The Red Shoes Page #7

you'll have to pay him royalties.

The Red Shoes is no longer

in the repertoire!

Oh.

I understand Patrick Trevelyan

is in Paris.

Yes. I dined with them both last night.

Oh? Boronskaja is with him?

Yes. Anything I can do?

How's the marriage? A success?

Patrick seems to think so.

Would you like me to arrange

a meeting with Irina?

Not arrange.

By chance.

[ Horn Honks ]

[ Dog Barking ]

Oh, Boris!

[ Orchestra ]

- Good night, Boris.

- Good night, Irina.

[ Door Closes ]

- Good season?

- With the Ballet Lermontov, always.

- [ Door Opens ]

- Good night, Boris.

Good night, Sergei.

- Sergei!

- Yes?

- Would you come in and wait, please?

- Yes, of course, Boris.

- Good night, Boris.

- Grischa, please come in and wait.

Ah. Conference.

[ Sergei Exclaims ]

Letters.

- Nobody writes to me.

- That's not true.

Yours, from Vicky.

- From Vicky?

- Mm-hmm.

- How is that girl?

- Read it and you'll see.

And this is from Julian.

It's all about his new opera.

He describes the whole structure.

[ Livy ]

Enormous talent, that boy.

He says...

she's an inspiration -

[ Sighs ]

a miracle.

- Thank you, Mr. Boudin. That's all. Good night.

- Merci. Bonsoir.

[ Boris ]

Well, I see it's mail day.

[ Sergei ]

From our two young rebels.

Deserters.

I hope they're happy.

- Read, Boris.

- Yes, read this too.

It might make you sorry

to have lost that young man.

I doubt it.

By the way, that reminds me.

Jacques sent me the new score

of La Belle Meuniere.

I like it, and I'd like you all

to hear it at once.

- We might open with it in London.

- With Irina?

We can discuss that.

The part is light, all gaiety, fire.

Perhaps you would be good enough

to glance through it.

- And no prejudice, please.

- I hope you say it to yourself sometimes.

- Every day. Eh, good night, children.

- Good night.

- Good night.

- On second thought...

I think I would like

to read those Ietters.

My letter was only meant

to be read by me.

- See you later, Boris.

- Good night, Sergei.

I could hardly let him read it.

She calls him a monster -

a gifted, cruel monster.

[ Laughs ]

You should have told him that.

[ Woman Singing Opera ]

[ Singing Continues ]

[ Piano, Muffled ]

[ Piano Continues ]

[ Piano ]

[ Door Opens ]

I am sorry to be late,

Boris Lermontov.

Lady Neston was in front tonight.

She arrived this morning.

She is staying for several weeks.

And Miss Page is joining her next week

for a short holiday.

[ Knock At Door ]

We seem to be destined

to meet at raiIway stations.

- [ Woman ] Vite! Vite!

- What are you doing in Cannes?

Waiting for you, of course.

Won't you sit down?

[ Engine Chugging ]

But you know, my dear Vicky...

how I'm always looking

for great dancers.

We all have missed you...

and I was hoping that by now you would

have started to miss us a little.

I have.

You onIy have to say the word.

- How is everybody?

- Including me?

- Including you.

- Never better.

- How is Grischa?

- Always fighting with Boronskaja.

- And she?

- Always fighting with Grischa.

- And how is old Sergei?

- Getting younger.

- And you?

- Getting older.

And you? You are happy?

Yes. Very happy.

- As a dancer, I mean.

- I haven't danced very much, you know.

Oh, I know, I know.

I know every time you have danced.

- But you never stopped working.

- No.

- And you never stopped going to class.

- Never.

And why isn't he with you?

His opera has been accepted at Covent Garden.

It's in rehearsal now.

- Would he give it up if you ask him?

- I don't know.

- You do know.

- I wouldn't ask him.

Then why is he asking you?

Does he know what he's asking?

We are preparing a new ballet.

We've been working at it for weeks.

The costumes and the decor are the most

beautiful things Ratov has ever done.

Grischa is full of enthusiasm,

and you know what that means.

Nobody else has ever

danced The Red Shoes since you left.

Nobody else ever shall.

Put on the red shoes, Vicky,

and dance for us again.

[ Male Radio Announcer ]

This is the BBC Third Programme.

I am speaking from the Royal Opera House,

Covent Garden, London.

Tonight is the first night

of Cupid and Psyche...

a new opera by a young British composer,

Julian Craster...

whose only well-known work until now...

has been the score

for the ballet The Red Shoes.

The Red Shoes was a great success...

when produced at Monte Carlo last year

with the Ballet Lermontov...

but has not yet been seen

in this country.

Oh, something must have

gone wrong, I'm afraid.

I think somebody is going

to make an announcement.

Ladies and gentlemen,

I regret to announce...

that Mr. Julian Craster, the composer...

who was to conduct his own opera,

has been suddenly taken ill.

Sir Hartley Menges will conduct in his place.

[ Announcer ]

Here comes Sir Hartley Menges now.

I'll announce the names of the cast

during the interval.

[ Door Closes ]

[ Speaking French ]

AIl the way down from London,

I wondered if I'd find you here.

And here you are.

You left your first night?

- Yes.

- Oh, Julian.

Why didn't you?

[ Crying ]

I'm lost without -

I'm all right now, my sweetheart.

There's a train going to Paris at 8:00.

We'll be on it together.

Better hurry up and get changed.

- But I'm dancing tonight.

- Walk out.

Good evening, Mr. Craster.

Won't they be missing you

at Covent Garden tonight?

[ Speaking French ]

Oh, for God's sake,

leave me alone, both of you!

Please, Julian.

Wait until after the performance.

- It'll be too late then.

- You are already too late, Mr. Craster.

Tell him why you've left him.

- I haven't left him!

- Oh, yes, you have left him.

Nobody can have two lives,

and your life is dancing.

Vicky, you could dance

anywhere eIse in the whole world.

Would you be satisfied

with anything less than the best?

If you would, you would never be

a great artist. Perhaps you never wiIl.

And would you make her

a great dancer as well? Never.

Why do you think I've waited day after day

since you snatched her away from me...

for a chance to win her back?

- Because you're jealous of her.

- Yes!

I am, but in a way

that you will never understand.

[ Both Speaking French ]

Wait!

[ Julian ]

Well, Vicky?

I love you, Julian. Nobody but you!

[ Sobbing ]

- [ JuIian ] But you love that more.

- [ Woman Singing Opera ]

I don't know! I don't know!

If you go with him now,

I wiIl never take you back. Never!

Vicky, do you want

to destroy our love?

Adolescent nonsense.

All right. Go, then. Go with him.

Be a faithful housewife...

with a crowd of screaming children

and finish with dancing forever!

[ Julian ]

Vicky, look at me.

[ Julian ]

Good-bye then, my darling.

Julian! Jul -

Monsieur Lermontov,

peut-on commencer a l'overture?

- Oui. Commencer.

- Bon. Bon.

[ French ]

- Vicky.

- [ Sobbing ]

Vicky.

Little Vicky.

There it is, all waiting for you.

Sorrow will pass, believe me.

Life is so unimportant...

and from now onwards

you will dance...

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