Teyah Parent, features editor

Fade in:
INT. PARIS OPERA BALLET STAGE - evening
A light, UPBEAT PIANO MELODY.
BLACK AND WHITE.
Pan up over a crowd of wealthy patrons. They wait to be moved by a performance.


SASHA (V.O.)
I had never known anyone like her. To think that if I did not know her, I wouldn't have known anyone at all.
We see POINTE SHOES of the BALLERINA on stage. Her technique is one of the greatest in the country of FRANCE.
Now, a man playing the PIANO.

SASHA (V.O.)
She was a woman. Everything a woman should be. From the moment I saw her, I knew that I had to be near her. To be close with Nana was to be close to myself. 
The dancer is NANAMI SEO, the 22-year-old Prima Ballerina for the Paris Opera Ballet. She feels older than she is, less like someone stepping into a role but someone born into it. She often goes by her nickname "Nana."
She nails pirouette after pirouette. The soft light of the theater on the glittering white of her tutu is ethereal like an angel's glow.
The piano is muffled.
She takes a breath in SLOW. She is beautiful. Her makeup glitters under the light. We see that she's half-Japanese. Rare for the time, yet not completely strange.

SASHA (V.O.)
Not to say that it was never difficult. I was tired, we all were. In the world of Ballet, there is only adoration, or indignation...
The piano resumes, then finishes.
The crowd is in an uproar with applause, polite cheering.
Flowers land onto the stage as we watch NANA bow once, then twice.
The curtain falls and the lights dim. The clapping and cheers are muffled, as if they're heard underwater.

NANA quickly hurries offstage, through the wings and past tech coordinators and people who congratulate her. She leans against a stretch of brick wall and finally catches a breath. She unties her pointe shoes with her mouth pressed into a thin line.
She is approached by Director MONSIEUR LUCIEN (40's). He is a tall, thin man, calm when not under pressure. Some would call him flamboyant.

MONSIEUR LUCIEN
Darling, you're ruining the ribbon.
His French is multitudes stronger than hers. NANA loosens her grip.

NANA
I was off tonight.

MONSIEUR LUCIEN
No one noticed.
A beat. She doesn't argue.

NANA
Gah! Damn shoe...

NANA tosses her shoes onto the floor.

LUCIEN gently takes her by the shoulder and leads her down the hallway.

MONSIEUR LUCIEN
You were beautiful, Mon Cherie.

NANA avoids his gaze.

NANA
I can't do more solos.
She looks back at him. He thinks.

MONSIEUR LUCIEN
We'll talk.

NANA nods, then leans forward and kisses his cheek before continuing through the hallway, barefoot.

LUCIEN watches her with his hands behind his back. He makes a point to quickly look away.
She's following someone. Down the hall, into the dressing room. NANA pauses in the doorway.
The other woman turns around. This is ANORA GAUTHIER (24). She is Parisian through and through. She dances in the ballet. She is rough around the edges, yet gentle enough to not be so intimidating. She's holding a small bundle of daisies.
They're alone.

NANA
I saw you.

ANORA
quietly.
Daisies.
A beat.

NANA
Daisies.

NANA looks down at the small bunch of flowers. She's calmer now, the stress of the performance is washing away.

NANA
I told you not to come. I thought I didn't want you here.

ANORA
(pensive)
You did.
ANORA's eyes glaze over NANA. There is a curious look in her eyes. NANA is the one that needs to talk.

NANA
You don't hate me, do you?

ANORA shakes her head.

ANORA
No. I just don't understand why you think that you have to do this alone.

NANA turns to the reflection of herself in the mirror. We see the version of herself that's still glowing under layers of powder and light.

NANA
Because this is what I wanted.

ANORA
Is it?

NANA
I can't. Not now.

ANORA
There are places where we can have this.

ANORA steps closer, taking her hand.


ANORA
You're allowed to need something that isn't them. You have to trust me.
A beat before NANA steps back, withdrawn.

NANA
(defensive)
I'm at the peak of my career.

ANORA scoffs, then turns away with an incredulous smile. She nods, accepting.

ANORA
I will see you.

NANA
Goodbye.

ANORA leaves, taking NANA's words with a grain of salt. It's difficult to tell if they're friends or lovers.

NANA swipes her arm across a full makeup desk, knocking everything onto the floor.
END EXCERPT.