0:00:06 > 0:00:11This film contains some strong language and some scenes of a sexual nature.
0:00:25 > 0:00:28WOMAN SINGS ON THE RADIO
0:00:31 > 0:00:33DOG BARKS OUTSIDE
0:00:53 > 0:00:56^ FOOTSTEPS APPROACH, KEYS JANGLE
0:01:14 > 0:01:16RADIO IS TURNED OFF
0:01:24 > 0:01:26SHE SIGHS
0:01:26 > 0:01:28BELL RINGS
0:01:28 > 0:01:32- Have you spoken to Tito? - On the telephone. He knew you were coming straight from the airport.
0:01:32 > 0:01:37- Madam kept a seat back for him. - How did he sound to you? - Fit as a fiddle. As usual.
0:01:37 > 0:01:42- The authorities would've shot him if they caught him in Panama. - It's a rum do all round! Jail!
0:01:42 > 0:01:46Oh, I don't know. They were even saying His Nibs used you as a decoy
0:01:46 > 0:01:49to get away, when he knew the whole coup was a damp squib.
0:01:49 > 0:01:53Oh, the press will say anything. It's a wonderful story for them, isn't it?
0:01:53 > 0:01:57I don't know, guns, boats... Madam was ready to make an announcement, you know.
0:01:57 > 0:02:02- Look, Lynne has already got the costume on.- Mummy, you know how I hate letting people down.
0:02:02 > 0:02:05And I had a lovely sleep on the plane.
0:02:05 > 0:02:07The show must go on.
0:02:07 > 0:02:09And on and bloody on.
0:02:18 > 0:02:21MUSIC: "Swan Lake" by Tchaikovsky
0:03:00 > 0:03:03Tito! Oh, it's been torture.
0:03:03 > 0:03:08No news for six days. And then, when they said you were safe...
0:03:16 > 0:03:21Next time, definitely more guns.
0:03:21 > 0:03:26Goodness. I'm not sure I like the idea of a next time.
0:03:26 > 0:03:27Really?
0:03:27 > 0:03:32We always knew there was a risk the Guardia would be tipped off.
0:03:32 > 0:03:34Margot...
0:03:36 > 0:03:39This is my life, you know that.
0:03:40 > 0:03:42And it's infinitely more exciting
0:03:42 > 0:03:47than tripping around on your toes with Nancy boys. Admit it.
0:03:47 > 0:03:51Oh, God, I must pack, for the tour.
0:03:51 > 0:03:53Tell me about it.
0:03:53 > 0:03:56The land in Panama.
0:03:58 > 0:04:00It's on the coast.
0:04:00 > 0:04:06When we build the house, you'll be able to walk to the cove from the bottom of the garden.
0:04:06 > 0:04:08Green everywhere.
0:04:08 > 0:04:11We'll breed cattle - Argentinean stock.
0:04:11 > 0:04:16A simple building, no stairs. Cool inside, from the heat.
0:04:17 > 0:04:19Tiled floors.
0:04:19 > 0:04:21No more class...
0:04:21 > 0:04:27No class, no performance,
0:04:27 > 0:04:28just the two of us.
0:04:35 > 0:04:37One day, my love.
0:04:40 > 0:04:44I must telephone Harmodio.
0:04:44 > 0:04:47Nunez could be the weak link, now I think about it.
0:04:47 > 0:04:50There has been a coup of sorts.
0:04:50 > 0:04:55Tito...was it Moreno? Did he manage to get through to the Colombians?
0:04:55 > 0:04:58At Covent Garden. Nobody told you?
0:05:02 > 0:05:05Madam, Mummy and I were wondering...
0:05:05 > 0:05:09- Cadburys are keen on doing these for Christmas, what do you think? - Are they? I don't know...
0:05:09 > 0:05:14- How's the dreaded foot? Going to survive Australia?- Of course! But Mummy and I were...
0:05:14 > 0:05:18Margot and I were wondering about her becoming...
0:05:18 > 0:05:22- Yes, what is it, dear? - Well, it was in the press.
0:05:22 > 0:05:28"Dame Margot Fonteyn has become a guest artist with the Royal Ballet."
0:05:28 > 0:05:30- It was in The Times.- Yes, lovely.
0:05:30 > 0:05:36- Perhaps it would have been nice to have been consulted.- After all she's done for the company.
0:05:36 > 0:05:39You were off in Panama, darling. Shenanigans!
0:05:39 > 0:05:42The Board and I just thought it was fairer all round.
0:05:42 > 0:05:44To the audiences, you see.
0:05:44 > 0:05:47They can't expect to see you as a regular prima, can they?
0:05:47 > 0:05:52Not with you dotting around the world gracing so many other companies with your presence.
0:05:52 > 0:05:55Quite right, too. Flies the flag for the Royal Ballet, after all.
0:05:55 > 0:06:00- I see.- Splendid! Oh, Lord, yes, I see exactly what you mean.
0:06:00 > 0:06:03Couldn't you just get rid of this? Make it a bit less Ali Baba?
0:06:03 > 0:06:05Oh...
0:06:05 > 0:06:10That's so much nicer than the toffees, look.
0:06:10 > 0:06:13They gave you that awful squint.
0:06:14 > 0:06:16I have to get to the airport.
0:06:39 > 0:06:43Prima ballerina to guest artist. What am I honestly supposed to think?
0:06:43 > 0:06:47I think you're supposed to thank us for the promotion.
0:06:47 > 0:06:51Darling, you are the bedrock of the company, you know that.
0:06:51 > 0:06:55Aw, little Peggy Hookham's pats of butter.
0:06:55 > 0:06:59Oh, God, this takes me back to the old days.
0:06:59 > 0:07:01Coppelia in Wigan.
0:07:01 > 0:07:05- Mind you, the weather's better. Have you seen the digs yet?- No.
0:07:05 > 0:07:07- Not yet.- Morning, all! - Morning!
0:07:10 > 0:07:12Anyway, it frees you up, doesn't it?
0:07:12 > 0:07:18To pursue Dr Arias round the globe, being the lady ambassador.
0:07:18 > 0:07:21God, Margot, that's what you famously want, isn't it?
0:07:21 > 0:07:23Well, yes, of course.
0:07:23 > 0:07:26But the timing has to be right. You know that.
0:07:26 > 0:07:30I can't just leave the company in the lurch, can I?
0:07:30 > 0:07:32No, of course not.
0:07:40 > 0:07:46You know, Margot, there's a little chap who gives the most fabulous injections. Belgian.
0:07:46 > 0:07:52- Office in Olympia. I'll give you the number when we get back. - That's sweet, Michael, thank you.
0:07:52 > 0:07:55Tell me, Tito - is it really bigger than Michael's?
0:07:56 > 0:08:00- You'll never know, thank God. - Oh... I like a challenge.
0:08:00 > 0:08:05- SHE LAUGHS - Of course, you sewed yourself up again before the marriage?
0:08:05 > 0:08:09But remember, darling, I know where all the bodies are buried.
0:08:09 > 0:08:12- And their cocks. - SHE GIGGLES
0:08:12 > 0:08:16I even remember what you sounded like before the elocution lessons.
0:08:16 > 0:08:20- NASAL VOICE: - "Lord, make me good, but not yet."
0:08:20 > 0:08:23THEY LAUGH
0:08:31 > 0:08:34MUSIC: "Swan Lake"
0:08:34 > 0:08:37SHE PANTS
0:08:44 > 0:08:46APPLAUSE
0:08:46 > 0:08:4922 and a half. Worst yet.
0:08:59 > 0:09:02MUSIC ENDS
0:09:02 > 0:09:06So you've decided to say farewell to Swan Lake, eh?
0:09:06 > 0:09:10Probably for the best, dear. It's a beast to dance and it's never exactly been your finest hour.
0:09:10 > 0:09:15Now, this wretched gala, you're absolutely top of the bill,
0:09:15 > 0:09:18- especially now our marvellous Russian's a no-go.- Ulanova?
0:09:18 > 0:09:24The commies won't let her go. It's tit for tat since they lost the boy. The one who ran away in Paris.
0:09:24 > 0:09:28They're hanging on to our marvellous Russian in case she gets the same idea, I suppose.
0:09:28 > 0:09:33In fact, he's supposed to be rather marvellous, too, so I thought we'd better get him instead.
0:09:33 > 0:09:35- Nureyev?- Yes, the Russian boy.
0:09:35 > 0:09:38He's said he'll do it as long as he can dance with you.
0:09:38 > 0:09:40That's rather cheeky of him, isn't it?
0:09:40 > 0:09:43Darling, there's no end of gossip.
0:09:43 > 0:09:46Everyone's in love with him. They've gone dotty for him in Paris.
0:09:46 > 0:09:48He has the nostrils.
0:09:48 > 0:09:51Sign of genius.
0:09:51 > 0:09:55- Madam, I can't possibly... - If you're worried about mutton dancing with lamb, dear,
0:09:55 > 0:09:58he's been partnering her at the Kirov and she's practically my age.
0:09:58 > 0:10:03- He probably has to steer her around the stage in a bath chair. - Of course I'm not worried.
0:10:03 > 0:10:07I just can't let Gilpin down - not when it's been arranged for so long.
0:10:07 > 0:10:11- It'd be the worst possible manners. - Well, if you won't be budged,
0:10:11 > 0:10:16perhaps you might at least show the poor boy some of your famous hospitality.
0:10:19 > 0:10:24Dame Margot, it seems such a glamorous life you lead.
0:10:24 > 0:10:26Oh, I think that's the costumes!
0:10:26 > 0:10:32I can assure you, there's not much that's glamorous about going to class every day and touring.
0:10:32 > 0:10:36Often, I'm just home from months away and I have to go straight off again.
0:10:36 > 0:10:38One gets quite lonely.
0:10:39 > 0:10:44Fortunately, Tito always sends me roses, wherever I'm dancing.
0:10:44 > 0:10:50- He's very romantic.- But there's no question of you retiring, so you can spend more time together?
0:10:52 > 0:10:56Oh, I just seem to dance on and on and on!
0:11:06 > 0:11:11"La Fille Mal Gardee marks a new high point in the career of choreographer Frederick Ashton..."
0:11:11 > 0:11:18- And the Crystal as usual. - "..and in Nadia Nerina, he has found an enchanting new muse as Lise."
0:11:18 > 0:11:19- What's he playing at?- Nothing!
0:11:19 > 0:11:23Fred has no obligation to make all his work on me. I have Ondine.
0:11:23 > 0:11:26Three years ago, he made Ondine.
0:11:26 > 0:11:29Oh... This one's for the cellar.
0:11:29 > 0:11:33Mummy, Nadia's a wonderful dancer, she deserves to shine.
0:11:33 > 0:11:36Well, everyone's always wonderful to you.
0:11:38 > 0:11:43- I told you about the article in the Express.- You'd be surprised how many people in high places
0:11:43 > 0:11:48are eager to discredit Tito and his family. And that includes members of the press.
0:11:48 > 0:11:52- High places. How many people must there have been in that nightclub? - It was a nightclub!
0:11:52 > 0:11:57I go to nightclubs with members of the company. Tito meets clients in nightclubs.
0:11:57 > 0:11:59"Clients". Is that what you're calling them?
0:11:59 > 0:12:04Mummy, we are away from each other such an awful lot. When things are different...
0:12:04 > 0:12:06Telephone, Madam.
0:12:06 > 0:12:10- If wishes were horse, then beggars would ride.- Hello?
0:12:10 > 0:12:13'Here is Nureyev. I am one hour at airport.'
0:12:13 > 0:12:17Oh, I'm so sorry, Madam told us you wouldn't be arriving till much later.
0:12:17 > 0:12:21- Stay there, I'll send a car for you. - 'I am at airport.'
0:12:22 > 0:12:25Yes. Stay.
0:12:25 > 0:12:27Attendez.
0:12:27 > 0:12:29Car will arrive.
0:12:29 > 0:12:3145 minutes.
0:12:31 > 0:12:34LINE GOES DEAD
0:12:57 > 0:12:59Here is Nureyev.
0:12:59 > 0:13:03- Oh!- He took a taxi, ma'am. - Well...
0:13:03 > 0:13:05Lovely to meet you.
0:13:08 > 0:13:11Welcome to England!
0:13:22 > 0:13:24What if the KGB sent him?
0:13:26 > 0:13:28Madam'd have something to say about that.
0:13:30 > 0:13:34Oh, Mummy. Thank God I stuck to my guns about the gala.
0:13:34 > 0:13:37MUSIC: "Le Corsaire"
0:13:52 > 0:13:55Fuck me, darling, he's better than Nijinsky!
0:13:55 > 0:13:58HUGE APPLAUSE AND CHEERS
0:15:09 > 0:15:11Oh.
0:15:11 > 0:15:15Oh, I forgot to mention - for the automatic rifles.
0:15:15 > 0:15:17They do seem to be awfully expensive.
0:15:17 > 0:15:22They are prohibitive, of course, but they are the latest model.
0:15:22 > 0:15:27Our contact in Geneva has turned out even better than we had hoped.
0:15:27 > 0:15:29Better without the necklace anyway, I think.
0:15:33 > 0:15:36Madam thinks I should dance Giselle with the Russian boy, Nureyev.
0:15:38 > 0:15:40Everyone's going crazy about him.
0:15:40 > 0:15:43I've never seen anything like it.
0:15:43 > 0:15:46But he does seem like a bit of a loose cannon.
0:15:47 > 0:15:50- Tito?- Hmm?- What do you think?
0:15:51 > 0:15:54Um, get on the bandwagon or get out.
0:15:54 > 0:15:58You don't want to be a back number, do you, darling?
0:15:58 > 0:16:02In any case, you can't make a revolution on the cheap.
0:16:02 > 0:16:06MUSIC: "Giselle"
0:16:27 > 0:16:29- Position is here.- No, here.
0:16:29 > 0:16:33Is here, no-one see me.
0:16:33 > 0:16:35Is here, is better.
0:16:40 > 0:16:45But that IS the position. As taught to me by Karsavina, a Russian.
0:16:47 > 0:16:48So change.
0:16:54 > 0:17:00Rudolf...can I point out that I have been dancing Giselle since 1938?
0:17:02 > 0:17:06Oh, God! Don't tell me, you weren't even born then.
0:17:06 > 0:17:09No. Just... Is exact year!
0:17:36 > 0:17:39Need to take everything out of boxes,
0:17:39 > 0:17:44not so tidy. Or I just there to stop you falling.
0:17:44 > 0:17:47Is no point for me, as Nureyev.
0:17:47 > 0:17:49I suppose I am rather set in my ways.
0:18:18 > 0:18:23- Please, where I to live in London? In hotel is no soul.- Oh, dear.
0:18:27 > 0:18:31Well, we have masses of room at the embassy.
0:18:54 > 0:18:57Is better.
0:18:57 > 0:19:00- We have conversation.- Yes.
0:19:01 > 0:19:03No more boxes.
0:19:44 > 0:19:50Don't worry, darling. They make a lovely couple, but I can't quite see Erik as Giselle, can you?
0:20:02 > 0:20:05LAUGHTER AND CHATTER
0:20:05 > 0:20:09It would be hard if the government condoned those actions. >
0:20:09 > 0:20:13- Correct.- Yes, especially if the conflict hasn't been resolved yet.
0:20:13 > 0:20:17I'm afraid I haven't the slightest idea about Nicaragua.
0:20:17 > 0:20:18SHE LAUGHS
0:20:18 > 0:20:22Tito, darling, is it possible to hire mercenaries from across the border?
0:20:24 > 0:20:27You'll have to forgive my wife.
0:20:27 > 0:20:30She is a child of the theatre.
0:20:30 > 0:20:35Her grasp of politics is somewhat Ruritanian.
0:20:35 > 0:20:36Isn't it, my love?
0:22:26 > 0:22:30APPLAUSE AND CHEERING
0:23:20 > 0:23:23Margot. You convince me.
0:24:31 > 0:24:32What happened to ribbon?
0:24:35 > 0:24:37There was ribbon.
0:24:37 > 0:24:40Here, the day I arrived.
0:24:42 > 0:24:44Oh.
0:24:48 > 0:24:50It was the dry cleaners.
0:24:53 > 0:24:56They lost it.
0:25:02 > 0:25:04HE EXCLAIMS
0:25:06 > 0:25:10I was thinking, I might dance Swan Lake again.
0:25:19 > 0:25:24- Is me. I love you!- Rudolf, I could've been Cathy or anyone.
0:25:24 > 0:25:26You must stop ringing.
0:25:27 > 0:25:29LAUGHTER
0:25:39 > 0:25:43It's really the reason I'd given Swan Lake up.
0:25:43 > 0:25:47- I absolutely dread doing them! - What is mechanic for fouette?
0:25:47 > 0:25:52I don't know. I just do them and hope for the best.
0:25:52 > 0:25:54Push shoulder. Push!
0:25:56 > 0:26:00So. You are great ballerina - show me!
0:26:03 > 0:26:07I must say, whatever you think about his retire in pirouette,
0:26:07 > 0:26:09he's certainly fucked the old girl into shape.
0:26:31 > 0:26:34"Last night at Covent Garden, a miracle took place."
0:26:36 > 0:26:40- Gosh.- "In the familiar guise of Dame Margot Fonteyn,
0:26:40 > 0:26:45"a new dancer was born, and that dancer is the greatest dancer in the world."
0:26:45 > 0:26:48- Oh, golly.- That was just one of the reviews.
0:26:48 > 0:26:50KNOCK ON DOOR > Oh, God, not again.
0:26:50 > 0:26:55- Cathy'll be handing in her notice. - I've had them ringing up, you know. Reporters.
0:26:55 > 0:26:57Wanting to know about the boy living here.
0:26:57 > 0:27:03Well, I hope you told them I'm Rudolf's London Nanny. Oh, Mummy...
0:27:03 > 0:27:07All that's for the stage! People probably think I'm part swan as well.
0:27:07 > 0:27:11Maybe they do. As long as you know what's what.
0:27:12 > 0:27:15'It's a wonderful professional partnership.'
0:27:19 > 0:27:25I appreciate people would like it to be a love story, but I am very much in love with my husband,
0:27:25 > 0:27:28and Rudolf, you know, has his own life as well!
0:27:32 > 0:27:36This I cannot talk about.
0:27:36 > 0:27:37Erik! I go.
0:27:40 > 0:27:43Rudolf, we better to get a move on or we'll be late for class.
0:27:58 > 0:28:02Shit! You dance like shit! Shit!
0:28:08 > 0:28:10Well...
0:28:10 > 0:28:17then perhaps you could show me a way to do it that isn't shit, Rudolf.
0:28:28 > 0:28:32Fred says Erik has taken up an offer to dance for the Canadians.
0:28:32 > 0:28:34Yes.
0:28:34 > 0:28:37And now, he is back in Denmark.
0:28:37 > 0:28:38Then he goes.
0:28:40 > 0:28:43He say there no room for him in London.
0:28:43 > 0:28:45Not as dancer.
0:28:49 > 0:28:51Not as lover.
0:28:55 > 0:29:00Rudolf, I've been part of a ballet company since I was 14.
0:29:02 > 0:29:04I know how it is.
0:29:04 > 0:29:07I don't expect to be the woman...
0:29:07 > 0:29:10THEY SPEAK RUSSIAN
0:29:12 > 0:29:16SHE LAUGHS AND TALKS EXCITEDLY
0:29:20 > 0:29:23SHE CONTINUES TALKING IN RUSSIAN
0:29:43 > 0:29:44Mama?
0:29:44 > 0:29:47Who is this, your mother?
0:29:47 > 0:29:49Wait.
0:29:49 > 0:29:53I'm sorry, I'm sorry, Nureyev, I'm sorry, I'm sorry.
0:29:53 > 0:29:56SHE LAUGHS
0:29:59 > 0:30:02I be proud for you to be my mother.
0:30:02 > 0:30:05Oh, thank you so much darling! It's still not a compliment!
0:30:13 > 0:30:14I see you later.
0:30:30 > 0:30:33FOOTSTEPS >
0:30:33 > 0:30:36WHISPERING >
0:31:12 > 0:31:15Morning, mate. How d'you get out of this place?
0:31:15 > 0:31:17Through there.
0:31:25 > 0:31:31So there I am between John Wayne and Ari Onassis, waiting to shake hands, you know?
0:31:31 > 0:31:37And President Kennedy looks at us, one, two three, and says, "Which one is carrying the gun?"
0:31:37 > 0:31:44And John and Ari both point, and at the same time they say, "Tito!"
0:31:48 > 0:31:51Everything is OK for you, Rudi?
0:31:53 > 0:31:56Chicken lunch, chicken performance.
0:31:59 > 0:32:05I don't know if I mentioned darling, Fred is making a new ballet for Rudolf and I, Marguerite and Armand.
0:32:05 > 0:32:09- You know Dumas, Le Dame aux Camelias.- Ah, yes.
0:32:09 > 0:32:11The romantic prostitute.
0:32:11 > 0:32:13Courtesan.
0:32:13 > 0:32:16You give the prostitute a crinoline and she's a courtesan.
0:32:16 > 0:32:20I remember the film, with Garbo.
0:32:20 > 0:32:23She loves, she coughs a little, she dies.
0:32:26 > 0:32:31It's good, to bring the audiences in, considering what they think is going on between you two.
0:32:35 > 0:32:40Do you know the significance of the camellias?
0:32:41 > 0:32:44- No!- She wears the white ones always.
0:32:44 > 0:32:48But when she bleed, she wears the red, to tell the men not to fuck her.
0:32:51 > 0:32:53I read about.
0:32:59 > 0:33:01No, no. More et pul mon.
0:33:01 > 0:33:03Melt into him.
0:33:03 > 0:33:05Give yourself to him.
0:33:09 > 0:33:13Down and lower.
0:33:13 > 0:33:17Head on breast.
0:33:17 > 0:33:22It's been like pulling teeth, as per.
0:33:22 > 0:33:24For me I mean.
0:33:27 > 0:33:31- I suppose it'll be all right. - My God, Fred!
0:33:31 > 0:33:33What is it they're calling it?
0:33:33 > 0:33:35Rudimania?
0:33:35 > 0:33:39The two of them could do the Twist for all this audience cares.
0:33:39 > 0:33:41Thank you, Tito.
0:33:44 > 0:33:46HYSTERICAL CHEERING
0:33:52 > 0:33:56Well. We've never heard anything quite like it.
0:34:00 > 0:34:03Absolute sheer madness.
0:34:03 > 0:34:08People who've never seen a ballet in their lives queuing with their sleeping bags to get tickets.
0:34:08 > 0:34:10Mobbing us!
0:34:10 > 0:34:14Marguerite and Armand has been an amazing triumph.
0:34:14 > 0:34:17Beyond our wildest dreams, really.
0:34:17 > 0:34:21It was so lovely of Tito to fly in for the first night,
0:34:21 > 0:34:24considering the demands on him, you know, in Panama.
0:34:24 > 0:34:28There is really no point trying to explain again.
0:34:28 > 0:34:31Of course I understand you want to stand for office, but what about the embassy?
0:34:31 > 0:34:36- Obviously, my darling, I can't be an ambassador and run for deputy in Panama.- That's what I mean!
0:34:36 > 0:34:41So we'll get out of the lease here, we buy a house over there.
0:34:41 > 0:34:45I see. Goodness. The ranch by the sea!
0:34:45 > 0:34:48If I'm in the government we'll need somewhere in the city.
0:34:50 > 0:34:52Of course, I wasn't thinking.
0:34:52 > 0:34:55Tito, does this mean
0:34:55 > 0:34:57do you want me to give up my career?
0:35:01 > 0:35:04If I'm elected, of course. But not yet.
0:35:04 > 0:35:09Good, because the timing's dreadful, with this huge American tour.
0:35:09 > 0:35:11Political campaigns eat money.
0:35:11 > 0:35:15This is something important, this is something real.
0:35:20 > 0:35:24Of course when Tito and I retire we'll be able to spend as much time together as we'd like.
0:35:24 > 0:35:27I look forward to that.
0:35:27 > 0:35:32But now your partnership with Rudolf Nureyev goes from strength to strength.
0:35:32 > 0:35:35The two of you have conquered Europe.
0:35:35 > 0:35:37America's next on the agenda.
0:35:37 > 0:35:42- Are you really thinking of retirement?- Not at the moment.
0:35:42 > 0:35:45Dancing with Rudolf is such a great gift.
0:35:45 > 0:35:47He's taught me so much.
0:35:50 > 0:35:53Always cash.
0:35:56 > 0:36:00Of course you and your husband have never had children.
0:36:00 > 0:36:01No.
0:36:03 > 0:36:05No.
0:36:40 > 0:36:43Rudolf Nureyev is almost 20 years younger than you.
0:36:43 > 0:36:46Is that something that you're very aware of?
0:36:49 > 0:36:51Not when we're dancing.
0:36:52 > 0:36:56He makes me feel 25!
0:36:56 > 0:36:58ROCK MUSIC PLAYS
0:37:27 > 0:37:33Come on Rudi, baby! Be cool!
0:37:33 > 0:37:34Sit down.
0:37:44 > 0:37:47Well, no I don't think of it as elitist because I remember the war, you see.
0:37:47 > 0:37:50Oh, no thank you. Rudolf?
0:37:51 > 0:37:55The audiences were such a joy. They came from all over, they really did.
0:37:55 > 0:38:00But there wasn't anything else for the poor bastards to do over there, was there?
0:38:00 > 0:38:03- DOOR CRASHES - This is a raid! Everybody....
0:38:05 > 0:38:09Tito's wedding ring, I've lost his wedding ring,
0:38:09 > 0:38:13I must have dropped it. It must be here somewhere.
0:38:13 > 0:38:15- Come on!- No wait!
0:38:24 > 0:38:28Released without charge,
0:38:28 > 0:38:33thank God. I must say you've never struck me as the sort to be a dope fiend.
0:38:33 > 0:38:36Oh, the papers are ridiculous.
0:38:36 > 0:38:38What I can't stop thinking about is Tito's wedding ring.
0:38:38 > 0:38:40It's rather hard not to see it as some sort of an omen.
0:38:40 > 0:38:43It doesn't mean anything, darling.
0:38:43 > 0:38:47Of course, if it were in a ballet, the ring would be enchanted
0:38:47 > 0:38:50and its loss would lead to your death,
0:38:50 > 0:38:52beautifully, in the third act.
0:38:52 > 0:38:54Aspreys'll do you a replacement.
0:38:54 > 0:38:58Tito needn't even know,
0:38:58 > 0:39:00although if he left it in the first place...
0:39:00 > 0:39:03Let's not talk about it any more.
0:39:03 > 0:39:05- Oh! Just like that? - There's no point, is there?
0:39:05 > 0:39:09If something upsets you and you can't do anything about it.
0:39:09 > 0:39:13You should just put it in a box and lock it tight away.
0:39:13 > 0:39:16That's what I've always done, with all sorts of things,
0:39:16 > 0:39:18and it's always worked quite wonderfully.
0:39:21 > 0:39:24Rudolf was saying about Swan Lake,
0:39:24 > 0:39:28how Odette and Odile used to be danced by two different dancers,
0:39:28 > 0:39:29white swan, black swan.
0:39:29 > 0:39:34- It's quite recent, the role as two sides of the same personality. - Odd, isn't it?
0:39:34 > 0:39:37And now it's impossible to think of it in any other way.
0:39:39 > 0:39:42He's so interesting about these things.
0:39:43 > 0:39:46You know, Margot, darling,
0:39:46 > 0:39:49there is such a thing as divorce.
0:39:53 > 0:39:56MUSIC: "Swan Lake"
0:40:48 > 0:40:53The characters you play in ballet are rather removed from real life, wouldn't you agree?
0:40:53 > 0:40:55Of course.
0:40:55 > 0:40:59Giselle is an 18 year-old peasant girl who becomes a spirit.
0:40:59 > 0:41:03Odette is a princess who's been turned into a swan.
0:41:03 > 0:41:08Odile is a magician's daughter pretending to be a princess who's been turned into a swan, goodness!
0:41:27 > 0:41:30Being someone else must be second nature to you.
0:41:30 > 0:41:32Well, it's tremendous fun, you see.
0:41:32 > 0:41:34Like leading a double life!
0:41:34 > 0:41:37PHONE RINGS
0:41:40 > 0:41:42Hello?
0:41:42 > 0:41:44Tito.
0:41:44 > 0:41:45You said midnight.
0:41:45 > 0:41:48I did wait up.
0:41:48 > 0:41:52No, midnight. Is it?
0:41:57 > 0:42:00I see. Of course, I know you've seen Swan Lake a million times.
0:42:02 > 0:42:04Yes, you too.
0:42:04 > 0:42:08Oh, I wired the money to Panama. It should be there when you arrive.
0:42:08 > 0:42:10I could come and meet...
0:42:10 > 0:42:13PHONE LINE GOES DEAD
0:42:20 > 0:42:23DOOR CLOSES
0:42:31 > 0:42:34Is late.
0:42:34 > 0:42:37Yes. Very.
0:43:22 > 0:43:26No, you haven't understood. He isn't expecting me because I couldn't get through on the telephone.
0:43:45 > 0:43:50I fail to see how I am supposed to manage a campaign without a secretary.
0:43:50 > 0:43:53- She doesn't even have her own room! - An economy.
0:43:53 > 0:43:57Oh, Tito. When have you ever, in your entire life, economised?
0:43:57 > 0:44:01Must we really have this quite boring scene?
0:44:01 > 0:44:03We are not children, Margot.
0:44:03 > 0:44:05We are not newlyweds.
0:44:05 > 0:44:07We are not so long married.
0:44:07 > 0:44:10Oh, spare me the Sleeping Beauty.
0:44:10 > 0:44:15What did you think would happen, marrying me?
0:44:15 > 0:44:18Think? I loved you!
0:44:18 > 0:44:21- From that moment in Cambridge... - Cambridge!
0:44:21 > 0:44:25We kissed when we were 18.
0:44:25 > 0:44:27And you kept yourself pure for me
0:44:27 > 0:44:30until you reached the magical age of 35
0:44:30 > 0:44:32and all your friends had husbands?
0:44:32 > 0:44:38Despite the fact I was a married man with three children?
0:44:38 > 0:44:41Really? How much make-believe is there in that head of yours?
0:44:41 > 0:44:44- You pursued me.- Yes.
0:44:44 > 0:44:47And you let yourself be caught.
0:44:48 > 0:44:52But this isn't the ballet, you know?
0:44:57 > 0:45:03My God, there really is nothing for you outside it, is there?
0:45:03 > 0:45:07You talk of retiring, talk and talk, but when?
0:45:07 > 0:45:09When will you be MY wife?
0:45:09 > 0:45:11I AM your wife.
0:45:11 > 0:45:13Tito, if you want me to retire...
0:45:13 > 0:45:16Oh, don't be ridiculous!
0:45:16 > 0:45:23I don't understand! How can you... how can you humiliate me like this?
0:45:23 > 0:45:25KNOCK AT DOOR
0:45:45 > 0:45:52Patrizia's friends had volunteered to help with the leafleting.
0:46:22 > 0:46:29"Margot, girl of mine, do not fret in that way that you have and I so adore.
0:46:29 > 0:46:31"Your Tito is with you.
0:46:32 > 0:46:36"Not Tito the bold or Tito the clown or even Tito the lover,
0:46:36 > 0:46:39"but simply Tito
0:46:39 > 0:46:40"who is yours.
0:46:42 > 0:46:44"You must know this.
0:46:44 > 0:46:47"Even if miles part us
0:46:47 > 0:46:50"and my behaviour leads you sometimes to doubt it.
0:46:52 > 0:46:55"I write these words not to make a gesture
0:46:55 > 0:46:57"but merely because they are the truth.
0:46:57 > 0:47:01"Your heart knows that truth.
0:47:01 > 0:47:03"Your sad,
0:47:03 > 0:47:05"gentle heart
0:47:05 > 0:47:08"which only I understand and cherish.
0:47:08 > 0:47:13"The truth that Tito loves you most dearly."
0:47:14 > 0:47:17- You get this morning?- No.
0:47:18 > 0:47:21Eight years ago.
0:47:21 > 0:47:23A month before we got married.
0:47:32 > 0:47:34Why you marry him?
0:47:38 > 0:47:41So. Flowers.
0:47:45 > 0:47:48The first time we met, before the war,
0:47:48 > 0:47:52then years later, when he came to my dressing room in New York.
0:47:54 > 0:47:58He always had this, this extraordinary belief in himself.
0:47:58 > 0:48:02It makes me realise how silly it all is,
0:48:02 > 0:48:04dressing up and standing on one leg, as he calls it.
0:48:09 > 0:48:13The other men, it can get rather wearing, being considered perfect.
0:48:17 > 0:48:21I suppose Tito's always made me feel it's me he wants,
0:48:21 > 0:48:22not her.
0:48:24 > 0:48:29- Her?- Dame Margot Fonteyn. Prima ballerina.
0:48:30 > 0:48:34But that is who you are. Absolute.
0:48:40 > 0:48:44Margot, marry me?
0:48:44 > 0:48:49Rudolf, darling, you're truly not the marrying kind.
0:48:49 > 0:48:53Erik? I know he's invited you to Canada.
0:48:53 > 0:48:55We have arrangements.
0:48:55 > 0:48:58All of us. We are sophisticated people.
0:48:58 > 0:49:01I doubt very much anyone's that sophisticated.
0:49:05 > 0:49:09Oh, Rudik, you have the nostrils.
0:49:09 > 0:49:11I help little bit, when I am at school.
0:49:13 > 0:49:15With pencils.
0:49:22 > 0:49:26Dr Arias was held in solitary confinement for 72 hours in connection
0:49:26 > 0:49:32with the seizure of 1,000 cases of whisky off the coast of Panama.
0:49:32 > 0:49:38The contraband was on a boat connected to a previous coup attempt made by Dr Arias.
0:49:38 > 0:49:43Honestly, Mummy, there's no chance at all Tito would get himself mixed up in something like that.
0:49:43 > 0:49:47- What on earth would he want to smuggle whisky for?- Money?
0:49:47 > 0:49:51Hello, yes, is that the international operator?
0:49:51 > 0:49:54Yes, that's right. I've booked a call to Rome.
0:49:54 > 0:49:56Yes, of course.
0:49:56 > 0:50:01- Where are my roses? - Sorry, Dame Margot.
0:50:01 > 0:50:03It'll be dirty tricks, because of the campaign.
0:50:03 > 0:50:06The government is desperate to discredit him.
0:50:06 > 0:50:10- I don't know why they bother. He's perfectly capable of doing that himself.- Mummy!
0:50:10 > 0:50:12Hello? Yes, Gritti Palace Hotel.
0:50:12 > 0:50:16He's expecting my call.
0:50:16 > 0:50:17No roses tonight, Dame Margot.
0:50:19 > 0:50:24Hello, Tito? Oh, I see.
0:50:26 > 0:50:29Perhaps you could ask him to call me, as soon as he can.
0:50:29 > 0:50:31It's his wife.
0:50:31 > 0:50:33Margot.
0:50:33 > 0:50:35Please tell him it's important.
0:50:42 > 0:50:44Cathy, did you put these in here?
0:50:44 > 0:50:47Oh, yes, Mrs Arias.
0:50:47 > 0:50:51- They were left on the bedside table. - When?
0:50:51 > 0:50:54When Dr Arias was last here.
0:51:02 > 0:51:05SHE GROANS
0:51:05 > 0:51:07MUSIC: "Giselle"
0:52:11 > 0:52:15- 'Darling, I am so sorry.' - Tito, enough.
0:52:15 > 0:52:18I've had enough.
0:52:18 > 0:52:22I think we should meet to talk about a divorce, don't you?
0:52:27 > 0:52:29Does the boy know?
0:52:29 > 0:52:35Not yet. I feel like the most, awful, awful failure.
0:52:35 > 0:52:38Oh, for God's sake darling.
0:52:38 > 0:52:41No-one knows how you've put up with it all these years.
0:52:41 > 0:52:43Is that really what people think?
0:52:43 > 0:52:45Hmm? Sod what people think.
0:52:45 > 0:52:50Anyway, you'll probably never be able to pin Tito down long enough
0:52:50 > 0:52:52to get him to sign divorce papers.
0:52:54 > 0:52:58When it comes down to it, we're all failures, one way or another.
0:52:58 > 0:52:59Fred, you're a genius!
0:52:59 > 0:53:01Everyone says so.
0:53:01 > 0:53:04Oh, no-one's all they're cracked up to be, are they?
0:53:04 > 0:53:10Every time I get into a studio I haven't a clue what I'm doing, you know that.
0:53:10 > 0:53:13Complete agony.
0:53:13 > 0:53:17And whatever comes out isn't a patch on what I had in my head
0:53:17 > 0:53:21when I first heard the music and saw what it might be. Never!
0:53:21 > 0:53:25Ballet demands perfection, always.
0:53:25 > 0:53:28But perfection
0:53:28 > 0:53:31is impossible in this life.
0:53:32 > 0:53:36So why the hell you said we'd do this awful piece
0:53:36 > 0:53:40in this bloody gala, I simply have no idea(!)
0:53:43 > 0:53:45So, we work.
0:53:54 > 0:53:56Bloody cheek!
0:53:56 > 0:53:59What's the rest of the costume going to be?
0:53:59 > 0:54:01It's contemporary darling, no tutus.
0:54:01 > 0:54:05Just me in jockstrap. No-one will look at your feet.
0:54:05 > 0:54:09There'll be plenty of other things to look at if they don't lengthen my tunic just a bit, Fred.
0:54:09 > 0:54:11Tits and teeth darling! Never fails!
0:54:11 > 0:54:15Come on, chick. You'd better go first, through the back way.
0:54:15 > 0:54:18There was swarms of the buggers when we left the studio.
0:54:18 > 0:54:21They're determined to get something on the two of you.
0:54:21 > 0:54:25- Very intrepid, these hacks.- Maybe I hold Fred hand, see what they say.
0:54:25 > 0:54:27- Don't you dare!- Is that all?
0:54:33 > 0:54:35Everything all right?
0:54:35 > 0:54:37Bit tired. You know what a slave driver Fred is.
0:54:37 > 0:54:39And Rudolf, for that matter.
0:54:47 > 0:54:49I was going to knock.
0:54:54 > 0:55:00The reporters. Is Tito.
0:55:00 > 0:55:02He's been shot.
0:55:13 > 0:55:15Margot!
0:55:15 > 0:55:17Margot!
0:55:42 > 0:55:45SHE WEEPS
0:55:54 > 0:55:55He is alive.
0:55:58 > 0:56:01But Tito's brother says you must come to Panama.
0:56:29 > 0:56:32You can tell me a bit more now.
0:56:32 > 0:56:37He was in the car, at traffic lights.
0:56:41 > 0:56:45They catch the man. Jimenez? Jimenez.
0:56:46 > 0:56:51No, that can't be right. He and his wife are two of our closest friends in Panama.
0:56:51 > 0:56:54- That is name.- It can't be!
0:57:01 > 0:57:05Oh, God, Rudik, it's really the most awful timing.
0:57:18 > 0:57:23Obviously the shooting came as the most terrible shock.
0:57:23 > 0:57:27It was very hard to know what to do.
0:57:27 > 0:57:32I suppose I simply took it one day at a time.
0:57:35 > 0:57:37And I prayed.
0:57:39 > 0:57:41He was always in my thoughts.
0:57:42 > 0:57:45I'm not going to Panama. I'm not!
0:57:45 > 0:57:47What's the world going to think?
0:57:47 > 0:57:49Well, they can think what they like.
0:57:49 > 0:57:52Harmodio says he believes Tito is going to pull through.
0:57:52 > 0:57:57That's good enough for me. God knows, Tito's the last person in the world who'd want any kind of fuss.
0:57:57 > 0:57:59Fuss? This has happened, Margot!
0:57:59 > 0:58:04You can't put it in one of those little boxes of yours and lock it away.
0:58:04 > 0:58:07I hear as much company gossip as you do.
0:58:07 > 0:58:09I know you were thinking of leaving him.
0:58:09 > 0:58:12He has someone else. She'll be there at the hospital.
0:58:12 > 0:58:16- She'll be the one he wants. - Oh, chick.
0:58:16 > 0:58:18You're his wife.
0:58:18 > 0:58:21And you need to explain yourself to the papers. It looks so heartless.
0:58:21 > 0:58:24I'd made up my mind, I'm not missing the gala.
0:58:24 > 0:58:27If you won't do it for him, think of the company. Think of Madam.
0:58:27 > 0:58:29All we've worked for.
0:58:29 > 0:58:32- Your duty, Margot.- My duty?
0:58:32 > 0:58:39God, mummy! 30 years, more, most of them in pain of one kind or another.
0:58:39 > 0:58:41I've done everything you and Madam and Fred have asked me to.
0:58:41 > 0:58:48I changed my name, my bloody nose, God knows we made damn sure there were no,
0:58:48 > 0:58:51no babies to get in the way of my dancing.
0:58:51 > 0:58:55Fred even stopped me smoking, do you remember? "Ballerinas don't smoke".
0:58:55 > 0:58:57It was worth, every bit of it.
0:58:57 > 0:59:00- Look where you've got to.- Yes, look!
0:59:00 > 0:59:06- Sometimes I think if I see another flower, I'll actually have to scream! - It's lovely, to be given so much.
0:59:06 > 0:59:13- Yes, don't tell me, all the lessons, leaving Daddy, scrimping for costumes, I do know.- It was worth it.
0:59:13 > 0:59:18- Every scrap. I'm just not going to see you throw it away. - But what about me?
0:59:18 > 0:59:21It's a bit late for that.
0:59:27 > 0:59:29MUSIC: "Swan Lake"
1:00:06 > 1:00:08AIRPLANE ENGINE RUMBLES
1:00:10 > 1:00:13PA ANNOUNCEMENT IN SPANISH
1:01:43 > 1:01:45SHE GASPS
1:01:50 > 1:01:53MACHINE HISSES AND CLICKS
1:02:22 > 1:02:27Tell Fred they'll have to get Lynn for Sunday's performance, if they can.
1:02:27 > 1:02:30I don't know. There's no question of me coming back now, Mummy.
1:02:30 > 1:02:33Everything's...
1:02:33 > 1:02:36Everything's changed.
1:02:36 > 1:02:38I can't talk to Rudolf, not now.
1:02:38 > 1:02:40Tell him.
1:02:40 > 1:02:43I just can't.
1:02:49 > 1:02:51HE GROANS
1:02:53 > 1:02:56I'm sorry, darling, I can't give you any more, I can't.
1:03:00 > 1:03:03HE GASPS
1:03:03 > 1:03:08- HE MUMBLES - They get him?
1:03:08 > 1:03:10Jimenez? Of course not.
1:03:10 > 1:03:14Modi says the Chief of Police knows where he is.
1:03:14 > 1:03:16Of course.
1:03:16 > 1:03:19They're buddies.
1:03:24 > 1:03:29Tito...were you "friendly" with his wife?
1:03:31 > 1:03:34You English...
1:03:34 > 1:03:38are obsessed with sex.
1:03:38 > 1:03:40HE LAUGHS HOARSELY
1:04:19 > 1:04:21Oh, Dr Vallarino...
1:04:22 > 1:04:26I think my husband needs to be taken to where he can get the best care.
1:04:38 > 1:04:42STRETCHER RATTLES For goodness' sake, be careful with him.
1:04:42 > 1:04:46Tito, darling, I have to go now, to catch a plane for this damned festival.
1:04:46 > 1:04:51I'll telephone from Spoleto. I am so sorry. I hate having to do this.
1:05:04 > 1:05:07They are paying you in lira?
1:05:07 > 1:05:12No, sterling, as you said. I insisted.
1:05:12 > 1:05:15What is the ballet?
1:05:15 > 1:05:18- Raymonda.- Ah.
1:05:19 > 1:05:23I know. But imagine how beautifully I'll be able to dance that scene
1:05:23 > 1:05:27where she sees her lover off to the Crusades.
1:05:29 > 1:05:31All our goodbyes, my darling.
1:05:31 > 1:05:33All my waiting for you.
1:05:42 > 1:05:43Now I wait.
1:06:33 > 1:06:36APPLAUSE
1:06:38 > 1:06:40Thank God you taught me to get paid in cash.
1:06:40 > 1:06:43Is all for this hospital?
1:06:43 > 1:06:45Well, it is the best place in the world.
1:06:45 > 1:06:48If anyone can get Tito moving again, they can.
1:06:48 > 1:06:49And what if it's not possible?
1:06:51 > 1:06:54I'm not going to think about that.
1:07:01 > 1:07:05I speak to Lynn in London. She is very upset.
1:07:05 > 1:07:10You and me, we dance first performance of Romeo And Juliet.
1:07:10 > 1:07:15Surely not. Kenneth made it on her and Christopher. It's not our ballet.
1:07:15 > 1:07:18Margot, we are Coca-Cola now.
1:07:18 > 1:07:22Everybody want to see Fonteyn and Nureyev, and not Seymour and Gable.
1:07:22 > 1:07:25SHE SIGHS
1:07:28 > 1:07:30Maybe Seymour and Nureyev.
1:07:30 > 1:07:33DOOR BURSTS OPEN Miss Fonteyn!
1:07:33 > 1:07:38You must come to hotel. It's the telephone. Very bad. It's your husband.
1:07:38 > 1:07:39Margot!
1:07:51 > 1:07:56You've had a terribly high temperature. Convulsions.
1:07:56 > 1:07:58But you're not to worry, Tito.
1:07:58 > 1:08:02Tito, the consultant says you're going to be perfectly all right.
1:08:02 > 1:08:04I'm going to stay here.
1:08:06 > 1:08:08Try to get some more sleep.
1:08:08 > 1:08:11Shh, shh, shh.
1:08:26 > 1:08:30ORCHESTRAL MUSIC PLAYS
1:09:56 > 1:09:58So, now you are a saint.
1:09:58 > 1:10:03- SHE SCOFFS Hardly.- Yes, you are saint.
1:10:04 > 1:10:10Sleep at hospital, into class, back to performance, back to hospital.
1:10:10 > 1:10:14Anyone would do the same, believe me.
1:10:14 > 1:10:18Rudolf, he can't do anything for himself.
1:10:18 > 1:10:22He has to have a catheter in his penis just to urinate.
1:10:22 > 1:10:26If it were me, I would say, "Let me die."
1:10:26 > 1:10:29He has.
1:10:29 > 1:10:33Every day now, when I try to give him breakfast, that's what he says.
1:10:33 > 1:10:37I hope it might be something different, because it's so hard to understand him,
1:10:37 > 1:10:39but that's what he's saying.
1:10:39 > 1:10:41"Let...me...die.
1:10:43 > 1:10:46"I want to die."
1:10:48 > 1:10:50Then what is point?
1:10:53 > 1:10:56- What about babies? - SHE LAUGHS
1:10:56 > 1:10:59We could have babies.
1:10:59 > 1:11:02Boy like me, girl like you.
1:11:02 > 1:11:03Or just boy.
1:11:03 > 1:11:06Rudik...
1:11:06 > 1:11:10even if that were possible...
1:11:10 > 1:11:13You opened all the boxes for me, but now...
1:11:13 > 1:11:14No, we opened together.
1:11:17 > 1:11:19Yes.
1:11:21 > 1:11:23But now the time has gone.
1:11:30 > 1:11:31You look old.
1:11:51 > 1:11:53DOORBELL RINGS
1:11:58 > 1:12:00Yes, I don't see why not.
1:12:00 > 1:12:04It's some years since the last procedure.
1:12:04 > 1:12:05The nose...
1:12:05 > 1:12:08has held up well.
1:12:08 > 1:12:10McIndoe, unless I'm mistaken.
1:12:10 > 1:12:13That's right. How much will it cost?
1:12:13 > 1:12:17Oh, my secretary will give you the list of my fees.
1:12:17 > 1:12:23Can I say, Dame Margot, I saw you at the Wells in the '30s, when I was a medical student.
1:12:23 > 1:12:27Rio Grande. Terrific music. Real pep to it.
1:12:27 > 1:12:33Dancing that tango... My word! You were the most ravishing creature I'd ever seen.
1:12:33 > 1:12:35Like a ripe peach.
1:12:38 > 1:12:41And next you will be dancing Juliet?
1:12:41 > 1:12:43I very much hope so.
1:12:43 > 1:12:48Kenneth MacMillan is actually making the ballet on Lynn Seymour but I might get a crack at it.
1:12:48 > 1:12:50Juliet is a 14-year-old girl.
1:12:50 > 1:12:53SHE LAUGHS Of course.
1:13:00 > 1:13:02Always the bridesmaid...
1:13:05 > 1:13:09Oh! How go the star-crossed lovers?
1:13:09 > 1:13:10Oh, getting there.
1:13:10 > 1:13:15Let's face it, Fred, at my age I should really be playing the Nurse, not Juliet.
1:13:15 > 1:13:16Or Carabosse.
1:13:16 > 1:13:23Oh, God! Margot, you look younger every year. You must give me the number, darling.
1:13:23 > 1:13:26No, I just meant you as the wicked fairy.
1:13:26 > 1:13:30Tito...under your spell.
1:13:30 > 1:13:33No more goodbyes, no more getting left in the lurch.
1:13:33 > 1:13:37I know it's taken an absolute calamity
1:13:37 > 1:13:42but you have finally got him where you want him, haven't you?
1:13:42 > 1:13:45I mean, he might even sit through one of your performances.
1:13:45 > 1:13:48How can you think...?!
1:13:48 > 1:13:51Do you honestly imagine, Fred, anyone would have chosen this?
1:14:13 > 1:14:15I forget. After me.
1:14:26 > 1:14:30Tito's consultant says, with his paralysis, the only hope is muscle memory.
1:14:30 > 1:14:34If you do something enough times,
1:14:34 > 1:14:38your muscles just take over. The body remembers it all.
1:14:40 > 1:14:41Of course, heart is a muscle.
1:14:43 > 1:14:47Rudolf, Tito has never adored me,
1:14:47 > 1:14:51but he's never wanted me to adore him either. Not the way that I want to.
1:14:53 > 1:14:55I just want to give love.
1:14:55 > 1:14:57Does that make sense?
1:14:57 > 1:15:01And now I have the chance, this has happened.
1:15:01 > 1:15:05- OK. Your choice.- Hardly.
1:15:05 > 1:15:07Yes, always.
1:15:07 > 1:15:09It's like taking Juliet away from Lynn.
1:15:09 > 1:15:13That was nothing to do with me, you know that! That was the board's decision.
1:15:13 > 1:15:18So, you don't want to dance - you don't want to dance Juliet?
1:15:18 > 1:15:24You want to give younger girl the chance to be a star, refuse. Your choice.
1:15:24 > 1:15:27It's like you play with Tito - at revolution in his country.
1:15:27 > 1:15:30My country had a revolution.
1:15:30 > 1:15:38I can never go back. I go back, they throw me in prison, make me shit in a bucket until I die.
1:15:38 > 1:15:40My life is real, always.
1:15:40 > 1:15:45It's good, it's real. It's bad, real.
1:15:45 > 1:15:48My choice.
1:16:02 > 1:16:04Thank you, Sister.
1:16:10 > 1:16:16Hello, my darling. Mr Goodman is very pleased with you, you know.
1:16:16 > 1:16:20- He thinks if you continue with the physical...- How long?
1:16:20 > 1:16:23Sorry?
1:16:27 > 1:16:29How long?
1:16:34 > 1:16:36Well...
1:16:36 > 1:16:39as long as it takes.
1:16:39 > 1:16:46As long as I can put one foot in front of another, I'll pay for you to have the best care possible.
1:16:46 > 1:16:49It's bound to make a difference.
1:16:49 > 1:16:51Truly.
1:16:53 > 1:16:56One day, the ranch by the sea.
1:16:56 > 1:16:57Promise.
1:17:08 > 1:17:12- BELL RINGS - Always a bit nerve-wracking, a first night.
1:17:12 > 1:17:17Do you remember the first time in New York, Sleeping Beauty?
1:17:17 > 1:17:20I thought you were going to be sick right there on the stage!
1:17:20 > 1:17:23And you were the toast of the town.
1:17:26 > 1:17:29Whatever they say about tonight...
1:17:29 > 1:17:32Well, you just don't know, do you?
1:17:32 > 1:17:33It doesn't matter.
1:17:35 > 1:17:41Everything you've done, you've made me the proudest mother in the world.
1:17:41 > 1:17:43You really have.
1:17:55 > 1:18:03You've been quoted as saying, "One should take one's art absolutely seriously, but oneself, never."
1:18:04 > 1:18:09Yes, I think that's marvellous advice.
1:18:11 > 1:18:14I can't claim it as mine, I'm afraid.
1:18:14 > 1:18:17Someone said it to me, a long, long time ago.
1:18:19 > 1:18:22- They were right, I think. - So you follow that advice?
1:18:22 > 1:18:26You take your art more seriously than yourself?
1:18:27 > 1:18:35- I hope so.- Some might say that's a recipe for wonderful art, but a less than wonderful life.
1:18:35 > 1:18:41Surely, Dame Margot, one's life is the thing one should take most seriously of all?
1:18:56 > 1:18:59Full house, naturally.
1:18:59 > 1:19:01How is foot?
1:19:10 > 1:19:15You know, when Fred and Madam decided they were going to make me dance leading roles...
1:19:15 > 1:19:18I was terrified.
1:19:18 > 1:19:22Not just that I wouldn't be able to do the steps, or remember it all...
1:19:24 > 1:19:27..but because there was nothing inside me.
1:19:27 > 1:19:29I didn't know a thing.
1:19:29 > 1:19:33- You were a child.- Yes, but no-one wanted that, did they?
1:19:34 > 1:19:36They needed a prima ballerina.
1:19:38 > 1:19:41So I thought, "I'll learn,
1:19:41 > 1:19:43"I'll just copy.
1:19:43 > 1:19:45"I'll do the steps and be Giselle
1:19:45 > 1:19:50"and maybe then there'll be something inside me.
1:19:50 > 1:19:53"I'll come out of the painted cottage...
1:19:53 > 1:19:57"into the painted countryside
1:19:57 > 1:20:00"and fall in love,
1:20:00 > 1:20:02"and go mad,
1:20:02 > 1:20:05"and die
1:20:05 > 1:20:07"and come back as a spirit,
1:20:07 > 1:20:09"and it'll all be real."
1:20:14 > 1:20:16It still is.
1:20:18 > 1:20:22It's the only thing in my life that is -
1:20:22 > 1:20:24pretending.
1:20:27 > 1:20:29Out there...
1:20:29 > 1:20:31suffering.
1:20:38 > 1:20:40My choice.
1:22:39 > 1:22:42SHE SOBS
1:24:43 > 1:24:45Subtitles by Red Bee Media Ltd
1:24:45 > 1:24:47E-mail subtitling@bbc.co.uk