All language subtitles for LA Law s08e11 McKenzie, Brackman, Barnum & Bailey.eng

Previously on L .A. Law.

You think she just likes me because
she's retarded?

She likes you, Ben, because you're a
likable guy.

Uh -huh.

Let me tell you something, Ben.

Women are different from men.

Women know what they want and what they
don't want.

Fine.

So, Benny, what's with the wandering
eyes? I thought you were getting your

wound with Rosalie.

That doesn't mean I can't be friends
with Denise, does it? Well, that depends

what you have in mind. It also depends
on whether you and Rosalie are getting

serious.

What do you mean, serious?

Well, there's a variety of indicators.
Let's see.

Has she brought her toothbrush over yet?

No. Lala!

Now I don't have to use yours anymore.

No, you can't bring that to my house.

Why not?

Because I don't want to get serious.

I thought that you did.

How long have you been juggling, Mr.
Pettit?

Since my grandmother bought me juggling
bags for my 10th birthday.

When did you start doing it
professionally?

When I was 18.

Would that be about the same time you
met Alfred Euler? Yes. As a matter of

fact... Could you hold that a minute?

As a matter of fact, it was Alfred Euler
who gave you your first job, wasn't it?

Yes, it was.

How long did you two work together? Off
and on for 15 years.

Did he teach you anything in that time?
He taught me some things, but most

things I taught myself.

You taught yourself nothing. I taught
myself how to go beyond the sort of

birthday party, middle -of -the -road
juggling I was doing when I was with

Let's not get into any recriminations,
okay? So you think you're too good for

birthday parties? I'm not saying I'm too
good for it. I'm saying I don't want to

do it anymore.

Mr. Pettit, the issue is not what type
of venue you want to work in. The issue

is whether or not you stole Mr. Euler's
juggling routine.

Can we get back to the deposition?

Mr. Euler took ill at you, didn't he?
Yes. Did he approach you after he had

recuperated, asking to get back together
again?

Yes, he did. What was your response?

I told him that I was working by myself.

Did you tell him at that time you
thought he lacked the physical skill

present act requires?

When I'm his age, I won't have the
physical skills either.

Juggling is a young man's game.

Them's the facts.

Hey, Junior, think fast.

Hey, guys, do you think my physical...

Skills are shot, huh? Yes, I do. Now,
this is no way to resolve this. I think

your physical skills are shot, and you
don't have the simple grace to accept

that. I accept this, you little bitch.
And everything you are, you owe to me.

And when this lawsuit is over, I intend
to get paid in full.

Okay, first group, ready, add.

Good. Second group, add a lot.

Good. Much better, Leslie.

Next group, add what?

As per your request, I dropped the
demand for money damages in return for

releasing you from your contract. He
refused to consider it. So we're going

trial? As early as 2 o 'clock this
afternoon, if the courtroom becomes

available.

Okay.

Are you ready?

I don't know.

Let me put it to you this way. He's not
leaving you much of a choice.

Thanks for coming here in person.

Do you want to get something to eat? The
late breakfast, early lunch?

Thanks. I'd rather do this until it's
time to go to court.

First group, once again, please, from
the corner.

Ready?

And... Hastings versus National

Ballet Theater.

We represent Erica Hastings, who are
suing Alex Vedder and National Ballet

breach of contract.

What kind of breach?

He stopped using her as principal
dancer, and he refuses to allow her to

for anyone else.

I remember seeing her dance at Symphony
Hall in Boston. She is incredible.

I went out with a dancer once.

Boy, are they nuts.

Nuts or not, I used to fall in love with
them every time I'd walk past Lincoln

Center. Euler versus Pettit. Yeah,
that's me.

Euler is accusing Pettit of stealing his
act. We represent Pettit. What kind of

act? Jugglers.

Jugglers? You're not taking this one on
the arm, Stuart.

No, Ross Pettit's career is going
places. He's a paying customer.

How can you sue for stealing an act? You
can't copyright a juggling routine.

Euler's attorney is throwing anything he
can at us. Trade secrets,

misappropriation of professional
property, the Lanham Act. He's a bit of

hound, and he's hoping something will
stick and he gets his name in the

What kind of glory can there be in
juggling? You kidding? I wish I could

I can juggle.

You can juggle?

Are you serious? You can juggle? Just a
little bit. If you can do this, I'll

represent you. No, no, no.

Come on.

All right, but I'm not... That's it.

Okay. I can't... I can't do it for that
long.

And I... Good! I can't do it while I'm
talking.

All right. Check this out.

Hey!

Yes!

Anyone else with some special skill?

Yeah. Does this count?

So how much you figured they laid out
for this renovation?

I don't know.

A bundle, no doubt. You know what occurs
to me? I have a friend with a tile and

terrazzo business.

If I could have got him the job doing
the floors, we all could have made

All right.

I missed the opportunity.

No big deal. So what's with you?

What do you mean?

Do I mean?

I mean, what's up with you? Every time I
see you lately, all I get are short

answers. What are you, depressed?

No. Plus, you haven't been at DuPars in
two weeks. Rosalie asks about you every

time I see her. She's the reason I
haven't been at DuPars.

I don't really want to see her that
much. Why not?

Because she wants to live together.

What's wrong with that?

I don't know if I want to do that. What
is it that you're worried about?

I know a lot of people who got married
and ended up getting divorced.

And that may be the way it ends up for
you.

To which I say, better to have loved and
lost. You know what I mean?

You also are not exactly a catch.

You know what I mean?

You're a nice guy.

We both know you're a taco or too short
of a combination plate.

But you've got a good thing going with a
girl who's similarly equipped.

She ain't bad looking. Unless I miss my
guess, she won't go out on you.

Plus, you'll be eating a hot meal every
day for the rest of your life. So what's

the problem?

Hey, Benny. Hi.

Are you going to make the introductions,
or do I have to do it myself?

Oh, Denise, this is Dominic.

Dominic, this is Denise.

Dominic Nudzi.

How do you do?

Yours is a new face to these
environments, am I wrong?

I've been here about four months.

Then I must not have been coming around,
because you I would notice.

Should I take that as a compliment?

What else?

Nice to meet you.

How old were you when you started with
the National Ballet Company?

I joined the company when I was 14.

I was studying since I was 8.

Would you describe for us your
relationship with Mr. Vedder? He's the

choreographer. I was his principal
dancer.

Did there come a point at which you
ceased to be his principal dancer?

Yes. Would you describe the
circumstances for us?

In Mr. Vedder's eyes, I had become
increasingly difficult.

Were you difficult?

I didn't used to be.

I was a quick study.

I rehearsed endlessly.

I starved myself to stay thin, and for
years, nothing mattered to me but his

approval. Would you describe for us the
events that took place on January 4,

1992?

We were in rehearsals for Coppelia.

There was a certain step.

I wanted to do it my way. He wanted me
to do it his way.

I did it his way, and I broke my foot.

As I was helped offstage, he turned his
back and walked away.

Would you tell us what happened after
you returned?

I told Mr. Vedder that I was fully
recovered.

He said that he had all his principal
roles cast and that he wasn't sure when

would get to me.

How did you respond?

I asked to be released from my contract
and permitted to dance for another

company. Did Mr.

Vedder permit you to do this?

No. Can you tell us what Mr. Vedder has
effectively done to your career as a

dancer? I haven't performed in more than
a year and a half.

Given the physical demands of dancing,
given the age that I am, a year and a

half is a very long time.

I have nothing further.

Would you tell us, Miss Hastings, is
there a minimum number of principal

per year specified in your contract?

No. Since this is an issue of some
importance to you, why isn't it

At the time I signed my last contract, I
wasn't thinking of a minimum number.

I was dancing all the time.

You were an adult.

when you signed this contract, isn't
that right?

Yes. And you had an attorney or a
manager representing you?

Yes. So, really, what it comes down to,
Miss Hastings, is that Mr. Vedder is

choreographing with another ballerina,
and you would like him to choreograph

with you.

Objection! Speech -making! That is not
what it comes down to. What it comes

to is that I refuse to be the wind -up
ballerina in Alex Vedder's music box. I

want to be treated with respect.

And since he won't do that, I want to
dance for someone who will. Do you give

Mr. Vedder any credit for your success?

Of course I do. He has, after all, been
choreographing principal roles for you

since you were 17, hasn't he? Yes, he
has.

Is it not possible that when you were
17, there was another dancer who was the

same age you are now, who may have felt
similarly displaced by you?

You think I should be grateful?

Ask that the witness be direct to answer
the question. He is not God.

He does not get to do whatever he wants
with me.

He does not get to keep me from dancing.
I have no further questions of this

witness. I was given over to you when I
was a very little girl. Miss Hastings.

I gave you everything I had. Miss
Hastings, please.

Why did you leave me for dead? Miss
Hastings, I'm going to ask you to stop

outburst. Sit down now.

The fact that you're a genius doesn't
let you do that.

It doesn't let you destroy my life.

Any more than you already have.

Well, where do you want to go, Rosalie?

We could go to Okie Dog and get a
pastrami burrito.

I have to be back by one o 'clock,
Rosalie. I don't have time for a long

Well, it won't take that long.

It will, Rosalie.

Well, then we could go someplace else
then.

Hi, Rosalie. Nice to see you.

Um, Benny, did you have a chance to pick
up Eli's prescription?

Uh, I'll go now.

Can we still go to lunch?

I'm not gonna have time today.

You can go pick up the prescription on
your way back from lunch, too, you know?

Do you mind if we have lunch another
day?

No, I don't mind.

You're his girlfriend, aren't you?

Me, his girlfriend?

No. He never stops talking about you.

Benny and I work together. We're
friends. I mean, that's it. Believe me.

He thinks you're beautiful.

He thinks you're beautiful, too.

No, he doesn't. He doesn't look at me
the way he used to. He doesn't even want

me around.

How long have you guys been going out?

Almost a year.

I think you're probably going through a
dry spell.

I mean, that happens when you've been
going out for a year sometimes.

No, I don't think it's a dry spell.

I don't think that he loves me anymore.

Almost done.

Thanks a lot for doing this for me,
Denise. I gotta be back in court in half

hour. Yeah, I was reading some of it. I
hope you don't mind.

I don't mind.

These silly dancers worship this guy.

Well, there was a time when Erica
Hastings worshipped him.

Yeah, what happened?

She changed. Her capacity for abuse
changed.

I don't know how anyone could let
themselves be controlled like that. He

encouraged it.

Yeah, but they... still had to let
themselves be controlled.

I mean, would you do that?

Not by a choreographer.

Would never happen to me. Doesn't matter
who it was.

Unless it was, you know, maybe Jesus
Christ.

Did you ever think of what you would do
if it was Jesus?

You mean if he revealed himself to me?
Yeah.

Well, I guess I would do whatever he
asked me to.

Yeah, but what if you didn't know it was
him?

Part of his being Jesus is that he lets
you know.

Yeah, but it may not be that obvious.

I mean, if it's the guy with the toupee
who comes to fix the Xerox machine, I

know it would get by me.

And God knows I've been wrong about men
before.

How did you learn how to juggle, Mr.
Euler?

I taught myself.

Out of thin air? You never watched
anybody?

Oh, sure. I watched the greats. Francis
Braun, Bela Cremo, Felix Adanos, Roscoe

Zambini. But I never stole from them.
What is it exactly that you think Mr.

Pettit stole?

Oh, his cascades. I haven't done the
cascades in over a year. That's how up

-date you are.

Did you ever write down any of these
routines, sir? No, of course not.

Did you copyright them?

No, I did not.

Did you and Mr. Pettit ever enter into
any kind of non -competition contract?

We were partners.

Isn't it a fact, Mr. Euler, that Mr.
Pettit was responsible for a great many

the routines you did during the time you
were together? Absolutely not.

Two, three routine tops. That's it. The
rest was mine. But you experienced a

considerable gain in income during the
time that Mr. Pettit was with you. Isn't

that correct?

That had nothing to do with him. It had
to do with people coming to the

boardwalk again.

When things were slim, and they were
slim a lot in the early days, I always

sure he had a hot meal. But isn't it a
fact that Mr.

Pettit drew the crowd?

No, it was not a fact.

And during the last two years?

Wasn't he carrying you, sir? Carrying
me?

Nobody ever carried Alfred Euler.
Nobody.

You hung on to me until I got sick. And
when I came back, you spit on me.

Miss English, how long have you been
dancing with the National Ballet

Seven years.

And what has been your experience with
the company?

I was the dancer in the corps. I am now
a principal dancer.

Are you acquainted with Erica Hastings?
Yes, I am. Have you ever observed Mr.

Vetter and Miss Hastings to argue?

Many times.

And what would they argue about? The
interpretation of a role or the phrasing

a step.

Erica would argue about all kinds of
things.

Did you ever perceive Alex Vedder to be
punitive towards Miss Hastings as a

result of these arguments?

I don't believe Mr. Vedder was punitive,
no.

We've heard testimony from Miss Hastings
to the effect Mr. Vedder was abusive,

that he was unfeeling, that he had, in
effect, left her for dead.

Has that been your experience?

Objection. Irrelevant.

The witness is a dancer in Alex Satter's
company.

Her testimony is directly relevant.

Objection overruled.

You may answer the question.

I have never found Mr. Vatter to be
abusive or unfeeling.

I have found him to be a source of
inspiration and encouragement, and I'm

grateful for every word that he has ever
said to me.

No further questions.

You have replaced Erica Hastings as Alex
Vedder's principal dancer, have you

not? Yes, I have.

Is it fair to say that Mr. Vedder's
approval is very important to you?

Yes. Was it also fair to say that you
wouldn't want to risk his disapproval by

being anything less than totally
supportive?

I haven't said what I've said because
I'm afraid of his disapproval. Did he

you to testify?

He didn't have to ask.

Where are we, counsel?

Well, I'm afraid we're still miles
apart, Your Honor.

Looks like we're going to court.

And, I might add, we could be looking at
setting a precedent here, sir.

What I'd like to be looking at, Mr.
Pembroke, is a settlement.

In my opinion, this is the kind of
costly and time -consuming dispute that

should never be resolved by a judge or
jury. The parties can't agree.

Well, there is one thing they agree on.
What?

Roscoe Zambini. Who is?

He's a very famous juggler, Your Honor,
and he lives in Echo Park now, and he's

revered by both Mr. Pettit and Mr.
Euler. I think we could convince both of

to submit to Mr. Zambini arbitrating
this dispute.

The best suggestion I've heard this
morning, Mr. Margowitz. If both parties

agree, the court will happily order this
to binding arbitration in front of Mr.

Zambini, and his decision will be final.

Denise Ionello. Now, there's a name with
music to it.

What do you want, Dominic? What, to come
up to see Benny? Yes, sir.

So? And he's busy.

Is it all right I smoke in here?

No, it's not all right you smoke in
here.

Well, how do I know? Because if I'd be
smoking, I'd be smoking.

Why don't you come downstairs with me
and we'll have a supper?

I was going to go down at 11.

45 minutes from now, you could go down
again.

All right, come on.

See, we both smoke menthol, so we can
bum off each other.

That's a comforting thought.

Oh, come on, be nice.

Dominic, what's with your friend Benny,
huh? What?

Well, does he want to break up with this
girl?

Are you kidding? Not if he knows what's
good for him. He doesn't.

I know. He's just been pretty upset
about the way he's been treating her.

know, I mean, that's why I'm asking.

I'll straighten him out.

I don't know that he needs to be
straightened out.

A long -term relationship may not be
what he wants, you know?

Are you kidding me? They're perfect for
each other. He should be thankful he's

got her.

Mm -hmm.

But he shouldn't stay with her
reluctantly, you know? I mean, he should

straight with her, tell her what he
wants. Absolutely.

All right, how's this for a concert?

We go out to dinner, the four of us, no
pressure.

We just get him out, you know, and give
him an opportunity to be with her under

semi -festive circumstances, and then he
can fall in love with her again, like

that. Sounds good, but what do they need
us for? Oh, we provide a little

atmosphere. Plus, we can bill it as a
double date.

Now, why would we do that, Dominic?
Well, so nobody feels set up, you know?

Not for nothing, but I don't want it to
be like me and you went out on a date.

Oh, what are you, worried you'll lose
your head, huh?

Afraid you might do something foolish
and regret it the next day?

Hey, I won't let you do that. I won't
permit that to happen.

Can I talk to you for a second? Sure.

I'm in the middle of a trial and I'm
starting to second -guess myself.

About what?

About having gone to trial in the first
place.

Was there an opportunity to settle?
Sure, but they weren't offering very

money and they refused to release her
from her contract, so I advised against

it. So why are you second -guessing
yourself?

At one time, Erica wanted to drop this
case.

Not go to trial, not even settle. She
wanted to just walk away.

Why? Despite everything that Alex Vedder
had done, in some corner of herself she

was still devoted to him.

She believed that it was possible that
they could work together again. I

disabused her of that belief.

Bouncing me like that was your job.
Well, maybe she would be better off if I

hadn't done my job.

If I had just left her to her dancer's
world and her devotion, however

it might be. She didn't come to you for
that.

She came to you because she thought she
needed somebody to take this guy on. She

thought she needed an attorney.

Was she wrong about that?

No. Then stop second -guessing yourself
and do what she hired you to do.

What was your relationship with Erica
Hastings, Mr. Vedder?

She is one of my dancers.

Would you describe for us the process by
which she became one of your dancers?

I saw her in ballet class for the first
time when she was 11.

I watched her work.

I saw what she was capable of.

She was asked to join the company when
she was 14.

What was it that you saw in her,
exactly?

Well, I saw that hers was a great
instrument. Long legs, long neck,

high arches.

Was it strictly a matter of physical
characteristics?

No, no, no, of course not. It was also
her ability, her spirit, the way she

moved her arms, her elevation, her
pirouettes. Here was someone who was

become a great dancer.

Would you say...

That you were hard on her. Of course I
was.

She wasn't born a ballet dancer.

She was taught.

She became the dancer she is because I
was hard on her.

Because I drove her in the way that I
did.

Did there come a point in your
relationship when it began to change?

There came a point when Erica changed.

Hence our relationship changed as well.

In what way did Erica change? She became
argumentative, pointlessly so.

She would question things that were
quite inappropriate for her to question,

when she failed to get her way, she
would become petulant. I felt her work

suffered as a result.

Why did you replace Miss Hastings as
principal dancer?

She broke her foot. She claimed that
after the foot was healed, you refused

restore her to her position in the
company.

By the time she returned, there were
other dancers I was choreographing for.

As to her being restored to her
previously held position in the company,

that has as much to do with her as it
does with me.

Not for the questions.

Are you familiar with a drug by the name
of butazolidin?

Objection. Irrelevant.

I'll allow it. Mr. Vedder. I have heard
of it, yes. You are aware that it is an

anti -inflammatory drug commonly
administered to racehorses.

Well, I take your word for it. Are you
aware that Erica Hastings has been using

this drug to relieve the pain in her
tendons since the time that she was a

teenager? No, I was not aware of any
such thing.

I leave the personal regimen of dancers,
be it...

pharmaceutical, nutritional, or
otherwise, to the dancers themselves.

Is that why you turned and walked away
when she broke her foot?

I turned away because I could see that
she was being adequately attended by

others. I am not a physician.

I am not an ambulance attendant.

And I had a company to run.

At a certain point, you found out that
Erica Hastings was going to a dance

outside of your company. Isn't that
right?

Yes. You threatened to fire her as a
result of that, didn't you?

Yes, I did. Is it not a fact, sir, that
you sought to punish Erica Hastings each

and every time she had the temerity to
in any way challenge your authority?

Let me try to explain something.

Choreographing a ballet is a
mathematical process.

The manner in which each step is
executed is that way for a reason.

As the choreographer, it is I and I
alone who determine what that is to be.

Ultimately, it is not, as Miss Hastings
would want it to be, a collaborative

process. You see, what dancers do is
dance.

Except that for the last year and a
half, Erica Hastings hasn't danced, has

Well, that's a matter of circumstances.

Given that the circumstances are that
you're not using her, why didn't you see

fit to release her?

She's under contract with me. My
contract allows me to use her or not to

as I think fit.

Is it possible, sir, that the real
reason is that you can't bear the

her dancing for anyone else? That in the
interest of breaking her will, you

would lay waste to an entire career?

Objection. Confirmed question.

Sustained. Is it possible that you are
doing what you're doing for no reason

other than to punish her?

I do that which is in the service of the
ballet.

I have neither to apologize nor to
explain.

I have nothing further.

Don Zambini, please forgive us for
imposing on you. As long as the check

bounce, it's not an imposition.

Mr. Zambini, we really appreciate you
doing this.

Good.

We thought you might sit over here.

It's all right. I can see from here.

I saw the film of you doing a ten -ball
fountain.

Oh, yeah?

If I hadn't seen it, I'd have sworn it
was impossible. It is impossible, but I

did it anyway.

Now, can we get started here?

By all means.

You know what we're looking to have you
determine here, sir? This man says that

this man stole his act, right?

Right. Good.

Let's start with Mr.

Euler.

You know, I had surgery last year, so
I'm not really 100%, but I'm trying my

best just to show you how it used to be,
you know, the things here.

Do you do hats?

No, I don't. What are you showing me
hats for when he doesn't do hats?

Oh, I'm just warming up, sir. Commence
with the relevant parts of the act, Mr.

Euler. Please.

Yes, sir, don't tell me.

Here, this is behind the back. Here,
then I go back.

And here, it always got me a little
giggle.

And then the shower.

And down.

And then I used to catch it on this
side, run it on this side, and catch it

my neck. But, you know, since my problem
is the neck, I can't do it. And

finally, I finished up with this one.

Let's have no demonstration of approval,
please.

Mr. Cadet.

Uh, no, I have one more thing.

I'll have my decision tomorrow.

Only you come to my place, if you don't
mind. No, no, we'll come to you.

Elevators. upset my equilibrium.

Ladies and gentlemen, very few dancers
achieve the success or the fame of Erika

Hastings. Very few have stood and
received ovations on stages strewn with

flowers as many times as she has.

And the man most responsible for her
success, for her training, the man who

been choreographing for her since she
was 17 years of age, that man is Alex

Vedder, the man she is now suing.

Whether or not Erica Hastings was
entitled as a member of his company to

challenge his authority is not at issue
here.

As artistic director of the company, he
was wholly entitled to determine the

extent of Miss Hastings' participation
in the creative process. He was and is

entitled to use or not to use her as he
sees fit.

There is not a separate body of contract
law for ballet dancers.

Erica Hastings is an adult with adult
rights and adult responsibilities.

And it is wholly appropriate that we
treat her accordingly and deny her the

relief that she is seeking.

I think that Erica Hastings expects to
be treated like an adult.

The surest indication of that is that
she's sitting here in this courtroom.

By doing so, she is standing up to the
most powerful man she has ever known, a

man who enjoys the adoration and blind
devotion of legions of ballet dancers,

who uses that position to remain wholly
unaccountable.

Erica Hastings is not in this courtroom
because Alex Vedder was hard on her.

She is here because having signed a
contract as a principal dancer, she had

right to expect that she would dance.

She had the right to expect that a full
year and a half of which she was capable

of dancing would not be taken away from
her for reasons having nothing to do

with her ability, having nothing to do
with legitimate, creative prerogative of

an artistic director, but rather having
to do with the desire of that director

to control and punish.

We would ask that Alex Vedder's refusal
to use Erica Hastings as principal

dancer be recognized as a material
breach of contract.

We ask that consequential damages be set
in the amount of a quarter of a million

dollars. In addition, we ask declaratory
relief of the court so that Erica

Hastings is free to dance.

There. You can go through a car wash and
it won't come down.

Do you think that'll like it?

What's not to like? Look at you. You
look fabulous.

I hope Betty thinks so.

Men like to see a little bit of an
effort being made, you know what I mean?

I mean, no matter what they say, they
all like to see the makeup and they all

like to see the shoes.

I never wore shoes like this before.

What do I do with it? What do I do with
it? What's the matter with you? You

never seen a collar pin before?

No. Here, like this.

What's it for?

It's to afford you a certain take
-charge quality, which might otherwise

lacking.

Because they do that?

Absolutely. I'm nervous.

Listen, Rosalie, you can't live or die
based on Benny.

If the guy's in love with you, he'll
show it.

And if he's not, dump him and find
someone else.

Now, what am I supposed to do again?

Ben, look, I know you got reservations,
but you're supposed to put on the dog a

little bit. You're supposed to make her
feel as if you desire her.

Look, it's not that complicated. Tell
her she looks nice.

Look at you.

Don't you look gorgeous?

What do you think, Benny?

You look nice.

Do you like my hair?

That's all.

I like the total package.

I feel like we're sitting here with a
couple of real dolls.

You are. Hey, right, Ben? Huh?

Oh, they're playing Malasemina.

You know Malasemina?

Do I know Malasemina? My father's seen
one. Be flat, Frankie.

I feel like I'm at home.

What's the matter, Benny?

Nothing. You don't like the way that I
look, do you?

I don't know.

You don't know?

May I interject something here? You
don't know whether or not you want to be

boyfriend. Then you don't know whether
or not you want me around. Guess what?

You can just stop trying to make up your
mind.

Excuse me.

Where are you going?

Berkeley, wait. Did you hear anything I
said to you before?

Yeah. Then why were you so completely
without enthusiasm?

Why did you say, I don't know, and she
asked you whether or not you liked the

way she looked? Well, I didn't know.

You're a moron, Ben. You're, in fact, a
moron. I'm not a moron. Stop calling me

a moron, Dominic. Okay, okay, Ben, okay.

Relax. You're not a moron.

How you doing?

I just tried to call Rosalie.

Her mother said she didn't want to talk
to me.

Can you blame her?

No.

Fill me in here, Benny.

Do you want to be with this girl or not?

I don't know.

Do you think there's somebody better out
there?

I'm not really looking for somebody
better.

So you're tired of her?

No. Well, then what's the problem?

She wants to get married.

And you know this?

Well, I know she wants to move in
together.

And I wouldn't want to do that without
being married.

And you don't want to marry? I don't
know what I want. I mean, only you know

you want to marry her or not.

I'll tell you this, though. You keep on
treating her like you did last night,

you're going to lose her.

Members of the jury, have you reached a
verdict?

Yes, we have, Your Honor.

What say you?

In the matter of Hastings v.

National Ballet Company on the issue of
breach of contract, we fine for the

plaintiff and award consequential
damages in the amount of $250 ,000.

The plaintiff's request for declaratory
relief is granted. The contract is

terminated. She's free to work for
whoever she wants.

The jury is dismissed with the thanks of
the court.

We did it.

Erica,

can we speak to each other?

Have your attorney call me, Mr. Better.
He and I will speak to one another.

Erica. What do you want to say?

I want you not to leave me. To this end.

I want to open our coming season with
you dancing the lead in Giselle.

And I'm willing to guarantee this to you
in writing. I really don't feel that

this is the time or the place to discuss
this.

Erica, will you think about what I'm
saying to you? Let's talk about this

another time. Look, neither of you
understand what is happening here in the

slightest, do you?

I want to talk to this woman myself.

Erica, what are you going to do?

Find some choreographer who's nice.

I'll tell you what you want to hear.

You're walking away from me and from our
company to let some second -rate talent

choreograph dances for you. I want you
to think about what you and I have done

together. Are you expecting me to give
you an answer right this minute?

No. Then let me die.

Dump it.

Dump it?

Dump the whole thing?

Come to me when you have something else.

Here's my decision.

I don't think any penalty should be
assessed.

Why not?

Because he didn't steal.

His act is his act.

With all due respect, Don Zambini, his
act used to be my act.

No.

You never did what he is doing.

Did he learn from you?

Yes. He watched.

He studied.

He absorbed your technique and your
knowledge.

And he left, went off on his own.

That happened.

Thank you very much for your time.

I'm not done.

Oh.

What your client did is as bad as
stealing.

What did he do? He didn't show respect
for his teacher.

I think I have shown respect.

And I tell you, you have not.

You made him come to you when he got out
of the hospital.

You cut him out of your professional
life.

I think he deserves better than that
from you, Mr. Pettit.

I studied the defeat of the great Morris
Levetsky, and I left, I went off on my

own.

But I always acknowledged the debt.

With all due respect, Mr. Zambini, I
think he had... It's okay.

What should I do?

By the next year, half the time you
work,

You work with him.

Okay. I don't want it if it's pity.

Is it pity, Mr. Pettit?

No, no, it's not pity.

It's not pity, Mr. Euler.

Shake hands.

Good.

Is that Rosalie here?

Yeah, she's in the back. You want me to
get her for you?

Rosalie, someone out here wants to see
you.

Eddie, what are you doing here?

I wanted some pie.

What kind of pie do you want?

I don't want any pie.

I came here to tell you I'm sorry for
being mean to you.

Well, you did make me feel real bad,
Benny.

I know.

I'm sorry.

Do you still want to move in together?

I don't know.

Well, I don't.

Okay, then we won't. I think we should
get married first.

Are you asking me, Benny?

Yeah. Well, then you have to ask me. Go
on, say the word.

Ask me.

Believe me.

Where is it?

You're waiving the money?

I know you don't agree with this.

He's guaranteeing you this one role.
What happens after that?

I don't know what happens after that.
Erica, why are you in such a hurry to do

this? I need to work.

You can go back to work with another
choreographer.

Not the same with another choreographer.

Assume that it's not. Do I have to
remind you of the things you said when

first came to see me? I wasn't dancing
when I first came to see you. Forgive me

for what will no doubt sound like
heresy, but I think that some things may

more important than dancing.

What did you play with when you were a
little girl?

What did I play with? Yeah, paper dolls,
tea sets, stuffed animals.

I'm sure I played with all those things.

I don't remember playing with any of
them.

All I remember is this.

The more curious I became about it, The
less interested I was in doing anything

else. I know that sounds horribly
obsessive, and maybe it is, but I want

you what I put into this work and what I
get out of this work are the most

important things in the world to me.

Will you at least give yourself some
time to think about this?

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