All language subtitles for 111Center.Stage.Eng

(SOFT PIANO MUSIC PLAYING)

INSTRUCTOR: And one.

Heel forward.

Good.

That's right. Shoulders down.

And brush.

(PEOPLE CHATTERING)

Do you know how many they take?

Usually no more than 12.

Twelve? Out of this class?

Out of the whole planet.

(COSMIC GIRL PLAYING)

In the middle. Number 15.

WOMAN: Not enough turnout.
Bad feet.

MAN: But look at her.

She's just a cosmic girl

- WOMAN: Excuse me!
- You're excused.

From another galaxy

My heart's at zero gravity

She's from a cosmic world

(PEOPLE APPLAUDING)

Putting me in ecstasy

WOMAN: Here we go.

Am I a bad mother if I
hope she doesn't get it?

Don't ask me.
I was against this from the start.

- Mom!
- Jody!

Mom! Mom, I got in.

(LAUGHING) Oh!

I made it.

Wonderful, honey.

Can you believe it?

It's because you're a good dancer.

I'm going to New York.

Hey.

Hey, what happened?

- They didn't take you? What?
- No.

No? Those bastards.

Not, "No, they didn't." No, they did.

Do you know who went there?

Everyone who matters in American ballet.

The school feeds right into the Company.

Yeah, but there's no guarantee
you'll make the Company, right?

WOMAN: And you could still
dance in college, honey.

Indiana has a great dance program.

Hey, this is the best thing
that's ever happened to me.

I don't think it would kill you two
to at least pretend to be happy.

It's a scholarship.

They give them to everybody.

That's the only way
they can get people to go.

- When are you going to start?
- I don't know.

I'm thinking maybe I'm not gonna go.

What are you talking about?

What are you going to do instead?

There's that new Hooters opening.
I could work there.

As what, though?

You do not have the rack.

- I'll get implants!
- Yeah, right.

I'm scanning all my radars

We'll she said she's from a quasar

Forty thousand million light years away

It's a distant solar system

I tried to phone, but they don't list 'em

So I asked her for her number all the same

She said, "Step in my transporter

"So I can teleport ya

"All around my heavenly body"

This could be a close encounter

I should take care not to flounder

Sends me into hyperspace
when I see her pretty face

She's just a cosmic girl

From another galaxy

- You need a hand?
- No.

She's from a cosmic world

(CHUCKLES)

No.

No?

I mean, no, thank you.

Okay.

She's cosmic

Idiot.

Sends me into hyperspace
when I see her pretty face

Sends me into hyperspace
when I see her pretty face

Sends me into hyperspace
when I see her pretty face

Sends me into hyperspace
when I see her pretty face

She's just a cosmic girl

From another galaxy

Transmitting on my frequency

Yeah, cosmic, oh

Can't you be
my cosmic woman?

Hi. I'm Eva Rodriguez. How you doing?

Jody Sawyer. Fine. I'm new here.

Oh, me, too. I took the top.

This is good.

You know who I saw on my way in?

Who?

Cooper Nielson.

Oh, yeah? Did he seem
as cocky in person as he is on TV?

(CHUCKLES)

You know, It just kind of freaks me out

that we're gonna be seeing
people like him around all the time now.

MAUREEN: You get used to it.

I'm Maureen. I guess I'm living with you.

Don't sound so excited.

I'm Jody.

Nice to meet you.

This is Eva.

What are you doing?

I'm knitting a sweater.

Uh, if you want to smoke,
you have to go outside.

Fine. I'll go outside. Are you coming?

- Bye, Maureen.
- Bye.

Hey. Erik Jones.

How you doing, Erik?

My stage name is Erik O. Jones, after Oprah.

She's my idol.

Eva Rodriguez, after no one.

Oh! An individual. I like it.

I'm Jody Sawyer.

Well, we were just heading out to smoke.
You wanna join us?

Oh, come downstairs. It's Marlboro Country.

EVA: So, Serge.

Sergei, Sergei.

Who's the babe?

It's my girlfriend, Galina.

Oh, God, don't get him started.

She was here all four years with me

and now she dances
with San Francisco Ballet.

You've been here for four years already?

Yeah.

So you know the story with this
Maureen chick we're living with, huh?

(CHUCKLING) You're living with Maureen?

Well, good luck.

Big-time bitch?

Biggest time. And of course,
she has the best technique in the school.

She was here since she was nine.

Is this the right room?

If it's not, I'm staying anyways.

No argument here, baby.

SERGEI: You're Charlie?

- Then you're in the right place.
- Excellent.

That's Sergei, that's Jody,
that's Eva, I'm Erik, and you're cute.

- ERIK: Long trip?
- From Seattle.

My girlfriend dumped me
for leaving her there.

Mmm.

(PEOPLE CHATTERING)

Morning.

Would the new students
raise your hands, please?

Now, which of you was the best dancer
in the last class he or she took?

Come on.

(CHUCKLES) It's a heady thing, isn't it?
Being the best.

Teachers dote on you.
Other students ask for your help.

And an aura builds
and then you get accepted into ABA.

And whether or not you admit it,
you start thinking

it's just a matter of time

before you're doing Giselle
before packed houses in Lincoln Center.

For most of you, that will never happen.

I don't say this to be cruel,

I say it to help you
clarify your expectations for the year ahead.

If you work harder every day
than you've ever worked in your life,

this school will turn you into
the best dancer you can possibly be.

That may or may not be the kind of dancer

I have room for in the Company.

At best, I can take three boys and three girls.

I'll be watching you carefully
over the coming months.

But I won't be making any decisions

until I see how you dance
in the workshop performance,

at the end of the year.

They won't be easy decisions to make

because you're all very talented.

You wouldn't be here if you weren't.

Thank you for bringing your gifts
to our community.

I wish you all a very good year.

I hope he doesn't think
that was inspirational.

Oh, one more thing, one more thing.

Next week is the Company gala.

We always invite our advanced students
to attend the performance

and to help out at the party afterwards.

I expect you all to be there.

(ALL MURMURING)

And you are?

Eva Rodriguez.

So glad you could
fit us into your busy schedule, Eva.

Oh, no sweat.

(ALL LAUGHING)

JULIETTE: All right, ladies,
we'll start with our plies.

First position. Demi and stretch.

Demi and stretch.

Full grand plie. And return.

Port de bras forward.

Full port de bras back.

The same in second,
fourth and fifth positions.

And then we'll rise
and take a balance in fifth.

Yes? Let's begin. Steven?

(PIANO PLAYING)

Relax those fingers, Janie.

Very nice, Maureen.

Pull those ribs in. Really support.

Mmm-hmm.

Nice long lines, ladies.

Put the energy coming up over your heads.

What's your name, dear?

Jody Sawyer.

You need to concentrate on your turnout.

From the hip.

Mmm-hmm.

We have a dress code here.

Black leotard, pink tights.

Stylish.

No gum.

Get your hair off your face.

Developpe, ecarte.

Change to efface.

Plie. Tendu. Lift the leg, first arabesque.

Maureen, will you show us, please?

Now, look at Maureen's arms.

They're perfectly supported
from underneath, not above.

Not wilting at her sides
like dead chicken wings.

Oh, she's so good.

Yeah, just ask her.

JULIETTE: And one.

(UPBEAT PIANO MUSIC PLAYING)

Really extend that front leg. Yes.

Ready, second group.

Wow, where did she come from?

JULIETTE: Softer landing, ladies, please.

Anna, eyes off the mirror, please. Thank you.

Watch where you're going, sweetheart.
We don't carry collision insurance.

(MUSIC ENDS)

Who let that disaster in here?

Mmm.

I swear I'm better than that.
I'm just really nervous.

Hey, don't sweat it.

First day never counts. Okay?

Everything counts here.

MALE INSTRUCTOR: One and hip.

- Arms in front of you.
- Fresh meat.

In the middle.

And one. Good. Not bad.

ANNA: Cute. Who is he?

Charlie, from Seattle.

JODY: We only met him yesterday.

Is he gay or straight?

Straight.

BOTH: Straight.

KATHLEEN: Hi, Robert.

Hey, you guys. Look.

Hi, girls.

Maureen, Anna.

Hi, Kathleen.

That was Kathleen Donahue, wasn't it?

Yup. The Kathleen Donahue.

Oh, my God. She's beautiful.

Well, I think she looks kind of like a gerbil.

What?

She does.

She just married Mr. Reeves, right?

Wait a minute. She married the director?

Mmm-hmm.

Now I get it.

Yeah, this summer. It was a huge scandal.

She'd been with
Cooper Nielson for a few years.

And then one day, out of nowhere,

she tells him
she's leaving him for Jonathan Reeves.

No one even knew they were having an affair.

And Cooper throws this huge fit in rehearsal

in front of the whole company.

Calls her a slut and stuff.

It was unbelievable.

Then he drags his broken heart off to London
to dance for the season.

Where rumor has it, he drinks like a fish

and screws every girl in tights.

He's back, you know.

I know.

I heard he hasn't spoken to anyone.

He talked to me.

What?

You know, he, he offered
to help me with my bags.

Bob, it's a benefit.

If I give you an extra seat,
I'm taking money away from the Company.

Besides, when was the
last time your paper ran anything on us?

Oh, what the hell.

Three seats under your name at will call,

but only because I'm nice.

- Hi, Mom.
- Hi, sweetie.

Well?

Nothing to worry about.

So, what's the competition?
What about your roommates?

Jody's hopeless. She'll never make it.

Is she the one from Boston?

No, that's Eva.

Eva's actually good. Amazing extension.

But her attitude stinks.

Jonathan hates her already, thank God.

So you still think it'll be you,
Anna and Emily?

Yeah. Although, have you seen Emily lately?

Look at her.

Hello, Emily.

Hi, Mrs. Cummings.

Oh, dear.

Her pas de deux partner's
going to need a crane to lift her.

(CHUCKLING) Stop it.

(SWAN LAKE PLAYING)

No way do people actually buy this shit.

It's signed by Kathleen Donahue.

It's a smelly old shoe.

(PEOPLE APPLAUDING)

(JAZZ MUSIC PLAYING)

- Cooper.
- How you been?

Can I tear you away for a minute?

There's a woman here whose husband
just died, leaving her $200 million.

And she adores you.

Excuse me. That was beautiful.

Let me introduce you.

Now, why does that feel wrong?

Oh, it, it's just a hello.
It would be great for the Company.

- Jonathan.
- Steve.

Well, if it's good for the Company.

I mean, you know me. Team player.

(CHUCKLES)

Joan Miller. Cooper Nielson.

- Hello.
- Well, this is an honor.

Cooper, I am, without a doubt,
your biggest fan.

And my loveliest.

Well.

Now, what on earth were you doing

way over there in dreary London,

when everyone loves you so much here?

Don't you listen to the gossip?

I was being huffy. Scorned lover. All that.

(EXCLAIMS)

Oh, God. Oh, I'm so sorry.

Not at all. It's fine.

Joan, this is one of our advanced students.

- Jody Sawyer.
- JONATHAN: Sorry.

We have so many
promising students this year,

I find it hard to keep them straight.

You see?

That's how taxing Jonathan's job is.

There's so much going on,

he can't remember the name
of a beautiful girl.

Don't worry, Jody Sawyer.

I don't run a company. I won't forget.

Excuse me.

I will trade you

one bliss potato with caviar
for one of your tiaras.

See, my old one's broken and I'm desperate.

What will you use it for?

You know, state funerals,
abdications, the usual.

I'll see if we have your size.

- ERIK: Hey, you guys wanna see something?
- What?

Come on, just go with this.

KATHLEEN: I appreciate that.
It's always a pleasure to dance with him.

Oh, Cooper, I've already told Kathleen,

but what a treat, that Romeo and Juliet.

You're the finest Romeo
since Jonathan himself.

It's a great piece.

And you two together.

I don't do anything.

It's all her.

EMILY: Come on.

(ALL LAUGHING)

Save it for the workshop, Charlie.

Look at him.

Get over here.

- Let's show them.
- Sure.

(EXCLAIMS)

COOPER: What's wrong with you?

KATHLEEN: You know
exactly what you did.

You've got no right
to paw me in front of all those people.

I don't know what you're talking about.

I wasn't pawing you.

I mean, I can't even touch you?

We're not friends anymore?

Okay, Cooper, listen.

I think it's great you're back.
You're a wonderful dancer.

But I am just as happily married
as I was before you left.

Yeah, well, if things are so good at home,

how come we danced better tonight
than we ever have?

For God's sake, Cooper, that was acting.

Pretending.

That's our job.

(SIGHS) I got to get back.

- (EXHALES)
- Oh, my God.

I know.

JODY: In the grander scheme of things,
it was a pretty cool night.

EVA: Yeah, except for
that slave labor part, it didn't suck.

Excuse me. Coming through.

No luck, huh?

- What?
- The tiara.

She went off to find one in my size.

Oh! No. No luck.

It's all right. I'm sure you tried your hardest.

Anyone want a fruit tart for the road?

Yeah, I'll take one.

It's practically all fat, Emily.

Hello, Emily. I'm Jim Gordon.

Hi.

So, you guys, what, work here?

Oh, no. We're students
at the American Ballet Academy.

Ballerinas. Very cool.

Oh, my God.

You got to try one of these, Maureen.

Well, she has a name. Maureen.

We have to go.

Yeah, yeah, me, too.

- I'm gonna go home, call my mom.
- Go and talk to him.

Tell her how wrong
I've been about New York.

You see, Maureen No-last-name,

all this time I've been telling her,

"It's an interesting city, but completely

"devoid of any true natural beauty."

And now that I've met you,

I know that's not true.

(LAUGHING)

- Cummings.
- What?

Her last name. It's Cummings.

Go. And one and stretch and stretch.

Good lift. And good, Charlie. Yes.

Stretch that front foot. Much better.

Yes, good. Come on, go.

Take it forward. That's it. Good. Dip and go.

All right, I'm here. Sorry.

I know, I know. I'm sorry.

And one. The arm's lifted here.

The head is here. Yes, yes, yes.

Lift through here, and lift it,

but not tucked, not tucked, dear.

Ready, Maureen?

Beautiful round brise.

Feet always stretched.

Look at how lovely her arms are.

Head up, Stephanie.

Everyone, ribs in.

Don't let your elbows droop.

Turnout, Jody.

From the hips, dear.

Now really just
skim the surface this time, ladies.

Jody, flutter.

Yes, Eva.

Exactly.

You feel the difference?

Felt like the same old shit to me.

Late out of that turn, Jody.

You're trying too hard.

Thank you, ladies.

Emily.

You might wanna visit
the nutritionist this week.

She can give you some good pointers.

Go back. Go back.

Come on, let's go. Go back.

I need to see the girls
gesture to their partners.

"Hello, I'm waiting."

And the boys rush over and kneel.

"I am your slave."

And...

(PIANO PLAYING)

I am your slave.

I'd believe it more if you weren't staring

at your own fucking reflection
when you said it.

If someone wants to hear profanity,

Miss Rodriguez, they can take a subway.

They don't need
to spend $60 on a ballet ticket.

Though she has a point.

That foot, my dear. Let's go back.

Let's go back. Come on, let's go back.
Try it again.

You've got to work with me here, Jody.

Okay?

(SIGHS)

(PIANO PLAYING)

JULIETTE: Lift, Anna.

Excellent, Eva.

Where's the turnout, Jody?

After everything we've talked about,
I'm not seeing it.

You understand what I'm saying?

Use what you have and turn out.

Jesus! She heard you!

(PIANO PLAYING STOPS)

Excuse me?

She heard you. We all heard you!

You don't have to speak to her like that!

Anyone can see she's working her ass off!

That's enough, Miss Rodriguez.

This is my classroom.

And I will run it as I see fit.

If you have a problem with that,
you are free to leave.

(SCOFFS)

(FOOTSTEPS RECEDING)

(DOOR OPENS)

Oh, Maureen, if you want to get calls,
please do so in the dorm.

Don't give out this number.

I didn't.

Well, a Jim Gordon got it somehow

and has been calling for you non-stop.

Hi. What are you doing here?

Nothing.

I'm just waiting.

I know. I wasn't myself today.

I didn't get enough sleep last night,
so I was really tired.

It's not just today, Jody.

I see you three times a week.

You're not improving.

I can work harder.

Oh, no matter how hard you work, there...

There are certain realities
about you as a dancer that we have to face.

We can wait till the end of the year,
when it's time for you to get a job.

Or we can talk about it now,
while you still have options.

You're not very turned out.

So that needs work.

And you don't have great feet.

And while you're very pretty,

you don't have the ideal body type.

Margot Fonteyn didn't have great feet.

When Margot Fonteyn was onstage,

you couldn't tear your eyes away from her.

(CHUCKLES)

It can't be taught.

In four months, we're gonna
put on a workshop in front of 3,000 people.

It's an audition for
every major ballet company in the country.

From what I've seen,
I can't cast you in that workshop.

And if you're not onstage that day,

you won't get a job,
not at ABC, not anywhere.

So, what? Are you kicking me out?

No.

I just want you to really think

if this is the right place for you.

EVA: What a prick.

He was perfectly nice about it.

Yeah, but being nice
when you say something

pricky is even prickier.

MAUREEN: What if he's right?

What?

Let's be honest.

You're not like most of the girls here.

Your technique is nowhere near
where it should be.

Hey, news flash, there's more to being

a great dancer than perfect technique.

Try dancing Swan Lake without it.

Oh, God, I can't believe I'm hearing this.

Look, you're really smart.

If you send in your application now,
you could get into a good college.

I don't want to go to college. I want to dance.

(SIGHING) Yeah, well, so do a lot of people.

Jesus! What, you went to
a special bitch academy or something?

I'm just trying to be honest.

In my opinion, that's what friends do.

Tell each other the truth.

I guess that explains why you have
so many friends.

If anyone asks, I'm in the library.

(DOOR CLOSES)

Truth?

In terms of technique, you are behind.

But the people here know
what they're looking for.

And on the day of your audition,
they saw it in you.

Yeah, and now all they see
is the wrong body type.

Oh, Eva, why can't I have your feet?

(SIGHS)

Okay. Enough of this. Get up.

Why?

Because all we ever do in this place
is take class.

And it's about time we had a little fun.

JIM: Hey!

Hi, Maureen.

Hi, Emily. How you guys doing?

Fine.

Good.

So, has Maureen been really busy?

I mean, she isn't seeing someone else, like

Cooper Nielson or someone, is she?

What do you know about Cooper Nielson?

Hey, I've been doing my ballet research.

We're not encouraged to date
company members.

I fully support that policy.

Look.

All I came here to say is
I go to Columbia, pre-Med.

I have a clean record,
impeccable hygiene and here's my number.

Go talk to him.

Come on, go.

Hey.

The thing is, I've got priorities.

You only get to be a dancer for 10 years.

Maybe 15 if you don't get injured.

So, for the next decade at least...

Hey, all I'm asking for is a date.

(SALSA MUSIC PLAYING)

Oh, my God!

That's why I like this guy.

SERGEI: Okay. Anna's for sure, right?

She's always been Jonathan's favorite.

- Maureen, too.
- ERIK: Oh, yeah, you're right.

EVA: Boring.

SERGEI: Boring or no,
Jonathan likes her.

ERIK: Yeah, that only
leaves one girl spot open.

EVA: Emily will get it.
SERGEI: I don't think so.

She's getting big. Jonathan hates big.

Oh, no. It's just a little extra padding
for the winter.

You didn't get all done up like that
to talk about ballet.

Come on.

(SINGING IN SPANISH)

What does she have that I don't?

She can salsa.

EVA: You call that salsa? Come on, Erik.

We'll show them salsa.

Get your asses up here.

What is that?

That's not salsa.

- That is not salsa.
- Use the technique, Charlie.

ERIK: Here we go, girl.

(WHOOPING)

Hi.

Where are you from?

- Jersey.
- New Jersey?

Me. I'm from Russia.

Yeah? What are you doing here?

I'm a ballet dancer.

(BOTH LAUGHING)

(EXCLAIMS)

So, how do I do this, exactly?

You've never bowled before?

No.

Just roll it on down there.

(EXCLAIMS)

BOY: In Nepal, there's this jungle

and this elephant's walking down the
way and he steps on a thorn.

He's like, "Oh, my God, that hurts."

He sees a little mouse, he goes,
"Oh, mouse, could you help me out?

"Get the thorn out of my foot, it really hurts."

And the mouse goes,

"No, no, you stepped on my uncle last week.

"I remember you.
Forget about it buddy. No way."

And he goes, "Please, come on,
I'll do anything. It really hurts."

So the mouse goes,
"Anything?" He says, "Yeah."

He goes, "Okay." So he takes out the thorn.

The elephant feels so much better,

and he says,
"Thank you so much. How can I repay you?"

The mouse goes,

"I don't know, I want to
have my way with you.

- "I find you sexy."
- GIRLS: Oh, my God!

He did. He said,
"Let me have my way with you."

And the elephant goes, "No."

He goes, "You promised." And he just climbs
up and starts doing the elephant.

The elephant's like,
"Well, I guess I'll let him finish.

"It's the right thing to do here," you know?

Then there's these three monkeys
up in a tree

that're seeing this mouse hump the elephant.

And they're like, "Oh, my goodness."

They pick up these
coconuts and they just start chucking them.

And they just start chucking them.

Finally they hit the elephant
right in the head.

The elephant goes,
"Ow! Oh, my God, that hurts."

The mouse doesn't even stop.
He says, "Yeah, take it all, bitch. Take it all."

(ALL LAUGHING)

This is my kind of a mouse.

You know what I mean?

(SLOW MUSIC PLAYING)

Why can't all dancing be this fun?

All dancing is this fun.

Maybe for you.

Russia, huh?

So, what are you doing in New York, then?

Mafia.

(COME, BABY, COME PLAYING)

(WHOOPING)

(BOTH SINGING IN SPANISH)

Mmm.

- You've got, uh...
- Mmm.

I've got it.

Would it be presumptuous
to ask to come up?

Yeah.

Plus, you're not allowed. Dorm rules.

So, this is good night.

I think so. Yeah.

But not goodbye.

No. No, not goodbye.

I have to go.

Good night.

WOMAN: Thank you, sir!

Guys, let's go to another club.
I want to dance.

All right, ma'am. Time to go.

Taxi, taxi!

You're sweaty.

I don't mind 'cause you're sweet.

And so is your sweat.

Sweet sweat.

You are, too.

What? Sweet or sweaty?

Both.

(RETCHING)

(COUGHING)

(GROANING)

(PIANO PLAYING)

(BOTH CHUCKLING)

- Ow!
- I'm sorry. Sorry.

Come on, Jody.

(JODY LAUGHING)

Can't do another one of these today.

(GRUNTS)

(EXCLAIMS)

(THUDDING)

Careful with that one.

You break it, you bought it.

(ALL LAUGHING)

Okay, stop. Stop.

You five, come here.

Oh, God.

When you show up
to class unprepared to work, it's an insult.

Not just to me.

To your fellow students and to the school.

(SNICKERS)

Get out of my class.

How many studios are there altogether?

SERGEI: Eight.

Oh! That's a lot of mirrors.

It was worth it just to see Sergei
getting it on with that old lady.

(ALL LAUGHING)

Oh, my God. That's right.

I had forgotten all about that.

We weren't getting it on, okay?

Yeah, right.

I thought she was going to detach her jaw
and swallow you whole.

You know, I'm just
trying to imagine what the lovely Galina

- would have to say about that.
- No! No!

No, you can't tell her. No!

- I was drunk and I was lonely and...
- Oh, yes, I can.

It didn't... It didn't mean anything, guys.

I don't know, Sergei. I'm with Jody.

I believe a girl's have a right to know

what kind of hound she's saving herself for.

- How about this, huh?
- Oh!

(EXCLAIMING)

I'm sorry!

(GIRLS SCREAMING)

EVA: No, no, no, no! Come on!

Stop it!

(SCREAMING)

(WHOOPING)

EVA: Stop, stop, stop! Okay, okay, okay.

(SCREAMING)

(ALL LAUGHING)

So, there's this jungle and all these
wild animals, lions and tigers

and well, there's this elephant,

and he's walking along
and he steps on this thorn.

Wouldn't it makes sense for Charlie
to partner you in the pas de deux class?

He's very good.

It seems like a waste for him
to be partnering Jody.

It's fine. So anyway,

he steps on this thorn and it really hurts.

Honey, I'm trying to talk to you
about something important.

It's not that important. Just let me finish.

Not that important?

Having a bad pas de deux partner
is like having a bad tennis partner.

I wouldn't know. I've never played tennis.

What's wrong with you?

Did you just start your period?

No. God.

Well, you're acting strangely.

I'm just trying to tell a joke.

And I'm trying to have
an important conversation about your future.

Charlie brings out the best in his partner.

That's the kind of thing
that'll make a difference

when it comes to cast the student workshop.

I don't think I'll have a hard time
getting a good part, Mom.

You can't afford to be cavalier, Maureen.

Your entire career hangs

on what you're gonna get to dance
in the workshop.

I know all this.

Please don't turn
into a sullen teenager on me now.

You've come this far.

I thought we were home free.

Anyway...

I have a meeting with Jonathan today.

I can easily mention
the idea of you partnering Charlie.

- I'm sure he would agree that...
- So, what happens is,

the elephant goes, "Ow, ow!"
and the mouse goes,

"Take it all, bitch!"

(DOOR OPENS)

You're threatened by me.

I'm threatened by no one.

Yeah, you are.
You're afraid of opening the Times

and reading that at last, someone is
making interesting dances for ABC.

I'm not an idiot.

If you prove to be a great choreographer,

I'll be begging you to make dances.

But for now, I can only choreograph
for the student workshop?

That's my decision.

You know, you're still
hanging onto all that personal shit.

I don't need to hang onto anything.

I got the girl.

(ALL CHATTERING)

Hi. Do you have a 5:30 class?

What kind would you like?

Anything but ballet.

(ALL CHATTERING)

What are you doing here!

MAN: All right, George.

Grab an ass.

What's up?

All right, everybody!

Let's do it!

(ALL CHEERING)

(POP MUSIC PLAYING)

INSTRUCTOR: Spread out!

Let's start with the usual warm-up.

And, five, six, seven, eight!

Head down. And back.

Right, center, left, center.

Right shoulder.

Left shoulder.

- Hey, you made it! All right.
- Hey.

Alternate.

And second!

That's it. Roll it.

Roll those hips.

Come on. Mix it.

Okay.

Get ready to get down and contract.

Down and contract. And down.

Whoa!

And get it up. Lots of action over here!

Push it out. Come on, hold it, hold it.

All right. Stretch out. Up!

Kick it up! And up!

Okay. Other side. Up!

And up. You've got it.

All right.

All right. You're going to get up.

And I want you to bounce.

And stretch.

All right. I want to take it from the top.

I want it full out.
Look, just forget about the steps.

Just dance the shit out of it.

(ALL CHEERING)

(HIGHER GROUND PLAYING)

And one, two, three, four,
five, six, seven, eight.

People

Keep on learnin'

Five, six, seven, eight. One, two, three, four.

Keep on warrin'

Hit it, boys.

(LAUGHING)

Keep on turnin'

'Cause it won't be too long

(INSTRUCTOR COUNTING BEATS)

Powers

Keep on lyin'

While your people

Whoo! Yeah!

Keep on dyin'

Good.

World

Keep on turnin'

Yeah!

Push it, yeah.

I'm so darn glad
he let me try it again

'Cause my last time on earth
I lived a whole world of sin

I'm so glad that I know
more than I knew then

Gonna keep on tryin' till
I reach the highest ground

Yeah. All right. That was great!

All right, girls. Come on.

Lovers

Keep on lovin'

While believers

Keep on believin'

Sleepers

Just stop sleepin'

(CHATTERING)

'Cause it won't be too long

Oh, no

I'm so darn glad
he let me try it again

'Cause my last time on earth
I lived a whole world of sin

I'm so glad that I know
more than I knew then

Gonna keep on tryin' till
I reach the higher ground

Yeah!

MAN: And Stevie knows
that, uh, nobody's gonna bring me down.

Till I reach the highest ground

'Cause me and Stevie, see,
we're gonna be sailin' on the funky sound.

Till I reach the highest ground

Bustin' out and I'll break you out,
'cause I'm sailin' on.

Till I reach the highest ground

INSTRUCTOR: Go!

Just sailing on, sailing on to higher ground.

Till I reach
the highest ground

Yes! Go for it.

Go for it!

(WHOOPING)

WOMAN: All right!

Get you, Mr. Choreographer.

It's only for a workshop.

Well, just make sure you take chances, okay?

'Cause you really suck when you play it safe.

Thanks. That's sweet. Really.

- Thank you.
- You're welcome.

- Great class.
- Mmm.

Thanks. See you.

Jody Sawyer.

See? Told you I'd remember your name.

What are you doing way down here?

Is that a problem?

I mean, know I'm not
supposed to be taking class at other places.

Like I care. You looked great up there.

Thanks.

No. It's just that class.

I mean, how come
I can't dance like that in my ABA classes?

Because ABA has
a great big stick up its ass?

(LAUGHING)

- Have you had dinner yet?
- Yeah.

Dessert?

Hop on. We'll go for a ride.

Okay.

(I WANNA BE WITH YOU PLAYING)

I try

But I can't seem to get
myself to think of anything

But you

I wanna be with you

If only for one night

To be the one
who's in your arms, to hold you tight

I could've sworn
I had some cookies or something.

It's okay. I shouldn't eat them anyway.

I'm in enough trouble with my body as it is.

Where are you getting that from? Jonathan?

Yeah. That, plus, my feet suck.
I'm poorly trained.

And I can never be a dancer, ever.

(LAUGHS NERVOUSLY)

Jonathan's a moron.

I couldn't take my eyes off you tonight.

Best I could do.

Cheers.

I meant it, you know.

I noticed your dancing
before I recognized your face.

I have to admit, I recognized your face first.

(CHUCKLES NERVOUSLY)

I wanna be with you

I wanna be with you

Ooh, yeah

I wanna be with you

Oh, baby, I can't fight
this feeling anymore

Drives me crazy
when I try to

So come my way, take my hand

Can you make my wish?

Baby, you are in command

I wanna be with you

In spite of what they say

There's nothing else I want more
than to feel this way

I wanna be with you

I wanna be with you

I wanna be with you

I wanna be with you

I wanna be with you

I wanna be with you

You want anything? Water?

- Some more wine?
- No.

I can keep looking for those cookies.

I'm fine.

(ANSWERING MACHINE BEEPS)

Cooper, it's Jonathan.

We'll be at girl's class
at the school at 10:00 a.m. Monday morning

to finalize workshop casting.

Be there.

(PIANO PLAYING)

JULIETTE: Chasse, releve. Chasse, tendu.

Plie.

(PIANO PLAYING STOPS)

Anna. Anna, I asked for
a double pirouette there.

Not a triple. Again, please.

Faster spotting, ladies. Steven.

(PIANO PLAYING)

It's a chasse, not a tombe, Pasquale.

Anna, Anna!

(PIANO PLAYING STOPS)

I want a clean double.

I'm sorry. I thought
there was enough music for three.

I mean, wouldn't it be better
if we all did a triple?

A double. End of discussion.

You want to use her?

(PIANO PLAYING)

JULIETTE: That's much better, Nicole. Yes.

Really give it size, ladies.

Don't flap the wrists, Emily.

Yes.

Beautiful, Aesha.

All right, ladies. Maureen.

Good jumps, good elevation.

But you'll really fly more
if it's from the heart.

Who cares what she thinks, anyway?

Juliette Simone, please.

Her name's Julie Simon,
she grew up in Perth Amboy

and her father managed a Wal-Mart.

Just don't let it get to you.

It doesn't mean a thing.

Just in case you guys were wondering,
casting's going up at 1:00.

(ALL CHATTERING)

ANNA: Daddy? I got the lead
in Italian Symphony.

That's Gelsey Kirkland's old part.

No. Maureen got the lead
in Jonathan's ballet,

but that has way more people.

Well deserved, sweetie. Aren't you pleased?

Jody.

Miss Thing, you're doing
a piece with the two of us.

- What piece?
- A totally new ballet.

- A world premiere.
- You're kidding.

- Made on us.
- Who's choreographing?

We can always find
some more rehearsal time later.

Hi.

This is for you.

Thanks.

I just want you to know
how much it means to me to be in your ballet.

And I won't let you down.

Well, you were the best for the part.

Simple as that.

It's some dessert. So, um...

You'll have some on hand next time.

Bye.

What?

I didn't say anything.

Take these.

Nonsense. You heard her.

They're for next time.

- Hey.
- Congratulations.

Cooper's ballet.

Yeah. Kind of amazing.

It should be good.

I guess.

Jody says he has all these theories
about making ballet for the people.

(SCOFFS)

I do ballet 'cause
it has nothing to do with the people.

Give me tiaras and boys in tights any day.

I hear you're in the corps
in Jonathan's ballet.

Yup.

Just goes to show, don't piss off the boss.

No one will see me and I'll never get a job.

I'm sorry.

Big deal. I don't care.

Yeah. I know.

It sucks, doesn't it?

What?

Not caring.

Kind of, yeah.

Five, six, seven, eight.

(PIANO PLAYING)

All eyes are on you.

Your eyes are only on Maureen.

Present your chest.

Walk gallantly.

Breathe.

(CHUCKLING) The man's a fossil.

He should be in a museum.

Do you have a question, Miss Rodriguez?

Yeah. What is it about?

The music. The music.

It's an expression of harmony
that isn't of this world.

Sergei, chest up. Chest up.

That's it. That's it. Soft hand.

Soft hand, Maureen. That's it.

I want this as real as it can be. It's a triangle.

She's a ballerina,
and she's in love with you, Erik.

And Charlie's the other guy.

He's the director of a ballet company.

Okay. Let's just fool around with the steps.
See what we got. Michael.

Okay. Step, touch, step, touch.

Pas de bourree. Double pirouette.

All right, you keep doing that.

You watch this.

Do the double pirouette, down to the knee.

Then give me your left arm.

I'll slide you over here.

And then, lift you up like this.

That'll work. Erik.

JULIETTE: Eva!

You don't like him very much, do you?

I don't blame you.

He's impossible.

Headstrong, egotistical, unforgiving.

Arrogant as all hell.

The thing is, you'll be hard-pressed to find

any choreographer or company director
who isn't like that.

The unwise dancers blame them.

"He didn't like me." "She was unfair."

"I should have had that part."

The smart ones know where to look
when things get rough.

It isn't there.

It's here.

No matter what happened in class,

in performance, last week, five minutes ago,

if you come back here, you'll be home.

Hey, so how was your rehearsal?

Oh, it was all right. You know.

And the king of ballet?

Oh, Jonathan's fine.

Oh, but Juliette Simone, what a nosy bitch!

She thinks she knows everything
about everyone.

- Hey.
- Hi.

And where are you guys going?

Well, it's Erik's birthday,
so we're going to take him out.

Oh.

Well, have fun.

(MOUTHING)

Do you wanna come?

Jim was going to swing by.
Can he come, too?

Sure. Bring your mom as well. Okay?

(FRIENDS FOREVER PLAYING)

(LAUGHS NERVOUSLY)

(PEOPLE EXCLAIMING)

(ALL CHATTERING)

You're not alone

'Cause we'll be, you'll see

We'll be... We'll be friends forever

We'll be, you'll see

I got a little something here for you.

What? What is this? Oh, God.

Hey! You know you shouldn't be...

Hey, you shouldn't be eating donuts.
They're bad for you.

Okay. Get in the picture.
I don't want to miss this shot.

Come on. Erik, in front.

That's it. Happy faces.

We'll be, you'll see

We'll be friends forever

You never stop, do you?

They still hate my body.

You're way too hard on yourself.

You looked great in rehearsal.

That ballet is so not ABC.

You don't like it?

Who cares what I like?

That workshop is about what Jonathan likes.

Is getting into the company
really all that matters to you?

It's so different for you, Charlie.

They love you.

I mean, they practically printed your name
in the programs already.

You need to take
some time away from all this.

That is the last thing that I need.

We could go out sometime.

Like a date?

Yeah. Like a date.

That's really sweet, Charlie,
but I'm kind of seeing someone.

Sorry. I didn't realize.

No. It's just that it's new

and I don't want to
make a big thing of it, you know?

Sure, yeah. No big thing.

(BOTH CHATTERING)

Hey, you haven't seen
my girlfriend, have you?

Tall, thin, legs for days?

Yeah. I pushed her overboard.

(MAUREEN COUGHING)

(WATER RUNNING)

You okay?

Fine. Just motion sickness, you know.

You want some water or anything?

No, it passed.

- Sure? All right.
- Yeah.

No, Erik!

This is about sex.

I want you to feel it. Let me show you.

Now, you see where I am?
I'm right up against her.

My hips are right up against her.

- You got it?
- ERIK: Yeah. I got it.

Okay.

Charlie, what do you think about this
for the end of the pas de trois?

Can I see that?

Sure.

I changed it a little.

It could work.

That could work, too.

How about like that?

Why don't you just try this?

I could work on it.

You do that.

Moving on.

Girls! Girls! Arms over the top
before going into the arabesque.

Boys, you've got
to watch each other in the lift.

Emily, you're out of line.

Look at the diagonal. Look at it.

Maureen, wake up. Where's your focus?

You'll be onstage in less than a month.

How do you expect
3,000 people to watch you raise your arm,

if you don't do it beautifully?

(AUDIENCE CHEERING AND APPLAUDING)

(CLASSICAL MUSIC PLAYING)

(EXHALES)

(PANTING)

What are you doing here?

I wanted to surprise you.

You looked amazing out there.

- Thanks.
- Your pirouettes were amazing.

Amazing and tiring, huh?

Friend of Cooper's?

Kind of.

You are in big trouble.

She's in my ballet.

Please.

She's a heartbeat away
from tattooing your name on her ass.

- Want to go to my place?
- Sure.

All right.

- See you.
- See you tomorrow.

Where are we going?

Night. Lexington?

Good night.

- Excuse me.
- Oh! Goodness.

No, my fault entirely.

It's a good thing
I didn't step on one of your feet,

you could sue me.

Don't worry. They're not as valuable
as they used to be.

So, how's Jonathan's ballet coming along?

It's going to be beautiful. Really lovely.

Oh! Good.

Is Maureen feeling better?

Better than what?

She said she felt like she was coming
down with something. A bug.

Oh! Right. Right, that bug.

JONATHAN: Joan!

What brings you here
to our humble part of the city?

Well, Cooper invited me
to watch his rehearsal.

He did?

(CHUCKLING) How nice
you two have kept in touch.

Just a bit. You know.

He's being nice to a tired old lady.

Nonsense. Oh...

Have fun.

COOPER: Okay, guys, you've got...

Let's take it from the bridge.

(DRUMS PLAYING)

Is that clear?

Okay, Jody, you're right here.

Yesterday I was stage left.

Well, today you're stage right.

What am I going to be tomorrow?

Excuse me?

Well, I mean, you keep changing your mind.

It's kind of hard to keep track.

It's not that complicated.

I want what I say I want, when I say I want it.

You got a problem with that?

Yeah. Maybe I do.

What about what I want?

(WHISPERING)
I don't give a shit what you want!

You're a dancer. Period.

You do what I want.

And if you're not gonna do that,
then what the hell are you doing here?

I'm afraid that's how ballets get made.

It's all very dramatic.

(SOBBING) Don't look at me.
I'm too embarrassed.

You were saying how you felt.

What's embarrassing about that?

How a dancer feels
doesn't matter to a choreographer.

No, but how a woman feels

should matter to the guy she's seeing.

Do you think I'm an idiot
for getting involved with him?

No.

I think he's an idiot for not treating you well.

Come on. Let's go back.

I can't.

Sure you can.

No. I'm all splotchy.

I feel...

So use it.

What?

Whatever you feel, just dance it.

And you're not splotchy.

(LAUGHS)

(DOOR OPENING)

I'm sorry.

I'm ready.

All right. Let's take it from the top.

(DRUMS PLAYING)

Good morning, Mrs. Cummings.

Good morning, Emily.

Maureen, sweetie,
can I steal you away for a moment?

- I've got class.
- This won't take long.

Ow!

Juliette says you've been off lately.

You talked to Juliette about me?

She sought me out. She talked to me.

- She did?
- Yes, she did.

She asked me if you were doing better,

which means she noticed
you were doing poorly.

A bug. For God's sakes,
it's not even a good lie.

(SIGHS)

I know what's going on, Maureen.

You should ask yourself,
what's this boy doing to your dancing?

(CHATTERING)

(PIANO PLAYING)

And the ladies have to make fifth
before the show starts.

Stop! Stop!

(PIANO PLAYING STOPS)

Maureen,

you make it look like work.

I need to see the movement,
not the effort behind it.

Thank you. We're out of time.

We'll pick this up tomorrow.

Emily.

Can I see you in my office, please?

GIRLS: Emily!

- Emily!
- What happened?

I'm going home.

What did he say to you?

He told me I couldn't be in the workshop.

He told me that
I don't take enough pride in my body.

He just thinks I'm too fat.

God, I could kill that man.

You're not fat! You're beautiful.

So, you're... So, you're leaving for good?

Yeah. My mom thinks it's best.

Dancing used to make her happy
and it doesn't anymore,

so we have had enough.

I want you girls to promise me

you won't let anyone
make you feel bad about yourself, okay?

You're perfect the way God made you.

We have to go, sweetie.

(MAUREEN RETCHING)

(TOILET FLUSHING)

Look, uh...

I know I'm not a doctor yet or anything,

but I do know that
what you're doing is really bad for you.

I wasn't feeling well.

Maureen, please.

(SIGHING)

What do you know?

I know that no goal is worth
making yourself sick.

Yeah? Well, maybe my goal
is a little more demanding than yours.

Medicine is plenty demanding, thank you,

but I am not about to start
hurting myself for it!

I'm not hurting.

I'm making decisions,
sacrifices for what I want.

Oh, like, like you know what you want!

What's that supposed to mean?

You know what?

Call me crazy, but I find it hard to believe

that a girl who is throwing up
everything she eats,

is all that in tune with her wants and needs.

You know what? I don't need this.

Not from you.

God.

All right, look, I'm sorry.

Please, don't go running
out of here in the middle of the night.

Just back off!

Maureen, listen to me.

Wait. Look. I don't...

I don't want to drive you away.

I just want to help you.

I don't need any help. I'm fine.

I am the best goddamn dancer
in the American Ballet Academy.

Who the hell are you? Nobody.

If you let go of your center,
it will just happen, naturally.

Now release the neck.

Lovely.

Do you want to show me again?

You wouldn't mind?

Not in the least.

All right, boys and girls,
let's go to the opening diagonals.

I know some of you
are hearing the orchestra for the first time,

but it doesn't mean you can stop counting.

You're all off the music.

You must remember your counts.

Keep going.

Are you sure it's in here?

That's what Sergei said.

JONATHAN: I want to see
two straight diagonals.

Oh, my God! (LAUGHS)

"Dancing a new work choreographed
by Cooper Nielson are Jody Sawyer,

"Charles Sims and Erik O. Jones."

Erik, check this out.

People, please.
This is a rehearsal, not a social hour!

I've never been in the paper before.

I know. Me neither.

It's kind of cool, huh?

Are you guys warmed up?

Of course.

Five, six, seven, eight. One...

We don't invite press to workshop.

You know that.

I didn't invite anyone.

Nancy says every paper has called,

and all they ask about is your ballet.

Hey, if there's interest, that's great,
but other than that...

Bullshit!

One more time.

What are you up to?

Phoning press, kissing Joan Miller's ass.

She hasn't shown any interest
in the Company

since she started spending time with you.

Well, what do you know?

I guess I got the girl this time, huh?

(GROANS)

Shit.

Erik, you all right?

Ow!

(ALL MURMURING)

Where is it?

Man, I'm so sorry.

Well, you'd better start rehearsing
the understudy.

It's Andre. He's not good enough.

I can't use him.

You have to use him. Erik can't dance.

I'm gonna do it.

You can't do that, Cooper.

The workshop's for students.

If you want your students
to dance my ballet tomorrow,

they're gonna dance with me.

Otherwise, I'm pulling it.

Hey.

You okay?

Erik got injured today.

And you know the first thing
I thought when I saw him go down?

What?

"I wish that was me."

So, that made me think, you know,

'cause that's not a normal reaction.

How much of what you liked about me

was because I was a ballet dancer

and how much because I was me?

(SOBS)

I can't do it. I can't dance with him.

Why? Because he dumped you?

No. Because he's
the best dancer in the world.

Jody. Jody, you'll be fine.
Just get some sleep.

You know with Erik,
I stood a chance of showing Jonathan

how wrong he is about me.

Now, next to Cooper,
I'm going to look like a total amateur.

(DOOR OPENS)

Hey, where were you? Rehearsing?

How's Erik?

Well, he can't dance tomorrow.

How would you be?

- Relieved.
- JODY: What?

Right. They think
the sun shines out of your ass,

so you'd still make the Company.

(CHUCKLES)

Just my luck.

JODY: I would kill for your luck.

All I've ever wanted
was to be in the American Ballet Company.

Well, there are three places going tomorrow.

And If you both
could just chill out and get some sleep,

you could get two of them.

Well, you're welcome to my place.

Me? No. I screwed up
any chance I had back in September.

Eva.

But I started dancing
long before this stupid workshop.

And I'm going to
keep on dancing long after it.

So tomorrow is one more day I get to dance.

Tomorrow's when they decide
the rest of my life.

I'm not dancing for them anymore.

I'm dancing for me.

Can we just... Let's just go to sleep.

NANCY: Have a wonderful afternoon,
Mr. Dunn. Thanks for all your support.

Oh, Erik, how are you?

It's a sprain.

I have to stay off it for six weeks.

Just long enough to ruin my entire career.

WOMAN: Ladies and gentlemen,
this is your half-hour call. Half-hour.

Is Miami here?

Everyone's here.

I'd kill to get an offer from Miami.

(ALL CHATTERING)

GIRL: I can't wear that.

(INDISTINCT)

Oh, my God. It's totally packed. Come here.

Can you believe this?

Oh, my God. Okay, I'm nervous. Let's go.

Nicole, merde. Gillian, Lena, merde.

Thank you for your work.
This is what we worked for.

Anna, merde.

Still only room for three of us
in the company?

Don't even think about it.

All right.

Merde. Thank you, ladies.

(AUDIENCE APPLAUDING)

Places! Places!

(SYMPHONY NO. 4 IN A PLAYING)

WOMAN: And curtain
warmers out. Go.

Warm the curtain.

And curtain. Go.

How you feeling? You ready?

I guess so.

Look, those fouettes at the end?

I really need you to be on your leg.

- I know.
- Because in rehearsals,

- it hasn't been going well.
- I know.

It's at the end of the ballet
and we need everything together,

- everything tight.
- Cooper.

I know.

Sorry, of course you do.

I just want everything to be perfect.

Why don't you let me finish warming up?

You're going to be great.

See you out there?

See you.

Listen, forget him.

Just dance it like you feel it.

Easy as that, huh?

I've got to warm up.

(AUDIENCE APPLAUDING)

WOMAN: They loved you. Thanks.

Did you see how on I was tonight?

Yeah, totally on.

(BOTH MURMURING ENCOURAGEMENT)

Okay. Good luck.

Oh, thanks.

- Good luck. Okay.
- Thank you.

(CLASSICAL MUSIC PLAYING)

What's going on? Does Jonathan know?

Where's Maureen?

(ALL MURMURING)

Where's Maureen?

What happened to Maureen?

I thought Maureen had this role.

It says here, "Maureen Cummings."

(PEOPLE MURMURING)

Excuse me.

Excuse me.

MAUREEN: Mom.

What's wrong?

- Are you sick?
- No.

Then why the hell is that trash out there
dancing your part?

Because I wanted her to. She's not trash.

(STAMMERING) I... I don't know...

Jesus Christ, Maureen!
I don't know how to respond to this.

You could ask me why.

Okay, fine. Why? Why, in God's name, why?

Because I don't want to be a ballet dancer.

Yes, you do. You always have.

No, Mom. If this were what I wanted,
I wouldn't be as unhappy as I've been.

I... I'd have friends, I'd sleep well.

I wouldn't throw up half the things that I eat.

You watch your weight.
There's nothing wrong with that.

God, don't you hear me?

I'm telling you I'm unhappy and sick.

I can't do this anymore. Don't you care?

Of course I care. Of course!
But this is your dream.

Maureen, don't just throw away your dream!

It's your dream.

And it matters more to you
than anything mattered to me.

So I did it, but I can't anymore.

Sweetie, It's not that
I don't care about your feelings. I do.

It's just that... You see, I...

I know.

I know what regret feels like
and I don't want that for you.

I know what it's like to look back and wish.

That's what ballet would be for me.

A life of wishing
that I found something I really loved,

instead of something
I just happened to do well.

I'm not you, Mom.
I mean, you didn't have the feet.

I don't have the heart.

(AUDIENCE APPLAUDING)

(AUDIENCE CHEERING)

That was beautiful.

She was fantastic.

She was okay.

Well, brace yourself for what's next.

And one, two, three, four,

five, six, seven, eight.

(CLASSICAL MUSIC PLAYING)

(ALL MURMURING)

(TIRES SCREECHING)

(THE WAY YOU MAKE ME FEEL PLAYING)

Hee-hee

Ooh

Go on, girl

Ow!

(AUDIENCE APPLAUDING)

Hey, pretty baby
with the high heels on

You give me fever like
I've never, ever known

You're just a product
of loveliness

I like the groove
of your walk

Your talk, your dress

I feel your fever
from miles around

I'll pick you up in my car
and we'll paint the town

Just kiss me, baby
and tell me twice

That you're the one for me

The way you make me feel

The way you make me feel

You really turn me on

You really turn me on

You knock me off of my feet

You knock me off of my feet

My lonely days are gone

My lonely days are gone

I like the feeling
you're givin' me

Just hold me, baby
and I'm in ecstasy

(AUDIENCE APPLAUDING)

Oh, I'll be working
from 9 to 5

To buy you things to
keep you by my side

I never felt
so in love before

Just promise, baby
you'll love me forevermore

I swear I'm keeping you
satisfied

'Cause you're the one for me

The way you make me feel

The way you make me feel

You really turn me on

You really turn me on

You knock me off
of my feet now, baby

You knock me off of my feet

My lonely days are gone

My lonely days are gone

(PEOPLE MURMURING)

(CLASSICAL MUSIC PLAYING)

(AUDIENCE GASPING)

(IF I WAS THE ONE PLAYING)

Oh, no, no, no
Yeah, baby

Oh, oh, oh

I see the way he treats you

I feel the tears you cry

And it makes me sad
and it makes me mad

There's nothing
I can do, baby

'Cause your lover
is my best friend

And I guess that's where
the story ends

So I've gotta try
to keep it inside

You will never be
never be mine

If I was the one
who was loving you, baby

The only tears you'd cry
would be tears of joy

And if I was by your side

You'd never know
one lonely night

And if it was my arms
you were running to

I'd give you love
in these arms of mine

If I was the one
in your life

Yeah, baby

I wanna reach out
and view you beside me

Right here beside me, babe

Take you in my arms
right now

Scream, "I love you"
right out loud

Someday I pray
that I'll find the strength

To turn to you and say

If I was the one
who was loving you, baby

The only tears you'd cry
would be tears of joy

If I was by your side

You'd never know
one lonely night

And if it was my arms
you were running to

I'd give you love
in these arms of mine

If I was the one, baby

If I were the one

If I was the one
in your life

(AUDIENCE APPLAUDING)

Dance

Nothing left for me to do
but dance

(AUDIENCE CHEERING)

Off these bad times
I'm going through

Just dance

Got canned heat in
my heels tonight, baby

I feel the thunder
see the lightning

I know this anger's
heaven sent

So I've got to hang out
all my hang-ups

Because on the boogie
I feel so hell bent

Hey, hey

It's just an instant
gut reaction that I got

I know I never, ever
felt like this before

(MOUTHING)

I don't know what to do

But then that's nothing new

Stuck between hell
and high water

I need a cure
to make it through

(AUDIENCE APPLAUDING)

Hey, dance, yeah

Oh, the nasty things
that people say

Dance, yeah
But I'm gonna make it anyway

Dance, yeah

Got canned heat
in my heels tonight, baby

You know this boogie
is for real

Got so much canned heat
in my heels, yeah

Gonna dance...
Gonna dance my blues away tonight

Dance

Hey, DJ, let the music...
Let the music...

(AUDIENCE CHEERING)

Why don't you just...

Hey, DJ, throw my cares away

Let the music...
Yeah, yeah

I'm gonna live this
party life

Uh-huh, yeah, yeah

Hey, DJ, let the music...

- Yeah, just dance
- I'm gonna live this party life

Uh-huh, yeah, just dance

Hey, DJ, throw my cares away

I'm gonna dance this
party life

Dance, yeah

Nothing left for me to do
but dance

Off these bad times
I'm going through

Just dance, yeah

Got canned heat
in my heels tonight, baby

You know, know, know
I'm gonna dance

Dance, dance, dance

Dance, dance, dance
dance, dance

(AUDIENCE CHEERING)

Dance, dance, dance
dance, dance

Dance, dance, dance

(ALL CHEERING)

They loved it. Beautiful.

WOMAN: Places, please. Places.

Places for the curtain call. Here we go!

(AUDIENCE CHEERING)

(AUDIENCE CONTINUES CHEERING)

(INAUDIBLE)

You are going to kill me.

- What's wrong?
- Oh, I'm so sorry!

- Are you crazy?
- I wanted to tell you.

- Are you nuts?
- I'm sorry.

Ah! There you are.

Cooper, darling, you were wonderful.

You were beautiful.

You were wonderful, too.

I'll have to steal him away.

- I'm stealing you away.
- (LAUGHING)

Excuse me. I have the small rehearsal room.

Do you want the girls first or the boys?

Girls.

Will you excuse me, please?

Tell me more.

I've got dancers and a place scouted out.

There are gonna be studios.

It was her idea!

(ALL CHATTERING)

Oh, God. What happened?

What did he say?

Mom! Oh, I'm so happy you guys are here.

Come on. We wanted to see
what you've been up to this past year.

- Dad!
- And I've got to tell you,

that was the most
fantastic thing I've ever seen.

It was great, honey. Just, just wonderful.

You want to know something stupid?

I'd actually started to believe
I didn't need to hear that anymore.

(SCREAMS) I made it! I made it!

Oh! Thank you.

(ALL CHATTERING)

We'll, uh, see you later at the dorm.

Yeah, we'll see you at the dorm.

Excuse me. Eva Rodriguez.

Jonathan wants to see you.

ALL: Ooh...

JONATHAN: What you did today
was completely disrespectful.

I'm sorry.

Yeah.

Or actually, I'm not.

Because that was
the best time I ever had in my life.

Jesus! That's a great ballet, Jonathan.
You know that?

Thank you. And you were great in it.

And I'd like to have you
as a member of the Company.

If you'll join us.

Are you nuts?

I hope not, but that depends entirely
on you, doesn't it?

Oh, my God! Oh, my God! (LAUGHING)

Oh, my God! Oh, my God!

(WHOOPING)

Hey, guess what?

I just talked to Joan Miller.

She loved the ballet
and wants to fund my company.

- I'm going to have my own company.
- You're kidding.

- No.
- God, congratulations.

Listen, you have to be in my company.

You'll be its star.

We'll be great together.

Jody,

they're ready for you.

Jody.

Wait.

For ten years, all I have wanted

was to be one of American Ballet
Company's perfect ballerinas.

I've wanted to be you, Juliette.

But I'm not you.

And I'm not perfect. I'm just me.

Bad feet and all.

And I'm starting to think
I like that even better.

No. Please don't.

Because if you're not
gonna offer me a place in the Company,

then I don't want to hear it.

And if you are,

I might not have the strength to say no.

And then I'd be spending
my best dancing years

in the back of a corps,
waving a rose back and forth.

And I'm better than that.

So thank you, Jonathan,
for turning me into the best dancer I can be.

I appreciate it more than I can say it, really.

Because the best dancer
I can be is a principal

in Cooper Nielson's new company.

Erik!

Girl, you are too many things.

I cannot believe it.

I know. I really think
Jonathan should have his head examined.

Oh, yeah, because he's taking
head cases and cripples.

- You're in?
- Yes. Bum foot and all!

Oh, my God! Oh, my God!

Maureen, you could have told me.

Sergei, I am so sorry.
I really wanted to tell you.

It's okay. It's okay.
I got San Francisco with Galina.

- Oh! That's perfect.
- That's great. Congrats, bud.

Thanks. I'll catch up with you later.

Congratulations. (LAUGHS)

Hey!

Everyone says you were beautiful.

You didn't watch?

Are you all right?

Not really. No. But I will be.

- Eva!
- Hey!

You will be.

Erik. What did you think?

You were okay, for an understudy.

- I did what I could. Congratulations.
- Thanks.

I hear you got yourself a spot here.

Yup. And I hear you got yourself
a principal dancer.

Are you with me?

I'm with you.

(LAUGHING)

You're not going to regret this.

Cooper, you're an amazing dancer

and you're a great choreographer,

- but as a boyfriend, you kind of suck.
- (CHUCKLES FAINTLY)

- CHARLIE: Hey, Jody.
- Hey.

So, what happened?

I got in here.

Oh, my God! That's amazing.

Jonathan said you're joining
Cooper's company.

Yup.

I'm starting out as a principal.

What more could a girl want?

Well, a date for the party tonight,
for one thing.

Are you asking me out?

Yeah.

Are you saying yes?

I guess so. Yeah.

Come on.

- Jody Sawyer.
- Jody.

(WHOOPING)

(SHOUTING ENCOURAGEMENT)

When the going starts
to get rough

And you feel like
you had enough

Let the music take
control of your soul

Take a chance
and do what you feel

You're a force
They cannot live without it

You gotta break the chain
yeah, yeah

There's a passion inside

An inner strength
that drives

Can't nobody take that
away from you

It's the greatest high

You set the floor on fire
when you come alive

And we're dancin'

And it feels all right

I can't control my desire

And we're dancin'

And it feels all right

Yeah

And we're dancin'

And it feels all right

Can't hold me down

Gotta reach for the sky

And we're dancin'

And it feels all right

Yeah, yeah, yeah

And we're dancin'

(DON'T GET LOST IN THE CROWD PLAYING)

You are the one
that keeps your dream alive

And you are the one

Who feels the rhythm
deep inside

Do you ever wonder
if you can make it fly?

But you will never know
if you don't really try

There's so many fast breaks

Quick cuts
and a million starts

Can make you wonder

Can make your dream

Ahead from the start

When you know your heart

And follow your own destiny

Don't get lost in the crowd

Be the one to be strong
and turn heads around

Moving from dark to light

You have the spark

You have the fire

You are the heart

Now be a believer

'Cause we live in a world
of so many choices

It's hard to find
our own voices

And keep going on
from day to day

So get with the earth

And get with the sky

Get with the inside

Don't get lost in the crowd

Be the one to be strong
and turn heads around

Moving from dark to light

- You have the spark and the fire
- You have the spark

- You have the fire
- You have the heart

- You are the heart
- Now believe

Now be a believer

Don't get lost in the crowd

Don't you get lost
in the crowd

Moving from dark to light

- Don't do it, baby
- You are the spark

- You have the heart
- You have the fire

- You are the heart
- Now just believe

Now be a believer

Don't get lost in the crowd

Be the one to be strong
and turn heads around

Moving from dark to light

You are the spark

You have the fire

You are the heart

Now be a believer

Don't get lost
in the crowd