0:02:44 > 0:02:46NOISY CROWD
0:02:46 > 0:02:48- MAN:- Open the door!
0:02:54 > 0:02:57They're going mad, sir. It's the students.
0:02:57 > 0:03:00- MAN:- Down with violence! - CROWD CHEERS
0:03:00 > 0:03:03All right. Let them in.
0:03:07 > 0:03:08CHEERING
0:03:14 > 0:03:16And up!
0:03:16 > 0:03:18- Swine! - Beasts!
0:03:36 > 0:03:39Into the valley of death...
0:03:39 > 0:03:43- Into the jaws of hell... - Rode the 600!
0:03:45 > 0:03:46Hey! Ease up!
0:03:48 > 0:03:51You're sitting on my cloak.
0:03:51 > 0:03:53- Setting up below? - Not a sausage.
0:03:53 > 0:03:56- Here. - Ah! Here we are, Terry.
0:03:56 > 0:03:57Thank you.
0:04:07 > 0:04:10MUSICIANS TUNE INSTRUMENTS
0:04:42 > 0:04:44I can't see him anywhere.
0:04:44 > 0:04:47- Programmes? - Two, please.
0:04:47 > 0:04:48One here.
0:04:48 > 0:04:50Thanks, pal.
0:04:51 > 0:04:54- Quite a turnout down below. - Mmm.
0:04:54 > 0:04:55Old Palmer's music better be good!
0:04:55 > 0:05:00Boronskaja wouldn't be dancing the leading role if it wasn't.
0:05:02 > 0:05:05- Boro who? - Who exactly is Boronskaja?
0:05:05 > 0:05:10You've queued for six hours to see her dance.
0:05:10 > 0:05:13Not to SEE anybody. To HEAR.
0:05:13 > 0:05:16Have YOU heard of Professor Palmer?
0:05:16 > 0:05:17- Never. - Never.
0:05:17 > 0:05:19You will.
0:05:19 > 0:05:24The programme says, "'Heart of Fire', Music by Andrew Palmer."
0:05:24 > 0:05:27- OUR professor. - So Boro-whatsit better be good.
0:05:27 > 0:05:31She's hardly likely to be anything else.
0:05:40 > 0:05:41There he is!
0:05:41 > 0:05:43- HE SHOUTS: Palmer! ALL:- Palmer!
0:05:43 > 0:05:46APPLAUSE AND CHEERING
0:05:48 > 0:05:50Lermontov!
0:05:50 > 0:05:51Lermontov!
0:06:01 > 0:06:03APPLAUSE
0:06:07 > 0:06:08WHISTLING
0:06:08 > 0:06:10Livy! Livy!
0:06:10 > 0:06:12Come on, Livy!
0:06:15 > 0:06:16We KNOW him.
0:07:17 > 0:07:20- Remember my "Scythian Rhapsody"? - Forget it.
0:07:20 > 0:07:23That's the maestoso to your rhapsody!
0:07:23 > 0:07:26- Did you show it to him? - Yes.
0:07:26 > 0:07:30- You don't think he lifted it? - Course not.
0:08:30 > 0:08:34She's a great patron of the arts.
0:08:45 > 0:08:46Vicky...
0:08:48 > 0:08:50Vicky!
0:09:02 > 0:09:03Vicky!
0:09:05 > 0:09:06Lermontov's coming.
0:09:16 > 0:09:19- That's yours too, isn't it? - Yes.
0:10:01 > 0:10:03APPLAUSE
0:10:14 > 0:10:16MUSIC BEGINS SLOWLY
0:10:23 > 0:10:25Steady on, old boy.
0:10:25 > 0:10:27What are you waiting for?
0:10:27 > 0:10:29- ALL:- Shh! Quiet!
0:10:36 > 0:10:38Please, do you mind?
0:10:38 > 0:10:40- ALL:- Shh!
0:10:43 > 0:10:44Oh, really!
0:10:51 > 0:10:54CHATTERING
0:10:55 > 0:10:57Ah! Dear Professor Palmer!
0:10:57 > 0:11:02- We're all very proud of you. - You're too kind.
0:11:02 > 0:11:06- We meet the great man at last. - Enchante.
0:11:06 > 0:11:09I never imagined I'd get you here.
0:11:09 > 0:11:11I must be clever.
0:11:21 > 0:11:25If some fat harridan is going to sing, I'm leaving.
0:11:25 > 0:11:27I can't bear amateurs.
0:11:27 > 0:11:30- Neither can Lady Neston. - What?
0:11:30 > 0:11:34She has a niece who dances - professionally.
0:11:38 > 0:11:40Hello, Professor.
0:11:40 > 0:11:43Please don't get up, Mr Lermontov.
0:11:45 > 0:11:48Are you prepared for a surprise?
0:11:48 > 0:11:51A surprise or a shock?
0:11:51 > 0:11:54Well, to take the plunge...
0:11:54 > 0:11:57I've asked my niece to dance tonight.
0:11:57 > 0:12:00- What would you call that? - A shock.
0:12:02 > 0:12:06Oh! You're certainly very candid.
0:12:06 > 0:12:12I wouldn't dream of boring you with an amateur's performance.
0:12:12 > 0:12:16My niece has danced leading roles for some time.
0:12:16 > 0:12:18The critics admire her work.
0:12:18 > 0:12:21How would you define ballet, Lady Neston?
0:12:21 > 0:12:27One might call it the poetry of motion, perhaps, or...
0:12:27 > 0:12:31One might. But for me it is much more.
0:12:31 > 0:12:34For me it is a religion.
0:12:34 > 0:12:37One doesn't care to see one's religion
0:12:37 > 0:12:41practised in an atmosphere such as this.
0:12:41 > 0:12:43I hope you understand.
0:12:46 > 0:12:50Attractive brute!
0:13:25 > 0:13:28- I'll have a champagne cocktail. - Yes, sir.
0:13:28 > 0:13:31- Champagne cocktail, please. - Yes, madam.
0:13:35 > 0:13:39At parties, everybody's supposed to be happy.
0:13:41 > 0:13:45But perhaps you dislike them, as I do.
0:13:45 > 0:13:49- Still, it might have been worse. - Might it?
0:13:49 > 0:13:53- Very nearly WAS much worse. - Oh?
0:13:53 > 0:13:57We were to be treated to a little dancing exhibition.
0:13:57 > 0:14:00But now we'll be spared that horror.
0:14:00 > 0:14:03Mr Lermontov, I am that "horror".
0:14:06 > 0:14:08Mmm.
0:14:08 > 0:14:11It's a bit late for apologies, isn't it?
0:14:11 > 0:14:13Yes. A little late.
0:14:13 > 0:14:17All the same, I'm sorry - terribly sorry.
0:14:17 > 0:14:21But you're not sorry I didn't dance. Why?
0:14:21 > 0:14:24- Because, my dear Miss... - Victoria Page.
0:14:24 > 0:14:30Miss Page, at a party, I don't expect an audition.
0:14:33 > 0:14:36Yes. You're quite right.
0:14:38 > 0:14:41Why do you want to dance?
0:14:43 > 0:14:45Why do you want to live?
0:14:47 > 0:14:51I don't know exactly why, but I must.
0:14:51 > 0:14:54That's my answer too.
0:14:58 > 0:15:00- Come with me. - Where to?
0:15:00 > 0:15:04- We'll have a talk. - I don't think I want to.
0:15:04 > 0:15:06Don't worry. I'll do the talking.
0:15:14 > 0:15:16BUZZER
0:15:18 > 0:15:21- Can I see Mr Lermontov? - Go away!
0:15:22 > 0:15:25- What is it, Dimitri? - A young man called Craster.
0:15:25 > 0:15:29I keep telling him you are asleep, but he won't believe me.
0:15:29 > 0:15:31Then either you are a very bad liar
0:15:31 > 0:15:33or Mr Craster is a young man of good sense.
0:15:33 > 0:15:35Show him in and serve breakfast.
0:15:39 > 0:15:40Mr Craster...
0:15:57 > 0:16:00What can I do for you, Mr Craster?
0:16:00 > 0:16:05I'm sorry to bother you, but this is important to me.
0:16:05 > 0:16:07Yes?
0:16:07 > 0:16:09Last night I wrote you a letter. It was a silly letter
0:16:09 > 0:16:12and I'd like to have it back before you read it, please.
0:16:13 > 0:16:14I see.
0:16:18 > 0:16:20That's the one.
0:16:21 > 0:16:24Unfortunately, Mr Craster, I have already read this letter.
0:16:24 > 0:16:26Oh.
0:16:28 > 0:16:30Mr Lermontov, please!
0:16:30 > 0:16:32You're Professor Palmer's pupil,
0:16:32 > 0:16:37and you've written a string quartet and a piano concerto.
0:16:37 > 0:16:39- Yes. - Very interesting.
0:16:39 > 0:16:42Would you care to play me something?
0:16:42 > 0:16:45Something of your own, I mean.
0:16:45 > 0:16:48Of course, if you wish it.
0:16:59 > 0:17:02This is a study I wrote for the piano.
0:17:06 > 0:17:12But I'm thinking of orchestrating it, and putting it in an opera.
0:17:46 > 0:17:48Are you finished already?
0:17:48 > 0:17:50It was very interesting.
0:17:50 > 0:17:53Hope I haven't ruined your breakfast.
0:17:53 > 0:17:58By the way, I need a new coach for the orchestra.
0:17:58 > 0:18:03- Would that interest you? - Would it...interest...
0:18:03 > 0:18:07I can't pay much at first - £8 a week and expenses.
0:18:10 > 0:18:12It'd be absolutely marvellous!
0:18:12 > 0:18:15Then have breakfast and come to Covent Garden.
0:18:15 > 0:18:17Thank you.
0:18:17 > 0:18:20And your letter, Mr Craster.
0:18:24 > 0:18:26If you take my advice,
0:18:26 > 0:18:31you'll destroy it immediately and forget all about it.
0:18:35 > 0:18:38"Heart of Fire" IS your work, isn't it?
0:18:40 > 0:18:42These things mostly happen unintentionally.
0:18:42 > 0:18:43I know. That's why...
0:18:43 > 0:18:47That's why it's worth remembering that it's much more disheartening
0:18:47 > 0:18:51to have to steal, than to be stolen from.
0:18:56 > 0:18:58Good morning.
0:19:07 > 0:19:09FAINT SINGING
0:19:10 > 0:19:15# ..As I walked along on a stormy night
0:19:15 > 0:19:19# Never mind the abuse, You have the excuse
0:19:19 > 0:19:24# He went to Covent Garden in the morning. #
0:19:24 > 0:19:26What a corker!
0:19:31 > 0:19:34I tried to get her twice. Ta-ta.
0:19:34 > 0:19:36Here you are.
0:19:36 > 0:19:41- Oi! Pardon me! - Isn't this the way to the stage?
0:19:41 > 0:19:42- Name? - Julian Craster.
0:19:42 > 0:19:44- What name? - Julian Craster.
0:19:44 > 0:19:47Not on the list.
0:19:55 > 0:19:57- Lunch, Irina? - Yes.
0:19:57 > 0:20:00- I have an appointment. - I'm sorry.
0:20:00 > 0:20:02He invited me here.
0:20:02 > 0:20:05- Good morning, George! - Bonjour, madame.
0:20:05 > 0:20:09- How is Madame George? - She's la tres jalouse.
0:20:09 > 0:20:10Very jalouse.
0:20:10 > 0:20:13It's that photograph we had taken. Compris?
0:20:13 > 0:20:18Here. They've been looking all over for you this morning.
0:20:18 > 0:20:20- Oh, flute! - Exactly.
0:20:20 > 0:20:23- How much longer? - I'll get the S.M.
0:20:23 > 0:20:24What's your name?
0:20:25 > 0:20:27Julian Craster.
0:20:27 > 0:20:30I've an appointment with Mr Lermontov.
0:20:30 > 0:20:33- Julian Quast.. Cras... - Craster.
0:20:33 > 0:20:38Craster. George, if this man is invited, you can pass him, yes?
0:20:38 > 0:20:43Ca va by me, madame. Ca va by me.
0:20:43 > 0:20:45Follow me, young man.
0:20:48 > 0:20:50- Er, est-ce que vous...? - Comment?
0:20:50 > 0:20:55- Are you a dancer? - At night. Not in the morning.
0:20:55 > 0:20:57I don't really know ballet.
0:20:57 > 0:21:00- You are artist? - Yes. A composer.
0:21:00 > 0:21:04Ah! And you wish to see...who?
0:21:04 > 0:21:06I'm not quite sure.
0:21:06 > 0:21:08They're all there. Make your choice.
0:21:17 > 0:21:22- Can you tell me who's in charge? - No idea, mate. There's about five or six of them that thinks they are.
0:21:22 > 0:21:23Excuse me, can you...?
0:21:23 > 0:21:25I'm just somebody's mother,
0:21:25 > 0:21:29and that doesn't mean much around here, I can tell you.
0:21:32 > 0:21:35Can you tell me who's in charge here?
0:21:35 > 0:21:37In charge of what?
0:21:38 > 0:21:41- Mr Lermontov invited me here. - Why?
0:21:41 > 0:21:43- He's engaged me. - Not as a dancer, I hope.
0:21:43 > 0:21:46- No. - Alors, mes enfants. A boulot!
0:21:47 > 0:21:50And...
0:21:53 > 0:21:55Mr Ljubov wants it moved.
0:21:55 > 0:22:01- No, it stays there! - Well, if you say so.
0:22:01 > 0:22:03- Merci. - Morning, madame.
0:22:07 > 0:22:12Ah, here comes the great Boronskaja...at last.
0:22:12 > 0:22:15Today she's only 43 minutes late(!)
0:22:15 > 0:22:18Am I supposed to congratulate myself on that?!
0:22:21 > 0:22:23My patience is at an end.
0:22:23 > 0:22:26This time I shall go to Lermontov and I shall explain to him
0:22:26 > 0:22:29how no theatre is big enough to hold both you and me!
0:22:29 > 0:22:31I might as well start packing.
0:22:31 > 0:22:35No hurry - he might dispense with MY services.
0:22:35 > 0:22:37He's quite crazy enough.
0:22:37 > 0:22:40If we go, we go together, darling.
0:22:40 > 0:22:42- Promise? - Of course.
0:22:43 > 0:22:46- Who are you? - Victoria Page.
0:22:46 > 0:22:49I expect Mr Lermontov has mentioned me.
0:22:49 > 0:22:52- He's invited me... - It's too much!
0:22:52 > 0:22:54HE invites them, I teach them.
0:22:54 > 0:22:58I get rid of them, he forgets them!
0:22:58 > 0:23:01Now, unhappy girl, please go to the far corner,
0:23:01 > 0:23:04where you'll meet five other young ladies
0:23:04 > 0:23:09to whom Mr Lermontov has also extended his...hospitality.
0:23:10 > 0:23:12Jackie. Jackie!
0:23:19 > 0:23:21Quiet, please!
0:23:24 > 0:23:28We'll rehearse Act One of "Heart of Fire".
0:23:28 > 0:23:32Everybody not concerned, leave the stage, please.
0:23:32 > 0:23:35Righto, boys. Set Act One. Hurry!
0:23:39 > 0:23:41Is that so? Well, I agree.
0:23:41 > 0:23:43HE TAPS CANE
0:23:44 > 0:23:49- Where are you going? - To talk to Mr Lermontov.
0:23:49 > 0:23:53Wouldn't it be better to wait until afterwards?
0:23:53 > 0:23:55That's all right. I know him personally.
0:23:55 > 0:23:58Oh, that makes ALL the difference.
0:23:58 > 0:24:00- Ratov? - Yes, Boris?
0:24:00 > 0:24:03Stay there. I'll come up.
0:24:05 > 0:24:07ORCHESTRA TUNES UP
0:24:12 > 0:24:14Good morning, Mr Lermontov.
0:24:14 > 0:24:18Good morning, Ratov. We must do something about this.
0:24:18 > 0:24:23The girls have no room to move. Ljubov was right.
0:24:23 > 0:24:25- Aha! Ljubov! - Ljubov's always right.
0:24:25 > 0:24:27- You really think so? - Yes.
0:24:27 > 0:24:32Well, well, well. Take it away.
0:24:37 > 0:24:41You see, Mr Lermontov is a very busy man.
0:24:41 > 0:24:46Why don't you go and wait with the others?
0:24:46 > 0:24:48- Ready, Ivan? - Yes.
0:24:48 > 0:24:49Yes, I will.
0:24:49 > 0:24:51- Sergei Sergeiovich. - Yes?
0:24:51 > 0:24:57Are you acquainted with the works or person of Julian Craster?
0:24:57 > 0:24:58- No. - Nor I.
0:24:58 > 0:25:03Which proves how sadly we lag behind the times,
0:25:03 > 0:25:05for here he is.
0:25:05 > 0:25:06Lermontov engaged him.
0:25:14 > 0:25:16RHYTHMIC PIANO MUSIC
0:25:35 > 0:25:37MUSIC STOPS
0:25:38 > 0:25:40Rondes de jambe.
0:25:41 > 0:25:43FAST PIANO MUSIC
0:26:02 > 0:26:04Class dismissed.
0:26:20 > 0:26:22FLUTE AND BASSOON PLAY
0:26:25 > 0:26:28HE SINGS: Da-da-diddy...
0:26:31 > 0:26:33HE SINGS MELODY AND ORCHESTRA PLAYS
0:26:36 > 0:26:40No, figure 29. Sing!
0:26:40 > 0:26:41That will do.
0:26:41 > 0:26:43Thank you, gentlemen.
0:26:44 > 0:26:47The brass could do with your attention, Craster.
0:26:47 > 0:26:49Tomorrow.
0:26:57 > 0:26:59ORCHESTRA TUNES UP
0:27:02 > 0:27:07Gentlemen, I'm sorry to bring you here so early.
0:27:07 > 0:27:10I've seen this particular ballet several times,
0:27:10 > 0:27:12and I really must...
0:27:17 > 0:27:19There are one or two things I really must put right.
0:27:19 > 0:27:23"Heart of Fire" overture, please.
0:27:24 > 0:27:26From the beginning.
0:27:27 > 0:27:32By the way, trumpets. Two bars before figure 2...
0:27:32 > 0:27:35Have you got an E natural?
0:27:35 > 0:27:37No, I've got E flat.
0:27:37 > 0:27:41Makes all the difference. Should be E natural.
0:27:41 > 0:27:43From the beginning.
0:27:44 > 0:27:46ORCHESTRA BEGINS PLAYING
0:27:55 > 0:27:56ORCHESTRA STOPS
0:27:56 > 0:28:00Please try to come in together.
0:28:00 > 0:28:03Even more pianissimo. Less strings.
0:28:03 > 0:28:05A, oboe. OBOE PLAYS "A"
0:28:05 > 0:28:07ORCHESTRA TUNES UP
0:28:12 > 0:28:13From the beginning.
0:28:16 > 0:28:18ORCHESTRA BEGINS
0:28:41 > 0:28:42That's nice!
0:28:42 > 0:28:44Mr Craster!
0:28:44 > 0:28:46Precisely what is going on?
0:28:47 > 0:28:50I can only suppose you've taken leave of your senses.
0:28:50 > 0:28:53Do you realise that by calling the orchestra one hour early
0:28:53 > 0:28:54we'll have to pay them?
0:28:54 > 0:28:56ORCHESTRA SNIGGER
0:28:56 > 0:29:00Did I ask you to rehearse "Heart of Fire"?
0:29:00 > 0:29:02- Tell me! - Well...
0:29:02 > 0:29:05I'm sure Mr Lermontov is interested too.
0:29:07 > 0:29:09- Well? - I like it.
0:29:09 > 0:29:11You like it?
0:29:11 > 0:29:14No doubt you also like the National Anthem and the Marseillaise
0:29:14 > 0:29:18I hope you're not thinking of summoning the full orchestra at dawn
0:29:18 > 0:29:20to practise those noble melodies.
0:29:20 > 0:29:22ORCHESTRA LAUGHS
0:29:22 > 0:29:27I'll leave him to you, Lermontov. He's your discovery, not mine.
0:29:27 > 0:29:30Mr Craster, please exercise in future
0:29:30 > 0:29:34a little more control over your natural ambitions.
0:29:34 > 0:29:36Why you should have chosen "Heart of Fire"
0:29:36 > 0:29:38for this early morning escapade...
0:29:38 > 0:29:41- Good morning, gentlemen. - ALL:- Good morning.
0:29:41 > 0:29:44..is a mystery I shall never hope to solve.
0:29:44 > 0:29:47May I see that wrong note, please?
0:29:49 > 0:29:53Hmm. However, there are passages in "Heart of Fire"
0:29:53 > 0:29:56which no-one need be ashamed of.
0:29:56 > 0:29:58Thank you, Mr Lermontov.
0:30:00 > 0:30:02CHATTERING
0:30:10 > 0:30:13- Good morning, Miss Page. - Good morning!
0:30:13 > 0:30:15- Is Lord Oldham with you? - Yes.
0:30:15 > 0:30:17Be careful, miss.
0:30:19 > 0:30:21- Good morning, Peter. - Hello, Vicky.
0:30:21 > 0:30:24What are you doing here?
0:30:24 > 0:30:27I'm lunching with Lermontov - the ballet fellow.
0:30:27 > 0:30:30- Oh... Business or pleasure? - Bit of both.
0:30:30 > 0:30:32What about you - shopping?
0:30:32 > 0:30:36Don't worry, Grischa, I'll bring her back at 3.00pm.
0:30:38 > 0:30:40- How are you? - How are you?
0:30:40 > 0:30:43- I hope we're not late. - No.
0:30:43 > 0:30:48- Boris, meet my friend Vicky Page. - Hello.
0:30:50 > 0:30:54- Can we give you a lift? - No, thanks.
0:30:54 > 0:30:55Excuse me.
0:30:58 > 0:31:00LERMONTOV: Who? Victoria Page?
0:31:01 > 0:31:05Um... Yes, she may dance.
0:31:24 > 0:31:26"SWAN LAKE" MUSIC PLAYS
0:31:57 > 0:31:59APPLAUSE
0:32:08 > 0:32:10"SWAN LAKE" MUSIC
0:32:37 > 0:32:39RECORD JUMPS
0:33:14 > 0:33:16Good morning, my dears.
0:33:16 > 0:33:19I hope I find you well.
0:33:19 > 0:33:22I have a few things to say.
0:33:22 > 0:33:25The ballet is leaving for Paris.
0:33:25 > 0:33:31It would be enchanting to be able to invite you all there,
0:33:31 > 0:33:34but this pleasure must be denied me.
0:33:34 > 0:33:37To those whom we must leave behind,
0:33:37 > 0:33:41I'd like to say, don't be discouraged.
0:33:41 > 0:33:44It doesn't mean you're bad dancers.
0:33:44 > 0:33:48It just means that we haven't got room.
0:33:48 > 0:33:51Please step out, Miss Faith, Miss Baines,
0:33:51 > 0:33:53Miss Hardiman, Miss Love.
0:33:57 > 0:33:59Yes!
0:33:59 > 0:34:02Thank you for your hard work this year.
0:34:02 > 0:34:05- Mr Ljubov is equally grateful. - Hmm...
0:34:05 > 0:34:08Maybe next year we'll meet again.
0:34:08 > 0:34:10Good morning.
0:34:11 > 0:34:13Vicky, he means US!
0:34:13 > 0:34:16TRAIN WHISTLES
0:34:30 > 0:34:33Un ange! Les entrechats... comme ca!
0:34:33 > 0:34:35- Oh! - Elle touchait pas la terre!
0:34:35 > 0:34:37- Sans blague?! - Oui!
0:34:54 > 0:34:56PIANO PLAYS
0:35:42 > 0:35:44PIANO STOPS
0:35:46 > 0:35:47Listen!
0:35:47 > 0:35:49Mes amis...
0:35:49 > 0:35:53I am... I get married!
0:35:53 > 0:35:55ALL GASP
0:35:55 > 0:36:01My dear child, all my love and best wishes for your happiness.
0:36:07 > 0:36:13Irina, I wish you the greatest happiness with your new partner.
0:36:13 > 0:36:16- Merci. Where is Grischa? - I'm here!
0:36:16 > 0:36:20- Do you hate me? - I could never hate you.
0:36:20 > 0:36:24- But how can I ever forgive you?! - You will!
0:36:24 > 0:36:25Don't quarrel with your husband
0:36:25 > 0:36:27as much you quarrelled with your conductor!
0:36:27 > 0:36:31Boris Lermontov, you have nothing to say?
0:36:33 > 0:36:34Boris!
0:36:38 > 0:36:41He has...no heart, that man.
0:37:05 > 0:37:07KNOCK AT DOOR
0:37:19 > 0:37:20Entrez!
0:37:22 > 0:37:27- Mr Craster, I have a job for you. - Good!
0:37:27 > 0:37:31Have you not been altogether happy with us so far?
0:37:31 > 0:37:33- Well, I... - Well, what?
0:37:33 > 0:37:38Coaching an orchestra's not exactly a composer's dream, is it?
0:37:38 > 0:37:43This job may not be a composer's dream either.
0:37:43 > 0:37:48But I hope you don't consider it entirely unworthy of your talent.
0:37:52 > 0:37:57The ballet of "The Red Shoes" is from a fairytale...
0:37:57 > 0:38:00MUSIC PLAYS
0:38:00 > 0:38:02MUSIC STOPS
0:38:02 > 0:38:04..pair of red shoes.
0:38:07 > 0:38:09I beg your pardon?
0:38:10 > 0:38:16The ballet of "The Red Shoes" is from a fairy tale by Hans Andersen.
0:38:16 > 0:38:23It's about a girl whose ambition is to dance in a pair of red shoes.
0:38:23 > 0:38:28She gets the shoes, goes to the dance and is happy.
0:38:28 > 0:38:33At the end of the evening, she's tired and wants to go home.
0:38:36 > 0:38:41But, the red shoes are not tired.
0:38:41 > 0:38:44In fact, the red shoes are never tired.
0:38:44 > 0:38:49They dance her into the streets, over the mountains and valleys,
0:38:49 > 0:38:53through fields and forests, through night and day.
0:38:56 > 0:38:59Time rushes by. Love rushes by.
0:39:00 > 0:39:02Life rushes by.
0:39:04 > 0:39:07But the red shoes dance on.
0:39:07 > 0:39:09What happens in the end?
0:39:09 > 0:39:12- She dies. - Yes, I remember.
0:39:12 > 0:39:17Beltran wrote the music last year, during our South American tour.
0:39:17 > 0:39:22The passages marked with the blue pencil are dead.
0:39:22 > 0:39:27Let's see what you can do in the way of rewriting.
0:39:27 > 0:39:29- Oh. - Take your time.
0:39:29 > 0:39:31- No hurry. - Thank you.
0:39:31 > 0:39:34- KNOCK AT DOOR - On vous attend, monsieur!- >
0:39:34 > 0:39:36Oui, je viens. Thank you.
0:40:21 > 0:40:23Look at our Baronskaja!
0:40:23 > 0:40:25She's in wonderful form tonight!
0:40:25 > 0:40:28I'm not interested in Baronskaja's form any more.
0:40:28 > 0:40:32Nor any prima ballerina imbecile enough to marry!
0:40:32 > 0:40:34- Come now, Boris! - She's out.
0:40:34 > 0:40:35< Pitched.
0:40:41 > 0:40:44You cannot have it both ways.
0:40:44 > 0:40:47The dancer relying upon the doubtful comforts of human love
0:40:47 > 0:40:50will never be a great dancer.
0:40:51 > 0:40:53Never!
0:41:02 > 0:41:07That is all very fine, but you can't alter human nature.
0:41:07 > 0:41:10No? You can do even better.
0:41:10 > 0:41:12You can ignore it!
0:41:14 > 0:41:17BOARDING ANNOUNCEMENT IN FRENCH
0:41:23 > 0:41:28..Avec les compliments de Monsieur Ljubov.
0:41:28 > 0:41:30Moi, je suis Ljubov.
0:41:30 > 0:41:37TANNOY: Train numero 280 a Monte Carlo - voie numero 12.
0:41:38 > 0:41:40Boris!
0:41:40 > 0:41:42Adieu.
0:41:45 > 0:41:47Well, Irina.
0:41:47 > 0:41:55Now you can sleep long, and eat sweets all day, and go to parties!
0:41:55 > 0:42:00And now you will be calm. Class will start on time.
0:42:00 > 0:42:04No more shouting, no more hysteria backstage, no more...
0:42:04 > 0:42:06No more...Irina.
0:42:06 > 0:42:08SHE SOBS
0:42:30 > 0:42:33Monsieur Lermontov! Quel plaisir de vous revoir!
0:42:33 > 0:42:37Je m'excuse que je suis tout deshabille,
0:42:37 > 0:42:41mais j'etais en train de regler les lumieres.
0:42:41 > 0:42:43Oh, cette histoire de Boronskaja...
0:42:43 > 0:42:45Miss Page.
0:42:47 > 0:42:49Are you very tired?
0:42:49 > 0:42:51Yes, thank you.
0:42:51 > 0:42:52I mean, no.
0:42:52 > 0:42:56Monsieur, je vous presente Miss Victoria Page.
0:42:56 > 0:42:58Monsieur Boudin, le Directeur General de l'Opera.
0:42:58 > 0:42:59Mes hommages, mademoiselle.
0:42:59 > 0:43:02- Monsieur Rideaut, le regisseur. - Enchante, mademoiselle.
0:43:02 > 0:43:06You have already visited Monte Carlo, mademoiselle?
0:43:06 > 0:43:08Yes, last season.
0:43:08 > 0:43:13- Then you know the Hotel de Paris? - Yes, but I'm staying...
0:43:13 > 0:43:16Hotel de Paris. You'll be comfortable there.
0:43:30 > 0:43:34La voiture de Monsieur Lermontov vous attend, Miss Page.
0:43:41 > 0:43:43Bonsoir, mademoiselle.
0:44:46 > 0:44:48Montez, mademoiselle.
0:45:07 > 0:45:09MAN SINGS OPERA
0:46:01 > 0:46:04You're dressed up for a conference!
0:46:04 > 0:46:06Hello. Is there a conference on?
0:46:06 > 0:46:09Yes, they're all arguing in there.
0:46:10 > 0:46:12There you are, Miss Page.
0:46:12 > 0:46:14Will you come in, please?
0:46:22 > 0:46:26I was just going out when I got your message.
0:46:35 > 0:46:39Miss Page, I've asked you to come here tonight
0:46:39 > 0:46:43because we're preparing a new ballet.
0:46:43 > 0:46:47I've decided to let you dance the principal part.
0:46:50 > 0:46:53But there's one thing I must tell you.
0:46:53 > 0:46:57My belief in your possibilities is not shared by my colleagues.
0:47:01 > 0:47:05However, whatever their personal belief may be,
0:47:05 > 0:47:09they will all give you of their best.
0:47:09 > 0:47:11The rest is up to you.
0:47:12 > 0:47:15Well, Miss Page, that's all.
0:47:16 > 0:47:18We shall start work early tomorrow.
0:47:18 > 0:47:23I suggest you forget your party and go to bed.
0:47:23 > 0:47:24Yes, I will.
0:47:29 > 0:47:31And, Miss Page...
0:47:33 > 0:47:35Good luck.
0:47:35 > 0:47:36Thank you.
0:47:40 > 0:47:43- PIANO PLAYS - Well, what happened?
0:47:44 > 0:47:46I'm in a new ballet!
0:47:46 > 0:47:49- What ballet?! - PIANO PLAYS TUNE
0:47:49 > 0:47:51"The Red Shoes"!
0:47:54 > 0:47:56This is impossible, Mr Craster!
0:47:58 > 0:48:02- I couldn't rewrite that, could I? - Why not?
0:48:02 > 0:48:03You didn't blue-pencil it.
0:48:03 > 0:48:06Horrors like that speak for themselves!
0:48:06 > 0:48:08I did have some ideas...
0:48:08 > 0:48:11Where are they? We need a score!
0:48:11 > 0:48:13If you'll allow me.
0:48:17 > 0:48:19It's the church scene.
0:48:19 > 0:48:22Get rid of this sentimental hymn tune,
0:48:22 > 0:48:24and take a four-square chorale.
0:48:24 > 0:48:25Something like this.
0:48:32 > 0:48:35Then have a church bell coming in.
0:48:35 > 0:48:38PLAYS TUNE LIKE BELL TOLLING
0:48:45 > 0:48:47Suddenly the strings...
0:48:47 > 0:48:51# Da de da de da-dum! #
0:48:51 > 0:48:54As the priest appears, it's brass.
0:48:54 > 0:49:00# Pum, pum, pum-pum pum pum! #
0:49:02 > 0:49:06Shall I play "The Dance Of The Red Shoes"?
0:49:11 > 0:49:14Thank you, Mr Craster, thank you!
0:49:18 > 0:49:21This time change everything. I want a new score.
0:49:23 > 0:49:25There you are, Mr Lermontov.
0:49:26 > 0:49:27Where's the orchestration?
0:49:27 > 0:49:30- When do you want it? - Yesterday.
0:49:30 > 0:49:35I don't want to see your face, until you've finished it.
0:49:35 > 0:49:37You won't!
0:49:39 > 0:49:42SLOW DANCE MUSIC
0:50:00 > 0:50:02Why aren't you in bed?!
0:50:02 > 0:50:04You gave me a fright.
0:50:04 > 0:50:07I meant to.
0:50:09 > 0:50:11Why aren't you in bed?
0:50:11 > 0:50:16I was ordered to, but I'm too excited, so here I am.
0:50:16 > 0:50:18- I haven't seen you. - Thank you.
0:50:18 > 0:50:20You haven't seen me, either.
0:50:20 > 0:50:23He sent you to bed, too?
0:50:23 > 0:50:28No. I'm working on the score of my new ballet, "The Red Shoes".
0:50:28 > 0:50:32- Is that MY ballet, too? - I suppose it is.
0:50:34 > 0:50:36TRAIN WHISTLE BLOWS
0:50:39 > 0:50:41TRAIN ROARS
0:50:48 > 0:50:53I wonder what it feels like to wake up famous.
0:50:53 > 0:50:57You won't know if you stay here talking.
0:50:57 > 0:51:00So...good luck.
0:51:00 > 0:51:01Good luck.
0:51:04 > 0:51:06HE WHISTLES
0:51:35 > 0:51:37PIANO PLAYS
0:51:50 > 0:51:54She's putting too much into it! Tell her, Grischa!
0:51:54 > 0:51:56Mind your own business!
0:51:57 > 0:51:59She's dancing with me.
0:51:59 > 0:52:02And the big stuff's still to come.
0:52:02 > 0:52:05She must know she can't dance everything full out.
0:52:05 > 0:52:11How can she know, if YOU never dance full out before opening night?
0:52:16 > 0:52:20Here are the designs for the costumes, Boris.
0:52:20 > 0:52:23One moment. Sit down, please.
0:52:26 > 0:52:30Sorry, Mr Ljubov. Something must be done about the music.
0:52:30 > 0:52:32- CRASTER:- She pirouettes too early.
0:52:32 > 0:52:34The tempo's too fast.
0:52:34 > 0:52:36- It's the right tempo. - Of course.
0:52:37 > 0:52:39Once more!
0:52:45 > 0:52:46She'll be all right.
0:52:46 > 0:52:48I hope so.
0:52:49 > 0:52:51Still unconverted, Sergei?
0:52:51 > 0:52:54Well, of course she's a charming girl, but...
0:52:54 > 0:52:56I know nothing about her charms and I care less.
0:52:56 > 0:52:59But I tell you, they won't wait till the end -
0:52:59 > 0:53:00they'll applaud in the middle!
0:53:00 > 0:53:03- HE LAUGHS:- Come now, Boris!
0:53:03 > 0:53:05I take a bet.
0:53:05 > 0:53:07Enough! Enough!
0:53:08 > 0:53:13Miss Page, we are trying to create something of BEAUTY.
0:53:13 > 0:53:16While you wave your arms like a scarecrow,
0:53:16 > 0:53:19and bend your knees like a carthorse,
0:53:19 > 0:53:21we are unlikely to succeed!
0:53:25 > 0:53:27Well, well, it's a bet.
0:53:28 > 0:53:31Let me see your sketches.
0:53:33 > 0:53:34The girl.
0:53:36 > 0:53:39Dejeuner! Rendez-vous a deux heures!
0:53:47 > 0:53:50Ne faites pas attention, ma petite.
0:53:50 > 0:53:53Ce Ljubov est un animal!
0:53:58 > 0:54:02- Un verre d'eau, s'il vous plait. - Bien.
0:54:02 > 0:54:04PIANO PLAYS
0:54:11 > 0:54:14Do you still think I can do it?
0:54:14 > 0:54:17You seem to find it a little difficult.
0:54:17 > 0:54:22In two weeks, I hope you'll appear to be finding it supremely simple.
0:54:24 > 0:54:26The great impression of simplicity
0:54:26 > 0:54:30can only be achieved by great agony of body and spirit.
0:54:30 > 0:54:32- Voila! - Uh-uh.
0:54:33 > 0:54:37You don't want to ruin your breathing.
0:54:38 > 0:54:41From today, you shall lunch in my office.
0:54:41 > 0:54:42Craster!
0:54:49 > 0:54:50Sit there, please.
0:54:50 > 0:54:53Mr Craster at the piano.
0:54:53 > 0:54:57Do you usually have a musical accompaniment to meals?
0:54:57 > 0:54:58No, Miss Page.
0:54:58 > 0:55:02This will be your fate for two weeks.
0:55:02 > 0:55:06Mr Craster will play "The Red Shoes" music
0:55:06 > 0:55:08at lunch, tea, dinner, until we open.
0:55:08 > 0:55:10I see.
0:55:10 > 0:55:15Yes. This way you should become quite familiar with the music.
0:55:15 > 0:55:17I think I shall.
0:55:17 > 0:55:21The music is all that matters, eh, Mr Craster?
0:55:21 > 0:55:23- Certainly. - Bon appetit!
0:55:28 > 0:55:30- A votre service, mademoiselle. - Merci.
0:55:34 > 0:55:37Some composers specialise in lunchtime music, don't they?
0:55:37 > 0:55:39Some.
0:55:39 > 0:55:41You?
0:55:41 > 0:55:42In my time.
0:55:49 > 0:55:52Do you mind not playing that?
0:55:52 > 0:55:54It's the right tempo.
0:55:56 > 0:55:58Let's take the ballroom scene.
0:55:58 > 0:56:01That's the most digestible part of the score.
0:56:01 > 0:56:03The ballroom's been cut.
0:56:03 > 0:56:08Cut as a scene, but it's still in my score.
0:56:09 > 0:56:11I wrote this dance for a ballroom.
0:56:11 > 0:56:16Anyone who understands anything about music will SEE a ballroom!
0:56:23 > 0:56:25Even Lermontov will see a ballroom.
0:56:25 > 0:56:27Even you.
0:56:28 > 0:56:32When your partner lifts you into the air,
0:56:32 > 0:56:34my music will transform you.
0:56:34 > 0:56:35Into what?
0:56:37 > 0:56:40A flower, swaying in the wind.
0:56:42 > 0:56:45A cloud, drifting in the sky.
0:56:46 > 0:56:48A white bird, flying!
0:56:48 > 0:56:50Tell that to Ratov!
0:56:50 > 0:56:53He would love your birds and flowers.
0:56:53 > 0:56:54You don't?
0:56:54 > 0:56:57- To a dancer, nothing matters... - Just a minute.
0:56:57 > 0:57:01# Nothing matters but the music! #
0:57:01 > 0:57:05It's hard enough getting off the ground, without being a bird.
0:57:10 > 0:57:13Won't you imagine ANYTHING on the first night?
0:57:15 > 0:57:18Yes - war between me and the audience.
0:57:23 > 0:57:26HE PLAYS FORCEFULLY
0:57:30 > 0:57:33My music will pull you through it!
0:57:43 > 0:57:45TRANQUIL MUSIC
0:57:54 > 0:57:56DRAMATIC MUSIC
0:57:58 > 0:58:00TRANQUIL MUSIC
0:58:04 > 0:58:06DRAMATIC MUSIC
0:58:06 > 0:58:10I'm not a circus conductor, and you're not a horse!
0:58:10 > 0:58:14- It's too fast! - HE YELLS:- Get on with the rehearsal!
0:58:14 > 0:58:19Allow the slow passage to end, before starting your pirouette!
0:58:19 > 0:58:21My downbeat marks a pause.
0:58:21 > 0:58:24We understand it, don't we, gentlemen?
0:58:24 > 0:58:27- Come in on the second beat. - Impossible!
0:58:27 > 0:58:29One, two - tia, tia!
0:58:29 > 0:58:31It's quite simple.
0:58:31 > 0:58:32See this baton?
0:58:32 > 0:58:34- Yes. - Well, follow it!
0:58:38 > 0:58:40OOH!
0:58:43 > 0:58:46ORCHESTRA TUNES UP
0:58:46 > 0:58:49AUDIENCE CHATTERS
0:59:05 > 0:59:09WOMEN ARGUING IN FRENCH
0:59:10 > 0:59:12Oh, laissez-moi tranquille!
0:59:12 > 0:59:14KNOCK AT DOOR
0:59:14 > 0:59:16- Good luck. - Good luck.
0:59:17 > 0:59:18Vicky.
0:59:18 > 0:59:20- WOMEN CHATTER - Vicky!
0:59:20 > 0:59:23Dance any tempo - I'll follow you.
0:59:26 > 0:59:28- All right, Ivan? - Oh!
0:59:28 > 0:59:30Time to go down, Craster.
0:59:30 > 0:59:32- Good luck. - Thank you.
0:59:32 > 0:59:34- Nervous? - No.
0:59:34 > 0:59:35Come on.
0:59:40 > 0:59:43ORCHESTRA TUNING UP
0:59:43 > 0:59:47- Do I...? - What the devil have you got to worry about?
0:59:47 > 0:59:49- It's a fine score. - Is it?
0:59:49 > 0:59:52A magnificent score! I only wish I...
0:59:52 > 0:59:53Go on!
0:59:56 > 0:59:59AUDIENCE APPLAUDS
1:00:03 > 1:00:05APPLAUSE DIES DOWN
1:00:23 > 1:00:25Va chercher Monsieur Ljubov.
1:00:25 > 1:00:27Oui, ma fille.
1:00:29 > 1:00:33Tu fermes les lumieres, quand je baisse la main droite.
1:00:33 > 1:00:35- Mischa? - There's chaos, chaos, chaos!
1:00:35 > 1:00:37- Mischa! - Ah, Boris.
1:00:38 > 1:00:40Mon Dieu!
1:00:40 > 1:00:41- The red shoes! - What?
1:00:41 > 1:00:44The red shoes aren't there!
1:00:44 > 1:00:47- Rideaut. - Where are the red shoes?
1:00:47 > 1:00:49- Mais, Monsieur... - Don't waste time!
1:00:49 > 1:00:50Where are they?!
1:00:50 > 1:00:53- YOU haven't hidden them? - No...
1:00:53 > 1:00:54Yes! Fool! Fool!
1:00:54 > 1:00:59Miss Page est dans un etat. Elle est si nerveuse.
1:00:59 > 1:01:00Oh, ca alors!
1:01:04 > 1:01:06Boris. Look here.
1:01:06 > 1:01:11Elephants! Clumsy elephants, they've ruined my decor!
1:01:11 > 1:01:12Calm yourself, Sergei.
1:01:12 > 1:01:14But the door won't shut!
1:01:14 > 1:01:16Somebody must hold it.
1:01:16 > 1:01:17- But who? - The callboy.
1:01:17 > 1:01:20He'll have nothing to do.
1:01:20 > 1:01:21Hold the door!
1:01:22 > 1:01:24Best of luck, Miss Page.
1:01:24 > 1:01:27I've forgotten my first entrance.
1:01:27 > 1:01:29You THINK you've forgotten.
1:01:29 > 1:01:31What about this? HE HUMS TUNE
1:01:31 > 1:01:35Yes! It's all right when I hear the music.
1:01:35 > 1:01:38Since undoubtedly you'll hear the music,
1:01:38 > 1:01:40undoubtedly you'll be all right.
1:01:40 > 1:01:44The music is all that matters. Nothing but the music.
1:01:44 > 1:01:47If I doubted you, I'd be nervous.
1:01:47 > 1:01:48- Am I nervous? - No.
1:01:48 > 1:01:51You're not dancing for an audience,
1:01:51 > 1:01:56but for Ljubov, Ratov and myself, for whom you've danced many times.
1:01:56 > 1:02:00I believed in you from the beginning.
1:02:00 > 1:02:01Now, everybody does!
1:02:01 > 1:02:07Dance tonight with the same ecstasy I've seen in you only once before.
1:02:07 > 1:02:10At the Mercury Theatre?
1:02:10 > 1:02:15At the Mercury Theatre in London, on a wet Saturday afternoon.
1:02:15 > 1:02:17- LIVY:- 40 seconds. - Coming.
1:02:19 > 1:02:20Good luck, my dear.
1:02:20 > 1:02:24You're a magician - producing this in three weeks, from nothing!
1:02:24 > 1:02:28A magician can't produce a rabbit from a hat,
1:02:28 > 1:02:31unless a rabbit's already there.
1:02:31 > 1:02:34OVERTURE CONTINUES
1:02:50 > 1:02:53A pity the theatre only holds 300.
1:02:53 > 1:02:57We could've filled the Albert Hall tonight!
1:02:57 > 1:03:01What we're creating, the whole world will discuss tomorrow.
1:03:04 > 1:03:06Good boy.
1:03:07 > 1:03:08Rideaut!
1:03:29 > 1:03:32MUSIC STARTS
1:08:11 > 1:08:16MUSIC WINDS DOWN
1:09:00 > 1:09:02MUSIC CRASHES IN
1:09:13 > 1:09:16MUSIC BUILDS
1:12:33 > 1:12:36MUSIC SWELLS
1:18:00 > 1:18:03AUDIENCE BEGINS APPLAUDING
1:18:06 > 1:18:08APPLAUSE AND CHEERING
1:19:16 > 1:19:19WHISTLING
1:19:24 > 1:19:26HE STOPS WHISTLING
1:19:37 > 1:19:39WHISTLING RE-STARTS
1:19:41 > 1:19:43HE WHISTLES ONE LONG NOTE
1:19:50 > 1:19:54Ca va? Any swelling? I mean the head.
1:19:54 > 1:19:59All that clapping, bravos, roses - all that's nothing.
1:19:59 > 1:20:03But when I, who've seen Pavlova, Karsavina dance,
1:20:03 > 1:20:06tell you that last night you were not bad -
1:20:06 > 1:20:10not good, but not bad - that's something!
1:20:13 > 1:20:15Now, I tell you truth.
1:20:15 > 1:20:18It was...good.
1:20:18 > 1:20:21- Thank you, Mr Ljubov. - My name is Grischa.
1:20:21 > 1:20:25- Mine is Vicky. - How do you do?
1:20:25 > 1:20:26Arm straighter.
1:20:26 > 1:20:30So, Boris Lermontov wants to see you.
1:20:30 > 1:20:33Why in class time? Why?!
1:20:33 > 1:20:36WOMEN CHATTERING
1:21:02 > 1:21:04Silence!
1:21:04 > 1:21:05- 'E'. - PIANO EXERCISE BEGINS
1:21:05 > 1:21:08Grace...
1:21:09 > 1:21:11- More cables, Boris Lermontov. - Hello? Who's this?
1:21:11 > 1:21:13- It's you! - Monsieur...
1:21:13 > 1:21:15Une seconde, je vous en prie.
1:21:15 > 1:21:17Thank you for ringing.
1:21:17 > 1:21:19You're not disturbing me.
1:21:19 > 1:21:22I always have time for congratulations.
1:21:22 > 1:21:24Monsieur Lermontov, est-ce que...?
1:21:24 > 1:21:26Laissez-moi parler, je vous en prie!
1:21:26 > 1:21:28Yes, I agree.
1:21:28 > 1:21:31Music! A most distinguished score.
1:21:31 > 1:21:34- Qui est le compositeur? - Mais, le voila.
1:21:34 > 1:21:36Monsieur Craster, tout le monde.
1:21:36 > 1:21:38- Monsieur Craster? - Oui.
1:21:38 > 1:21:40He's contracted to me.
1:21:40 > 1:21:45He's starting a new ballet, full of gaiety and charm.
1:21:45 > 1:21:47"La Belle Meuniere", by Marcel Lucien.
1:21:48 > 1:21:50Yes.
1:21:50 > 1:21:52Yes, it's a wonderful offer.
1:21:52 > 1:21:54- Au revoir, Lermontov. - Au revoir.
1:21:54 > 1:21:56No - next season.
1:21:56 > 1:21:58- Cher maitre, je voudrais... - Au revoir.
1:21:58 > 1:22:01Merci beaucoup. Merci beaucoup.
1:22:01 > 1:22:04It's kind of you to ring.
1:22:04 > 1:22:07No more calls. Not even congratulations.
1:22:07 > 1:22:10Mon cher ami, je vous en remercie.
1:22:10 > 1:22:12- Where is the papers? - Here.
1:22:12 > 1:22:14Thank you very much.
1:22:14 > 1:22:17Fiche-moi le camp! Excusez-moi.
1:22:17 > 1:22:19Well, Mr Craster, that's all.
1:22:19 > 1:22:21I'm proud of you.
1:22:21 > 1:22:24- Mr Lermontov, I'd like... - Some other time.
1:22:24 > 1:22:27- Ah. Do you read French? - Yes.
1:22:27 > 1:22:30Read it. We'll talk another time.
1:22:32 > 1:22:34- WOMAN:- Mademoiselle Page.
1:22:34 > 1:22:36Come in, Miss Page.
1:22:36 > 1:22:38Sit down.
1:22:38 > 1:22:41I want to discuss your future.
1:22:42 > 1:22:47When we first met, you asked me a question.
1:22:47 > 1:22:51You asked me whether I wanted to live.
1:22:51 > 1:22:52I said yes.
1:22:52 > 1:22:54Actually, I want more.
1:22:54 > 1:22:58I want to create - make something big out of something little.
1:23:00 > 1:23:04To make a great dancer out of you.
1:23:04 > 1:23:06But first I must question you.
1:23:06 > 1:23:09What do you want from life?
1:23:09 > 1:23:11- To live? - To dance.
1:23:18 > 1:23:21There's two months left of the Monte Carlo season.
1:23:21 > 1:23:23It's enough time.
1:23:23 > 1:23:27Then we go touring - Rome, Vienna, Copenhagen, Stockholm.
1:23:27 > 1:23:30Then America. Then next year, London again.
1:23:30 > 1:23:33All the big parts for you -
1:23:33 > 1:23:35"Coppelia", "Giselle", "Sleeping Princess",
1:23:35 > 1:23:37"Les Sylphides", "La Boutique".
1:23:37 > 1:23:42You shall dance. The world shall follow.
1:23:42 > 1:23:44You shall... Shhhh!
1:23:44 > 1:23:45Not a word.
1:23:46 > 1:23:48I will do the talking.
1:23:49 > 1:23:51YOU...
1:23:51 > 1:23:53will do the dancing.
1:24:13 > 1:24:17Quel saison! Et, toujours Victoria Page!
1:24:17 > 1:24:19Ah, Victoria Page!
1:24:19 > 1:24:22Vous avez la, une vedette de premier ordre!
1:24:22 > 1:24:24- Goodnight, Boris. - Goodnight, Grischa.
1:24:24 > 1:24:27- She was not bad. - She'll be all right.
1:24:27 > 1:24:29"All right"?! "Not bad"?!
1:24:29 > 1:24:31But she's aflame!
1:24:31 > 1:24:34Un esprit de Coryphee!
1:24:34 > 1:24:36Still not enough, Grischa?!
1:24:36 > 1:24:38- Goodnight, Boris. - Goodnight, Sergei.
1:24:38 > 1:24:41Vicky was wonderful in "Boutique".
1:24:41 > 1:24:44Just a little Dresden shepherdess.
1:24:44 > 1:24:47We should reconstruct the theatre.
1:24:47 > 1:24:49- Why? - It's too small!
1:24:49 > 1:24:51- Goodnight, Lermontov. - Goodnight, Livy.
1:24:51 > 1:24:53Her timing's a miracle!
1:24:53 > 1:24:55Keep up to it!
1:25:52 > 1:25:54- Goodnight, Boris. - Goodnight, Grischa.
1:25:56 > 1:25:59- Goodnight, Boris. - Goodnight, Sergei.
1:26:00 > 1:26:03- Goodnight, Mr Lermontov. - Goodnight, Vicky.
1:26:45 > 1:26:49MUSIC CONTINUES
1:26:57 > 1:26:59- Goodnight, Boris.- >
1:26:59 > 1:27:00Goodnight, Sergei.
1:27:01 > 1:27:04Thank you. That's all.
1:27:04 > 1:27:06- Goodnight, Boris. - Goodnight, Grischa.
1:27:06 > 1:27:08- Boudin. - Oui?
1:27:08 > 1:27:13Which is esteemed to be the very best restaurant on the coast?
1:27:13 > 1:27:15- La Reserve. - Oui, oui, La Reserve.
1:27:15 > 1:27:17- Goodnight, Lermontov. - Goodnight, Livy.
1:27:18 > 1:27:20Book me a table.
1:27:22 > 1:27:24For two?
1:27:24 > 1:27:26Yes.
1:27:26 > 1:27:30Non, il n'est parti qu'il y a cinq minutes. Au revoir!
1:27:30 > 1:27:31- Julian! - Yes?
1:27:31 > 1:27:34I never said goodnight to Lermontov.
1:27:34 > 1:27:38Monsieur Dimitri? No, Miss Page hasn't come in.
1:27:38 > 1:27:39Monsieur Ratov?
1:27:39 > 1:27:41Er, not here either.
1:27:41 > 1:27:44Monsieur Ljubov? 317...
1:27:44 > 1:27:47- No. - Ils sont tous a La Ville Franche.
1:27:47 > 1:27:49Monsieur Dimitri, I've just heard.
1:27:49 > 1:27:54They're having supper at La Ville Franche with Monsieur Ljubov.
1:27:54 > 1:27:56It's his birthday!
1:27:56 > 1:27:59FOLK MUSIC
1:27:59 > 1:28:01CHATTERING
1:28:24 > 1:28:27Le voila!
1:28:27 > 1:28:29ALL CHEER
1:28:44 > 1:28:47Voila! Voila, son gateau! Voila!
1:28:47 > 1:28:49ALL CHEER
1:28:53 > 1:28:57Avec les compliments du Casino de Monte Carlo.
1:28:57 > 1:28:59Ah, merci!
1:28:59 > 1:29:02Regardez. Quel merveilleux cake!
1:29:03 > 1:29:05- CAR ENGINE - Tiens!
1:29:05 > 1:29:08Tiens! Boris Lermontov!
1:29:08 > 1:29:10ALL SHOUT
1:29:12 > 1:29:14Good evening, Grischa.
1:29:14 > 1:29:16May I join your party?
1:29:16 > 1:29:19What a pleasure, Boris!
1:29:19 > 1:29:21A chair for Boris Lermontov!
1:29:21 > 1:29:24TWO chairs for Boris Lermontov!
1:29:24 > 1:29:25Make way there!
1:29:25 > 1:29:27A throne for Boris!
1:29:27 > 1:29:29- Take mine, Lermontov. - Take mine!
1:29:29 > 1:29:32You sit down. It's your birthday.
1:29:35 > 1:29:39Seems a long time since I had supper with my entire family.
1:29:39 > 1:29:40Thank you.
1:29:51 > 1:29:56But it appears that the great Miss Page isn't with us tonight.
1:29:56 > 1:30:01Don't you miss another member of our happy little family?
1:30:02 > 1:30:05No, I can't say I do.
1:30:05 > 1:30:07You're a busy man.
1:30:07 > 1:30:09Have a drink, Lermontov.
1:30:09 > 1:30:11ALL CHEER
1:30:12 > 1:30:13Grischa.
1:30:13 > 1:30:15- A ta sante. - Merci.
1:30:15 > 1:30:21We all know you're a busy man, but have you noticed nothing?!
1:30:21 > 1:30:22Don't exaggerate.
1:30:22 > 1:30:27Boris, we have a little romance in our midst.
1:30:27 > 1:30:28A GREAT romance!
1:30:28 > 1:30:30Romeo Craster.
1:30:30 > 1:30:33And Juliet...Page.
1:30:34 > 1:30:38And when did this great romance begin?
1:30:38 > 1:30:41With "The Red Shoes".
1:30:42 > 1:30:45Charming!
1:30:45 > 1:30:48And where have they taken themselves tonight?
1:30:48 > 1:30:52What does it matter where they have gone?
1:30:52 > 1:30:57They are young, they are together, and they are in love!
1:31:25 > 1:31:28- Darling. - Mm-hm?
1:31:28 > 1:31:32I've decided I do believe in destiny after all.
1:31:32 > 1:31:34Do you, my darling?
1:31:34 > 1:31:36I'm very glad.
1:31:44 > 1:31:45Cocher.
1:31:48 > 1:31:49Cocher!
1:31:54 > 1:31:55You'll wake him.
1:31:55 > 1:31:59But I want to know where we are.
1:32:00 > 1:32:03Cocher! Co...
1:32:15 > 1:32:18One day when I'm old,
1:32:18 > 1:32:23I want some lovely young girl to say to me,
1:32:23 > 1:32:28"Tell me, where in your long life, Mr Craster, were you most happy?"
1:32:29 > 1:32:36And I shall say, "Well, my dear, I never knew the exact place.
1:32:36 > 1:32:39"But it was somewhere on the Mediterranean.
1:32:39 > 1:32:42"I was with Victoria Page."
1:32:43 > 1:32:45"What?" she will say.
1:32:45 > 1:32:47"Do you mean the famous dancer?"
1:32:48 > 1:32:52And I will nod, "Yes, my dear, I do.
1:32:54 > 1:32:56"But then she was quite young.
1:32:56 > 1:32:58"Comparatively unspoilt.
1:33:00 > 1:33:05"We were, I remember, very much in love."
1:33:11 > 1:33:16MUSIC FROM "SWAN LAKE" PLAYS
1:33:46 > 1:33:48Did you see that?
1:33:48 > 1:33:52- She smiled at Craster. - I don't think so.
1:33:52 > 1:33:55You'll send me to an oculist next!
1:33:59 > 1:34:02HE SNARLS: Watch her dancing.
1:34:02 > 1:34:04With pleasure.
1:34:05 > 1:34:07Debutants!
1:34:07 > 1:34:09At a charity matinee!
1:34:17 > 1:34:18LERMONTOV: Yes.
1:34:18 > 1:34:20Yes!
1:34:21 > 1:34:23Yes, all right - Thursday.
1:34:23 > 1:34:26Good evening, Mr Lermontov.
1:34:26 > 1:34:31I'm afraid the score's rough, but I see you've read it.
1:34:31 > 1:34:33Yes, Mr Craster.
1:34:34 > 1:34:35I have looked at it.
1:34:38 > 1:34:41However, I don't wish to discuss your music now.
1:34:41 > 1:34:47To come to the point, what's all this about you and Miss Page?
1:34:48 > 1:34:49Oh, I see.
1:34:50 > 1:34:52- Could Dimitri...? - Get out.
1:34:54 > 1:34:56Well, Mr Craster?
1:35:00 > 1:35:02Yes, we're in love.
1:35:05 > 1:35:07I see.
1:35:08 > 1:35:11Did you see Miss Page's performance in "Lac des Cygnes"?
1:35:11 > 1:35:13I was conducting.
1:35:13 > 1:35:15Did you enjoy it?
1:35:15 > 1:35:17I think it was the loveliest thing I've ever seen in my life.
1:35:17 > 1:35:19It was impossible!
1:35:20 > 1:35:23Do you know why it was impossible?
1:35:23 > 1:35:26Because neither her mind nor her heart were in her work.
1:35:26 > 1:35:29She was dreaming.
1:35:29 > 1:35:33Dreaming is a luxury I've never permitted.
1:35:33 > 1:35:37Miss Page wants to be a great dancer.
1:35:37 > 1:35:40- She's told you her ambitions? - Oh, yes.
1:35:40 > 1:35:43She's not, however, a great dancer yet.
1:35:43 > 1:35:46And she won't become one,
1:35:46 > 1:35:48if she gets sidetracked by idiotic flirtations.
1:35:51 > 1:35:53Mr Lermontov, you don't understand.
1:35:55 > 1:35:56We really are in love.
1:36:02 > 1:36:07And, Mr Craster, I HAVE had time to look at your latest effort.
1:36:07 > 1:36:10- Yes. - And find it equally impossible.
1:36:22 > 1:36:23That's not true.
1:36:23 > 1:36:25It's good.
1:36:25 > 1:36:26Childish,
1:36:26 > 1:36:28vulgar,
1:36:28 > 1:36:29and completely insignificant.
1:36:29 > 1:36:32Then I'll relieve you of it.
1:36:32 > 1:36:35There are of course many first-class ballet companies
1:36:35 > 1:36:39to which you may take it with advantage.
1:36:39 > 1:36:42It's not my greatest ambition to work for the ballet.
1:36:43 > 1:36:46Some of us think it's rather a second-rate means of expression.
1:36:50 > 1:36:52WOMAN: 'Oui, Monsieur Lermontov?'
1:36:52 > 1:36:55Mr Craster's leaving the company.
1:36:55 > 1:36:57Pay him two weeks' salary. He gets a receipt.
1:37:09 > 1:37:11NO MUSIC
1:37:15 > 1:37:16Sur moi!
1:37:16 > 1:37:19Toujours, sur moi!
1:37:26 > 1:37:30Oh, hello. I was just coming to say goodnight.
1:37:30 > 1:37:32- Goodnight. - Is anything wrong?
1:37:32 > 1:37:34No. But before I forget it -
1:37:34 > 1:37:38don't do any more work on the new ballet. I've decided to scrap it.
1:37:38 > 1:37:40Scrap it? What do you mean?
1:37:40 > 1:37:43I've done half the choreography!
1:37:43 > 1:37:46That boy Julian is really gifted.
1:37:46 > 1:37:48It's one of the finest scores we ever had.
1:37:48 > 1:37:50Julian's leaving the company.
1:37:50 > 1:37:54- I won't discuss it any further. - Really?!
1:37:54 > 1:37:55Well, I will!
1:37:55 > 1:37:59I know a brilliant score when I hear one!
1:37:59 > 1:38:02I've not been working for weeks
1:38:02 > 1:38:06for the pleasure of being told I'm wasting my time!
1:38:06 > 1:38:08I tell you, Boris -
1:38:08 > 1:38:13I've had enough of this fantastic lunatic asylum!
1:38:13 > 1:38:15I am THROUGH with it!
1:38:15 > 1:38:17I resign!
1:38:18 > 1:38:22I think you've made a very important decision.
1:38:35 > 1:38:36Hello, you two.
1:38:36 > 1:38:39Isn't love wonderful?!
1:38:42 > 1:38:45- SERGEI:- Bonsoir, Julian.
1:38:45 > 1:38:46Hello.
1:38:51 > 1:38:53What did he say?
1:38:53 > 1:38:57Of course, he doesn't really want you to go, Grischa.
1:38:57 > 1:38:59He's very sorry.
1:38:59 > 1:39:02Then, I will think about it!
1:39:02 > 1:39:04What about Julian?
1:39:04 > 1:39:09- HE SIGHS:- I have never seen him quite as bad as this.
1:39:09 > 1:39:13He talked a great deal about ingratitude and...
1:39:13 > 1:39:15disloyalty.
1:39:15 > 1:39:18He said when personal relations started to interfere....
1:39:18 > 1:39:20Yes, I know that bit.
1:39:21 > 1:39:26My dear children, I'm very sorry.
1:39:28 > 1:39:31Boris might feel different in the morning.
1:39:31 > 1:39:32The morning?
1:39:32 > 1:39:35He's leaving for Paris by the 8.15 train.
1:40:05 > 1:40:08Has the famous Miss Page come to see me off?
1:40:08 > 1:40:11I'd like to talk to you.
1:40:20 > 1:40:22Why have you quarrelled with Julian?
1:40:22 > 1:40:23There's only three minutes.
1:40:23 > 1:40:26May I suggest, Miss Page, that such matters are hardly your business?
1:40:29 > 1:40:32However, since you've gone to all this trouble...
1:40:35 > 1:40:38Mr Craster has been unwise enough to interfere with certain plans of mine.
1:40:40 > 1:40:42And that is something I do not permit.
1:40:44 > 1:40:48I thought once that there would be no room in my life
1:40:48 > 1:40:50for anything but dancing.
1:40:50 > 1:40:52You'll think so again.
1:40:52 > 1:40:55But if Julian goes, I shall go too.
1:40:57 > 1:41:01- What do you intend to do? - Dance somewhere else.
1:41:01 > 1:41:02Oh, yes!
1:41:03 > 1:41:07That won't be difficult with the name I've given you...
1:41:07 > 1:41:11always provided I release you of your contract.
1:41:11 > 1:41:16But even if I do, will it be quite the same?
1:41:17 > 1:41:20I've never pretended it would.
1:41:23 > 1:41:26I could make you one of the greatest dancers
1:41:26 > 1:41:29the world has ever known.
1:41:31 > 1:41:33Do you believe that?
1:41:34 > 1:41:36Yes, I do.
1:41:38 > 1:41:40And that means nothing to you?
1:41:41 > 1:41:45- WHISTLE BLOWS - You know what it means to me.
1:41:45 > 1:41:47- CONDUCTOR:- En voiture!
1:41:49 > 1:41:51- KNOCK AT DOOR MAN:- The train's leaving!
1:41:53 > 1:41:55Goodbye, Mr Lermontov.
1:42:01 > 1:42:04Miss Page is coming.
1:42:07 > 1:42:09PIANO PLAYS
1:42:11 > 1:42:12- VICTORIA:- Julian!
1:42:13 > 1:42:14Julian!
1:42:17 > 1:42:19I'm coming with you!
1:42:19 > 1:42:22HOORAY!!
1:42:39 > 1:42:41NOISE OF TRAFFIC OUTSIDE
1:43:15 > 1:43:17Fool.
1:43:19 > 1:43:21Fool!
1:43:23 > 1:43:25FOOL!
1:43:50 > 1:43:52BUZZER
1:44:03 > 1:44:04Come in.
1:44:04 > 1:44:06You're late.
1:44:06 > 1:44:08I hope you didn't work too hard.
1:44:08 > 1:44:12All finished. I have the injunction with me.
1:44:40 > 1:44:44Boris, don't tell me you've changed your mind again?
1:44:46 > 1:44:47HE CHUCKLES
1:44:49 > 1:44:54I...I don't want to stop her doing anything.
1:44:55 > 1:44:58She can dance when and where she likes.
1:44:58 > 1:45:00Except "The Red Shoes".
1:45:00 > 1:45:01What about the boy?
1:45:01 > 1:45:05That's different. Everything written while under contract to me, is mine.
1:45:05 > 1:45:09"The Red Shoes" and his work on "La Belle Meuniere".
1:45:09 > 1:45:12I'm not interested in anything else he may write.
1:45:12 > 1:45:14But if you keep "Red Shoes" in the repertoire,
1:45:14 > 1:45:16you'll have to pay him royalties.
1:45:16 > 1:45:19"Red Shoes" is no longer in the repertoire!
1:45:19 > 1:45:20Oh.
1:45:28 > 1:45:31I understand Patrick Trevalier's in Paris.
1:45:32 > 1:45:35Yes. I dined with them both last night.
1:45:36 > 1:45:39Oh? Baronskaja's with him?
1:45:40 > 1:45:41Yes.
1:45:41 > 1:45:43Anything I can do?
1:45:43 > 1:45:46How's their marriage? A success?
1:45:46 > 1:45:48Patrick seems to think so.
1:45:49 > 1:45:53Would you like me to arrange a meeting with Irina?
1:45:53 > 1:45:55Not "arrange".
1:45:56 > 1:45:58By chance.
1:46:22 > 1:46:24DOG BARKS
1:46:27 > 1:46:29Oh, Boris!
1:46:33 > 1:46:35"SWAN LAKE" MUSIC PLAYS
1:47:00 > 1:47:02- BORONSKAJA:- Goodnight, Boris! - Goodnight, Irina.
1:47:02 > 1:47:04DOOR CLOSES
1:47:04 > 1:47:07- Good season? - With the Ballet Lermontov, always!
1:47:09 > 1:47:11- DOOR OPENS SERGEI:- Goodnight, Boris.
1:47:11 > 1:47:12Goodnight, Sergei.
1:47:12 > 1:47:14- Sergei! - Yes?
1:47:14 > 1:47:18- Would you come in, please? - Of course, Boris.
1:47:21 > 1:47:23- GRISCHA:- Goodnight, Boris!
1:47:23 > 1:47:25Grischa, please come in and wait.
1:47:28 > 1:47:29Conference?
1:47:31 > 1:47:33- Ah! - Urgh!
1:47:37 > 1:47:39Letters.
1:47:40 > 1:47:45- Nobody writes to me. - That's not true. Yours.
1:47:45 > 1:47:47From Vicky.
1:47:47 > 1:47:50From Vicky?! How is that girl?
1:47:50 > 1:47:51Read it and you'll see.
1:47:53 > 1:47:55This is from Julian.
1:47:55 > 1:47:58It's all about his new opera.
1:47:58 > 1:48:00He describes the whole structure.
1:48:02 > 1:48:04Enormous talent, that boy!
1:48:07 > 1:48:09He says...
1:48:10 > 1:48:11..she's an inspiration.
1:48:14 > 1:48:16A miracle.
1:48:16 > 1:48:19- Thank you, Mr Boudin. - Bonsoir.
1:48:19 > 1:48:22Well, I see it's mail day.
1:48:22 > 1:48:25From our two young rebels.
1:48:25 > 1:48:26Deserters.
1:48:27 > 1:48:29I hope they're happy.
1:48:29 > 1:48:32- Read, Boris. - Read this too.
1:48:32 > 1:48:35It might make you sorry to have lost him.
1:48:35 > 1:48:37I doubt it.
1:48:37 > 1:48:42That reminds me. Jacques sent the new score of "La Belle Meuniere".
1:48:42 > 1:48:45I like it. I'd like you to hear it.
1:48:45 > 1:48:49- We might open with it in London. - With Irina?
1:48:49 > 1:48:51We can discuss that.
1:48:51 > 1:48:53First night - all gaiety, fire!
1:48:53 > 1:48:58Would you glance through it? No prejudice, please.
1:48:58 > 1:49:00I hope you remember that yourself sometimes.
1:49:00 > 1:49:03- Every day. Goodnight, gentlemen. - Goodnight.
1:49:03 > 1:49:07On second thoughts, I'd like to read those letters.
1:49:14 > 1:49:19My letter was only meant to be read by me.
1:49:19 > 1:49:22- See you later, Boris. - Goodnight, Sergei.
1:49:30 > 1:49:33I could hardly let him read it.
1:49:33 > 1:49:36She calls him a monster.
1:49:36 > 1:49:38A gifted, cruel monster.
1:49:38 > 1:49:40- HE LAUGHS:- You should've told him.
1:49:45 > 1:49:48WOMAN SINGING OPERA
1:50:38 > 1:50:40WOMAN SINGING OPERA
1:51:04 > 1:51:06SINGING STOPS
1:51:29 > 1:51:32PIANO PLAYS
1:53:04 > 1:53:06HE PLAYS PIANO
1:53:55 > 1:53:56DOOR OPENS
1:53:58 > 1:54:01I'm sorry to be late, Boris Lermontov.
1:54:06 > 1:54:10Lady Neston was in front tonight.
1:54:10 > 1:54:14She arrived this morning. She's staying several weeks.
1:54:14 > 1:54:18And Miss Page is joining her next week for a short holiday.
1:54:45 > 1:54:47KNOCK AT DOOR
1:54:48 > 1:54:52We seem destined to meet at railway stations.
1:54:52 > 1:54:56- What are you doing here? - Waiting for you. Sit down.
1:55:04 > 1:55:06But you know, my dear Vicky,
1:55:06 > 1:55:10how I'm always looking for great dancers.
1:55:15 > 1:55:17We all have missed you.
1:55:17 > 1:55:22I was hoping that you would have started to miss us.
1:55:22 > 1:55:24I have.
1:55:25 > 1:55:27You only have to say the word.
1:55:30 > 1:55:32How is everybody?
1:55:32 > 1:55:33- Including me? - Including you.
1:55:33 > 1:55:34- Never better. - How is Grischa?
1:55:34 > 1:55:37- Always fighting with Boronskaja. - And she?
1:55:37 > 1:55:39- Always fighting with Grischa. - Old Sergei?
1:55:39 > 1:55:41- Getting younger. - And you?
1:55:41 > 1:55:42Getting older.
1:55:43 > 1:55:46And you? You are happy?
1:55:46 > 1:55:48Yes, very happy.
1:55:50 > 1:55:52As a dancer, I mean.
1:55:53 > 1:55:55I haven't danced much.
1:55:55 > 1:55:58I know every time you have danced.
1:55:58 > 1:56:01- But you never stopped working. - No.
1:56:01 > 1:56:04- Never stopped going to class. - Never.
1:56:06 > 1:56:07Why isn't HE with you?
1:56:08 > 1:56:11His opera's been accepted at Covent Garden.
1:56:11 > 1:56:13It's in rehearsal now.
1:56:13 > 1:56:16- Would he give it up if you asked? - I don't know.
1:56:16 > 1:56:17- You do. - I WOULDN'T ask.
1:56:17 > 1:56:21Why is he asking you? Does he know what he's asking?
1:56:29 > 1:56:32We are preparing a new ballet.
1:56:33 > 1:56:35We've been working at it for weeks.
1:56:35 > 1:56:39The costumes and decor are Ratov's most beautiful.
1:56:39 > 1:56:41Grischa's full of enthusiasm.
1:56:41 > 1:56:43You know what that means.
1:56:47 > 1:56:52Nobody else has ever danced "The Red Shoes" since you left.
1:56:53 > 1:56:55Nobody else ever shall.
1:56:57 > 1:57:03Put on the red shoes, Vicky, and dance for us again.
1:57:11 > 1:57:14RADIO: 'This is the BBC Third programme,
1:57:14 > 1:57:17'from the Royal Opera House, Covent Garden, London.
1:57:18 > 1:57:21'Tonight's the first night of "Cupid and Psyche",
1:57:21 > 1:57:24'a new opera by young British composer Julian Craster,
1:57:24 > 1:57:28'whose only well-known work is the score for "The Red Shoes".
1:57:29 > 1:57:31'"The Red Shoes" was a great success,
1:57:31 > 1:57:34'produced at Monte Carlo with the Ballet Lermontov,
1:57:34 > 1:57:37'but has not yet been seen in this country.
1:57:40 > 1:57:42'Something must have gone wrong.
1:57:42 > 1:57:45'Somebody's making an announcement.'
1:57:45 > 1:57:50'Ladies and gentlemen, I regret to announce that Julian Craster,
1:57:50 > 1:57:55'who was to conduct his own opera, has been taken ill.
1:57:55 > 1:57:59'Sir Hartley Menzies will conduct in his place.'
1:57:59 > 1:58:02'Here comes Sir Hartley Menzies now.
1:58:02 > 1:58:05'I'll announce the cast during the interval.'
1:58:05 > 1:58:07DOOR OPENS
1:58:11 > 1:58:13Il est moins le quart, monsieur.
1:58:19 > 1:58:22All the way down from London, I wondered if I'd find you here.
1:58:23 > 1:58:25And here you are.
1:58:26 > 1:58:29- You left your first night? - Yes.
1:58:30 > 1:58:32Oh, Julian!
1:58:33 > 1:58:34Why didn't you?
1:58:40 > 1:58:42At last, Vicky.
1:58:45 > 1:58:46All right now, my sweetheart.
1:58:47 > 1:58:52There's a train to Paris at 8.00. We'll be on it together.
1:58:52 > 1:58:54Hurry and get changed.
1:58:54 > 1:58:56- I'm dancing tonight. - Walk out.
1:58:58 > 1:58:59Good evening, Mr Craster.
1:58:59 > 1:59:02Won't they miss you at Covent Garden?
1:59:02 > 1:59:04- Il est moins dix. - Je sais!
1:59:04 > 1:59:07Leave me alone, both of you!
1:59:07 > 1:59:09Please, wait until after the performance.
1:59:09 > 1:59:11It'll be too late.
1:59:11 > 1:59:14You're already too late, Mr Craster.
1:59:14 > 1:59:17- Tell him why you've left him. - I haven't!
1:59:17 > 1:59:20You have! Your life is dancing.
1:59:20 > 1:59:23You can dance anywhere else in the world!
1:59:23 > 1:59:26Would you be satisfied with less than the best?! If you would,
1:59:26 > 1:59:29you would never be a great artist. Perhaps you never will.
1:59:29 > 1:59:33Would you make her a great dancer?! Never!
1:59:33 > 1:59:37I've waited since you snatched her, to win her back!
1:59:37 > 1:59:41- You're jealous of her! - Yes, I am!
1:59:42 > 1:59:44But in a way that you'll never understand!
1:59:44 > 1:59:47- Moins cinq! - Faut-il tenir le rideau?
1:59:47 > 1:59:49Wait!
1:59:54 > 1:59:55Well, Vicky?
1:59:55 > 1:59:59I love YOU, Julian! Nobody but you!
1:59:59 > 2:00:02SHE CRIES
2:00:02 > 2:00:03You love that more.
2:00:04 > 2:00:07I don't know! I don't know!
2:00:08 > 2:00:12If you go, I'll never take you back! Never!
2:00:12 > 2:00:16Vicky, do you want to destroy our love?!
2:00:16 > 2:00:18Adolescent nonsense!
2:00:18 > 2:00:22All right, go then! Go with him!
2:00:22 > 2:00:26Be a faithful HOUSEWIFE, with a crowd of screaming children!
2:00:26 > 2:00:29And finish with dancing FOR EVER!
2:00:29 > 2:00:31Vicky, look at me.
2:00:34 > 2:00:36WOMAN ON RADIO SINGS OPERA
2:00:50 > 2:00:52Goodbye, then, my darling.
2:00:56 > 2:00:57Julian!
2:00:59 > 2:01:01DOOR CLOSES
2:01:01 > 2:01:04Monsieur Lermontov! Peut-on commencer l'ouverture?
2:01:04 > 2:01:06- Oui, commencez! - Bon.
2:01:06 > 2:01:09Alors, commencez tout de suite!
2:01:10 > 2:01:12Vicky.
2:01:13 > 2:01:14Vicky.
2:01:15 > 2:01:17Little Vicky.
2:01:20 > 2:01:24There it is, all waiting for you.
2:01:24 > 2:01:27Sorrow will pass, believe me.
2:01:27 > 2:01:30Life is so unimportant.
2:01:32 > 2:01:39And from now on, you will DANCE like nobody ever before!
2:01:58 > 2:02:01WOMAN SINGS LOUDLY
2:02:12 > 2:02:14Qu'est-ce que tu as?!
2:02:15 > 2:02:17Ma petite...
2:02:17 > 2:02:19Ma petite.
2:02:19 > 2:02:21Ma petite!
2:02:21 > 2:02:22Monsieur Lermontov!
2:02:32 > 2:02:34Mademoiselle Page! Ou allez-vous?!
2:02:34 > 2:02:36TRAIN WHISTLE BLOWS
2:02:41 > 2:02:44RATTLE OF TRAIN
2:02:55 > 2:02:57NO!
2:03:41 > 2:03:45Ladies...and gentlemen!
2:03:49 > 2:03:53I'm sorry...to tell you...
2:03:56 > 2:03:58..that Miss Page...
2:03:59 > 2:04:00..is unable...
2:04:02 > 2:04:05..to dance...tonight.
2:04:05 > 2:04:07AUDIENCE GASPS
2:04:07 > 2:04:12Nor, indeed, any other night.
2:04:16 > 2:04:18Nevertheless...
2:04:20 > 2:04:22..we've decided...
2:04:25 > 2:04:26..to present...
2:04:28 > 2:04:29.."The Red Shoes".
2:04:34 > 2:04:38It is the ballet...
2:04:42 > 2:04:43..that made her name...
2:04:46 > 2:04:49..whose name she made.
2:04:50 > 2:04:53We...present it...
2:04:57 > 2:04:58..because...
2:05:02 > 2:05:04..we think...
2:05:06 > 2:05:07..she would have...
2:05:09 > 2:05:11..wished it.
2:05:12 > 2:05:14ORCHESTRA PLAYS
2:05:47 > 2:05:49Pas d'espoir.
2:05:57 > 2:05:59- SHE WHISPERS:- Julian...
2:05:59 > 2:06:01Yes, my darling?
2:06:01 > 2:06:04Take off the red shoes.