The Turning Point Page #3

One, two, three.

And one, two, three.

A little late. Three.

And one. Your toes will be in fifth position.

Last time. Again.

- Don't...

- I'm sorry.

- OK.

- That's enough.

How can you dance on it

if you can't even stand a Band-Aid?

And one, two, three, four,

five, six, seven, eight.

One, two, three, four, five, six, seven...

Now, behave.

You're on a scholarship so be grateful.

I am. And it keeps me off the streets,

like you said.

You better not be so smartass

with your teachers.

So long, Mom.

- No.

- You don't wanna be seen with me?

- Don't you have anything better to do?

- Frankly, I don't.

Well, let me go first.

Control.

One. Stay.

And a-one.

Grand finale.

Sh*t.

Hello, Florence.

Is Adelaide around, by any chance?

No, sorry.

She had a fundraising meeting, Mrs Rodgers.

Deedee, Deedee.

...five, six, seven, eight.

One, two, three, four,

five, six, seven, eight...

- Sevilla. How are you?

- Oh, hello.

That's as far as I got.

Interesting.

Thank you, everybody.

Shall I show you your solo now?

Please do.

You have three piqu turns

to two chans and pli.

- Arabesque. Preparation fourth.

- Double pirouette, right?

You can do a single.

I can do a double.

- Where do you want my head here?

- Down and to the side.

Fascinating.

You know, Arnold, it might help

if you told me what I was playing.

There's no story, Emma. It's abstract.

I'm aware of that. I asked what I was playing,

not who I was playing. What am I feeling?

Nothing, Emma. You just dance.

Arnold...

you've got the wrong lady.

Just watch your blood pressure, Arnold.

I did not say that if we don't use Emma,

we won't put on your ballet.

I did say that with Emma it will get

the serious attention it deserves.

Actually,

that's why you showed it to her, isn't it?

I was surprised Emma Jacklin

wanted to be in it.

Why? Emma's always worked

with young choreographers...

Michael.

I'm in bad need of a new ballet, Arnold,

and you know it.

Now, we're using each other, so play fair.

You're very talented.

Talented enough to change it, so that

you can use me at what I can do best. Now.

I'd like to, Emma, but it's not that simple.

- Your ambivalence is showing.

- Don't get bitchy.

- I'm not referring to your sex life.

- Ballets are for dancers, not to oblige stars.

I'm afraid Arnold wants his choreography

to be the only star.

It is, and it should be.

So you don't want me.

Well, then, it is that simple.

Your choreography looked very good

on Emilia. Use her. She'll surprise you.

Back to work.

The little bastard didn't even have the grace

to talk me into staying in his bloody ballet.

Drink slowly.

By the way, you and Freddie

aren't doing any Giselles this season.

- Trying to scare the hiccups out of me?

- No.

Sevilla's doing two,

then she alternates with...

Carolyn.

You picked a lovely time to tell me, Michael.

Better to get everything

dumped on you all at once.

Better for whom?

I'm the artistic director, Emma.

You tell me when and how

you'd say it to an artist you respect.

And a friend.

Poor Freddie.

You know we're only getting paid

by the performance this season.

No, I didn't know.

Well, the hiccups are gone, too.

Now, if I can just find

something to put these in...

You know, everything she has in here

is either an icon, a samovar or broken.

Usually all three.

- "D D Vanyo phone?"

- What?

That's what it says, I think.

Oh, that's from last night. You have to learn

how to break Dahkarova's code.

- "Wayne phoned."

- Yep.

He's so smart. He knew

if he gave me enough rope I'd hang myself.

- How's Janina?

- She's OK.

Crazy. Hates ballet, loves Oklahoma.

How did I raise one normal child?

Now, this will pass for a vase.

Oh, Em, if I could just get that teaching job.

And all I need is Adelaide's OK,

but I can't get the old b*tch on the phone.

Who's she coaching?

Oh. The blonde, with the big eyes.

She's been coming over. Carolyn.

Yes.

I just heard Carolyn's going

to be doing Giselle this season.

Oh, dammit. I will not get the hiccups... again.

Put your arms up. How about

if I kill Adelaide? I'd like to anyway.

Don't blame Adelaide.

It's not her fault. I swore I'd quit at 35.

And 36, 37...

And then I closed my eyes.

How old were you

when you started taking lessons?

Eight.

I was seven.

- Our bodies always objected.

- I know.

But you didn't stay around long enough

to find out they revolt.

And too soon.

They just refuse to do what one wants.

They can't.

But even now, there are moments

when it comes together.

The music, the dancing...

the lights...

the costumes...

Well, you wanted to know

what it was like to be me.

Deedee, all I'm doing offstage

is just waiting to get back on.

How about a beer?

- I beg your pardon.

- No, tea.

- I'll make it.

- No, you sit.

- I'm gonna talk to Adelaide about yourjob.

- Don't talk to Adelaide about a damn thing.

Will you tell me something?

Why do the problems of people like you seem

so much more important than my problems?

- It's obvious. You're more important.

- Well, if I am, it's not for long.

A couple of years ago

Dahkarova was coaching me.

Today, Carolyn.

But next year...

Emilia.

- Emilia?

- Oh, yes.

She's really that good?

- I think she's gonna do it for you, Deedee.

- That's it, that's better.

Excuse me.

Mrs Rodgers, could...

- Emma, you're here.

- Still.

- What do you want, Carolyn?

- A glass of water, please.

Ah, kettle is boiling.

- Emma.

- Madame.

- I'm sorry.

- Why? It's not your fault.

- I understand.

- Yes. I understand too.

I went through the very same thing.

Carolyn.

- Cup of tea?

- Thank you, Emma.

Getting ready for my first performance

of Giselle is so difficult...

Stop talking. Sit.

- Any little cakes, Deedee?

- Cakes? Certainly. Anybody else?

- I'd love some. What kind do you...

- No.

- Hello, Momma.

- Hi, sweetie. How...

Emma. Hello, Mme Dahkarova. Hello, Carolyn.

Emma, Arnold was so mean after you left.

- But he'll give you the part?

- I knew it was your idea.

- Would you like some tea, darling? Emilia?

- Please.

- A lot of Arnold's scowls and mutterings?

- Yes.

- You'll get the part.

- What part?

- In Arnold's new ballet.

- Who, Arnold? Good ballet?

It's a good part for Emilia.

Then you must help and coach her.

All right.

I will.

But, Emma... you? Coaching?

Nonsense. I do it. It's necessary

to teach someone else be good like me.

But, Madame, you don't... You're not...

I don't what? I'm not what?

I think what Carolyn means is that

you don't dance any more and I do.

- Who helped you the most?

- Kschessinska.

From Mariinsky to me.

From me to you while I still was dancing.

Now to Carolyn, and very soon to you, Emilia,

if you work sur les pointes every day.

- Opening nights are so exciting.

- Aren't they?

I wish you were doing

the first Giselle tonight, not Sevilla.

It takes all the running you can do

to stay in the same place.

Pardon?

Rate this script:0.0 / 0 votes