[lively chatter]
[♪ The Runaways play “Cherry Bomb”]
Morning, miss. Can I get you a cab?
I have legs.
♪ Can’t stay at home, can’t stay in school ♪
♪ Old folks say, “You poor little fool” ♪
♪ Down the streets, I’m the girl next door...
Excuse me, miss. I need your pass.
[security guard] It’s okay, Al. Just let her through.
♪ Hello, Daddy, hello, Mom ♪
♪ I’m your ch-ch-ch-ch-ch-ch-- cherry bomb ♪
♪ Hello, world, I’m your wild girl ♪
♪ I’m your ch-ch-ch-ch-ch-ch-- cherry bomb ♪
♪ Stone Age love and strange sounds, too ♪
♪ Come on, baby, let me get to you ♪
-Ow. -♪ Bad nights causing teenage blues ♪
♪ Get down, ladies, you’ve got nothing to lose ♪
♪ Hello, Daddy, hello, Mom ♪
♪ I’m your ch-ch-ch-ch-ch-ch-- cherry bomb ♪♪
[chatter stops]
[clamoring quietly]
[gasps]
Play.
-[♪ Sons of Raphael play “Nights Are For Love”] -♪ When the setting sun departs ♪
♪ the night begins in lovers’ hearts ♪
♪ Waiting for the moon to rise ♪
♪ towards the stars ♪
♪ they lift their eyes ♪
♪ Nights are ♪
♪ for love ♪
♪ as stars are for the heavens above ♪
♪ In every moon, there is a light ♪
♪ for those who love ♪
♪ Nights are ♪
♪ for love ♪
♪ as stars are for the heavens above ♪
♪ In every moon, there is a light ♪
♪ for those who love ♪♪
So, where did the idea come from to swap talent with the ballet company in Paris?
Well, not to pat myself on the back, Pat -
try saying that five times fast -
but unprecedented times call for unprecedented measures:
bold leadership, inventive thinking.
Sounds like you are running for mayor.
-Who wants to live on the East Side? -[chuckles]
No, the Metropolitan Ballet is my sole focus at the moment.
We’ll see what the future holds.
-Hi, Jack. -Morning, Jack.
Hello, ladies.
Not a bad gig, huh?
Although, if you’re a member of the LGBTQ community,
it would be a good job for a woman, too, obviously.
Or a man, with all the attractive male dancers we have here,
if that’s your proclivity.
Don’t get me wrong, if our dancers weren’t attractive but could still dance,
they’d still be in the company.
But I think if you’re in the shape that a dancer has to be in
but your face is not traditionally handsome,
there’s still the nine-tenths of you below the neck that’s very attractive
because you’re in such great shape, right?
But if you’re someone attracted to the opposite sex, or the same sex,
there’s no difference except gender.
And gender is fluid, obviously.
Okay.
Well, let’s talk about your Fall Gala celebrating the start of your new season.
Advanced sales are up, and I would think that has to do with
the return of the brilliant French Étoile Cheyenne Toussaint.
It’s a joy to have Cheyenne back with us.
Talk about a league of her own.
Uh, people should snap up tickets to see her as soon as they can
because they’re going fast.
Thanks again for talking to us.
This has been our visit with Jack McMillan,
Executive Director of the Metropolitan Ballet Theater in Lincoln Center.
Now back to the studio.
[producer] And we’re out.
-Good deal. -It was fun.
-How is she actually? -Who?
Cheyenne. Total nightmare?
Oh, come on, Pat. I don’t listen to gossip.
-Van’s waiting, Pat. -All right. Thanks again, Jack.
Hey, Pat, that whole spiel I did about the dancers
being attractive from the neck down, you can cut some of that out, right?
We were live.
Right. And did I know that?
-Yes. -Okay.
Cool.
And spread the word.
Cheyenne is a true angel.
[speaking French] My wife cried when she heard the news about Cheyenne.
She was inconsolable.
I’m so sorry to hear that.
My 12-year-old grandson said “Grandpapa - losing Cheyenne
is worse than the burning of Notre Dame and the Nazi occupation combined.”
He sounds fun.
Pardon me?
He sounds very intelligent is what I was -
You never mentioned that Cheyenne would be part of this trade.
Not even the possibility...
You should have consulted us.
Informed the Minister.
You’re so busy, I didn’t want to pester you with tiny details.
On what planet is Cheyenne Toussaint a tiny detail?
You gave me a mandate: get ticket sales up.
Ticket sales are up.
We have Tobias Bell.
There is great excitement. The trade is working.
And what’s your next stunt, Geneviève?
Trading our top opera stars to Disney?
In exchange for The Little Mermaid?
Or Buzz Lightyear?
Amusing.
Mishi is returning. That’s good, yes?
I promised to make that happen and I delivered.
Mishi returning was the entire point.
The only point.
She never should have been cut by the school in the first place.
And she wasn’t supposed to be in exchange for our top Étoile.
Pain au chocolat? Croissant?
Anyone? Just me?
And is it true, Ms. Lavigne, that you encouraged the company to go on strike?
Pardon.
I took too big a bite.
I did not encourage anyone to do anything.
We were told that you did.
By reliable sources.
They must have misheard me.
I was in New York...
There was honking, gunshots...
It’s a big job, the job you have, Ms. Lavigne:
General Director of l’Opéra Français and Le Ballet National.
“Interim” Director.
Interim, yes. For now. But hopefully -
And we expect you to be on top of everything, from our Étoiles on down.
I want to assure you that I am.
And I want to remind you - this trade with New York. It’s temporary.
Cheyenne will be back before you know it.
And then your wife will cry no more.
My wife is dead.
You said she cried. When Cheyenne left.
My wife cried.
His is dead.
2 years now.
You were at the funeral.
I was.
And it was very moving.
The eulogies - it brought her to life.
That’s why it felt like she was still alive.
I miss her so much.
Anything else?
Yes. The bull.
The bull?
The bull.
What’s happening with the bull?
Oh - the bull.
Yes, well, the problem with the bull has been solved.
-Completely? -Oui.
-Good. -Oui.
There’s nothing to worry about with the bull.
Geneviève.
Crispin.
I didn’t know you were in France.
Well, I do get around.
Uh, please call me Crispy.
-Excuse me? -It was my nickname at university.
All my closest friends call me Crispy.
-And that’s what we are now. -Well -
Did you have a nickname at university?
Uh, just a couple of the girls called me Gen-Gen.
Gen-Gen. I love it! [laughs] May I call you that?
No. So, what brings you here?
Just a little tête-à-tête with Cléa.
-Cléa? -The Minister of Culture?
No, I know who she is. I just got out of a meeting with her.
Mood check: good, bad? What’s Crispy in for?
[sighs] In between.
So, uh, what’s your business with Cléa? If you don’t mind my asking.
I shouldn’t tell you because you won’t believe me.
-Try me. -I want to open an ice cream shop.
An ice cream shop?
It’s been a dream long deferred.
But I woke up a couple of days ago, and I thought,
“I’m rich. I can make this happen.”
I’m sorry, why do you need to see the Minister of Culture
about an ice cream shop?
Wouldn’t you know, my preferred location is in the shadow of the Louvre,
and I need special permission from the government.
-Crazy. -For your ice cream shop?
What’s your favorite flavor?
I don’t know, vanilla?
Speaks volumes.
Well, I’m, uh, I’m running late.
Uh, au revoir, Gen-Gen.
Uh, I’d rather you didn’t...
Yes, see you later, Crispy.
[mutters] Ice cream shop. Come on.
[lively chatter]
[sighs]
[♪ Gillian Hills sings “Tut, tut, tut, tut”]
[song continues with lyrics in French]
Excuse me. Are we picking anyone else up along the way?
This isn’t a bus.
So much fruit.
♪ ♪
Why are they here?
You know, I like that you think that I know things.
-[reporters clamoring] -[cameras clicking]
-There she is! -There she is!
The pride of Le Ballet National!
Our beautiful Mishi Duplessis!
Lucien!
I got you a gift.
I wanted to give you something that’s very precious to me.
These shoes belonged to my hero, the great Sylvie Guillem.
-Hold them up! -A photo, please!
-Mishi? -Where is she?
The Minister of Culture!
Am I dreaming?
Where is she? Where’s Mishi?
Get out of the way! Get out of the way, please!
Mishi, come to me!
Mishi, Mishi, Mishi...
[Cléa whoops]
What a day.
Pardon my emotion, ladies and gentlemen.
To France, a budding star returns.
But to me... To us...
Our daughter returns.
I can’t believe I finally have you back in my -
What are you wearing? Sweatpants?
Jack thought it would be funny.
Close your jacket.
Mishi’s talent and promise have always belonged here, in France.
And now she is back!
Our Mishi is back!
As she was meant to be!
[reporters aahing]
We’re all happy she’s back.
I’m sure.
Old shoes?
These are very special shoes.
They belonged to Sylvie Guillem.
Oh. How about I just invite Sylvie for dinner instead?
Florent, let’s get this girl home.
-Go earn some honest money. -[laughter]
[reporters murmuring]
[Cléa and Florent speaking urgently in French]
[overlapping chatter continues]
[sighs]
-[quiet chatter] -[piano music playing in distance]
Cheyenne?
-Oh, my God. -Eva.
Oops. Just a sec.
[whispering] Is it okay?
-She’s an old friend. -[man whispers] Good to go.
-It’s so good to see you. -And you. How are you?
-[whispers] Keep it light. -I’m good, thanks.
Oh, sorry, this is Dr. Speer.
Hello.
He’s in charge of getting me back onstage.
-Back onstage? -Yes.
I’m just fine in rehearsal, no problem.
I don’t understand.
Well, a couple of months ago...
[whispers] something happened.
-It was Swan Lake at the end of act 2. -[classical music playing]
The house was full, and everything was going great.
But then I got a little distracted.
I remembered I’d left clothes in the washer at my apartment,
and I knew one of my neighbors would pull them out and dump them on the table wet.
I hate that.
Then I got to worrying about the guys in BTS,
about how they’re all doing their military service and how weird it must be for them
to be typing and saluting and peeling potatoes and moving plastic chairs around.
And suddenly, I just...froze.
[music swelling]
[dancers grunting]
Whoa.
Yeah.
-So Dr. Speer is helping me work past it. -[whispers] Confidence.
I’ll be better in no time.
We’ll get coffee soon? When I’m allowed to drink caffeine again?
-Anytime. -Bye.
[Ronald] All right, uh, gather round, everyone.
I’ll let you know how we’ll proceed. You good, Eva?
[Speer whispers] You’re a warrior princess.
[Eva] I’m a warrior princess.
[Ronald] Good to hear.
I packed wrong. Demonstrably wrong.
And my headphones are out of juice,
and I can’t recharge them because all the plugs here are weird.
-We’ll get you adapters. -My toothpaste, my soap, my dental floss.
People said, “Buy it there,” but they don’t have my brands here.
And when did they stop using francs?
We’ll get you toothpaste, we’ll get you soap, we’ll get you euros.
-I’m not washing till I get my soap. -You’ll fit right in.
And where the hell am I? I have no idea.
You’re in Paris.
But where in Paris? I’m completely lost. Look.
-Can you tell me where I am? -No.
Tobias, just tell me if you see the Eiffel Tower.
This isn’t Emily in Paris, Jack.
You can’t see the Eiffel Tower from everywhere.
You know, I’ve tried to get help, but everyone is really unfriendly,
and I’ve seen 3 German license plates go by.
I might have walked to Munich.
You came on a good day. Can you believe that’s just a rehearsal?
Aurora is lifting her hip in the écarté.
Tell her to keep her hips square.
You saw all that in a flash on your phone,
but you think you may have walked to Munich?
Help me!
Tobias, just do what we always tell you to do whenever you get lost:
stand still, don’t move, and someone will come get you.
Oh-oh, my God, this bicycle almost ran me over.
Just stand still.
[Jack] You track him.
[Geneviève] How the hell do I track him?
On his phone. We have all his passwords.
Sign in, you’ll get his location, then pick him up
-and bring him in. -[knock at door]
-But - -You wanted him.
Is that even legal?
-Tracking his phone? -Who cares?
-He sounds helpless. -He is.
A helpless genius.
[animal bellows]
Was that you?
It was the bull.
What bull? Why is there a bull?
Send Lucien the information.
I’ve got to go.
All right, guys, talk to me. What’s happening?
This man tells me that no one can move in front of the bull while it’s onstage.
It’s a bull.
And no one onstage can be wearing red.
It could charge when it sees red.
And my lead soprano’s costume is red.
I would change that, unless you don’t like your lead soprano.
She sings her act 3 aria in front of the bull.
Can you change the costume?
It’s too late to change the costume.
No one in the first 3 rows should wear red either.
And the curtain goes up in 4 hours.
Not if it’s red.
Francesco, can you restage the scenes the bull is in
so that your soprano doesn’t walk in front of it?
It would help if she was tiny. Is she tiny?
It’s a soprano.
Or turn the bull away from the audience
so that your soprano never walks in front of it.
As long as no one in the wings wears red.
I’m going to kill this man.
Or you can drop the bull.
The bull represents the presence of her deceased lover.
Can it be a bird in a cage?
I can get you a bird.
They’re loud.
Enough of this shit.
-[bull moos] -[Jack] That one?
And that one? Yes?
Nicky? Thoughts?
Lusty, vicious, bloodcurdling.
That’s good?
That’s very good.
[mouth full] So, so good.
Okay, so we need to -
What a time to be living in.
I remember when I was a young man in the corps - talk about lusty.
It was a “who wants it” time.
Come to Daddy.
Okay, as I was saying, we need to get this everywhere.
We cannot count beans. Are you hearing me, Samuel?
-I am not. -Break the bank.
If this is gonna work, people have to know about it.
-Do you hear me, Samuel? -I do not.
I want this image everywhere.
Everywhere there is a surface, I want her plastered on it.
Subways, scaffolding, Citi Bikes, weird billboards on the way to the airport.
Let’s Shen Yun this shit.
Logo on the picture: MBT or Metropolitan Ballet Theater?
Neither.
“Cheyenne.”
[Marie] Really?
The rest of the children won’t like that.
Oh, they will when their paychecks get bigger.
Is the Gala program solidified?
-[Nicholas] Almost. -And Cheyenne?
Has agreed slash decided on Wheeldon’s Bound To.
-Oh, that’s good. Who’s she paired with? -Mm.
I thought we’d give her Larry.
She needs a strong partner.
She’s a yanker, you know?
No, can’t be Larry.
Why not? Larry’s our best. He can’t be yanked.
Larry has an out this week. It’s his grandfather’s memorial.
-He’s skipping it. -Why?
-Cheyenne. -Cheyenne.
Death can’t compete with Cheyenne.
Ooh, this is gonna work.
Okay, next, how much can we charge for a drink at the bar
without complaints that ballet is too elitist?
Nicholas?
[smacks lips]
It says he’s here.
I think I spot him, Madame.
[Geneviève] Tobias Bell.
I’m here to rescue you. Hop in.
I’m good. Thanks.
-What? -I’m good.
Line’s moving, slowly but surely.
I’m sorry, what are you in line for?
I’m not sure.
-So it’s true. -Hmm?
It’s a boulangerie, Madame.
It’s a boulangerie, Tobias.
-Oh, good. I already have sneakers. -Get in.
I’ll take you to one of the other million boulangeries in this city.
-One without a line. -But the line’s the point.
How is the line the point?
You’re clearly not a New Yorker.
I’m not a...?
Tobias, I’ve already had a very long day.
The Minister of Culture was a bloody connasse,
Crispy is a big dick, and a bull might kill my soprano.
There was a beautiful mystery to that sentence.
Now, the line is not moving, and I don’t have time to wait.
-Get in the car. -No.
-Yes. -Who are you?
I’m Geneviève Lavigne, from the Ballet National.
Well, Geneviève Lavigne, I’ve also had a very long day.
I don’t have my soap, I potentially walked here from Germany,
and I might have pink eye from a communal telescope.
So if you’ll excuse me, I’m busy waiting in line.
[Tobias sighs]
My friend is really hungry.
So here, take this, now go away.
Here! Thank you!
[conversing in French]
-[boys laughing] -The last two shits demanded a 20.
I’ve got some francs if you need them.
Get your food, then get in the car.
Oh, and it’s a pleasure to finally meet you.
I’m a huge fan of your work.
Thank you.
[piano playing “Heart and Soul”]
-[song continues in distance] -[door opens]
Hello. I am here.
Is this the light?
[Nicholas] Cheyenne, mon Étoile,
what a delight it is to have you back in my clutches.
I am beside myself.
Nicholas.
Last time I worked with you, the left side of your face had collapsed.
It looks much better now.
It does, doesn’t it?
They used a bicycle pump.
-No. -It looked like it.
Like a fancy bicycle pump.
Cheyenne, you know Larry.
Not really. Hello.
Cheyenne, this is - well, it’s a moment for me.
Very excited.
Sorry to hear about your grandfather.
Yes. Well, he’s been gone a while now.
We just were waiting to have the memorial because the families are fighting.
We were hoping that things would calm down enough
to get through an afternoon, but it’s okay.
I’d much rather be here, with you, doing this.
-Fuck family! -Exactly.
-We should start. -All right.
Now, you’ve both danced this before, just not with each other.
So we will play, and it will be marvelous.
Let’s walk through the beginning.
From the top!
My God, this is the stuff that dreams are made of.
So exciting.
[piano begins playing gentle music]
-Stop. -[music stops]
Larry, I’m going to tell you a story.
Okay.
When my mother was a little girl - 5, 6 maybe -
she lived in a very small village in the countryside.
Tiny, tiny place, quiet.
Nothing happened there.
Until suddenly, one day, a man was murdered.
Brutally.
Who did this? No one knew.
Complete mystery.
The next day, another man was murdered, brutally.
And the next. And the next.
One by one, all the men - old, young - murdered, brutally.
-[Nicholas] Cheyenne - -Every morning, the town would find another body.
Every day, it rained blood.
By Christmastime, all the men in the village were dead.
Except one.
Philipe.
Philipe was the last man left.
And suddenly they realized,
“Oh, my God, Philipe was the murderer.”
Well, they were very upset.
Everyone began to cry and scream.
What should they do?
People said, “Kill him.
He murdered all the men in the village. He must die.”
But then others said, “Okay, yes, he did murder all the men in the village,
but now he is the only man left.
Don’t we need him?”
“He’s a murderer. You kill a murderer.”
“Yes, he’s a murderer. On that we agree.
But we also need to keep the village going.”
“What are you talking about?
We are going to have sex with this murdering man?”
“Well, he’s the only one left.”
“He’s the only one left because he murdered everyone else.
Do you reward him for that?”
“Well, I’m not sure this a reward.”
“Of course it’s a reward.
He gets to have sex with an entire village of women.”
This went on for hours, back and forth.
There seemed no end to the debate.
Finally, my mother reaches into her apron,
pulls out a pair of scissors,
runs at Philipe and stabs him right in the heart.
Plunges those shears in deep
and watches till she sees the light go out in his eyes.
Larry, do you understand what I’m telling you?
Sometimes things just have to be done. I’m sorry.
-[Nicholas] She nixed Larry. -[Jack] What?
She told him a horrible story
about her mother killing a man in her village as a child.
Larry’s the best guy we’ve got.
All the men were being murdered.
I don’t know what kind of village this was.
Absolutely no police force.
Larry gave up a family funeral to be here.
His beloved aunt or uncle or somebody.
I don’t even understand the point of the story, except that Larry is out.
Unbelievable. What do we do?
I was thinking we’d give her Bert.
She danced with him last time. She knows him better than Larry.
She likes Bert, if memory serves.
Okay. Yeah, give her Bert. She likes Bert. She’ll dance with Bert.
[Cheyenne] “What do we do? We need a man to keep the village going.”
“But this man? This man is the reason
we don’t have men to keep the village going in the first place.”
“Keep him.” “Kill him.” “Keep him.” “Kill him.”
Finally, my mother rushes to him, stabs him in the heart with her scissors,
guts him like a pig, cuts his balls off and...
[Nicholas] “...hangs them on the Christmas tree in the town square
for everyone to see.”
Jesus, fuck.
And then it started to snow.
What the hell is wrong with her?
Well, now we know about her mother, she’s a little easier to understand.
Larry and Bert are our 2 best guys.
My hands are tied here.
And they’re cold.
Damn circulation.
Fuck.
Just find her a partner. Anyone.
Let her pick. That should make her happy.
[sighs] Okay.
[Cheyenne] And as he lay dying,
my mother looks him in the eye and says,
“We would rather let our entire village die out
than allow the evil you have done to benefit your loins.
And speaking of loins...”
She reaches down into his soiled pants,
pulls out his testicles and slowly begins to saw.
And I mean slowly.
[Cheyenne] And now, every year at Christmas,
1 chosen girl under 6 climbs the ladder to the top of the tree
and hangs the calcified remnants of the murderer’s manhood
-from the very top for all to see. -[Jack] Cheyenne?
-Do you understand what I’m telling you? -Can I talk to you for a minute?
-I’m almost done. -You’re done. They get it.
-You get it? They get it. -I’m not sure they get it.
-Cheyenne, can you lift yourself? -Of course not.
Well, then you got to find someone to do it for you, right?
-None of these men can be my partner. -Why not?
-They aren’t right. -Come on.
-I know. You don’t think I know? -Cheyenne.
You think I don’t know what I need?
You think I’m a baby ballerina, new to the world,
stumbling around, stuffing lamb’s wool in my shoes to stop the pain?
There is no stopping the pain, Jack.
-You rejected Larry. -Larry cannot partner me.
-You rejected Bert. -Oh, Bert would be worse than Larry.
You come in here and traumatize every male dancer in the company.
Traumatize? How did I traumatize?
-This story you’re telling. -I was telling the story to be nice.
-Nice? -I could have come in here and just said,
“You are terrible,” but instead I softened the blow.
By telling a bunch of men a Christmas tale about chopped-off nuts?
Who said chopped? I’ve never said chopped.
Look, I know you are the great Cheyenne, queen of the dance.
-Thank you. -Not a compliment.
-It sounded like a compliment. -There was sarcasm,
the very presence of which means it was absolutely not a compliment.
If I am to dance, I must have the right partner.
You cannot rush that.
Actually I can, since we have a date that you have to dance on.
I don’t understand why you are going through
all this nonsense for a birthday party.
It’s not a birthday party. It’s a Gala.
How old will you be? Old, no?
It’s the Fall Gala. A big deal, Cheyenne.
A chance for us to honor our donors, to get press, to sell tickets,
to get butts in seats, so that this magnificent art form called ballet,
that you and I both love, can continue to exist.
-Not a birthday party. -I will keep looking.
You cannot come to New York and piss off the entire company in one fell swoop.
You have to pick or you have to figure out how to dance both parts.
That’s it.
-[Cléa speaking French urgently] -[Florent singing in French]
[♪ Iggy Pop sings “La Javanaise”]
[song continues with lyrics in French]
♪ ♪
[overlapping chatter continues]
-Alright. Goodbye. -Alright. Goodbye.
-Vivian! We’re home! -I’ll be in the studio!
[song continues in French]
-[Vivian] Bonjour. -[song fades]
May I take your backpack?
Oh no. I’m fine.
Would you like something to eat?
I had 12 people’s worth of fruit on the plane.
Vivian! Take Mishi’s backpack!
I should take your backpack.
But...
I’ll put it in your room.
How about some Nesquik?
I don’t need any...
[French chatter continues in distance]
[dog barking]
[Mishi gasps]
Simi?
Simi!
Oh my Simi!
I can’t believe it.
Maman! Papa!
What is it? What’s the matter?
Simi. It’s Simi.
Yes. So?
You told me she was dead.
No, I did not.
You called me. You had them pull me out of rehearsal.
You told me Simi’s dead. I had to be sedated.
Why did you tell her Simi’s dead?
Isn’t she?
She’s right here. I’m holding her.
It must have been Helga who told you that. She always got confused.
Who’s Helga?
Your nanny.
My nanny was Fiona.
Oh.
That’s who died.
Right. Fiona died.
Fiona died?
Yes. But Simi’s fine.
Well, there is a thing with her stool.
Vivian can fill you in.
Who told the paparazzi?
About what flight I was on?
Mishi, your homecoming is a story, sweetheart. The prodigal daughter returns.
I’m not a prodigal daughter, Papa.
I returned because I got cut here and went to New York to work there
and then got sent back here.
Well, that’s not the story the publicist recommends.
We sit with the publicist in a half hour. You should change.
Vivian? What’s the thing with Simi’s stool?
It’s very messy, very runny! We need to change her diet!
[classical music playing over video]
[Diane] Oof!
You almost kicked the crap out of that old guy there.
[Cheyenne] He wasn’t old. That’s just makeup.
[Diane] Still, seems like it would have hurt.
-No, that’s not it. Stop. -[mouse clicks, video stops]
It’s something else.
What else did I dance that year?
[Diane] Well, let’s see.
Firebird? Requiem?
No, it was a big one with people.
Something with people.
Okay, Les Sylphides? Swan Lake?
Uh, Vienna Waltzes?
Oh, God. You had to remind me.
-Sorry. -I’m so bad in gloves.
-Sleeping Beauty. -Oh, wait. Play that.
The whole thing? I’m supposed to die in a month.
Just the Prologue, the Fairies’ entrance.
-[mouse clicks] -One more time, what is it we’re looking for?
-[classical music playing over video] -[Cheyenne] Something...
something.
There. Right there.
M-Make that bigger.
[mouse clicking]
Well...by all means.
[mouse clicking]
Bonjour.
-[birds chirping] -[car horns honking]
-[piano playing classical music] -[quiet chatter]
-Is that the Minister’s daughter? -Yes, that’s Mishi Duplessis.
[bright classical music playing]
[music ends with flourish]
[Alain claps]
Alright everyone. Better.
It’s getting better. Slowly but surely.
But slowly...
[laughter]
That’s all for today.
-Hi Vincent. -Hi, it’s really nice.
Thank you.
New dancers place the barres in the center of the studio.
Come on, come on, faster.
-[Alain] Let’s go, let’s go. -[clapping]
Welcome back.
Thank you. It’s nice to be -
There she is, the spoiled brat.
How nice life is when no rules apply to you.
Well, she had to dance in New York.
That’s something.
Come to the barre, second position.
And...music.
[piano playing gentle classical music]
This is Paris.
[Vincent giving instructions in French]
[♪ The Mamas & The Papas sing “I Saw Her Again”]
♪ I saw her again last night, and you know that I...
Thank you, ma’am. We appreciate your business.
Gael, could you grab more brussels sprouts?
-We’re almost out. -[Gael] Already got ’em, boss.
[Leonard] Good man.
♪ If I couldn’t, I wouldn’t...
Red peppers are basically just green peppers that have ripened.
I did not know that.
That’s why the red are sweeter, fruitier, a bit more expensive.
Longer time on the vine.
Figured there was a reason.
These are grassy, a little bitter.
And yellow is, uh, the, um...
-the pepper in the middle. -Red, yellow, green.
Got it. Thanks for the pepper lesson.
Yeah, yeah, you’re welcome.
-You know who I am? -I know who you are. [sighs]
-[Mona] Snap peas? -[Cheyenne whistles]
So, when did you become a pepper man?
-I’m not a pepper man. -Sounds like you’re a pepper man.
-I work on a farm, okay? -That grows peppers.
Amongst other things.
You don’t use pesticides, right?
The bugs deserve their little buggy pepper dinners
as much as any of these dumb people.
-What are you doing here? Who sent you? -Why aren’t you in the studio?
-I’m on sabbatical. -You take a lot of sabbaticals.
I have other interests in life besides dance, okay?
Peppers? That’s your interest?
You wouldn’t understand. Now excuse me. I have customers.
-Need help? -I’m good.
Shit.
You need to come back.
-Why? -Because I’m saying.
Oh, so Superstar Étoile says and I just do?
Yes.
-[Leonard] You can go on your break, Gael. -Thank you.
-Another sabbatical? -See ya.
-Really? -You miss it.
-No. -Come on, Gael.
You’ve got big dreams. You want fame.
Well, fame costs, and right here is where you start paying in sweat.
-That’s from Fame. -I know.
I just saw it, and it kills me to admit it’s fucking good.
I never got beyond the corps. You know that, right?
-Because you’re a tea bag. -A tea bag?
You’re in, you’re out, you’re in, you’re out.
-You need to stay and steep. -Jesus Christ.
If you dedicated yourself, you’d be at the top, and you know it.
One of the best. And I need a partner, a man.
Not these little Larrys and little Berts.
Bert and Larry are principals. They’re at the top of their game.
They’re green peppers. I need a red pepper.
You run this by Jack?
Of course. He was very happy.
Bullshit. Jack hates me.
That makes me like you more.
Look, dance is one thing I do, okay? But it’s not my life.
If I ever come back, it’ll be when I want to.
I’ll be waiting for your call.
I don’t have your number.
[inspirational music playing]
[Kaye] Good afternoon. We are live from Lincoln Square.
We’re just moments away from a special joint press conference
between 2 of the world’s premier ballet institutions,
Metropolitan Ballet Theater here in New York City and Le Ballet National in Paris.
...with the Metropolitan Ballet Theater in New York City
and our own beloved Le Ballet National.
This so-called “swap of talent” has dominated conversation
in cultural circles here in France.
[Jack] Welcome, everybody.
I’m Jack McMillan, Executive Director of MBT here in New York.
Can you hear me okay?
-[reporters assent] -Good.
I’d first like to say hello to my wonderful counterpart
in the City of Light, Geneviève Lavigne.
Bonjour, Paris. Bonjour, Geneviève. Can you hear me okay?
[Geneviève] I can hear you fine, Jack.
And hello, New York.
And hello to everyone here in Paris.
I am Geneviève Lavigne,
Director of Le Ballet National.
Our 2 esteemed companies have enjoyed a mutual appreciation for decades,
and we are here to officially announce that, in a historic first,
we are joining forces to present tandem seasons.
Top stars from each city have been traded
to give Paris a jolt of New York City energy
and New York City a splash of Parisian style.
Temporarily, I’d like to point out.
I repeat: these trades are temporary.
No question. And that was always the intention.
It was a bold idea, for sure.
I knew that the moment I came up with it.
It was a good idea, Geneviève,
and one that I actually remember kicking around just a few years ago.
-Really? I don’t recall that. -Must have been with your predecessor.
I think he would have mentioned it when he passed the baton to me.
-Must have slipped his mind. -Or never entered it.
I know it was floating around.
Or maybe not?
Anyway...
-...here we all are, right? -Yes.
I’d like to introduce the talented Americans
who have been gracious enough to join the Paris company.
First, I’d like to welcome the brilliant spark that is Mishi Duplessis.
Or should I say “Welcome home,” dear Mishi.
She speaks through her dance.
Also joining us, noted choreographer Tobias Bell.
Tobias, are you cooking up something sensational for us?
Do you guys not have Crest toothpaste?
I just really need my personal things in order before I create.
Otherwise, it’s chaos. And I’d really like to take a shower.
[Geneviève] Thank you, Tobias. Back to you, Jack.
Thank you, Geneviève.
And may I introduce Lea Basch,
Robert DeVille and Marion Laurent, all joining us from Paris.
Oh, am I forgetting someone?
-Oh, yeah. -[fingers snap]
The incomparable Cheyenne Toussaint.
[Jack] Why don’t we open it up to some questions,
-shall we? -[reporters clamoring]
[Crispin] Hello. Are we live?
Hello, all!
-[speaking French] -What the hell?
What is this?
I’m so sorry for interrupting the fun,
but if you’ll indulge me, I’d like to chime in on this historic occasion.
My name is Crispin Shamblee, and I address you today in my official capacity
as Chief of Getting Fun Stuff Done.
Today, we focus on this monumental and historical groundbreaking swap.
And to help us kick it off, ladies and gentlemen,
it is my pleasure to introduce my good friend...
Pink.
-Pink? -Pink?
-[both] Pink? -[Pink] Thank you, Crispin.
-And hi, everybody. Thank you for having me. -[line ringing]
[Pink speaking French]
Did you have any fucking idea Crispin Shamblee was going to hijack this thing?
[Geneviève] No.
I mean, how is he even doing it?
And Pink was your idea, and I never signed off on Pink,
and now suddenly Pink is taking over.
I didn’t sign off on Pink.
It was just a suggestion. I never met the woman.
How is she even a friend of Crispin’s? What is this world we live in?
The man needs boundaries.
And shackles, chains, a date at The Hague.
-Grab one for you, too. -What?
-You’re trying to take credit for my idea. -I did no such thing.
Just now you did.
And with Patrick Kiernan on New York 1.
You’re so full of shit.
-[kids gasp] -[Jack] You’re in Paris. How do you know about New York 1?
I’ve got eyes everywhere, Jack.
-Remember that. -To be continued later.
-[whispers] Fine. -[Pink] ...I wish you the best of luck.
-Crispy? -[Crispin] Thank you, Pink.
See you for Rosh Hashanah.
So long, everybody.
I’ll see you at the ballet.
[Jack] And thank you, Crispin. [chuckles] All right.
Uh, before we disperse, I’d just like to tell our local press
that three weeks from today is our annual Fall Gala.
It will feature the first New York performance in 5 years
from Ms. Toussaint, who will be performing in Christopher Wheeldon’s Bound To
with a special partner to be named later.
May I say something, Jack?
Cheyenne, you’d like to say something?
Yes, please.
Okay.
Uh, Cheyenne Toussaint would like to say something, everybody.
Cheyenne?
I just wanted to say that there is no need to wait to hear
who I will be performing with at the Gala.
I can name him now.
What about all the guys her mother murdered?
I will be performing Bound To with
[over TV] Gael Rodriguez.
Hey, you hear that? This guy’s got your name.
I believe it’s the usual spelling for Gael and Rodriguez.
So that’s the gap in your résumé.
I thought it was prison.
[Cheyenne] Put on the red shoes, Gael.
He is a lower-level guy and a complete flake.
Plus, there’s your history.
Where the hell did she dredge him up?
Thank you, everybody, and if you know a place
that makes a decent espresso, please tell me.
[laughter]
I’m not joking.
Thank you for the announcement, Cheyenne.
Very interesting.
And thank you all for coming.
Geneviève, would you like to say goodbye from Paris?
Fix this!
I’m trying!
The bull is in the square!
Not now!
I repeat: The bull is in the square.
[panicked chatter, crowd gasping]
[Jack] Cheyenne.
Cheyenne!
Listen, I’m not sure what hole you dug Gael out of, or when or why or anything,
but Gael will not be your partner.
Period.
[piano playing]
[shoes tapping rhythmically]
[Gabin] Hello.
What are you doing?
Oh. I asked you a question.
You’re the American. The choreographer.
Mr. Top Gun.
-What? -I asked you a question.
I’m not sure you did.
[shoes tapping rhythmically]
-What are you doing? -I’m testing out the floor.
-Go back. -Floor is good.
That’s not back. What’s French for “back?”
-I do not smell. -I need space in unfamiliar surroundings.
I’m just...
What do you think of the floor?
It’s springy...maybe too springy.
That statue out the window is distracting.
I feel like she has notes.
And I want them, but how to get them?
So you are insane?
You don’t understand. Go away.
Look, I have danced on this floor. It’s a good floor.
But I can dance on any floor.
When I was little, I danced on sidewalks, streets, concrete stairs.
It’s all I had.
I’m rags to riches, like Charlie from the Chocolate Factory.
Very inspiring.
Do you speak French, Top Gun?
I do not speak French.
You just did.
Yes, I speak a tiny, tiny, tiny little bit of French.
But I don’t know “go back,” apparently.
Well, it’s your lucky day, Tiny Dancer.
I invite you to size me up.
-What? -See my skills.
My weaknesses.
I have none, so focus on the skills.
I’ve already sized you up.
-What? -[sighs]
You’re heavy on your feet. You should be lighter.
Your posture is good, but it’s like you want to fight all the time.
That’s gonna limit your roles.
You have a tendency to lean to your left,
so you injured something on your right at some point.
-Hamstring? -Ankle.
Showing off? Doing a triple cabriole when only a double was needed?
Well, I’ve got better things to do.
What should I call you, Top Gun?
Maverick.
Gabin.
[shoes tapping rhythmically]
[relaxing classical music playing over phone]
[Lucien yelling indistinctly]
-[Gabin] I don’t care. -[Lucien] Gabin! No. No!
I want him.
[music stops]
Well, buy him flowers and just don’t talk too much.
The American. Maverick. I want to work with him, he’s mine.
[sighs]
You mean Tobias?
The strange one. Scared of statues?
You met him?
He came up to me. Sought me out. Said he wants to work with me.
Oh, really?
He may not remember it that way.
But you met him.
Yes. I want to work with him. Talk to Alain. Make this happen.
Please.
I’ll think about it.
And I need physical therapy on my right ankle.
I’ve been telling you that for -
No more arguments!
-Give me Leo, he’s good with ankles! -Close the door.
[relaxing classical music playing over phone]
[groans]
-[tap teacher shouting instructions] -[shoes tapping rhythmically]
[lively classical music playing]
-[♪ Dev sings “In the Dark”] -[dance teacher shouting instructions]
♪ I wanna taste it, taste it ♪
♪ and see those pocket aces ♪
♪ Wanna see who you are, got a sex drive ♪♪
[chatter and music continue in distance]
Hi, everyone. Good to see you.
Caroline, nice to see you still in class, preggers.
And you as well.
Let’s begin with a nice and gentle tempo for pliés.
Left hand on the barre.
-And... -[piano playing gentle music]
One.
And two.
Over.
Tendu second.
Reach.
Up and around.
[♪ Brian Eno sings “By This River”]
[speaking Chinese] I’m starting in accounting. I’ll check in with you in a half hour.
That’s not enough time.
Well, make it enough time.
♪ ♪
♪ Here we are ♪
♪ stuck by this river ♪
♪ you and I ♪
♪ underneath a sky that’s ever falling ♪
♪ down, down, down ♪
♪ Ever falling down ♪
♪ Through the day ♪
♪ as if on an ocean ♪
♪ waiting here ♪
♪ Always failing to remember ♪
♪ why we came, came, came ♪
♪ I wonder why we came ♪♪
♪ ♪
[melodic humming]
[♪ Sons of Raphael play “At Dawn I Look For You”]
♪ The red silk of your full lips can speak ♪
♪ and with the sunset’s voices blend ♪
♪ In the open air our bodies leap ♪
♪ and like a falling leaf ♪
♪ into the night descend ♪
♪ And even angels have a way ♪
♪ to say you are gone ♪
♪ not through words, but the first ray of dawn ♪
♪ And when the birds with your voice sing ♪
♪ with childlike faith I will run ♪
♪ to meet your light in the rising sun ♪
♪ Or something like your eyes ♪
♪ The sea, the wind and the sand ♪
♪ The rainbow’s colors that never end ♪
♪ Into light you can bring ♪
♪ every hidden thing ♪
♪ And even angels have a way ♪
♪ to say you are gone ♪
♪ not through words but the first ray of dawn ♪
♪ And when the birds with your voice sing ♪
♪ with childlike faith I will run ♪
♪ to meet your light in the rising ♪
♪ sun ♪♪