section from
“BLACK SWAN”
[Some background: Imogen, a professional killer, finds herself hiding out in the ballet studio of Marina Belitskaya. Meanwhile, Edmund, an erstwhile associate of Imogen’s, has been forcibly recruited by Elizabeth Shaw, the daughter of one of Imogen’s victims, to kill her—this in spite of the fact that Edmund has never had to shoot anyone before.]
DANCE STUDIO PROPER
The dancers take their place at the barres on either side of the room. Imogen takes a spot behind Robert. Gloria stands behind her. She catches sight of Imogen’s hand with its callused knuckles on the barre.
MARINA
Okay, plíes. Open...
The piano intros.
CLOSE-UP – HANDS...
...fire gun from “cup-and-saucer” grip...
INT. FIRING RANGE – DAY
...The bullet CLANKS off the target clip, and the target bobbles wildly on the line.
Edmund quivers as he keeps the gun pointed down-range. Elizabeth stands behind him. Both wear the requisite eye and ear protection. (Edmund’s are lower grade and don’t fit as well.)
ELIZABETH
(evenly)
Put the gun down slowly...
Edmund lowers his weapon.
INT. STUDIO PROPER – SAME TIME
The dancers lower into deep plíes.
MARINA
...slowy, four, and up...
The dancers slowly rise.
SHOOTING RANGE – SAME TIME
Edmund takes deep breaths.
ELIZABETH
...okay, now pick the gun back up.
Edmund complies.
STUDIO PROPER
The dancers slowly rise up to demi. Marina passes the line surveying the dancers before her. When she gets to Imogen, Marina, without breaking stride, gently cups the base of Imogen’s skull.
MARINA
Head level, dear...
Imogen corrects herself. Marina continues down the line.
SHOOTING RANGE
Elizabeth stands closer behind Edmund.
ELIZABETH
Okay, you’re doing something weird with your head. You gotta keep it level.
Elizabeth gently places a hand to the base of Edmund’s skull.
STUDIO PROPER
The dancers stand in sweaty repose as Marina addresses them.
MARINA
Do we all remember the imaginary string?...
Some dancers nod in recognition, Imogen included.
SHOOTING RANGE
Elizabeth stands on tip-toe as she extends one hand directly over Edmund’s head, resembling a boom crane.
ELIZABETH
It’s like you’re suspended from this string...
Edmund glances up, then forward again.
STUDIO PROPER
Marina lifts a finger skyward.
MARINA
...which goes up into the heavens and runs down your spine...
She lowers her finger.
SHOOTING RANGE
Elizabeth runs a finger down Edmund’s spine.
ELIZABETH
...right out your tailbone, down to the center of the earth.
Elizabeth gives Edmund’s butt a pat.
STUDIO PROPER
The portable barres have been moved aside. The dancers have arranged themselves in the middle of the floor, facing the mirror. Imogen hides her-self behind Gloria. They work a waltz combo. The sweat flies.
Imogen is tentative at first and barely keeps up. At one point she just barely avoids running into Robert, when she makes a wrong turn.
ROBERT
Watch it!
MARINA
To your left first, dear. One, two—feel that stretch! And one—
Imogen stops briefly and gets back on track.
SHOOTING RANGE
Edmund assumes the “Murphy” Stance, left shoulder to the target, right arm stretched across his body secured by the left with the grip of the gun. Elizabeth has a hand on Edmund’s right shoulder.
ELIZABETH
Okay, feel that stretch. The gun is an extension of your hand...
STUDIO PROPER
Marina lightly takes a young dancer’s arm.
MARINA
...which is extension of your arm, see?
SHOOTING RANGE
Elizabeth stands back from Edmund.
ELIZABETH
At this speed, count off
(snaps fingers)
one, two, three, four,...
STUDIO PROPER
Marina stands before the sweaty dancers at ready.
MARINA
Five, six, seven, eight...
The dancers run a jump sequence.
SHOOTING RANGE
Edmund’s gun goes BANG, BANG, BANG, BANG, and the last round CLANGS off the target holder.
ELIZABETH
Edmund, you hit that metal again, I’ll break your neck. Now reload.
Edmund removes the clip.
STUDIO PROPER
The dancers collectively catch their breaths and check their bodies with stretches and massages.
MARINA(cont.)
Okay. Grande Allegro on the diagonale:
The bodies shift back into varying degrees of focus as Marina demonstrates a string of phrases on the diagonal of the room.
The other dancers follow in pairs. Imogen waits in the queue second to last. Gloria is beside her, gazing intently at each dancer as they cross the room.
Imogen’s eyes go from the dancers to the mirror and back. She is jolted by a gentle nudge from Gloria.
Imogen looks ahead and sees the clear path before her. She and Gloria jump into the choreography.
MARINA
(to Imogen)
Don’t look at the floor! Head level!
Imogen levels and spots her head for the series of spins. Her moves are more confident. She feels the wind in her ears.
Imogen’s reflection draws near as she closes in on the mirror. She’s about to top it off when...
She catches herself in the mirror and missteps the turn. Her left foot trips over her right, and she crashes to the floor.
Gloria just manages to jump aside. Imogen scrambles to her feet, visibly shaken.
MARINA
Follow-through, my dear!
Imogen gets back in line.
SHOOTING RANGE
The silhouette is retrieved with holes in the black area, one through the left shoulder, the other through the right hip. There are several other holes surrounding the target.
ELIZABETH
Gotta work on follow-through. Okay, take ten.
STUDIO PROPER
Imogen doubles over for a couple of breaths and then straightens herself. Marina stands by the piano.
MARINA
(to class)
Okay, let’s take ten. Girls, get ready for pointe.
The dancers relax. Imogen trudges to a bench and plops herself on it. She glances up at the mirror before her and turns herself sideways from it.