(thunder crashing)
(phonograph powers up)
(slow ragtime jazz playing)
(mechanical creaking)
(chimes tinkling)
(thunder crashes)
(Adam and Celia gasping for breath, feet thudding on floor)
(thumping)
(gasping)
(thumping)
(gasping)
(thumping)
No, Anton, please.
ANTON: We are dancing The Legend of Shiva,
the eternal struggle between life and death
represented by the two of you.
I want to see the fear
and the attraction.
No more.
One hit doesn't make a dancer, Adam.
I made a sensation of you two as Romeo and Juliet.
I can't, Anton.
You finish
when I'm finished, or you dance
for someone else!
(cane thumps on floor)
Now, we'll pick it up where we left off.
First the two counts, then turn to one another,
and then...
(music box playing classical tune)
...let the music lead you.
Give yourself over to it.
Allow it to dictate the steps.
(sighs)
Dance for me.
(both panting and groaning)
(both groaning)
Anton, please make it stop.
You dedicated your bodies and souls to the dance, didn't you?
(Celia cries out in pain)
ANTON: Ars longa, vita brevis.
Life is short. (groaning)
Art lasts forever.
(screaming)
Dance for me!
(grunting)
Dance for me!
(panting, grunting)
(screaming)
(lid slamming, music stops)
You know, Ryan, I can't believe
you haven't seen any of Pascola's work.
Well, I always mean to.
I never get the chance.
I saw him dance once many years ago.
You did? Mm-hmm.
(gasps) You know, I would have given anything
to have danced with him.
He was brilliant.
Grace, I am so proud of you.
And you must be excited out of your mind
to be asked to join his troop.
More like very lucky.
He just happened to see me dance at a recital.
Oh. I can't believe I'm here.
ANNOUNCER (over PA): Ladies and gentlemen,
there is a change in this evening's program.
The roles of Romeo and Juliet will be danced
by Thomas Manning and Susan Cartier.
Why the change?
The two lead dancers committed suicide last night.
They committed suicide together.
RYAN: What?
Like Romeo and Juliet.
(audience murmuring)
(melodic chanting)
Anton.
Please, I deserve better than this.
Get out of here, Anna!
I've got to talk to you.
You're hurting me!
You begged me for work, and I gave it to you.
But you don't have the strength, the stamina
or the intelligence to dance the role of Shiva.
I deserve to dance solo for you.
I've worked hard.
Not hard enough.
This is my company.
I decide who dances and when.
Now, get out of my sight.
Please... one more chance.
Anton, I'll do anything you ask.
You're not good enough.
However, I do have to admire your plodding dedication.
Perhaps you can help me block the steps.
Come to the studio tonight...
...after the others are gone.
Ciao.
(cane thuds on floor)
(slow, melodic chanting continues)
♪ ♪
(music fades out)
(applause)
MAN IN AUDIENCE: Bravo!
(audience cheering)
Bravissima!
Bravo!
(cheering continues)
Yes... (indistinct crowd chatter)
What am I going to say to him?
RYAN: Just tell him how much you enjoy his work.
And how much you're looking forward to working with him.
I don't know, he's just...
he's supposed to be so tough and demanding.
I'm sure everything will be fine.
JACK: Don't forget that he asked to see you.
Here it is.
But I've heard that he dances his people...
oh, until they drop
and then gets rid of them when they do.
Does he really?
Miss Colwell.
Yes.
Welcome to my company.
This is Jack Marshak,
a very good friend of my father's.
Maestro Pascola, it's a great honor.
Grace is staying with you?
Uh, yes. Good.
As long as you understand that members
of my company must have no distractions.
They must eat, sleep and think nothing but dance.
A dancer's life is too short
to include anything else.
I know, Mr. Pascola.
And from now on, you will address me as Anton.
We're all just dancers here, but...
...my every word is your command, all right?
Rehearsals for our next program
start tomorrow morning at 7:00 a.m.
Yes... Anton.
(chuckles)
JACK: I'm very much looking forward
to the, uh, Legend of Shiva next week.
And so am I.
I'm sorry, I don't understand.
I'm still choreographing it.
I still need the finale, and unfortunately,
after last night, I have to start again with new dancers.
Anyway, I have a videotape
I would like you to study tonight, Grace.
You have a VCR?
Yes. Good.
This will show you some
of the basic techniques, uh, you need to improve.
A Symphonia.
Do you know how rare they are?
Uh, do you mind if I... Yes.
Yes, I do. (door closing)
Now, the sooner you lose your bad habits,
the quicker you'll advance to larger roles.
I'm not ready to...
You are if you want to be.
I see many dancers at many recitals, Grace.
Only a handful are invited to join us.
I see real potential in you.
But you have to be serious.
You must to be willing to sacrifice everything.
Yes, yes, I will.
Good.
Enough-- it's late.
I have work to do, and so do you.
Be here on time tomorrow.
Thank you, Anton.
Good night.
(Symphonia playing classical music over TV)
Grace, I was just talking to your dad.
(sighs)
He doesn't seem to realize that I'm 18
and ready to get out into the world.
Oh, I think he's just worried that you're a long way from home
and working with a stranger.
I'll be okay.
Okay.
But remember, if you do ever have any troubles
of any kind, we're here for you.
Thanks.
JACK: Are these teaching tapes?
GRACE: Rehearsal.
He's using the Symphonia.
Oh, Pascola doesn't even allow musicians
in the studio when he's choreographing.
Only the dancers.
Yeah, but it... it's very odd.
I mean, he uses videotape.
Why not use a tape recorder
or something more modern for the music?
I'm sorry, Uncle Jack, I've got to learn this.
Could I be alone?
Oh, yeah, sorry, sure.
(Symphonia playing classical music)
Just five more minutes...
...that's all I needed. (cane thuds on floor)
Anton,
I know I can give you what you want.
Ah, darling, you're here.
Put your hand on this.
Repeat after me.
I dedicate my body and soul to the dance.
"I dedicate my body and soul to the dance."
So, we begin.
The other dancers have exited in a flying leap,
leaving you alone.
(classical music plays)
ANTON: Listen to the music, Anna. Follow it.
Let it lead you.
What's going on?
Just checking something.
Music boxes.
How come?
I'm not sure yet.
(jaunty music continues)
(Anna panting)
ANTON: You are Shiva's life force,
about to embrace death.
You will lose,
but your death will bring rebirth.
ANTON: That's good. Keep going!
I can't. It's too hard!
You said you could help! Keep dancing!
Embrace death so you may be reborn.
It's hurting me!
Embrace it as you embrace pain to create art.
Please make it stop!
Keep dancing!
I need more!
Show me what it tells you to do!
(screams)
(metallic rattling)
(sustained gasping and grunting)
Keep dancing!
(screaming in agony)
(grunting with exertion)
(grunting and groaning)
(gasping groan)
(Symphonia continues playing classical music)
(cane thudding on floor)
One new sequence.
Only one new sequence!
I knew you didn't have the heart of a dancer!
Good morning, Grace.
Did you sleep well?
Not much. I was too excited.
I hope this isn't your boyfriend.
Oh, no. No such luck.
I'm just a friend.
You remember what I told you about distractions?
Yes.
Now, go along and introduce yourself to the others.
We'll start as soon as you're ready.
(Thomas laughing)
No.
THOMAS: I didn't have any choice.
I had to take her home.
Is that the new kid?
SUSAN: Yeah, I guess so.
You feel as if you're among the gods?
I'm not good enough to dance with these people.
You doubt my judgment?
The only thing you lack is technique,
and you make up for that with heart.
Only the greatest dancers are born with such a heart.
RYAN: Excuse me. Uh, Grace,
I'll pick you up
after... the rehearsal.
Thank you.
Hmm?
Today we begin The Legend of Shiva.
Well, then you finished it?
All but the finale.
But the debut is Friday.
I know when we debut!
Now take your places.
Anna's still not here, Anton.
Miss Marcotti has left the company.
Left?!
She never said...
Yes?
Now, there are a few new movements that I've developed.
(classical music plays)
Let us begin.
JACK: Micki, I found it.
MICKI: Found what?
"Early Victorian Symphonia,
collection of metal disks sold to one Geoffrey..."
"Lear." Lear.
What are you looking that up for?
Anton Pascola has a Symphonia in his office,
and they're very rare.
Could be a coincidence...
but I think it's worth checking.
What, do you think Pascola's up to something?
Well, it's odd, isn't it,
that his two leads should kill themselves
right at the pinnacle of their success?
He drove his dancers to the breaking point.
Oh, yes, he was obsessed with perfection.
But we've dealt with obsessive people before, haven't we?
See, great dancers
don't necessarily make great choreographers, Micki.
He might have needed an edge.
ANTON: Stop! Stop! Stop! Stop! (cane thumping)
I need a faster tempo.
You're supposed to be in a frenzy.
Faster!
And you, really dive to the floor!
And you, harder!
Don't be afraid of the floor.
The Legend of Shiva is the story of life and death
eternally creating one another.
My interpretation requires the same
commitment to suffer agony to create art.
Miss Colwell...
your idols could take a lesson from you.
Beautifully danced.
Mrs. Eunice Lear?
My name is Jack Marshak.
I run a store called Curious Goods.
I'm trying to trace a Mr. Geoffrey Lear.
Oh, I'm very sorry.
When did he die?
(shop bell chiming) (whistling)
What's happened?
I don't know yet.
Mrs. Lear, I don't want to intrude,
but was there an antique Symphonia
among your son's effects?
(dial tone)
Whew! She hung up.
What's this all about?
Pascola may have
one of Lewis's cursed antiques, a Symphonia.
What does it do?
I'm not certain yet.
But that tape that Grace was watching,
it showed him using it to choreograph.
You think it might have something
to do with the suicides?
It might.
Ryan, when you go back to pick up Grace,
will you see what you can find out?
Micki...
...you and I should pay a visit to Mrs. Lear, hmm?
MRS. LEAR: I don't want to talk about it.
Can't you understand?
JACK: Mrs. Lear, please, it's very important
that we find the Symphonia.
Have you any idea where it might be?
Why don't you ask the man he gave it to?
Who's that?
Anton Pascola.
Your son knew Pascola?
Geoffrey was a dancer.
He worshipped Anton.
They danced in the same company for about a year.
It was the happiest time of Geoff's life.
Please tell us what happened.
Pascola injured his leg.
JACK: This was the injury that ended his dancing career?
Everybody knew it would happen someday.
The man always pushed himself to the limit.
Geoff gave him the music box as a token of his respect.
But when Pascola started his own company, Geoff joined it?
Pascola practically begged him.
Then he worked Geoff to the bone.
My son was barely 25 years old, Mr. Marshak.
They said he died of a heart attack,
but I know that monster danced him to death!
After the others have made their exit,
you will perform the first part of your solo,
then turn to find
Death with you.
This is the final section which leads directly
to the climactic duet; you and Death embracing.
You haven't shown me the duet.
I haven't written it.
Are you ready for the first section?
(classical music begins)
Good. Now see him.
Perfect.
Now dance just for him.
Beautiful.
Oh, sorry. I'm looking for Grace Colwell.
She'll be in for a physio any minute, if you want to wait.
Okay, thanks.
Susan Cartier, Thomas Manning.
Hi. Hi, howdy.
I'm Gus.
I'm Ryan Dallion.
I saw you two dance last night.
Both of you were great.
Thanks.
Yeah, really.
(groans)
It's a shame about the dancers you replaced.
Did you know them or...?
Did they seem like the kind of people
to commit suicide?
I didn't think so.
But who can tell? Yeah.
(phone receiver clatters in cradle)
SUSAN: Anna's still not home.
Pascola's quite a perfectionist
from what I've heard.
He must be very tense to work for.
You think...?
He's a fanatic,
but he's brilliant.
What Tom's saying, Mr. Dallion,
is that Anton brings out your best,
whether you like it or not.
It's that rough, huh?
Most people don't understand dancers.
They don't realize that sometimes pain creates beauty.
(bone crunching)
(Susan groans)
But Anton knows, and he makes you rise above it.
And it's worth it?
When you get the right maestro, and you get the right role,
you can create great art.
How many people get to do that with their lives?
(rhythmic classical music playing)
No. Hold it.
Full eight bars.
You can't be tired yet.
You have to last through the coming duet.
I can't.
You have the strength.
I've seen it. I know you have it.
Breathe through the pain.
Make it work for you.
Perfect!
I knew you could do it.
From the first time I saw you dance,
I knew you were born to be a great dancer.
Anton...
(gasps)
Dancers such as you are rare.
One or two every century.
I want to teach you everything I know.
I want you to be...
the best.
You must be totally concentrated,
completely focused on the dance.
You must live it every moment of your life.
I want you to move in with me.
You want me to move...?
I don't want anyone to interfere with that.
I can do great things with you.
Repeat after me.
I dedicate my body and soul to the dance.
You will be immortal.
I'll see to it.
(shop bell chiming)
Uncle Jack,
Micki, you will never,
never believe what's happened.
What happened?
It's too unbelievable.
Pascola has asked her to move in with him.
What?!
He only does this
with his most promising students.
He's going to work with me personally every day.
He even gave me his own copy of the Shiva choreography to study.
I have to learn as much of this as I can by morning.
Uh, G-Grace!
Are you sure you should be doing this?
What do you mean?
He may have other reasons for making this offer.
Uncle Jack!
I think we should clear it with your father.
Pascola is my teacher.
He knows what he's doing.
And I trust him.
I think we'd better get to the bottom of this, and fast.
What'd you guys find out?
Pascola's got the Symphonia all right.
From another dancer, one he worked to death.
Yeah, that seems to be the pattern.
Every time he choreographs a new piece,
some members of his company either die or disappear.
What did you find out at the studio?
He's lost six people since he started
his latest piece, "The Legend of Shiva."
Three suicides, two disappearances,
one he fired yesterday--
who no one can find, by the way.
Maybe we'd better try and find her.
You two could start tracing.
What about Grace?
Do you think Pascola's setting her up, too?
It could be.
The dancers who die are always from among the best.
Maybe the Symphonia only gives him
as much choreography as they can survive.
(classical music playing over TV)
(whispers): It's beautiful.
It's just beautiful.
After watching your rehearsals,
it appears clear there is only one among you
capable of dancing Shiva.
Only one with the emotional and physical strength
to complete a full performance of the role.
Therefore, the part will be danced
by Miss Colwell.
She's too inexperienced for a principal role.
We'll begin at the top in 15 minutes.
(cane thumping on floor)
You can't do this to me, Anton!
I've worked too hard for this company.
My decision has been made.
Then change your mind!
She has everything the role demands.
She's got a pretty face,
and she's 18.
(gasps)
Oh!
She's my image of Shiva.
If you can't accept that, get out.
Go and dance for someone else.
Will she create your last five minutes for you?
I know I can dance that ending.
Come to the studio tonight.
We'll see if that's true.
(knock on door)
Maybe she has gone somewhere.
Why would she leave without locking up?
Nothing seems to be out of place.
Let's check the bedroom, see if she took
any clothes with her.
Well, doesn't look like she took anything.
(straining): No.
Certainly doesn't.
And if she didn't leave town, then what happened to her?
(screams)
(whimpers)
(sighs)
He's made every one of those deaths look like suicide.
Artists shattered by rejection taking their own lives.
For all anyone knows, that's exactly the way it happened.
Yeah.
It's almost the perfect cover.
MICKI: How we gonna stop him?
And what am I gonna tell her?
She's up there packing right now.
Hi.
I'm almost ready.
Uh, Grace, I...
Well, I-I need to talk you out of this.
Why would you want to?
Well, I-I'm sure that this-- it must seem like
a dream come true, as far as you're concerned.
But I'd feel a whole lot better
if you didn't move in with Pascola,
at least for a few days.
We have a lot of work to do.
It'll be easier if I'm there.
I'll be perfectly safe, Uncle Jack.
He's only interested in me for my dancing.
That's exactly what I'm afraid of.
His dancers keep turning up dead, Grace.
And we think that Pascola is behind this.
No, we have no proof of this yet,
but every time he does choreography of a new piece,
then people die!
This is crazy.
No, Grace, this is not crazy.
I don't believe he would hurt anyone.
Would you just give us a couple more days to make sure?
That's all I'm asking.
I mean, I know it's hard for you.
I know it's asking a lot, but...
will you please stay a while longer?!
Okay.
I dedicate my body and soul to the dance.
Good.
Now we begin.
You complete the final solo for me,
and you'll dance its premiere.
You watched Grace dance
the opening part of the solo this afternoon?
(classical music playing) Pick it up at the fourth bar.
Remember, let the music lead you.
Yes.
Dance for me.
Dance for me! (grinding)
(screaming)
(grinding)
Please!
Oh, make it stop!
Turn it off!
(screams)
Please!
It's almost over.
Only a couple of minutes more.
No!
Keep dancing!
(groaning)
Not yet!
It's not finished!
(screaming)
Why didn't you finish it for me?
You call yourself a dancer?
You're nothing!
Nothing!
All great art
is created out of pain.
None of us can know what pain
Susan endured last night.
However, we can see to it that she didn't die in vain.
The success of this production
will help us bear our grief.
We open tonight.
So let's get to work.
Where's Grace?
Miss Colwell?
Sorry I'm late, Anton.
Are you ready?
Yes, of course.
(classical music playing)
(music ends)
What's next?
That's as far as I've gotten.
How can we dance the finale without a rehearsal?
Take a break!
All of you, clear the stage!
Anton....
Clear the stage!
What are you doing?
We've been waiting to talk to you about Grace.
Get out of here-- both of you.
Get the hell out of here!
You wanted to see me, Anton?
Yes.
I'm depending on you tonight.
I won't disappoint you.
The final duet will have to be an improvisation.
Can you do it?
If you think I can.
Yes.
I know you can.
Just let the music lead you.
Let it do the work.
I was hoping to save you for a while.
Not to put you in this position...
...but it has to be.
I'll do anything for you, you know that.
(classical music playing)
(applause)
The curtain should be going up about now.
Everybody should be in the theater,
and Pascola likes to watch from the wings,
so we'll search everywhere else first.
What about Grace?
Well, he only likes to use the Symphonia for choreography.
So, I think she should be safe for now.
She left some things behind.
Maybe I can use this as an excuse to talk to her again.
I don't think she'll want to talk to any of us anymore.
I think she'll want this.
It's Pascola's choreography of The Legend of Shiva.
You don't suppose he taped the deaths?
(classical dance music playing)
MICKI: That's Jason Archer.
He's one of the dancers who disappeared.
Just before the other two committed suicide.
MICKI: Celia Clark... Adam Brown.
Do you think he taped them while they died?
So, we were right.
The Symphonia only gives him a little choreography at a time.
Ryan: That's it.
No. Grace told me this afternoon that he doesn't have the end.
Look.
I dedicate my body and soul to the dance.
JACK: Oh, my God.
(classical music playing)
(car horns honking)
We're never gonna make it.
Yes.
All right, You two go ahead.
But just get Grace out of that theater.
Grace?
(music tempo slows)
(gasps) What are you doing?
We gotta get you out of here.
No. I'm not finished. Micki, take her! Take her!
Micki, let go of me. He's killing people!
I don't care! Get out!
Ow!
Ryan!
You have to prepare for the finale.
Swear an oath to the dance.
What?
It's the only way.
No. There's another way-- I quit.
(music stops abruptly)
(audience murmuring)
(cane thudding onstage)
(audience quiets)
(rhythmic clanking)
You'll finish when I'm finished,
or you'll dance for someone else.
(classical music playing)
I dedicate my body and soul to the dance.
(thumping)
No, Anton, please.
(grunts)
(cane clatters onstage)
(thumping)
Dance for me!
(thumping)
Anton, no!
(thumping)
Keep dancing!
(whirring)
(screaming)
(thumping)
(metallic rattling)
(thumping)
(metal grinding)
(yelling in agony)
(thumping)
Not yet.
It's not finished!
(thumping)
(screaming)
(grating)
(yelling)
(groaning weakly)
(groaning feebly)
(sputtering)
(gasping groan)
(gasps)
(sighs)
(music stops)
(one man applauds)
(applause grows)
Bravo! Bravo!
(audience shouting): Bravo! Bravo! Bravo!
(cheering, applause, whistles)
(man in audience): Bravo!
(shop bell chiming) Micki, get me a rag, will you?
A rag? A cloth, a towel!
Anything, I don't care!
Something to wipe this off. Wipe it?
It's covered in blood!
Damn it, is that so hard to understand?
Jack!
I'll get it myself.
(drawer rattling)
(objects clattering)
Jack, Jack, stop it.
Can never find anything around here!
It's amazing we find anything in time! Stop it!
This whole place is a pigpen.
Jack, don't try and understand!
Let me go!
Grace knew what she was doing.
She was just too caught up in it to stop.
We could have done something!
Jack, he gave her the chance to dance like an angel.
That was more important than her life?!
No one could have convinced her there was anything more.
(sobbing)