起，我来迟了－－
唐娜：没关系，他们两人陪着我玩。我得说时间过的可真快。
史雷德（对麦克）：你的女友探戈跳的真棒。
麦克（对唐娜）：你终于找到一个可以跳探戈的舞伴了。（对查理微笑）我们握个手吧。
他摇着查理的手。
唐娜：不是，不是，是和弗兰克－－
麦克：见鬼，那我和你俩都握个手。
麦克摇着史雷德和查理的手。
麦克（继续）：亲爱的，这地儿挺不错，但是我们和达诺和凯萝在格林威治村有约。
唐娜：好的，好的。
麦克伸手掏兜要付账单，兜里的硬币叮铃作响。
史雷德：别掏兜了，麦克，这账我付了。
麦克：那太感谢了。
唐娜亲下弗兰克，又亲下查理，然后突然转身离开。
麦克（继续）：再见，伙计。
于是唐娜和麦克走掉了。查理看着他们消失，史雷德瞪着麦克刚才站立的地方。
史雷德（发愣地）：’达诺和凯萝’。
INT. GRAND FOYER, FIFTH AVENUE HOTEL - AFTERNOON
The lush atmosphere of an ornate public room, tea tables and
gilt chairs, palm fronds and ficus trees surround a dance
floor. The chatter of a sophisticated New York crowd mingles
with the music of an elegant trio. A Waiter is taking
Slade’s order for drinks.
SLADE
Double Jack Daniels on the rocks.
Bring the young man a Shirley
Temple.
CHARLIE
Not so fast.
(to Waiter)
You got beer?
WAITER
Yes. Can I see some I.D.?
Slade raises his cane to the Waiter.
SLADE
Interested in walking the rest of
your life, Chappie?
WAITER
Sir, I--
SLADE
I’m a regular here. My boy’s going
on twenty-three. Speak to Mr.
Gilbert in the front office, he’s a
friend of mine.
The Waiter weighs the situation.
WAITER
(to Charlie)
Any particular beer?
SLADE
Schlitz. No Schlitz, Blatz.
The Waiter goes, Slade punches Charlie on the shoulder.
SLADE (CONT’D)
You’re human.
(peering around)
Who are we drinking with? I’m
getting a nice, soap-and-water
feeling next to us.
CHARLIE
Female.
SLADE
’Female!’ Hey!
(cackles)
If you’re calling her ’female,’ you
must like her o you wouldn’t be
playing it so casual. Chestnut
hair?
CHARLIE
Brown.
SLADE
22?
CHARLIE
What am I, a guy at a carnival?
Slade drills Charlie with his blind stare.
SLADE
The day we stop looking, Charlie,
is the day we are dead.
(after a moment)
Move.
CHARLIE
Where?
SLADE
You know where.
Slade gets up, chuckling excitedly.
SLADE (CONT’D)
Charlie, this girl was made for
you. God-dam beautiful, isn’t she?
CHARLIE
Not bad.
SLADE
Bingo! The boy’s alive.
In fact, DONNA, the young woman at the adjacent table, is a
knockout.
SLADE (CONT’D)
(nudging Charlie)
C’mon, son, perambulate,
perambulate!
Charlie, embarrassed, gets up and steers Slade towards
Donna. Hiding behind Slade, Charlie does a weird balancing
act between being present and not being present.
SLADE (CONT’D)
(to Donna)
Excuse me, senorita, could we join
you?
Donna takes in this pair, the stunning, blind, middle-aged
man and his young, awkward companion.
DONNA
(pleasantly)
Well, I am expecting somebody.
SLADE
He’s here?
DONNA
No, but any minute--
SLADE
Okay, ’any minute.’ What are you
doing right now?
DONNA
(smiles)
I’m waiting for him.
SLADE
So you don’t mind if we wait with
you?
Donna smiles again.
DONNA
No.
Slade has already pulled up a chair. He sits down, Charlie
joins him as Slade leans into Donna.
A moment.
SLADE
You smell like a bar of Ogilvie
Sisters soap.
DONNA
That’s amazing.
SLADE
Good, I’m in the amazing business.
DONNA
It is Ogilvie Sisters soap.
(to Charlie)
Granny gave me three bars for
Christmas.
SLADE
I’m crazy about your grandmother.
And I think she would have liked
Charlie, too.
CHARLIE
(to Donna)
Don’t pay any attention to him.
SLADE
What’s your name?
DONNA Donna.
SLADE
Hi Donna, I’m Frank and...
DONNA
That’s Charlie.
SLADE
(to Charlie)
She likes you.
Donna laughs, she is looking right at Charlie now.
SLADE (CONT’D)
(seductively)
What’s that music?
DONNA
Samba. Or is it a tango?
Donna’s shoulders sway gently.
SLADE
Yes, it’s a tango. You tango,
Donna?
DONNA
I love to. But--
SLADE
But what?
DONNA
Michael doesn’t.
SLADE
’Michael,’ who you’re waiting for.
DONNA
Michael thinks the tango’s
hysterical.
SLADE
Tell Michael I think he’s
hysterical.
CHARLIE
(to Donna)
Don’t pay any attention to him. Or
did I say that already?
Donna giggles.
SLADE
You know the name of this tango?
DONNA
Tangos have names?
SLADE
Of course, this one’s called La
Punalada.
Slade’s Spanish is perfect.
SLADE (CONT’D)
You know what that means?
DONNA
No--
SLADE
’The Stab.’
Donna risks another look at Charlie.
SLADE (CONT’D)
Would you like to dance?
Donna checks with Charlie, he gives a reassuring nod and, in
this moment, endears himself to Donna completely. Slade and
Donna rise.
SLADE (CONT’D)
(to Donna)
Your arm?
Slade takes Donna’s arm.
SLADE (CONT’D)
I need some coordinates here,
Charlie.
Charlie leans into Slade.
CHARLIE
You’re looking at about forty by
twenty. You’re facing the long end.
Halfway down on the left there’s a
palm plant sticking out, on the
right side’s the band--
Slade puts up his hand to tacit Charlie, hands him his cane.
He moves out to the dance floor with Donna, she raises her
arms, he takes hold of them, and in an instant they are into
a tango.
Slade is a marvelous dancer, he moves in perfect consonance
with the music, at first it is all Donna can do to keep up
with him but he leads so brilliantly, after a while she
becomes a perfect partner. The little trio is into the
number now, the dance floor clearing for Slade and Donna,
the tempo speeds up, rivulets of sweat run down Donna’s
cheek but the Colonel remains cool and precise and in
command. As Donna dances, her eyes keep meeting Charlie’s
eyes when suddenly, with a great glissando, the tango ends
and the trio takes a brief break but first they, and the
customers at the tables, applaud.
Donna leads Slade back to Charlie.
DONNA
Frank, you are one incredible dancer.
SLADE
Wait ’til you see Charlie.
CHARLIE
He’s a liar, I don’t dance.
SLADE
(to Donna)
Isn’t he a charmer? Truth is, not
only can he dance, he can sing you
a helluva tune.
DONNA
La Punalada.
SLADE
The stab.
Silence, Charlie looks from Slade to Donna and back again.
MICHAEL, an attractive young man, approaches, he carries an
attache case.
MICHAEL
Hi, honey.
DONNA
Hey!
They embrace.
DONNA (CONT’D)
This is Frank and this is Charlie.
MICHAEL
Hi Frank, hi Charlie.
(to Donna)
Sorry I’m late--
DONNA
That’s okay, these two guys
entertained me. I got to tell you,
the time flew.
SLADE
(to Michael)
Your girl does a helluva tango.
MICHAEL
(to Donna)
At last. You found someone to tango
with.
(smiling, to Charlie)
Let me shake your hand.
He pumps Charlie’s hand.
DONNA
No, no, it was Frank--
MICHAEL
What the hell, I’ll shake both your
hands.
Michael pumps Slade’s and Charlie’s hands.
MICHAEL (CONT’D)
Honey, this looks like ’the place,’
but we got a date with Darryl and
Carol in the village.
DONNA
Okay, okay--
Michael reaches in his pocket to pay the check, his change
jingles.
SLADE
Take your hand out of your pocket,
Michael, I’ll get this.
MICHAEL
Why thank you.
Donna kisses Frank, and now she kisses Charlie. Then
suddenly she hurries away.
MICHAEL (CONT’D)
’Bye, guys.
And Donna and Michael are gone. Charlie watches them
disappear as Slade stares in the direction where Michael
last stood.
SLADE
(emptily)
’Darryl and Carol.’
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