 What he didn’t anticipate, as he choreographed fifty couples, was that the actor—whose intervention was designed to give coherence to the scene—would go crazy, punch him in the chops, and walk off the set.I was already working on another project, but Yordan insisted that I write some lines for a minor actor, which would account for the miscreant’s absence.This would allow the ballroom scene to continue, save having to locate the crazy or drunk actor, and save having to reshoot.