one night at a club, where the Castillo brothers have a part-time job. Nestor's love ballad captures the interest of one of the customers, who turns out to be the Cuban bandleader and American television star Desi Arnaz. After a pleasant evening in Nestor and Delores's home, Arnaz invites the struggling Castillos to sing and act on an episode of his sitcom series, I Love Lucy. Fame does not last, however. Nestor is not as ambitious as his brother and desires nothing more than to own his own small club. He is in love with Delores, but lacks the passion he felt for his beloved Maria back home. Cesar suppresses his true feelings, believing that a woman like Delores would actually be perfect for him. He reveals to Nestor that Maria left him for a Cuban mobster in exchange for cancelling a contract hit against Nestor. One snowy night, the Castillo brothers' car veers off the road and into a tree. Cesar, in the back seat of the vehicle, is barely hurt, but Nestor, who was driving the vehicle, is killed. To honor his brother's memory, a devastated Cesar opens his own small club. Delores pays him a visit and asks him to sing "Beautiful Maria of My Soul". Cast Production Development Arne Glimcher, an art dealer based in New York City and a fan of mambo music, learned that his longtime friend Oscar Hijuelos was writing a novel relating to the latter subject. After reading a manuscript of Hijuelos's novel The Mambo Kings Play Songs of Love, Glimcher purchased the film rights in 1988, one year before the book was published. He also appointed himself as director, believing that he was the only person capable of successfully adapting the book to film. Glimcher later hired Cuban-born screenwriter Cynthia Cidre to write the film adaptation. Cidre spent eighteen months working on the screenplay, and after 24 drafts, she had stripped the story down to cover only half of Hijuelos's 407-page book. While the book spans several decades, events in the film take place from 1952 to 1955. Various studios rejected the film, resulting in Glimcher paying the crew's salaries with his own money. When the project moved to Universal Pictures, Glimcher tried to convince the studio's president Tom Pollock to financially back it with a low budget. Before production could begin, Pollock insisted that footage from the television series I