:55:01
Mr Craster is going to play
The Red Shoes music
:55:05
at every lunch, tea and dinner
you take until we open.
:55:08
I see.
:55:10
Yes. In this way, you should become
quite familiar with the music.
:55:15
Yes, I think I probably shall.
:55:17
The music is all that matters.
Nothing but the music.
:55:20
- Mr Craster.
- Certainly.
:55:22
Bon appétit.
:55:28
à votre service, mademoiselle.
:55:33
Some composers specialise in
lunchtime music, don't they?
:55:37
- Some.
- You?
:55:41
In my time.
:55:49
Do you mind not playing that?
:55:53
It's the right tempo.
:55:56
Let's take the ballroom scene.
:55:58
That's the most digestible
part of the score.
:56:01
The ballroom's been cut.
:56:03
Cut as a scene, but it's still there
in my score.
:56:08
I wrote this dance for a ballroom.
:56:10
Anyone who understands anything
about music will see a ballroom.
:56:23
Even Lermontov will see a ballroom.
:56:26
Even you.
:56:28
And when you're lifted
into the air by your partner,
:56:32
my music will transform you.
:56:34
Into what?
:56:37
A flower...swaying in the wind.
:56:42
A cloud...drifting in the sky.
:56:45
A white bird...flying.
:56:48
Tell that to Ratov.
:56:50
He would love
your birds and flowers.
:56:53
You don't?
:56:54
- If you were a dancer, you'd know...
- Just a minute.
:56:58
# Nothing matters but the music #