红菱艳英文剧本台词 The Red Shoes

红菱艳英文台词 The Red Shoes

从我的1981年第3期星期日英语里扫描来的。有感兴趣的话我继续扫。

THE RED SHOES    

   (It is the opening of the Ballet Season. Lermontov Ballet is going to perform “Heart of    
   Fire”. A crowd of students is pushing so violently on the door to the balcony that the    
   doorman can hardly keep them back.)
ATTENDANT: They are going mad, sir. It’s the students.
JULIAN (shouting): Down with tyrants!
MAN TO AT1’ENDANTS Airight, let them in.    
   (Door opened, crowd yelling, rushing past and making various remarks.)
GUS: Swine!    
XANTIPPE: Beast!
TERRY: In to the valley of death...
IKE: Into the jaws of hell...
JULIAN, GUS and XANTIPPE: (Lucky enough to have got the front seats) Rode the six
   hundred!
XANTIPPE: You’re sitting on my cloak.
IKE: (Taking out a pack of food) Filling up down below?
JULIAN: Not a sausage.
TERRY: Not a tiara.
JULIAN: (Passing some to Terry) Ah, here you are, Terry.
TERRY: Thank you.
    (Sounds of the orchestra tuning up.)
XANTIPPE: I can’t see him anywhere.
pROGRAMMEGIRL: Programmes.
 GUS: Oh, two. please.
 JULIAN: One here. Thanks pal.
 IKE: Quite a turn out down below.
 JULIAN: Mm.
 TERRY: Old Palmer’s music had better be good. ~
 XANTIPPE: Boronskaja would hardly be dancing the leading role if it wasn’t.
 TERRY: Boro who?
 JULIAN: Who exactly is Boronskaja?
 GUS: Since you’ve stood in the queue for six hours waiting to see her dance, I should have thought...
JULIA.N:    Not to see anybody. To hear.
TERRY:    Have you ever heard of Professor Palmer?
XANTIPPE & GUS: Never.
IKE:    You will.
JULIAN:    The programme says “Heart of Fire”. MUsic by Andrew Palmer.
TERRY:    Our Professor at the Academy.
IKE: So Boro whats-her-name had better be good.
GUS:    She’s hardly likely to be anything else. (On seeing Palmer and Lermontov entering their box)
VOICE OFF:  There he is.
JULIAN:    (shouting) Palamer.
(Crowd shout Palmer.)
XANTIPPE:    Lermontov! Lermontov!
(On seeing the orchestra conductor entering the pit)
CROWDSHOUT:    Livy!
JULIAN:    Good old Livy! (to Xantippe) We know him. (Music starts.)
JULIAN:    (Finding the music familiar and feeling strange) Do you remember my Scythian Rhapsody?
IKE:    Forget it.
TERRY:    That’s it, your Rhapsody. That’s the maestoso  to it.
JULIAN:    Must be an accident.
TERRY:    Did you show him your Rhapsody?
JULIAN:    Of course, I show him all my work.
IKE:    You don’t think that he lifted it?
JULIAN:    Of course not.
XANTIPPE:    Ssh!
(In Palmer’s box, a waiter comes and gives Palmer a note from the Countess of Neston
inviting him and Lermontov to a reception.)
PALMER:    (Passing the note to Lemrontov) She’s a great patron of the arts.
LADY NESTON: (Watching the effect of her note from her box) Vicky! Vicky! Ler-
montov’s coming.
(Back on the balcony)
IKE:    I say, that’s yours, too, isn’t it?
JULIAN:    Yes.
(Music stops, audience claps.)
(When music starts again, Julian can bear it no longer.)
JULIAN:    (Standing up to leave) Please.
TERRY:    (Shouting to Ike) Well, what are you waiting for?
(With this, she leaves.)

楼主辛苦，这么难得的东西…………

VOICE IN THE CROWD: Sssh. Quiet.
IKE:    (Being no longer able to remain) Please, do you mind?
(At the entrance of Neston’s reception hall)
NESTON:    Ah. Dear Professor Palmer, we are all very proud of you, and I hope you are
very proud of yourself.
PALMER:    You’re too kind... (introducing to Lermontov) Lady Neston, Monsieur
Lermontov.
NESTON:    So we meet the great man at last.
BORIS:    Enchante, Madame.
NESTON:    Well, I never imagined I should succeed in getting you here. I think I must
be a very clever woman.
(In the hall, as someone is moving in a piano,)
BORIS:    (To Palmer) If some fat harridan is going to sing. I must go. I can’t bear
amateurs.
PALMER:    Neither, as it happens, can Lady Neston.
BORIS:    What do you mean?
PALMER:    She has, I believe, a niece who dances professionally.
NESTON:    (Coming up to them) Hello, Professor. (Then to Lermontov) Now Please
don’t get up, Mr. Lermontov. Now, are you prepared for a surprise?
BORIS:    Do you mean a surprise, Lady Neston, or a shock?
NESTON:    Well, to take the plunge, I’ I’ve asked my niece to dance for us tonight.
What would you call that?
BORIS:    A shock.
NESTON:    Oh, well, you’re certainly very candid. You know, Mr. Lermontov, I wouldn’t
dream of boring you with the performance of an amateur. My niece has been dancing
leading roles for some time now. The critics think very highly of her work.
BORIS:    How would you define “ballet”, Lady Neston?
NESTON:    Mm, well, one might call it the poetry of motion perhaps or.
BORIS:    One might. But for me, it is a great deal more. For me, it is a religion. And
one doesn’t really care to see one’s religion practiced in an atmosphere such as this.
I hope you understand.
(Boris kisses Neston’s hand and withdraws.)
NESTON:    Attractive brute!
*    *


(In another room of the reception)
BORIS:    (To waiter) Mm, I’ll have a champagne.
WAITER:    Yes sir.
VICKY:    (To waiter) Champagne cocktail, please.
WAITER:    Yes, madam.
BORIS:    You know, at parties, everybody is supposed to be very happy. But perhaps you dislike them as much as I do. Still, as parties go, I think it might have been worse.
VICKY:    Do you?
BORIS:    It very nearly was a great deal worse.
VICKY:    Oh
BORIS:    We were, it appears, to have been treated to a little dancing exhibitions. But now I understand we are to be spared that horror.
VICKY:    Mr. Lermontov, I am that horror.
BORIS:    Mm. It’s a bit late for apologies, isn’t it?
VICKY:    Yes, a little late, I think.
BORIS:    All the same, I’m sorry. I’m terribly sorry.
VICKY:    But you’re not sorry I didn’t dance, are you?
BORIS:    Oh. . .er...
VICKY:    May I ask why?
BORIS:    Well, because my. dear Miss..
VICKY:    Victoria Page.
BORIS:    My dear Miss Page, if I accept an invitation to a party, I do not expect to find myself at an audition.”
VICKY:    Yes, you’re quite right.
BORIS:    Why do you want to dance?
VICKY:    Why do you want to live?
BORIS:    Well, I don’t know exactly why, but I must.
VICKY:    That is my answer too.
(Music stops and applause breaks out.)

BORIS:    Come with me.
VICKY:    Where to?
BORIS:    We are going to have a little talk.
VICKY:    But I don’t think I want to talk to you.
BORIS:    Don’t you worry, I’ll do the talking.

    *    *    *


(Next morning, at Boris’ house, hearing the door buzzer, Dimitri, Boris’s secretary,
rushes out.)
JULIAN:    Can I see...
DIMITRI:    Now please’..
BORIS:    What is it, Dimitri?
DIMITRI:    It Is a young man called Craster. He has been here a hundred times, and a
hundred times I have told him you are asleep, but he will not believe me.
BORIS:    Then either you are a very bad liar or Mr. Craster is a young man of good sense.      Show him in and serve breakfast.
DIMITRI:    (Showing Craster in) Mr. Craster.
BORIS:    What can I do for you, Mr. Craster?
JULIAN:    I , I’m sorry to bother you, Mr. Lermontov, but it is a matter of very great
importance to me.
BORIS:    Yes?
JULIAN:    Last night I wrote you a letter. It was a silly letter, and I’d like to have it back before you read it, please.
BORIS:    I see.
JULIAN:    That’s the one.
BORIS:    Unfortunately, Mr. Craster, I have already read this letter.
JULIAN:    Oh. (For a moment, he is at a loss, but he still wants it back.) Mr. Lermontov, please.
BORIS:    You are one of Professor Palmer’s pupils. You say you’ve written a string quartet and a piano concerto.
JULIAN:    Yes.
BORIS:    Very interesting. Would you care to play me something? Something of your own, I mean.
JULIAN:    Of course, if you wish it. (He goes to the piano and starts playing.) This is
a study I wrote for the piano. But I’m thinking of orchestrating it, and putting it into
an opera I’m working on.  
(Julian stops playing.)
BORIS:    But are you finished already? That was very interesting.
JULIAN:    I hope I haven’t ruined your breakfast.
BORIS:    By they way, I need a new coach for the orchestra. Would the idea interest you?
JULIAN:    Would it interest...
BORIS:    I shouldn’t be able to pay much money at first of course. Eight pounds a week and expenses.
JULIAN:    Yes it’d be marvelous.
BORIS:    Right, then get yourself some breakfast and come over to Covent Garden.
JULIAN:    Thank you.
BORIS:    And your letter Mr. Craster. If you take my advice, you’ll destroy it immediately and forget all about it. The “Heart of Fire” is your work, isn’t it? You see, Mr. Craster, these things mostly happen unintentionally.
JULIAN:    1 know, that is why...
BORIS:    That is why it is worth remembering that it is much more disheartening to have steal than to be stolen from, mm?  Good morning.
(Passing through a busy street, Julian and Vicky, though they don’t know each other,
are on their way to meet Lermontov.)

GEORGE:    (the stage door-keeper, into phone) Of course I tried to get her. Tried to get her twice. Ta-ta. (To messenger boy) Here you are, son. (Seeing Julian going in)
       Oi, you’ll pardon me.
JULIAN: This is the way to the stage, isn’t it?
GEORGE: Name?
JULIAN:    Julian Craster.
GEORGE:     What name?
JULIAN:    Julian Craster.
GEORGE:    Not on the list.
JULIAN:    But I have an appointment.
GEORGE:    Now look here, I’m sorry, but I’ve got my job to do.
JULIAN:    Now look here, its not likely that my name...
IRINA:. (Coming in) Good morning, George.
GEORGE:    Oh. Bonjour, Madame.
IRINA:    How is Madame George?
GEORGE:    Oh, she is la tres jalouse. Very jealous. That bit of a photograph we had
taken together, compris ?  Oh, (giving her some letters) here you are. You know they
have been looking all over London for you this morning.
IRINA: Ah, flute!
GEORGE:    That’s what I said.
JULIAN:    Look, how much longer do you expect me to go on waiting here?
GEORGE:    I’ll send for the S.M.
IRINA:    What is your name, young man?
JULIAN:    Julian Craster. I have an appointment with Mr. Lermontov.
IRINA:    Julian Cras. . .Cras...
JULIAN:    Craster.
IRINA:    Craster.
IRINA: Well, George, if this young man is invited by Mr. Lermontov, you can pass him,
yes?
GEORGE:    Ca va by me, madame. Ca va by me.
IRINA: Come with me, young man.
JULIAN:    (Following Irina on the way to the stage) Est ce que vous…
IR1NA:    Comment?
JULIAN:    Are you a dancer?
IRINA:    Yes, at night. Not very much in the morning.
JULIAN:    I am afraid I don’t know very much about ballet.
IRINA:    You are artist?
JULIAN:    Yes, I’m a composer.
IRINA:    Ah, and you wish to see.. .who?
JULIAN:    Well, I’m afraid I’m not quite sure.
IRINA:    They are all there. Make your choice.

    *    *    *

(On the stage, the ballet is busy rehearsing.)
JULIAN:    (To a workman) Excuse me, can you tell me who is in charge here?
WORKMAN:    No idea, mate. There’re about five or six of them that think they are.
JULIAN:    (To ladies) Excuse me, can you tell me who is in charge here?
FIRST LADY: Oh, don’t ask me anything young man. I’m just somebody’s mother, and
that doesn’t mean much around here, I can tell you.
JULIAN:    (To a dancer) Can you tell me who is in charge here?
DANCER:    In charge of what?
JULIAN:    (Turning to Ljubov) Mr. Lermontov asked me to come here this morning.
LJUBOV:    Why?
JULIAN:    He has engaged me.
LJUBOV:    Not as a dancer I hope.
JULIAN:    No.
LJUBOV:    (Leaving Julian alone, to the dancers) Allons, mes enfants, au boulot!
(At another part of the stage)
MAN:    (To Ratov) Well, Mr. Ratov, Mr. Ljubov wants it moved.
RATOV:    Its on the plan, and there it stays.
MAN:                Well, if you say so.
IRINA:    (coming up to the stage) Merci.
MAN:               Good morning, Madame.
BOLESLAWSKY:    Ah, here comes the great Boronskaja, at last.
LJUBOV:    And to-day she is only fourty-three minutes late. Am I supposed to congratulate myself on that? I tell you Irina, my patience is at an end. This time I shall go to Lermontov and I shall explain to him now no theatre is big enough to hold both you and me.
IRINA:    I might as well start packing.
LJUBOV:    Oh, there’s no hurry. After all, he might choose to dispense with my services.  He is quite crazy enough.
IRINA:    But if we go, we go together Grischa darling. Promise?
LJUBOV:    Kukuschka.  (Then, to Vicky) Who are you?
VICKY:    Victoria Page. I expect Mr. Lermontov has spoken to you about me. He’s
invited me to come here.
LJUBOV:    No, this is too much. He invites them, I teach them. I get rid of them. He
forgets them. And now, unhappy girl, will you please go to the far corner of the
stage where you will meet five other young ladies to whom Mr. Lermontov has also
extended his hospitality. (Turning away to the dancers) Jackie, encore.
DIMITRI:    (Shouting from the hall) Quiet, please!
LERMONTOV:  I want to rehearse the first act of “Heart of Fire”. Will everybody not
concerned leave the stage please?
DIM1TRI:    Hurry along boys. Stand back there.
RATOV:    (At another part of the stage, talking over a plan.) That so? Well, I agree.
(Seeing Vicky) Where are you going, my dear?
VICKY:    I’m going to talk to Mr. Lermontov.
RATOV:    Don’t you think it would be better to wait until after the rehearsal?
VICKY:    Oh no, that’s all right. You see I know him personally.
RATOV:    Ah well, that makes all the difference, of course.
BORIS:    Ratov!
RATOV:    Yes, Boris? (Standing up, ready to go down.)
BORIS:    No, stay where you are. I’ll come up.
VICKY:    Good morning, Mr. Lermontov.
BORIS:          (Without paying any attention to Vicky) Good morning. Ratov.
RATOV:    Boris.
BORIS:    Look here, we must do something about This foreground piece here. The
girls last night had hardly room to move. Ljubov was right after all.
LJUBOV:    Ah, ah, Ljubov...
BORIS:    Ljubov is always right, we know.
RATOV:    Do you really think so?
BORIS:    Yes.
RATOV:    Well, well, well, take it away! Take it away! (To Vicky) Well, you see, my dear, Mr. Lermontov is a very busy man. Now, why don’t you go and .wait over there
with the others.
VOICE OFF:   Ivan, are you ready?
IVAN:            Yes.
VICKY:         Yes, I will.
LIVY:        Sergei Sergeivitch.
RATOV:         Yes.
LIVY:        Are you acquainted with either the works or person of Julian Craster –composer and conductor?
RATOV:         No.
LIVY:        Nor I. Which proves, my dear fellow, how sadly we lag behind the times, for here he is in our midst. Lermontov has engaged him this morning.

(The dancers are having their class.)
LJUBOV:    Rond de Jambs.  Class dismiss.
(The orchestra is also rehearsing, with Julian as the conductor.)
JULIAN: (Humming to the music) Now, gentlemen, figure 29 sing. (Julian goes on
humming.)
LIVY:    I think that will do. Thank you, gentlemen. The brass could do with your
attention, Craster, tomorrow.
(In the morning, the orchestra gathers earlier than usual to rehearse.)
JULIAN:  Gentlemen, I am very sorry to bring you here so early in the morning. But I have been in front for this particular ballet on more than one occasion and I really must.
There are one or two things I really must put right, So, “Heart of Fire” overture please.
From the beginning. Oh, by the way, trumpets.
TRUMPET PALYER: Yes.
JULINA: Two bars before figure two, have you got an ‘E’ natural ?
TRUMPER PLAYER: No, I’ve got an ‘E’ flat.
JULIAN:  Ah! Makes all the difference, doesn’t it? Should be ‘E’ Natural. Right, from
the beginning.
(They start rehearsing.)
JULIAN: No gentlemen, I know it’s difficult to get your lips set at this time of the morning, but still we ought to be able to come in together you know, and even more pianissimo.  Less strings.
JULIAN:    ‘A’ Oboe.
(Oboe gives ‘A’ and orchestra tune up.)
JULIAN:    From the beginning please.
JULIAN:    That’s nice.
LIVY: Mr. Craster. Precisely what is going on? I can only suppose that you’ve taken
leave of your senses. ~ Do you realize that by calling the orchestra one hour earlier
we shall have to pay them. And why are you rehearsing “Heart of Fire”? Did I
ever ask you to do that? Now tell me, I am interested.
JULIAN:    Well...
LIVY: .. And I am sure that Mr. Lermontov would be interested too. Well?
JULIAN:    I like it.
LIVY: You like it? I have no doubt you like the National Anthem and the Marseillaise,34
but I hope you’re not thinking of summoning the full orchestra at dawn to practice those
noble melodies. (The orchestra laughs.)
LIVY: (To Boris) Well, I’ll leave this young man to you Lermontov. After all, he’s your
discovery, not mine.
BORIS:    (To Julian) Mr. Crsater, I must ask you to exercise in future a little more control over your natural ambitions. Now why you, should have chosen “Heart of Fire” for this early morning escapade, (to orchestra) good morning, Gentlemen, (continuing
to Julian) is a mystery that I shall never hope to solve. And may I see that wrong
note in the score please? However, there are passages in “Heart of Fire” which no one
need be ashamed of.,
JULIAN:    Thank you, Mr. Lermontov.

* *


(Vicky comes out of the theatre after class. She sees a car waiting.)
CHAFFEUR; (To Vicky) Good morning, Miss Page.
VICKY:    Oh, good morning, Evans. Is Lord Oldham with you?
CHAUFFEUR:    Yes, Miss. (As lorry passes) Be careful, Miss!
VICKY:    (To Peter) Good morning, Peter.
PETER:    Oh, hello, Vicky. What are you doing here?
VICKY:    What are you doing here?
PETER:    I’m having lunch with Boris Lermontov — you know — the. fellow who runs the Ballet here.
VICKY Oh. Business or pleasure?
PETER:    Oh, a bit of both. What about you—shopping or slumming?
BORIS:    (Coming out from the building with Irma) Now, don’t you worry, Grischa.
I’ll bring her back at three o’clock.
PETER:    (To Irina) How are you, Madam?
IRIAN:    How are you?
BORIS:  Hello Peter. I hope we haven’t kept you waiting.
PETER:     No, not at all. Oh Boris, I don’t think you’ve met a friend of mine—Vicky Page.
BORIS (Coldly) How do you do?
PETER:    (To Vicky) Can we give you a lift anywhere?
VICKY:    No, thank you, Peter.
CHAUFFEUR:    (As they get into the car) Excuse me, Miss Page.



(The ballet is to visit France, and Boris is making up his mind to bring Vicky along.)
(One day before leaving for Paris)
BORIS:    (To the girls) Good morning, my dear young ladies. I hope I find you all very well this morning. There are just one or two things I would like to say to you today.
As you know, the Ballet is leaving on Saturday for Paris. Now I can’t imagine anything more enchanting than being able to invite all of you to accompany us there; but I
am afraid this great pleasure must be denied me. To those whom we must regretfully
leave behind, I’d like to say just this -- please don’t be discouraged, the fact that we
can’t take you with us doesn’t mean that you are bad dancers. It just means this year
unfortunately, we haven’t got enough room. Now would you please step out Miss
Fayne, and you Miss Baynes and you Miss Hardiman, and Miss Lovatt. Yes. And
may I thank you four ladies very much for the hard work you have done this year, and
I am a sure my gratitude is echoed here by Mr. Ljubov.
LJUBOV:    Mm...
BORIS:    Yes, and maybe next year we shall be meeting you again. Good morning.
GWLADYS:    Vicky, he means us.
    *    *


(In Paris, before the Royal Opera, two men are discussing the poster in French.)
(When rehearsing “Heart of Fire,” Irina declares that she’s going to get married.)
IRINA:    Listen, mes amies, I am fiancee.. I’ll get married.
RATOV:    (Congratulating her) My dear child. All my love and best wishes for your
happiness.
BOLESLAWSKY:    Irina, my little horror. I wish you the greatest happiness with your
new partner.
IRINA:    .Merci, but Grischa, where is Grischa?
LJUBOV:    I am here, Irina.
IRINA:    Grischa darling, do you hate me?
LJUBOV:    I could never hate you, Irina; but how can I ever forgive you?
IRINA:    Ah, mon petit; but you will forgive me, that I know.
LIVY:        Well don’t quarrel with your poor husband as much as you’ve quarreled with your conductor.
IRINA:    But where is Boris Lermontov? He has nothing to say to me? Boris... (She
looks for him, but he’s gone.) He has no heart, that man!
*


(Boris is lost in thoughts in his room, when somebody knocks the door.)
BORIS:    Entrez.  (Julian enters.) Mr. Craster, I have a job for you.
JULIAN:    Good.
BORIS:    Do I understand you have not been altogether very happy with us so far?
JULIAN:    Well I...
BORIS:    Well what?
JULIAN:    Coaching an orchestra is not exactly a young composer’s dream, is it?
BORIS:    Well, I am afraid the job I have for you may not be exactly a young composer’s dream either. All the same, I hope you do not consider it entirely unworthy of your talents. The ballet of the Red Shoes is from a fairy tale by Hans Andersen.
(The music of Julian’s imagination drowns Boris’s voice until he says...)

BORIS:    The Red Shoes...,
JULIAN:    Oh, I beg your pardon.
BORIS:    The Ballet of the Red Shoes is from a fairy tale by Hans Andersen. It is the story of a girl who is devoured by an ambition to attend a dance in a pair of red shoes. She gets the shoes, goes to the dance. At first, all goes well and she is very happy. At
the end of the evening, she gets tired and wants to go home. But the Red Shoes are not
tired. In fact, the Red Shoes are never tired. They dance her out into the street.
They dance her over the mountains and valleys, through fields and forests, through night
and day. Time rushes by; love rushes by; life rushes by; but the Red Shoe~ dance on.
JULIAN:    What happens in the end?
BORIS:    Oh, then, she dies.
JIJLIAN:    Yes, I remember.
BORIS:    The music was written by Felipe T. Berltran. He did it for us last year during our South American tour. You will find here some passages marked with the blue
pencil, they are bad. Now I would like to see, Mr. Craster, what you can do in the
way of a little.—er —re-writing.
JULIAN:    Oh.
BORIS:    You can take your time. There is no hurry.
JULIAN:    Thank you. (A knock at the door.)

CALLBOY:    On vous attend sur la scene, Monsieur Lermontov.
BORIS:    Oui, je viens. Thank you;
            *


(Ljubov is watching Boronskaja dancing from behind the curtains on the stage, when
Boris comes over.)
LJUBOV:    Ah, look at our Boronskaja. She’s in wonderful form tonight.
BORIS:    I’m not interested in Boronskaja’s form any more. Nor in the form of any other prima ballerina who is imbecile enough to get married.
LJUBOV:    Oh, come now, Boris.
BORIS:    She is out, Finished.
(Vicky happens to be nearby hearing all.)
You cannot have it both ways. The dancer who relies upon the doubtful comforts of
human love will never be a great dancer. Never!
LJUBOV:    That is all very fine, Boris, very pure and fine, but you can’t alter human nature.
BORIS:    No. I think you can do even better than that. You can ignore it.
    *    *    *


(The ballet leaves for other cities.Irina, married already, comes to the station to see them
off.)
IRINA:    (When Boris passes by) Boris.
BORIS:    (Coldly) Adieu. (He gets on the train.)
LJUBOV:    Well, Irina, now you will be able to sleep as long as you like. And eat sweets all day and go to parties every night.
IRINA:    And you. Now you will be calm. The class will start on time. No more shouting. No more hysteria backstage. No more...
LJUBOV:    No more Irina...
(With the corps de ballet shouting, the train starts.)
(On arrival, they are welcomed by some French friends.)
RIDEAUT:    Ah, Monsieur Lermontov, quel plaisir de vous revoir. Je s’exçuse que je
suis tout deshabille mais j’etais en train de regler le nouveau dispositif de lumiere et il
est au poll!  Monsieur Lermontov....
BORIS:    (Turning to Vicky) Miss Page, are you very tired?
VICKY:    Yes, thank you. I mean I’m not very tired.
BORIS:    (To Rideaut and Boudin) Messieurs, je vous presente Miss Victorie Page qui vient de nous joindre (To Vicky) Monsieur Boundin, le Directeur General de l’Opera.
BOUDIN:    Mes hommages, mademoiselle.
BORIS:. Monsieur Rideaut, le regisseur.
RIDEAUT:    Enchante, mademoiselle.
BOUDIN:    You have already visited Monte Carlo, mademoiselle?
VICKY:    Yes, I was here last season with my aunt.
RIDEAUT:    Then you know the Hotel de Paris, mademoiselle?
VICKY:    Yes, but I believe I’m staying...
BORIS:    Hotel de Paris. You will be very comfortable there.
(Vicky has her accommodation at L’Hotel de Parie. Boris sends her a note saying that his
car is calling for her at eight.)
PORTER:    La voiture de Monsieur Lermontov vous attend, Miss Page.
(The car takes her to the foot of a hill and stops.)
DIM1TRI:    Montez, mademoiselle.
(When Vicky gets to the top, she finds Julian waiting outside the building.)
JULIAN:    You look dressed up for a conference.
VICKY:    Hello. Is there a conference on?
JULIAN:    Yes. They are all arguing in there. I’ve been here since seven.
(Boris open the door and appears.)
BORIS: Oh, there you are, Miss Page. Will you come in here, please?
VICKY:    (Going.. in) I was just going out, Mr. Lermontov, when I got your message.
BORIS:    Miss Page, I have asked you to come here tonight, because we are preparing a new ballet, and I have decided to give you a chance and let you dance the principal part in it. But there is one thing I must tell you at once. My belief in your possibilities is not shared by my colleagues here. However it is hardly necessary for me to add that, whatever their personal belief may be, they will all give you their best. The rest, of course, is up to you. Well Miss Page, that’s all. We shall start work early tomorrow morning, I suggest you now forget all about your party and go straight home to bed.
VICKY:    Yes, I will.
BORIS:    And Miss Page, good luck.
VICKY:    Thank you.
(Vicky comes out from the room and meets Julian.)
JULIAN:    Well, what happened?
VICKY:    I’ve got a part in a new ballet.
JULIAN:    A new ballet, what ballet? The Red Shoes.. (As he hears the music, he goes in.)
BORIS:    Now listen to this, Mr. Craster, (referring to the music) it is impossible.
JULIAN:    Well I couldn’t rewrite that bit, could I?
BORIS:    Why not?
JULIAN:    You didn’t blue pencil it.
BORIS:    Horrors like that don’t need to be blue-penciled. They speak for themselves.
JULIAN:    Well, as a matter of fact I did have some ideas about that.
LIVY:    Where are they, my dear fellow? We need a score.
JULIAN:    If you’ll allow me, (To Boris) well, it is the church scene. Let us get rid of this sentimental hymn tune and take a four square chorale. Something like this. Then
I thought all the way through we might have a church bell coming in. All this on the
strings. (He sings.) Then as the Policeman hears it, we take it up with the brass.
Shall I play you the dance of the Red Shoes?
BORIS:    Thank you, Mr. Craster, thank you. This time, I want you to change everything. I want a new score.
JULIAN:    There you are, Mr. Lermontov.
BORIS:    And where is the orchestration?
JULL4N:    When do you want it?
BORIS:    Yesterday., well, you said you wanted to work, didn’t you? Then go home and work. I don’t want to see your face anywhere until you’ve finished it.
JULIAN:    You won’t.

* * . *


(One night, Vicky is alone out in the moonlight, when Julian comes.)
JULIAN:    Why aren’t you in bed~
VICKY:    Oh you gave me quite a fright.
JULIAN:    I meant to. Why aren’t you in bed?
VICKY:    I was ordered to, but I was much too excited to sleep, so here I am.

再接再厉，力争早一天成功，成功之日，指日可待……

谢谢鼓励！

JULIAN:     Are you? I haven’t seen you.    
VICKY:            Thank you. .    
JULIAN:     By the way, you haven’t seen me either.    
VICKY:             Has he sent you to bed too?    
JULIAN:     No, I’m just working on the score of my new ballet—”The Red Shoes”.    
VICKY:      Is that my ballet, too? . . . .
JULINA:     Yes,1 suppose it is. I wonder what it feels like to wake up in the morning and find oneself famous.
VICKY:            You’re not likely to know if you stay here talking much longer—so good luck.
JULIAN:            Good luck.
                
    *    *    *    

(Bois is watching the rehearsal.)

BOLESLAWSKY:    She’s putting too much into it. Why don’t you tell her Grischa?
GRISCHA:  Mind your own business.
BOLESLAWSKY: She has to dance with me, and the dance at the fair before this; and the    
big stuff still to come. She can’t dance everything full out. She ought to know that.
BORIS:       How do you expect her to know it, Ivan Ivanovitch, if you never once dance full out yourself before the opening night.
RATOV:      Here are the designs for the costumes, Boris.
BORIS:       One moment. Sit down, will you please?    
VICKY:     I’m so sorry, Mr. Ljubov, something will have to be done about the music.
JULIAN:    She starts the pirouette a beat too early.
VICKY:        The tempo’s wrong. It’s too fast.    
JULIAN:       It’s the right tempo.
LIVY:       Of course.
KJUBOV:  Once more!
BORIS:    (To Ratov) She’ll be all right.     .
RATOV:     I hope so.        
BORIS:      Still unconverted, Sergei?        
RATOV:     Well, of course, she’s a charming girl, but...        
BORIS:      Oh, I know nothing about her charms, and I care less. But I tell you, they won’t wait till the end, they’ll applaud in the middle.        V
RATOV:    (Laughing) Oh, come now, Boris.    .
BORIS:      Sergei, I will take a bet.
LJUBOV: (To Vicky) Enough, enough. Miss Page, we are trying to create something of
beauty. Might I suggest that while you continue to wave your arms like a scarecrow
and bend your knees like an old cart horse, we are unlikely to succeed?
RATIV:      Well, well, it’s a bet.
BORIS:      Ha, ha, ha! Come on, let me see your sketches.
RATOV:    (Passing designs to Boris) The girl.
UUBOV:    Dejeuner. Rendez-vous a deux heures.
VICKY:    (To the dresser) Un verre d’eau, sil’ vous plait, Marie.
DRESSER:  Bien, vous l’aurez dans une seconde.
VICKY:    (Lermontov comes over to her.) Do you still think I can do it?
BORIS:    Well, at the moment you look as if you are finding it a little difficult. But when we open in two weeks time, I hope you’ll appear to be finding the whole thing supremely simple. And don’t forget,. a great impression of simplicity can only be achieved by a great agony of body and spirit.
DRESSER:  (Bringing Vicky a glass of water) Voila.
BORIS:    Ah , ah,. ah, you don’t want to ruin your breathing, do you? And from today I have arranged that you shall have your lunch in my office. (to Julian) Craster.
(He takes Vicky to his office, Craster following.) (to Vicky) Now, will you sit, over
there, please? (to Julian) Mr. Craster at the piano.
VICKY:    (As she sits) Do you usually have a musical accompaniment to your meals, Mr. Lermontov?
BORIS:    No, Miss Page. I do not. But I am afraid it is going to be your fate for the next two weeks. Mr. Craster is going to play the Red Shoes music for you at every lunch,
tea and dinner you take, until we open.
VICKY:    I see.
BORIS:    Yes. In this way you should become quite familiar with the music.
VICKY:    Yes, I think I probably shall.
BORIS:     The music is all that matters. Nothing but the music. (to Julian) Eh, Mr.
Craster?    .
JULIAN:    Certainly.
BORIS:    Bon appetit. (With this, he leaves.)
WAITER:    (To Vicky) Votre service, mademoiselle.
VICKY:    Merci. (To Julian) Some composers specialize in lunch time music, don’t they?
JULIAN:    Some?
VICKY:    You?
JULIAN:    In my time? ,
VICKY:    Look, do you mind not playing that just at the moment, please.
JULIAN:    Its the right tempo. Let’s take the ballroom scene. That’s the most digestible part of the score.
VICKY,:    The ballroom’s out. It’s been cut.
JULIAN:    Cut as a scene, but it’s still there in my. score. I wrote this dance for a ball-
room. Anyone who understands anything about, music will see a ballroom. Even
Lermontov will see a ballroom. Even you. And when you are lifted up into the air
by your partner, my music will transform you.
VICKY:    Into what?
JULIAN:    A flower swaying in the wind. A cloud drifting in the sky. A white bird flying.
VICKY:    Tell that to Ratov. He would love your birds and flowers.
JULIAN:     You don’t?
VICKY:    If you were a dancer, you’d know that nothing matters...
JULIAN:     Just a minute nothing matters but the music
(He plays a few bars of music to emphasize his words.)
VICKY:    And its hard enough to get off the ground anyway, without being a bird or a flower.
JULIAN:    Aren’t you going to imagine anything on the first night?
VICKY:    Yes, war between me and the audience.
JULIAN:    My music will pull you through it.
    a    *    a

(It is the final dress rehearsal.)
JULIAN:    Miss Page, I am not a circus conductor, and you are not a horse.
VICKY:    Its too fast.
JULIAN:    You would not find it too fast if...
LJUBOV:    (Shouting) Will you go on with the rehearsal, both of you?
JULIAN:    You would not find it too fast if you would allow the slow passage to come to an end before you start your pirouette. My down beat marks a pause. (To the orchestra) We understand it, don’t we, gentlemen? N’est-ce pas? 52 (To Vicky) You come in on the second beat.
VICKY:    Impossible!
JULIAN: One, two, tia, tia. It ‘s quite simple. You see this baton?
VICKY:    Yes.
JULIAN: (Decisively) Well, follow it!        
VICKY:    Oh!
                        *    *


(In Vicky’s dressing room. A knock on the door.)
JULIAN:    Good luck.
VICKY:    Good luck.
JULIAN:    Vicky, Vicky. Dance whatever tempo you like, I’ll follow you.
    *    *    *


(Backstage, people are excited, and somewhat nervous, too. Probably they are not sure
what is in store for them. But Lermontov is sure of that.)
LIVY:    Time to go down, Craster.

BORIS:    Good luck, Mr. Craster.
JIJLIAN: Thank you, Mr. Lermontov.
BORIS:    Nervous?
JULIAN:    No.
L1VY:    Come on.
(At the doorway of the pit, Julian hesitates and turns to Livy.)
JULLAN:    Do I...
LIVY:        What the devil have you got to worry about? It is a fine score.
JULIAN:    Is it?
LIVY:        A magnificent score. I only wish I. . . Go. now! (He pushes him in.)
(The music starts. But the situation behind the curtains is very tense.)
VICKY:    (To dresser) Vas chercher Monsieur Ljubov.
DRESSER:    Oui je vais toute de suite, ma fille.
LJUBOV:    Louis , vous fermez les lumieres...
BORIS:    Grischa.
LJUBOV:    Tout est dans le chaos, Boris! Chaos! Chaos!
BORIS:    Grischa.
LJUBOV:    Borgea, Mon Dieu, the red shoes?
BORIS:    What?
LJUBOV:    The Red Shoes are not there.
BORIS:     Rideaut...
LJUBOV:    Monsieur Rideaut, what have you done with the Red Shoes?
RIDEAUT:    But M. Ljubov.
LJUBOV:    Don’t waste your time, where are they?
BORIS:    Are you sure you haven’t hidden them yourself?
LJUBOV:    No, no, no, no! (suddenly) Yes! Fool, fool!
DRESSER:    Monsieur Lermontov, Miss Page est dans un etat. Elle est si nerveuse.
(Boris, on his way to Vicky’s room , passes by Ratov.)
RATOV:    Boris, look here, Elephants, clumsy elephants. - They have ruined my decor.
BORIS:    Calm yourself, Sergei.
RATOV:    But the door, the door, it won’t shut.
BORIS:    Then somebody must hold it
RATOV:    Who, but who? .
BORIS:    The call boy, he will have nothing to do then anyway. Dimitri, get the call boy..
RATOV:    (To a workman) Give it to me. (Taking the tools from his hands) Hold the door!
(Boris turns to go and sees Vicky.)
BORIS:    Best of luck, Miss Page. ..
VICKY:    I can’t even remember my first entrance.
BORIS:    Oh, you mean you think you can’t remember it. What about this.
(Boris hums a few bars of the ballet music.)
VICKY:     Yes, that’s it. It’s alright when I hear the music.
BORIS:    Since you’re undoubtedly going to hear the music, it’s undoubtedly going to be alright. The music is all that matters, and nothing but the music. If I had any doubts
about you at all, I should be nervous. Am I nervous?
VICKY:    No.
BORIS:    You’re not dancing for an audience. You’re dancing for Ljubov, Ratov, myself —people for whom you’ve been dancing many times before I believed in you from the very beginning, but now everybody does I want you to dance tonight with the
same ecstasy I’ve seen in you only once before.
VICKY:    At the Mercury Theatre.
BORIS:    Yes, at the Mercury Theatre in London, on a wet Saturday afternoon.
LIVY:    (To boris) Forty seconds.
BORIS:    Coming. (To Vicky) Good luck, my dear. (He goes with Livy to watch the
performance.)
LIVY:        You’re a magician, Boris, to have produced all this in three weeks and from nothing.
BORIS:    My dear Livy, not even the best magician in the world can produce a rabbit out of a hat if there isn’t already a rabbit in the hat.
RATOV:    (Watching the show with Lermontov in the box,) It is a pity the theatre only holds three hundred. We could have filled the Albert Hall tonight.
BORIS:    Yes, but what we are creating tonight, the whole world will be talking of tomorrow morning.
LIVY:    (Referring to Julian) Good boy.
    (Dance of the Red shoes starts.)
    •    •    .


(The Red Shoes is a great Success.)
(Next morning, Vicky is the first to be present at the classroom. Boleslawsky and Ljubov
come in.).
LJUBOV:    Ca va? (Vicky nods) Any swelling? I mean the head. All that clapping, bravos, roses. . .pooh! All that is nothing. But when I, who have seen Pavlova Karsarvina
dance, tell you that last night you were not bad, not good — but not bad... that’s
something. Now I tell you truth—it was good.
VICKY:     Thank you, Mr. Ljubov. .    .
LJUBOV:     My name is Grischa.
VICKY:    Mine’s Vicky, °        -
LJUBOV:    How do you do? (As if it were the first time they meet. Vicky holds out her hand, Ljubov kisses it. And with an air of a coacher . . .) Arm straighter. . .so. - Boris
Lermontov wants to see you. Why in class -time, why?
(While dancers are pouring into the classroom, Vicky hurries out to see Letmontov.)



(In Lermontov’s office.)
DIMITERI:    More cables for Lermontov.
BORIS:    (Occupied in answering the phone, he can only glance quickly over the cables in Dimitri’s hands.) Hello, yes, who is it? Oh, it’s you!.
REPORTER:    (To Boris) Monsieur Lermontov...
BORIS:    (To reporter) Une seconde, je vous en prie. (Into phone) No, no, it’s fine. Thank you so much for ringing me. You are not disturbing me at all. 1 always have time for congratulations. . .
RIDEAUT:    Monsieur Lermontov, decidez vous..
BORIS:    Mais, laissez-moi parler je vous en prie. Vous voyez que je telephone
(Into phone) Oh, yes, I agree. Music is une trouvaille°’!
REPORTER:    Monsieur Lermontóv-
BORIS:. . .a most, distinguished score.
REPORTER:    Je veux juste savoir le nom du compositeur.
BORIS:    (Indicating that he should speak to Julian) Mais le voila! Monsieur Craster, tout le monde. . .
REPORTER:    Monsieur Craster...
JULIAN:     Oui.    .
BORIS: (Into the phone) Yes, of course he’s under contract to me. Yes, he’s going to.:
He’s starting on a new ballet right away. Full of gaiety and charm “La Belle Meuniere”,  book by Marcel Lucien. Yes, oh yes, it’s a wonderful role for her.
BARONESS:    Au revoir, Lermontov.
BORIS:    (Kissing her hand) Au revoir, chere madame. Au revoir. (Going on with the phone) No, not this season—next season. ‘
BARON:     Cher naitre, je voudra si vous souhaiter.
BORIS:    (Into phone) Au revoir, monsieur. Merci beaucoup, merci beaucoup.  Yes, it was very kind of you to ring me, thank you so much, thank you very much. (Putting
the phone down and to Dimitri) No more calls. . Not even congratu1ations (To reporter)
Mon cher ami, je vous en remercie beaucoup. N’oubliez pas ce que je vous ai dit.
(To secretary) Thank you very much. Fichez-moi le calme, je vous en prie! Excusez-moi!  (To Julian) Well, Mr. Craster, .that’s all. Thank you very much. I am proud of you.
JULIAN:     Mr. Lermontov, I would like to say...‘
BORIS:    Some other time Mr. Craster, I beg of you. Ah yes, “La Belle Meuniere”.
You read French?
JULIAN:    Yes.
BORIS:    Then read it, and we’ll talk about it some other time, eh?
(Julian goes. Someone announces the arrival of Mademoiselle Page.)
BORIS:    Come in Miss Page, come in. Sit down. I want to talk to you about your future.   When we first met at Lady Neston’s, you asked me a question to which I gave a stupid answer. You asked me whether I wanted to live, and I said yes. Actually Miss Page, I want more—much more—I want to create to make something big out of something little. To make a great dancer out of you. But first I must ask you the same question.  What do you want from life—to live?
VICKY:    To dance.
BORIS:    We have two months left of the season in Monte Carlo. Not much time, but enough. Two months. Then we go on tour. Rome, Vienna, Copenhagen, Stockholm,
then America, then next year London again. All the big parts for you. Coppelia,
Lac des Cygnes, Giselle, The Sleeping Princess, Les Sylphides, La Boutique.  We will
create them all afresh with you. You shall dance and the world shall follow. You shall
(Vicky is about to speak) Ssh.. not a word, I will do the talking. You will do the dancing.



(So Vicky dances and dances. One evening in Lermontov’s office)

BOUDIN:    Queue saison! Mais, c’est inoui! Et toujours Victoria Page, Victoria Page!
Vous avez la une vedette du premier ordre, Lermontov.  Du premier ordre!
LJUBOV:    (Jumping in) Goodnight, Boris.
BORIS:    Goodnight, Grischa.
LJUBOV:    She was not bad tonight.
BORIS:    She’ll be all right.
LJUBOV:    (Standing up) All right. Not bad! But she is a flame, a spirit, une coryphee.
RATOV:    (Coming in and seeing Ljubov dancing with joy) Still dancing, Grischa? (To Boris)     Good night, Boris.
BORIS:    Good night, Sergei.
RATOV:    Vicky was wonderful in “Boutique”. Just a little Dresden Shepherdess.
BOUDIN:    We should reconstruct the theatre.
BORIS:    What is wrong with the theatre?
BOUDING:     It is too small.    
LIVY: (Opening the door and putting his head in) Good night, Lermontov.
BORIS:    Goodnight, Livy.
LIVY:    (Referring to Vicky) Her timing’s a miracle.
BORIS:    Keep her up to it.

    *    *    *

(One night, Boris is with Boudin in the office.)
RATOV:    Goodnight, Boris.
BORIS:    Goodnight, Sergei. (Standing up, to Boudin) Thank you, Monsieur Boudin, that’s all.
LJUBOV:    Goodnight, Boris.
BORIS:    Goodnight, Grischa. Boudin.
BOUDING:    Oui.
BORIS:    (To boudin) Tell me, which is esteemed to be the very best restaurant this year on the coast.
DIMITRI:    ‘La Reserve’.
BOUDIN:    Oui, oui, ‘La Reserve’.
LIVY:        Goodnight, Lermontov.
BORIS:    Goodnight, Livy. (To Dimitri) Book me a table;
DIMITRI:    (Picks up the receiver.) For two?
BORIS:    Yes.

    *    *    *



(Vicky and Julian are going out.)
VICKY:    Julian..,
JIJLIAN:    Yes?
VICKY:    I never said goodnight to Lermontov.

    *    *    *



PORTER:    (Into telephone) Monsieur Dimitri? Eh, no. Miss Page has still not come in.
Monsieur Ratov? Not here either. Monsieur Ljubov? Three hundred and seventeen.  No.
2ND PORTER: Mais tu sais bien qu’ils sont tous a La Ville Franche. Voyons.
PORTER:    (On the telephone) Ah, Monsieur Dimitri I have just heard they have all gone to supper at the Old Port at Ville Franche with Mr. Ljubov. C’est son anniversaire!
His birthday.

         *      *      *

LJUBOV:    Gateau! Gateau!
(Boudin presents a birthday cake.)
BOUDIN:     Permettez-moi, cher maitre, avec tous les voeux du cafe de Monte Carlo.
LJUBOV:    Ah, je suis tres touche. Regardez-moi ca — quel merveille!  (A strong
light from a car blinds his eyes.) Tiens, tiens. Boris Lermontov!
BORIS:    Good evening Grischa. Have I permission to join your party?
LJUBOV:    What a pleasure, Boris! A chair for Boris Lermontov.
BOLESIAWSKY Two chairs for Boris Lerrnontov. Make way there. A throne.
L1VY:    A throne for the great Boleslawsky. Take mine...
LJUBOV:    Oh no, take mine.
BORIS:    Oh no, you sit down. It’s your birthday. Sit down.
BORIS:    Well, it seems a long time since I sat down to supper with my entire family.   (Looking at the members around) But it appears that the great Miss Page is not with us tonight.            
BOLESLAWSKY Don’t you miss another member of our happy little family?    
BORIS: No, no, I can’t say I do.            
L1VY: Why should you? You’re a busy man. Have a drink, Lermontov.        
BORIS: (Holding up the glass to Ljubov) Grischa.
BOLESLAWSKY: Of course, we all know you’re a busy man., Boris Lermontov. But do
you mean to tell me that you have noticed nothing?        
RATOV: Oh, don’t exaggerate. Boris, we have a little romance in our midst.
BOLESLAWSKY A great romance.
LJUBOV: Romeo Craster.
LIVY: And Juliet Page.            
BORIS: And when did this great romance begin?
BOLESLAWSKY: With the Red Shoes.
BORIS: Charming. And where have they taken themselves tonight?
RATOV: What does it matter where they have gone. They are young, they are together.       And they are in love.    

        *    *    *                

(In a cart moving along a road by the seaside)            
VICKY: Darling.
JULIAN: Mmm?            
VICKY: I’ve decided that I do believe in destiny after all.
JULIAN: Do you, my darling? I’m very glad.
VICKY: Cocher-Cocher.
(Cocher is asleep.)            
JULIAN: Ssh, you’ll wake him.            
VICKY: But I want to know where we are.    
VICKY: Cocher-Co...            
JULIAN: One day when 1 am old, I want some lovely young girl to say to me:    “Tell
me, where in your long life, Mr. Craster, were you most happy.” And I shall say;
“Well, my dear, I never knew the exact place, but it was somewhere on the Mediterranean. I was with Victoria Page”. “What”, she will say, “You mean the famous
dancer ?“ And I shall nod. “Yes, my dear, I do, but then she was quite young and
comparatively unspoilt. We were, I remember, very much in love”.

        *    *    *

(Vicky is dancing “Swan Lake”, while Julian is conducting the orchestra. He gives her a flying kiss. And this is observed by Boris who is watching from his box.)
BORIS:    Did you see that? She smiled at Craster.
LIVY:    I don’t think so.
BORIS:    I suppose you will be sending me to an oculist next. Watch her dancing.
LIVY:    With pleasure.
BORIS:    A debutante at a charity matinee.

        *    *    *

BORIS:    (In his office) Yes... (into phone) Yes, yes, alright. Thursday.
JULLAN:    Good evening Mr. Lermontov. I’m afraid the score is still a bit rough;
but I see you’ve had time to look at it.
BORIS:    Yes, Mr. Craster. I have looked at it. However, it is not about your music
that I wish to talk at the moment, So to come to the point — what is all this I hear
about you and Miss Page?
JULIAN:    Oh, I see.. Could Dimitri...
BORIS:    (To Dimitri) Get out. (To Julian) Well, Mr. Craster?
JULIAN:    Yes, we’re in love.
BORIS:    I see. Did you see Miss Page’s performance in Lac des Cygnes?
JULIAN:    I was conducting.
BORIS: Did you enjoy it?
JU.LIAN:    I think it was the loveliest thing I have ever seen in my life.
BORIS: It was impossible. And do you know why it was impossible? Because neither
her mind nor her heart were in her work. She was dreaming. And dreaming is a
luxury I have never permitted in my company. Miss Page wants to be a great dancer.
Perhaps she has spoken to you about her ambitions?
JULIAN:    Mr. Lermontov, you don’t understand. We really are in love.
BORIS:    And Mr. Craster; I have had time to look at your latest effort...
JULIAN:    Yes?
BORIS:    And find it equally impossible.
JULLAN:    That’s not true. It’s good..

BORIS:    Childish, vulgar, and completely insignificant.
JULL4.N:    In that case, I’ll relieve you of it.
BORIS:    There are of course so many first class Ballet Companies to which you may take it, with advantage.
JULIAN:    I don’t know that it is my greatest ambition to work for the Ballet. Some of us think it is rather a second rate means of expression.
(Boris gives an order from his desk phone.)
VOICE IN THE PHONE: Oui, Mr. Lermontov.
BORIS:    Mr. Craster is leaving the company. Pay him two weeks salary and get the receipt.
(They both leave the office. As they pass through the stage, where Ljubov is practicing,...)
LJIJBOV:    (Shouting) Spotlight! Sur moi! Toujours sur moi! ~ (Noticing Boris and
Julian) Ah, Boris, I was just coming to say good night.
BORIS:    Good night.
LJUBOV: (Finding something wrong by Boris’s expression) Is anything the matter, Boris?
BORIS:    No, nothing. But before I forget it, don’t do any more work on the new ballet.  I’ve decided to scrap it.
LJUBOV:    Scrap it. What do you mean? I’ve worked out half the choreography already.  That boy Julian is really gifted. It is one of the finest scores we ever had.
BORIS:    Julian Craster is leaving the company and I don’t wish to discuss the matter any further.
LJUBOV:    Oh, you don’t! Well, I do. Do you think I don’t know a brilliant score when I hear one? Do you think I’ve been working day and night for weeks for the pleasure of being told Fm wasting my time? I tell you, Boris, I’ve had enough of this fantastic lunatic asylum. I am through with it. I resign.
BORIS:    I think you have made a very important decision.

        *    *    *

(Night, in a club.)
A DANCER (Passing and seeing Vicky and Julian sitting there,) Hello, you two. Isn’t
love wonderful?
LJUBOV:    (Coming up to Vicky) Bon soir. (Sitting down at a table by their side.)
RATOV:    Hello.
LJUBOV:    Well, what did he say?
RATOV:    Of course he doesn’t really want you to go, Grischa. He is very sorry.
LJUBOV:    Well, in that case, I will think about it.
VICKY:    What about Julian?
RATOV:    I’ve never seen him quite as bad as this. He talked a great deal about ingratitude and disloyalty, and he said that when personal relations started to interfere wth...
JUUAN:    Yes, I know that bit.
RATOV:    (To: Vicky and .Julian) My dear children, I’m very sorry.
LJUBV:    Boris may feel different in the morning.
RATOV:    In the morning he’ is leaving for Paris. By the eight fifteen train.



(At the Station)    . .
BORIS:    Has the famous Miss Page come to see me off?
VICKY:    I’d like to talk to you. I want you to tell me why you have quarreled with Julian.
DIMITRI:    And there are only three minutes.
BORIS:    May I suggest Miss Page that such matters are hardly your business. However, since you have gone to all this trouble. Mr. Craster has been unwise enough to
interfere with certain plans of mine, and that is something I do not permit.
VICKY:     I thought once, Mr. . Lerrnontov, that there would be no room in my life for anything but dancing. . . ..
BORIS:    You will think so again, my dear.
VICKY:.    But if Julian goes, I shall go too.
BORIS:    And what exactly do you intend to do?
VICKY:    I -shall dance somewhere else.    ‘.
BORIS:    Oh yes, that won’t be very difficult with the name I have given you. Always provided I release you of your contract. But even if I do, would it be quite the same?
VICKY:     I have never pretended to myself that it would
BORIS:    I could make you one of the greatest dancers the world has ever known. Do you believe that?
VICKY:    Yes I do.
BORIS:     And all that means nothing to you?
VICKY:     You’ know-exactly what it means to me.            .
DIMITRI:     The train is leaving. ,     ‘
VICKY:     Goodbye Mr. Lerinontov.        
BORIS:’ (To Dimitri, but with anger) Miss Page is coming.

        *    *    *

VICKY (Vicky goes to Julian who is packing up) Julian, Julian I’m coming with you
JULIAN:    Hurray!

        *    *    *


(Boris is in Paris. He is in deep thoughts, having received a cable telling him that Julian
and Vicky have got married. In a burst of anger, he strikes the. mirror with his fist.

It breaks and hurts his fist. Someone is at the door.)
BORIS:    Come in. You are late. I hope you didn’t work too hard.
BOISSON:    All finished. I have the injunction with me. Boris, don’t tell me you’ve.
changed your mind again.
BORIS:    I.. .I don’t want to stop her doing anything. She can dance when and where she likes. Except the Red Shoes.
BOISSON:    What about the boy?
BORIS:    Ah, that’s different. Everything he’s written while under contract to me is mine. That’s in the contract. The Red Shoes and his work so far on La Belle Meuniere.
I’m not interested in anything else he may write.
BOISSON:    But if you keep the Red Shoes in the repertoire, you will have to pay him
royalties.
BORIS:    The Red Shoes is no longer in the repertoire. I understand Patrick Trevelyan is in Paris.
BOISSON:    Yes. I dined with them both last night.
BORIS:    Oh. Boronskaja is with him?
BOISSON:    Yes. Anything I can do?
BORIS:    How’s the marriage? A success?
BOISSON:    Patrick seems to think so. Would you like me to arrange a meeting with
Irina?
BORIS:    Not arrange—by chance.
    •    •

(And the chance arrives, they meet in a garden.)
BORONSKAJA:    Oh, Boris!
    •    •

(Back in Boris’s office, people are coming to say, good’ night to him.)
IRINA:    Good night, Boris.
BORIS:    Good night, Irina..
BORIS:    A good season. .
BOUDIN:    For the Ballet Lermontov always.
RATOV:    Goodnight, Boris.
BORIS:    Goodnight, Sergei. Sergei...
RATOV:    Yes?
BORIS:    Would you come in and wait a minute?
RATOV:    But of course, Boris.
LJUBOV:    Goodnight, Boris.
BORIS:    Grisha, please come in and wait.
LJUBOV:    Ah! Conference. (To Ratov) Letters. Nobody. writes to me.
RATOV:    That’s not true. (Handing him a letter) Yours, from Vicky.
LJUBOV:    From Vicky! How is that girl?
RATOY:    Read it, then you’ II see.
LIVY:    This is from Julian. It’s all about his new opera. He describes the whole structure.
Enormous talent that boy. He says she is an inspiration—a miracle.
BORIS:    Thank you, Mr. Boudin. That is all.
BOU.DIN:    Merci.
BORIS:    Good night. Well, I see it is mail day.
RATOV:    From our two young rebe1s.
BORIS:    Deserters. I hope they are happy.
LJUBOV:    Read mine.
LIVY:        Yes, read this too. It might make you sorry to have lost that young man.
BORIS:    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.
LJUBOV:    With Irina?
BORIS:    We can discuss that. The part is light— all gaiety and fire. Perhaps you would be good enough to glance through it. And no prejudice please.
LIVY:    .1 hope you’ll say that to yourself sometimes.
BORIS:    Every day.  Goodnight, Sergei.
RATOV:    Goodnight.
L1VY:        Goodnight.
BORIS:    On second thoughts, J think I would like to read those letters.
RATOV:    My letter was only meant to be read by me. See you later, Boris.
BORIS:    Goodnight, Sergei.
(When they go out of the office,)
RATOV:    I could hardly let him read it. She calls him a monster—a gifted, cruel monster.
LIVY:    You should have told him that.
(When Boris decides to write a letter to Vicky, Dimitri comes in.)
DIMITER:    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.

*    * . * .



(At the station, the train from Paris arrives. Boris gets on and finds Vicky.)
BORIS:    We seem to be destined to meet at railway stations.
VICKY:    What are you doing in here?
BORIS:    Waiting for you of course. Won’t you sit down. 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.
VICKY:    I have.
BORIS:    You only have to say the word.
VICKY:    How is everybody?
BORIS:    Including me?
VICKY:    Including you.
BORIS:    Never better.
VICKY:    How is Grischa?
BORIS:    Always fighting with Boronskaja.
VICKY:    And she?
BORIS:    Always fighting with Grischa.
VICKY:    And how is old Sergei?
BORIS:    Getting younger.
VICKY:    And you?
BORIS:    Getting older. And you. Are you happy?
VICKY:    Yes. Very happy.
BORIS:    As a dancer, I mean.
VICKY:    I haven’t danced very much, you know.
BORIS:    Oh I know, I know. I know every time you have danced. But you’ve never
stopped working.
VICKY:    No.
BORIS:    And you never stopped going to classes.
VICKY:    Never.
BORIS:    And why isn’t he with you?
VICKY:    His opera has been accepted at Covent Garden. It’s in rehearsal now.
BORIS:    Would he give it up if you asked him?
VICKY:    I don’t know.
BORIS:    You do know.
VICKY:    I wouldn’t ask him.
BORIS:    Then why is he asking you? Does he know what he is asking? We are preparing a new ballet. We have been working at it for weeks. The costumes and the décor 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.

    *    *    *

(Vicky is dressing for “the Red Shoes”. Obviously, she has been persuaded to remain and
dance again. Yet she is much concerned about what is now happening in London. So,
she is listening to the radio.)
ANNOUNCER’S VOICE: This is the BBC Third Programme. I am speaking from the
Royal Opera House, Covent Garden, London. To-night 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.
ANOTHER VOICE ON THE RADIO: 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 Menzies will conduct in his place.
       (To Vicky’s surprise, Julian comes to her.)
DRESSER: (To Julian) Il est moins le quart, mousieur.
JULIAN: All the way down from London, I wondered if I’d find you here. And here you
are.
VICKY: You left your first night?
JULIAN: Yes.
VICKY: Julian....
JULIAN: Why didn’t you? At last. It’s all right now, my sweetheart. There’s a train
going to Paris at 8 o’clock. We’ll be on it together. Better hurry up and get changed.
VICKY: But I’m dancing tonight.
JULIAN: Walk out!
BORIS: (Cutting in, with calm and irony) Good evening, Mr. Craster. Won’t they be
missing you at Covent Garden tonight?
DRESSER: M. Lermontov, Il est moins dix...
BORIS: Je sais.
VICKY: For God’s sake leave me alone, both of you. (To Julian) Please Julian, wait until
after the performance.
JULIAN: It will be too late then.
BORIS: You are already too late, Mr. Craster. (To Vicky) Tell him why you’ve left
him.
VICKY: I haven’t left him.
BORIS: Oh, yes, you’ve left him. No one can have two lives and your life is dancing.
JULIAN: Vicky, you can dance anywhere else in the whole world.
BORIS: Would you be satisfied with anything less than the best? If you would, you
would never be a great artist… perhaps you never will. (To Julain) 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?
JULIAN: Because you’re jealous of her.
BORIS:    Yes, I am. But in a way that you will never understand.
DRESSER:    Il est moins cinq...
RIDEAUT: Mr. Lermontov. Faut il tenir le rideau ?
BORIS:    Oui.
JULIAN:    Well , Vicky?
VICKY:    I love you Julian. Nobody but you.
JULIAN:    But you love that more.
VICKY:    (Crying) I don’t know — I don’t know.
BORIS:    If you go with him now, I will never take you back! Never!
JULIAN:    Vicky, do you want to destroy our love?
BORIS:    Adolescent nonsense. (To Vicky) All right, go then, with him. Be a faithful housewife with a crowd of screaming children, and finish with dancing for ever.
JULIAN:    Vicky, look at me.
(But Vicky is still weeping.)
JULIAN: Goodbye, then, my darling.    
VICKY: Julian.
CALLBOY:    Monsieur Lermontov, peut-on commencer l’ouverture?
BORIS:    Oui, commencez. (To Vicky) 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, like nobody ever before.
(The music of “The Red Shoes” starts in the hall. Vicky leaves the dressing room, rushes
down the stairs and out…)
PORTER:    Mademoiselle Page, ou allez-vous ?
(She jumps down to the railway, while the train to Paris is just rushing by ...)

    *        *

(The overture is over. But the curtain does not go up. Boris appears on the stage, and
with grief he announces:)
BORIS:    Ladies and gentlemen. I am sorry to tell you that Miss Page is unable to dance tonight, nor indeed, any other night. Nevertheless, we have decided to present “The
Red Shoes”. It is the ballet that made her name, whose name she made. We present
it because we think she would have wished it.

    *    *    *

(Lying in the arms of her lover, she’s giving the last words.)
VICKY:    Julian. .
JULIAN:    Yes, my darling?
VICKY:    Take off the Red Shoes.

                             —End—