Lame Swans, the Graphic Novel - Scene 8 - "Last Shot"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"
Scene 4 - "Complement"
Scene 5 - "Machine"
Scene 6 - "Pull"
Scene 7 - "Again"

Scene 8

"Last Shot"

End of Scene 8 - "Last Shot"

Starring
Carolyn Daitch as Lise
Aoi Tori as Marina
Frances Kimpel as the Ballet Ideal

with
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

Continue to Scene 9 - "Do It"

Lame Swans, the Graphic Novel - Scene 7 - "Again"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"
Scene 4 - "Complement"
Scene 5 - "Machine"
Scene 6 - "Pull"

Scene 7

"Again"

End of Scene 7 - "Again"

Starring
Carolyn Daitch as Lise
Aoi Tori as Marina
Frances Kimpel as the Ballet Ideal

with

Photography by Casey Roberts
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

Continue to Scene 8 - "Last Shot"

Lame Swans, the Graphic Novel - Scene 6 - "Pull"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"
Scene 4 - "Complement"
Scene 5 - "Machine"

Scene 6
"Pull"

End of Scene 6 - "Pull"

Starring
Carolyn Daitch as Lise
Aoi Tori as Marina

with
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

Continue to Scene 7 - "Again"

Lame Swans, the Graphic Novel - Scene 5 - "Machine"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"
Scene 4 - "Complement"

Scene 5
"Machine"

End of Scene 5 - "Machine"

Starring
Carolyn Daitch as Lise
Aoi Tori as Marina
Bernie Gabin as Jason
Jonathan Kindness as Bryce
Charlotte Oswald as Jessica
Ryan Kacani as Chad

with
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

Lame Swans, the Graphic Novel - Scene 4 - "Complement"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"

Scene 4
"Complement"

End of Scene 4 - "Complement"

Starring
Carolyn Daitch as Lise
Aoi Tori as Marina
Bernie Gabin as Jason

with
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

Continue to Scene 5 - "Machine"

Lame Swans, scene 5 - "Complement"

Yesterday I finished adapting the scene I wrote the draft of during 31 Plays in 31 Days, "Complement," for use in my graphic novel. While I have bits and pieces of other scenes, this is the first one I've done completely. Figuring out the perspectives and the content on each panel is pretty difficult, but I'm actually pretty pleased with what I envisioned here.


SCENE 5 - "Complement"

PAGE 1

Panel 1
LISE enters the studio. Over her shoulder both JASON and MARINA can be seen already in the studio. JASON is seated on a stool, wearing glasses and going through a notebook.
LISE: Jason? I’m here—

Panel 2
Closeup on MARINA glaring scornfully.
MARINA: What’s she doing here?

Panel 3
Closeup on LISE looking disturbed.
LISE: Where’s everybody else?

Panel 4
Closeup on JASON, focused on his notes, not looking at either of them.
JASON: Nobody else today. Just the two of you?

Panel 5
MARINA advances on JASON from his right in a posture of offense. He still doesn’t look up.
MARINA: What for?
JASON: The two of you need to work on your performance in relation to each other.

Panel 6
LISE advances on JASON from the left. He is in the same pose as before, but on the far right this time.
LISE: What does that mean?
JASON: Odette and Odile need to be identical, right?

PAGE 2

Panel 1
Double-width panel. From about chest height, the girls regard each other warily. Only the top of JASON’s head can be seen as he sits on his stool.
JASON: Enough that you can be mistaken for each other, but different enough to create a contrast. Two sides of the same coin.

Panel 2
Closeup on the left side of LISE’s face only, as if it is bisected by the right side of the panel.

Panel 3
Closeup on the right side of MARINA’s face, as if bisected by the left side of the panel. It lines up with LISE’s face in the previous panel as if it were the other half.
JASON: (off-panel, across both panels 3 and 4) So I want you to work on matching each other.

Panel 4
Double-width panel. LISE moves in on JASON in supplication, MARINA has her arms crossed stubbornly.
LISE: Our styles are completely different.
JASON: I’ve observed that.
MARINA: Why would you pick us if you wanted two dancers that looked the same?

PAGE 3

Panel 1
JASON stands up and eyes them in growing frustration.
JASON: Are you even listening to me? I want the contrast too. But you’ve already got the contrast down.

Panel 2
LISE and MARINA eye each other sideways.
JASON: (off-panel) Now I need you to figure out how to complement each other.

Panel 3
JASON sits back down on his stool and consults his notes again.
JASON: Show me the mirror dance. Tell me what you each notice about how the other executes it.

Panel 4
LISE and MARINA still eye each other.
JASON: (Off-panel) Go on, already.

Panel 5
The girl look away from each other, frustrated but resigned.

Panel 6
They turn away from the camera to walk out into the center of the floor.

PAGE 4

Panel 1
LISE assumes the preparatory position, facing right. She looks a little drawn and worried.

Panel 2
MARINA assumes the preparatory position, facing left. She is the mirror image of LISE. Her expression is stern and hard.

Panel 3
LISE’s arms transition into a hide third position. Her carriage is delicate and airy.

Panel 4
MARINA is in the mirrored position of hers. She carries herself with sharp precision.

Panel 5
LISE transitions into a lunge, arms in arabasque.

Panel 6
MARINA mirrors her.

PAGE 5

Panel 1
LISE dips her upper body toward her right side, sweeping her right arm low while keeping her left arm in arabesque.
LISE: Slow down.

Panel 2
MARINA executes the same move with a snotty smile.
MARINA: Can’t you keep up?

Panel 3
JASON regards them from his seat, head tilted in consideration to the right.
JASON: It’s not a contest. What do you notice?

Panel 4
MARINA curls her lip critically as she does a chêne turn to her right.
MARINA: Her arms are a technical mess.
JASON: (Off-panel) Marina.

Panel 5
LISE pirouettes prettily to her left.
LISE: Yeah, well, good thing you’re on that side, because you can’t pirouette to your left.

Panel 6
JASON claps a hand to his forehead in disgust.
JASON: Jesus, grow up, you two. Just do what I asked already.

PAGE 6

Panel 1
Double-width panel. Shot from over MARINA’s shoulder, LISE can be seen to the left of her. Her expression softens as she actually begins to study MARINA. They raise their rear legs in an arabesque lift.

Panel 2
Double-width panel. Now from over LISE’s shoulder, MARINA is to her right and has a hard, critical look. They combre to the side toward the camera.

Panel 3
LISE springs up into relevé, arms in fifth.
LISE: She’s… very precise.
JASON: (Off-panel) Right. She finds the marks and she hits them. You find something, Marina.

Panel 4
MARINA executes porte du bras, leaning back but her eyes turned to the left towards LISE.
MARINA: She’s fluid. Seamless from one step to another.
JASON: (Off-panel) Yeah, everything flows.

PAGE 7

Panel 1
MARINA turns away in a pique turn, but her gaze remains in the same direction. She glares.
MARINA: I feel like I’m dragging myself through so you can match me.

Panel 2
LISE stops dancing in outrage.
LISE: You’re too staccato, it’s all choppy!

Panel 3
Double-width panel. They go nose to nose furiously.
MARINA: I’m not compromising myself just to make you look good!
JASON: (Off-panel) Jesus Christ, get over yourselves!

Panel 4
Double-width panel. The girls turn to face him. He regards them in disgust.
JASON: I don’t have time for this. If I wanted to do a show with just one dancer on the stage for two hours, I’d just do it myself and not bother with any of you.

PAGE 8
Panel 1
Double-width panel. JASON walks off left, throwing up his hands. MARINA storms off to the right. LISE stands awkwardly in the middle, watching MARINA go.
JASON: Go take a break, and when you come back, I expect you to be ready to work.

Panel 2
As JASON walks away toward the camera, LISE can be seen following over his shoulder.
LISE: I can’t work with her.
JASON: Oh, save it.

Panel 3
JASON sits back down on his stool. LISE comes up on his side to the right.
LISE: She hates me. She isn’t going to cooperate.
JASON: Then you make it work.

Panel 4
Closeup on LISE, whose eyes go downcast with fear.
JASON: (Off-panel): You’re the lead, the show’s on you.
LISE: Oh, God.

Panel 5
JASON takes off his glasses and looks at her, hard and unsympathetic.
JASON: But hey, you’ve got it all down, right? Just so you know, Cechetti couldn’t turn on his left side either, you know.

PAGE 9

Panel 1
JASON stands and starts to walk away left. LISE trails after. JASON looks back over his shoulder at her.
LISE: Really?
JASON: He choreographed all his pieces so that he never had to. And he has a whole method named after him.

Panel 2
JASON turns his back on her as he walks away.
JASON: Find some way to make it work, Lise.

Panel 3
Double-width panel. Lise stands alone in the studio, distraught. The top of JASON’s head is visible in the bottom of the panel.
JASON: Back in five. And this time, be a little professional.

31 Plays in 31 Days: #22 - "Complement"

Another piece that came of thinking about my graphic novel project. Which still needs a name, now that I think of it. This'll need a lot of work, but I'm just struggling to get all my pieces done for the challenge.

The ballet they will be doing in the piece is Swan Lake. I didn't want to do that, as another prominent ballet-themed property The Black Swan used it recently, but its plot serves the rivalry I wanted so well.

Day #22 - "Complement"

(A rehearsal studio. JASON the director is flipping through a notebook. MARINA is carefully stretching her legs, the picture of focus. LISE enters, surprised.)

MARINA: What’s she doing here?

LISE: Where’s everybody else?

JASON: Nobody else today. Just the two of you.

MARINA: What for?

JASON: The two of you need to work on your performance in relation to each other.

LISE: What does that mean?

JASON: Odette and Odile need to be identical enough that you can be mistaken for each other, but different enough to create a contrast. Two sides of the same coin. So I want you to start working on matching each other.

LISE: Our styles are completely different.

JASON: I’ve observed that.

MARINA: Why would you pick us if you wanted two dancers that looked the same?

JASON: Are you even listening to me? I want the contrast too. But you’ve already got the contrast down. Now I need you to figure out how to complement each other.

(They look at each other warily.)

JASON: Show me the mirror dance. Tell me what you each notice about how the other executes it. Go on, already.

(They take their places facing each other and begin to perform a dance with movements that mirror one another.)

LISE: Slow down.

MARINA: Can’t you keep up?

JASON: It’s not a contest. What do you notice?

MARINA: Her arms are a technical mess.

JASON: Marina.

LISE: Yeah, well, you can’t pirouette on your left side.

JASON: Jesus, grow up, you two. Just do what I asked already.

(They continue dancing, watching one another.)

LISE: She’s… very precise.

JASON: Right. She finds marks and she hits them. You find something, Marina.

MARINA: She’s fluid. Seamless from one step to another.

JASON: Yeah, everything flows.

MARINA: I feel like I’m dragging my through so you can match me.

LISE: You’re too staccato, it’s all choppy.

MARINA: I’m not compromising just to make you look good!

JASON: Jesus Christ, get over yourselves. I don’t have time for this. If I wanted to do a show with just one dancer on the stage for two hours, I’d just do it myself and not bother with any of you. Go take a break, and when you come back, I expect you to be ready to work.

(MARINA storms off.)

LISE: I can’t work with her.

JASON: Oh, save it.

LISE: She hates me. She isn’t going to cooperate.

JASON: Then you make it work. You’re the lead, the show’s on you.

LISE: Oh, God.

JASON: But hey, you’ve got it all down, right? Just so you know, Cechetti couldn’t turn on his left side either, you know.

LISE: Really?

JASON: He choreographed all his pieces so that he never had to. And he has a whole method named after him.

(JASON turns to exit.)

JASON: Find some way to make it work, Lise.

31 Plays in 31 Days: #21 - "Don't Tell Anyone"

Working out more bits for use in my graphic novel. Right now the one particular thread of it is standing out in my mind, so I am writing out pieces involving that thread while I have the inspiration to do so.

Day #21 - "Don't Tell Anyone"

(MARINA is collapsed in a heap, her face contorted in pain. LISE rushes over.)

LISE: Marina, what's wrong!?

(MARINA struggles to pull up her tight. LISE comes over and helps her.)

LISE: Here, let me...

(MARINA's knee is bulgy and covered with a dark bruise.)

LISE: Oh, my God...

(She stands up to go.)

LISE: I'll— I'll go get someone. I'll get Jason—

(MARINA heaves herself up and clamps onto Leto's arm to stop her, pulling her close so that the two girls are facing each other.)

MARINA: No! Not Jason!

(MARINA drags herself up from the ground.)

LISE: You need help!

MARINA: What I need is for you to shut up!

(MARINA sits and extends her injured leg in front of her.)

MARINA: Shut up and grab onto me.

LISE: What?

(MARINA grabs LISE's arms and places her hands on her calf just below her swollen knee.)

MARINA: Grab on! Right here!

LISE: O-Okay...

MARINA: Now pull.

(LISE looks up at her in horror.)

MARINA: Just pull!

(LISE pulls tentatively.)

MARINA: Ahhhhhh!

(LISE releases her leg.)

LISE: Marina—!

MARINA: Just do it!

(Again LISE pulls, face screwed up and turned aside. MARINA grits her teeth in agony, but her knee back into place. She makes a small sound of mixed pain and relief.)

MARINA: Ahhh! Oh, thank God!

(MARINA grabs onto LISE.)

MARINA: Now help me up.

LISE: You need a doctor or something—

(MARINA reaches down to roll her tight back down, holding onto LISE for balance.)

MARINA: I have to go back on!

LISE: You can't go on like this!

MARINA: Watch me!

LISE: Marina—

MARINA: And don't you dare tell anyone about this! Don't you dare.

(MARINA dances back out as if nothing happened. LISE hangs back, looking after her in shock.)

31 Plays in 31 Days: #20 - "Last Shot"

Been picking away at my graphic novel idea. So today's piece is an important scene near the climax of that story that I want to adapt for the comic. I feel kind of bad spoiling what's supposed to be one of the most powerful moments before I even introduce the story, but I had to write something for today, and it was one of the most fully formed moments in my mind.

I am borrowing an element of my ten-minute play Fountain Thoughts, of the performer who is reluctant to go on and runs away to wade in the water while she's trying to make up her mind. I think this can be a powerful motif and tie into some thematic elements of the greater story I'm working out.

Day #20 - "Last Shot"

(LISE wades knee-deep in a pond. MARINA approaches in a cold fury.)

MARINA: So is it true? Are you going to bail on the performance?

LISE: I don’t know if I can do it.

MARINA: My God. You are gutless.

LISE: You don’t understand!

MARINA: What’s there to understand? You’re punking out!

LISE: They don’t need me.

MARINA: Jason picked you.

LISE: Well, you can dance both parts! That’s what you wanted, isn’t it?

MARINA: Jason didn’t want me. He wants you.

LISE: Well, Jason was wrong. I don’t have it.

(Pause.)

MARINA: You selfish little bitch.

LISE: What?

MARINA: You haven’t thought about anybody besides yourself since you came out here to wallow.

LISE: I just don’t want to screw this up for everyone.

MARINA: Unbelievable. You have no idea how to push, do you?

LISE: What? Of course I do! That’s all ballet is!

MARINA: You never had to push. You’re all talent, all perfect form. It was always easy for you, wasn’t it?

LISE: I worked hard too!

(MARINA splashes into the water with her.)

MARINA: Worked through what? You never had anyone ever tell you that your legs were too stocky, or that your hips were too tight. You never had to fight against a turnout that wasn’t wide enough, or too-short ligaments, or… or…

LISE: Your knees.

MARINA: Yeah. Or knees that never seem to loosen up, no matter how long or how carefully you work them. You’ve never had to do that, have you?

LISE: No. But I know what it’s like to work through the pain, Marina!

MARINA: Really? You know that it’s like to keep pushing and keep pushing no matter how much it hurts, until eventually you work them so hard they can’t take it anymore.

LISE: I saw. It’s bad, isn’t?

(Pause.)

LISE: Isn’t it?

MARINA: You have no idea.

LISE: You won’t be able to go on much longer like that.

MARINA: Exactly! Don’t you get it? This is my last chance! It’s going to blow, Lise. I know that, I’m not an idiot. It’s only a matter of time.

LISE: So why are you doing this to yourself? Do you want to ruin that leg forever?

MARINA: What’s the use if I can never dance again anyway?

LISE: Is that worth being in pain for the rest of your life?

MARINA: Ha! Too late for that now.

LISE: Oh, God.

MARINA: I’m on my way out, Lise. I’m going to go out on top. And I can’t do that if you bail out. You’re the one they want to see.

LISE: Marina, you are a beautiful dancer.

MARINA: Not beautiful enough. You’re the one that has the talent, the skill, the passion, the look… everything they want. Jason saw it, that’s why he picked you. And I could never stand you because… you’re everything I’ve always wanted to be. This was… supposed to be my whole life. Now I’m going to have to figure out something else. That’s going to be hard enough without… without getting my one last moment. People are going to see me one more time. They’re going to see what I can do. But the only way that’s going to happen is if they come to see you. So you can’t bail on this now. You can’t do that to me.

LISE: Marina—!

MARINA: Don’t you ruin this for me. Don’t you take my last shot from me!

(She storms away, leaving LISE alone in the water.)

31 Plays in 31 Days: #2 - "Fitting"

Piece number two out of thirty-one is based on an idea I've been turning over in my head. It may be something I use in my comic project. But since it was in my head, I decided to use it for this next piece. It ended up closer to three pages this time instead of just over one. I call it "Fitting," and it features a ballet dancer going into for her costume fitting with one of the stitchers.


Day #2 - "Fitting"

(AMY sits on a stool sewing a piece of ballet costuming. Periodically she throws nervous glances at the door. She bends to her task intently, trying to finish.)

(Enter MARINA, a dancer dressed in dark leggings, a leotard, and a ballet shrug. She has her pointe shoes slung over her shoulder.)

MARINA: Are you not done yet?

(AMY starts embarrassedly.)

AMY: Yeah, just about!

MARINA: We had an appointment.

AMY: It’s okay, it’s ready. Just a few finishing touches.

(She hands over the dress and watches her expectantly. MARINA tilts her head and looks at her in annoyance.)

MARINA: Do you mind?

AMY: What?

(MARINA makes a “turn around” gesture with her finger.)

AMY: Oh… okay…

(AMY turns, making a snotty face. MARINA, holding her body awkwardly away from AMY, quickly gets out of her ballet shrug and pulls on the dress, somewhat stiffly, and over her leggings and leotard.)

MARINA: Well? What do you think?

(AMY turns back around.)

AMY: You didn’t get out of your stuff?

MARINA: I don’t have a ton of time for this.

AMY: It looks a little weird.

MARINA: Just check the fit then!

AMY: Okay, fine. Well, at least lace up your ribbons, then, and let me see.

(MARINA rolls her eyes, and starts to bend down to do so, but grits her teeth and stops abruptly. She holds out her shoes.)

MARINA: Can you… can you just do it for me?

AMY: What?

MARINA: I can’t bend down in this thing.

(Exasperated, AMY turns back to her and starts adjusting the bodice.)

AMY: Is it too tight?

MARINA: It’s fine!

AMY: Well, you can’t not be able to bend in it! Here, I’ll adjust it.

(AMY starts undoing it.)

MARINA: No, don’t!

AMY: Oh, Jesus.

(AMY steps back to reveal there are bandages wrapped around her shoulders. MARINA clutches her costume and tries to cover herself.)

AMY: What’s wrong with you?

MARINA: Nothing!

AMY: Are you okay?

MARINA: It’s nothing, I said!

AMY: Is… is that why you can’t bend? Are you in pain?

(AMY kneels down beside MARINA and yanks up one of her tights. Her knee is black and blue.)

MARINA: Stop it!

AMY: Oh, my God! You go on like this?

MARINA: I have to!

AMY: Does the doctor know?

MARINA: You can’t tell him!

AMY: Marina! You can’t dance on this! He wouldn’t allow you!

(MARINA grabs hold of her by the shoulders and looks at her desperately. AMY stops short.)

AMY: Oh. Oh, God.

MARINA: Amy. Please.

(She lets AMY go. AMY considers. She kneels down next to MARINA and looks at her knee. Then, after a minute, she rolls the legging back down.)

AMY: The fit looks pretty good. How does it feel?

MARINA: Good. It feels really good.

AMY: Good.

(She gets up and helps MARINA back out of the costume, very carefully to avoid hurting her.)

MARINA: Thanks.

AMY: It’s my job.

MARINA: I… I might need some opaque tights too. Can they please be opaque?

AMY: I’m in charge of the dye lot. They will be.