PANEL 1
The picture is black, an unseen narrator saying Orsino's famous lines.
NARRATOR
If music be the food of love, play on.
(Cont)
Give me excess of it, that, surfeiting
(Cont)
The appetite may sicken, and so die.
PANEL 2
Duke Orsino, dressed formally in a pinstripe, stands on a tall balcony, overlooking the water.
PANEL 3
The image pans out, revealing a door behind him, which is partially open. Curio stands just within the door, dressed in a slightly simpler but still nice suit.
CURIO:
Do you plan to go, sir?
ORSINO:
What?
CURIO:
Out to dance. Do you plan to go?
PANEL 4
A close up of Orsino, eyes closed as if he's imagining something, Olivia.
ORSINO:
The dance. Where I first saw dearest Olivia. Adorned in silver and shining like the brightest star.
PANEL 5
Curio looks as though he's barely attempting to hide his exasperation, but Orsino is oblivious.
CURIO
Yes sir. Will you go?
ORSINO
Not until the pursuit is done.
PANEL 6:
Valentine is at the door, and Orsino turns to enter his office again.
ORSINO:
Have you heard any news?
VALENTINE:
Indeed, but I was unable to enter her home, sir.
PANEL 7:
The panel focuses on Valentine, standing in the center of the doorway, the hall behind him dark compared to the office.
VALENTINE:
They stopped me at the door, as they have in the past.
(Cont)
But I did receive an answer from her maid, and she assures me it comes straight from Miss Olivia's herself.
PANEL 8:
Curio closes the doors to the balcony, standing near them, while Orsino moves to a chair and Valentine remains at the door.
ORSINO:
Tell it.
VALENTINE:
She remains hidden, behind her manor's walls, refusing to leave her room without a veil.
(Cont)
Miss Olivia says that none will see her face until she has grieved for seven years.
PANEL 9:
A close up of Valentine, still in the door. He looks concerned with how Orsino will take the news.
VALENTINE
As you will recall, her brother died, and she is still deeply upset by the loss.
ORSINO (out of the image):
Yes, yes.
VALENTINE:
She refuses to see another, especially not a potential husband, until she has drowned her home in tears.
PANEL 10:
Curio and Valentine look as though they expect Orsino to be upset, but instead he has an understanding, almost admiring, expression.
ORSINO:
Admirable.
CURIO:
Admirable, sir?
PANEL 11
Orsino tilts his head to the side, closing his eyes.
ORSINO:
Oh my dearest Olivia, if only that heart extended to myself, a man who holds you so dear.
ORSINO:
Such a strong heart, to grieve for so long.
(Cont)
For a brother, no less.
EITHER VALENTINE OR CURIO, OUT OF PICTURE:
Of course, sir.
PANEL 12:
Now, there's an image of Olivia and Orsino, clearly in Orsino's imagination, while Orsino talks over it.
ORSINO:
Imagine how strong her love will be, when she directs it towards me.
(Cont)
How splendid, her perfect attention directed to a single person.
(Cont)
That deep affection, that arduous love.
(Cont)
Our love will overflow, surpassing our ability to carry it.
PANEL 13:
The image returns to his office, Orsino smiling softly, his eyes still closed
VALENTINE:
Sir?
ORSINO:
Leave me for the night. Dearest Olivia will be mine, and I leave planning how in your capable hands.
BOTH VALENTINE AND CURIO:
Yes, sir.
END OF SCENE
Adaptation Explanation:
The first and most obvious choice was to keep the first few lines of Shakespeare's play. This nod to the original, infamous lines, is really important to me because I feel that they really capture multiple possible interpretations of the play, including my interpretation. At the same time, I didn't want Orlando to say them, but instead an omnipresent narrator, because I wanted the lines to explicitly apply beyond Orsino, to the story itself as a whole. One difficulty while adapting is sufficiently capturing the meaning of the text. With these lines, I felt as though it would be impossible to capture all of the possible interpretations in a concise and eloquent way, and keeping the original beginning allows me to retain that meaning without trying, and failing, to mimic their poignant effect.
As a note, instead of gentlemen, I made Valentine and Curio butlers, because I felt that this subservient position would a reasonable political transition While I considered making Curio a friend of lower status and Valentine a butler, I decided to make both butlers to simplify their minor parts.
The next few lines, this quick exchange with Curio before Valentine arrives, I changed dramatically. While Shakespeare utilizes a hunting metaphor, I chose to continue with the music metaphor, because I felt that hunting would be less fitting in 1920s New York. Dancing, on the other hand, would have been very present and a large part of the culture. I wanted to be sure that Orsino remained a bit of a lovesick fool, but also very clearly in an infatuated sort of love. By changing the hunt to dancing, I do lose some of the powerlessness Orsino exhibits in placing himself in the role of the hart. I chose not to specify who was pursuing to attempt to at least hint at this original meaning, but I felt like there was no way to insert Orsino's flowery metaphor without creating text that would not fit in conversation and would appear to be attempting to copy the original instead of adapt.
The exchange between Valentine and Orsino, I tried to keep at its length in the text, but I did change some things. I inserted more conversational lines to help it flow better, instead of giving each character a block of text. I wanted to keep the brevity of a comic, while keeping the meaning, because I felt like Olivia's refusal to see anyone is really significant to the story. Once again, I tried to avoid using the exact same metaphors, instead focusing on the meaning of the words before writing dialogue that fit with the meaning without attempting the same eloquence.
ACT 1 SCENE 2
(BE CERTAIN TO NOT CONFUSED CAPTAIN AND CAPTION)
PANEL 1
Viola and Captain have recently arrived on shore. They landed on a grassy hidden area, instead of the docks. Viola's face hidden.
CAPTION
Meanwhile, a ship carrying some strange cargo has arrived.
VIOLA
What city is this?
PANEL 2
She turns, and her face is visible under a hood. Her face is timid, but her eyes are clear and cunning.
CAPTAIN (not visible in panel, bubble coming from off to the side)
New York, doll.
VIOLA
What am I going to do in New York alone?
(Cont)
After the wreckage--I --what do you think, perhaps my brother survived?
PANEL 3
This time the focus of the view is the Captain. His hand is on Viola's arm, comforting her.
CAPTAIN
I believe there's a chance he's survived.
(Cont)
While rescuing you I saw a man. He bound himself to a floating mast, and kept o'er the waves until he was out of sight.
PANEL 4
Viola slides some money in the Captain's hand, and both meet eyes.
PANEL 5
VIOLA
I have faith. I survived, against the odds, he might still be alive as well.
(Cont)
Do you know this city well?
PANEL 6:
They start walking up the hill, small figures against the grass.
CAPTAIN
I'm a native, born just outside the city.
VIOLA
Who would you consider the most influential man in the city?
CAPTAIN
Old money, of course, though one man in particular stands out.
VIOLA
Oh? His name?
PANEL 7:
The panel is black, except for the speech bubble.
CAPTAIN
Orsino.
PANEL 8:
Viola, her lips curling up in a smirk.
VIOLA
Orsino! My father has mentioned him before. Though that was when he was still a bachelor...
PANEL 9
The image shows them walking up the hill.
CAPTAIN
Ha! Still is, or was last time I was in the city.
VIOLA
Which was...?
CAPTAIN
Few weeks ago.
(Aside)
Long enough for me to get my latest shipment o' 'water'.
PANEL 10
Viola, lips turned down and seeming unimpressed, when really her eyes are gleaming.
VIOLA
Hmn.
CAPTAIN
The city was full of rumor. He's fallen in love and is wholly stuck on the fair Olivia, who refuses to give him a moment of her time.
VIOLA
Who?
PANEL 11
An image of Olivia, in her mourning clothing.
CAPTAIN
Newest gal, came into a lot of heavy sugar when her father and brother both died within the year. Now she's mourning.
(Cont)
They say she refuses to let any men in the house, and never leaves.
PANEL 12
Viola again, eyes closed, thinking.
VIOLA
If only I could hide in that manor with her, away from gossip and society's eyes until I felt safe to.
CAPTAIN
Aye, if only. But she won't see anyone, not even Orsino, poor man.
PANEL 13
Viola tilts up her head, eyeing the man. Her fingers are back in her purse.
VIOLA
You're a smart man, Captain.
(Aside)
With a smog filled heart.
(Cont speaking)
I'm sure you'd be cunning enough to help me. I need to hide my chassis, conceal what I am. Of course, you'll be paid generously for the trouble.
PANEL 14
Only Viola's eyes are visible.
VIOLA
I'll join Orsino's household, he'll be perfect for what I desire. Tell him what you wish, just keep him oblivious to my identity.
PANEL 15
They're on a hill, both turned back and looking at the ship, where cargo is being unloaded.
VIOLA
Of course, I'll expect you to be as silent about this as I am about--
CAPTAIN
Aye, o' course.
VIOLA
Wonderful.
END OF SCENE
Adaption Explanation:
Originally, I considered not keeping the shipwreck and instead creating another explanation for why Viola was alone in the city, but I felt that would require too much explaining in the text and could leave the original too much, so I kept the original shipwreck. I have, however, made the captain's ship a bootlegging vessel, giving him more reason to remain fairly quiet about her existence. It also means that their ship was wrecked in an area that was frequented by bootleggers, meaning that it wouldn't be too much of a stretch for Sebastian to be rescued by another bootlegger (Antonio, changed from pirate). I've also changed a minor detail, making Viola was picked up by the Captain of a different ship, instead of the captain from her original ship. I felt the story flowed better that way, and it allowed me to subtly include the bootlegging.
Obviously, there wouldn't be Dukes in 1920s New York, so I've made Orsino a very powerful member of the older money society. Olivia will be the same way. Viola is European. Her and her brother are coming to New York in order for him to arrange business and leave Europe for newer potential after WWI. They're old European money, a once titled family who have lost most of their influence in Europe while retaining a fair amount of money with the shifting social structure.
ACT 1 SCENE 3
PANEL 1
Toby enters through a side door, clearly inebriated, a bright flush on his cheeks.
TOBY
Is she mad?
(CONT)
Her brothers death was sad. We've acknowledged this. But carrying on like this is offensive to life itself!
PANEL 2
Maria is waiting for him, facing him in the hall. Her face is stern.
MARIA:
Toby! You cannot keep coming in at this hour.
TOBY:
(Hiccup onomatopoeia of some sort)
PANEL 3:
Reveals them facing one another, Maria ignoring the sound, though her frown worsens.
MARIA:
Olivia is beginning to take an exception to your late nights, and your questionable behavior.
TOBY:
Let her take exception, Maria, before she is excepted herself.
(CONT):
The same problems again and again. I will come as I please.
PANEL 4:
Similar frame, but zoomed in closer to them.
MARIA:
At least pretend to not be wholly wet.*
TOBY:
Wet! Ha! Are my clothes wet? My shoes?
MARIA:
Toby...
PANEL 5:
Toby grins, eyes glinting.
TOBY:
Aye?
MARIA:
At least pretend to not be plastered. Your hootch is going to be the death of you one of these days.
TOBY:
So you say, Maria, but it never is.
MARIA:
Yet.
PANEL 6:
A closeup of Maria, still looking stern.
MARIA:
Miss Olivia was talking about it just yesterday.
(CONT)
And about that foolish boy you brought here.
(CONT)
Without warning. INTO HER BEDROOM.
PANEL 7:
Toby has a puzzled expression on, trying to remember the incident.
TOBY:
Who?
(CONT)
Ah! Mister Aguecheek, Andrew.
PANEL 8:
A closeup of Maria, frowning, eyes narrowed.
MARIA:
Yes, that one.
TOBY:
He's a fine young man. Perhaps not old money, but tall enough.
(CONT)
He easily makes three thousand a year.
PANEL 9:
They're walking down the hall now, still talking.
MARIA:
He's a sot, Toby. And spends as quickly as he earns. He's more foolish than you, if possible.
TOBY:
He's a good man, one of the best. He plays instruments, speaks as many languages as our dear Olivia.
(CONT)
How could you say such things about the man?
PANEL 10:
A shot of them in front of a large window, faces in shadow.
MARIA:
Oh yes, he has knowledge plenty, but he's still a fool.
(CONT)
Quarrel, quarrel, quibble, thats all that man ever does.
(CONT)
At least he's not a coward when he fights, or he'd be floating in the Atlantic by now.
PANEL 11:
A closeup of Maria, her expression sharp.
MARIA:
I've also heard, that he's often in your company, committing illegal acts.
(CONT)
You wouldn't know anything about his bootlegging exploits, would you, Toby?
PANEL 12:
Toby laughs, though his expression makes it clear he's not going to answer her question.
TOBY:
You know I drink, and you condemn me for it far less than that blasted government would.
(CONT)
I drink to our good health, and that of my niece. I'll do so until I drown in it.
(CONT)
Unlike Andrew. Blasted coward! Egg!
PANEL 13:
A door opening, a man's shadow on the floor
TOBY:
Here he is now! Come in Andrew Agueface! Come in!
PANEL 14:
Andrew enters, and the scene shows all three individuals, all eyeing one another. Maria is smirking, Toby and Andrew both grinning. Andrew is clearly as drunk as Toby.
ANDREW:
Toby Belch!
TOBY:
Sweet Andrew!
ANDREW:
And you, fair tomato **
MARIA:
Indeed, sir.
PANEL 15:
A closeup of Toby and Andrew. Toby is elbowing Andrew.
TOBY:
Take note, Andrew, Accost.
ANDREW:
What?
TOBY:
My niece's maid.
PANEL 16:
Andrew and Maria are the focus of this shot, both staring at each other.
ANDREW:
Miss Accost, a pleasure to meet a doll such as yourself.
MARIA:
My name is Mary.
ANDREW:
Miss Mary Accost such a beautiful name.
PANEL 17:
Toby, laughing.
TOBY:
No, no, you're all balled up.
(CONT)
Accost is to arrest her, to bump her, to knock her, and to assail her. ***
PANEL 18:
The image returns to Andrew and Maria again.
ANDREW
Dear lord, in this company?
(Cont)
Is that the meaning of "accost"?
MARIA:
Nailed it, the both of you. ****
PANEL 19:
A similar image from Panel 20, but the speaking and expressions shift.
ANDREW:
Moll, do you think we're patsies?
MARIA:
I wouldn't hold you by the hand, sir.
PANEL 20:
Andrew puts his hand in Maria's.
ANDREW:
And now you do.
PANEL 21:
Maria facing the two of them, pulling her hand back so the tips of their fingers are touching.
MARIA:
Sir! I daresay, this hand is much more fit drinking up the giggle water.
ANDREW:
What, doll? Where's the metaphor?
MARIA:
Dry as drum.
ANDREW:
But of course, I'm not so lousy I can't keep my hand dry. But the joke, the joke
PANEL 22:
Maria smirks, amusement in her eyes.
MARIA:
A dry one, sir.
ANDREW:
Full of them, are you?
MARIA:
And now! But of course, ready at the tips of my fingers.
(CONT)
Until, of course, you beat it and release me.
PANEL 23:
Maria pulls her hand back, turning to go.
PANEL 24:
Maria is gone, the two men alone talking.
TOBY:
Oh sheik, you seem to be lacking the moon. When did I see one put down so badly?
ANDREW:
Never, unless you see the moon put me down, when I put it down!
TOBY:
Witty
PANEL 25:
Andrew grinning to himself.
ANDREW:
Ah yes, I have wit to spare, more wit than any prohibitionist or normal man.
(CONT)
Though I do suppose I eat more beef than I should, and they say that does harm.
PANEL 26:
The two men walk into another room to sit.
TOBY:
Undoubtably.
ANDREW:
That settles it, come the morning I'll foreswear it and seek the moon elsewhere.
TOBY:
Pourquoi, dear sir?
ANDREW:
Pourquoi? What's pourquoi?
PANEL 27:
The scene shows them at an angle, walking, view closer to Andrew
ANDREW:
If only I had followed the arts, learned a trade done something other than party and dip the bill.
TOBY:
Then you would have an excellent head of hair.
PANEL 28:
A similar image, except from the front view.
ANDREW:
How would it fix my hair?
TOBY:
Irrelevant, since it refuses to curl naturally.
PANEL 29:
Andrew reaches up to touch his hair.
ANDREW:
But right on me, aye?
PANEL 30:
Toby bursts into another round of laughter, taking a drink from a container at his belt.
TOBY:
The bees knees. With luck a dame will let you between her gams to spin off the flaxen waves.
PANEL 31:
Andrew stretches, turning his head back towards where they left Maria.
ANDREW:
Then I'll be home before dawn. Your niece wants none of it, or if she is, she'll never be my moll by the odds.
TOBY:
Haven't you heard? Maria refuses to have any man larger than she is.
ANDREW:
Or perhaps a month longer. I do have the strangest whims.
PANEL 32:
Toby smirks knowingly.
TOBY:
Are you good then?
ANDREW:
As right as anyone in the Big Apple, able to eat cake with any man.
TOBY:
And your excellence with the foxtrot I'm sure unmatched.
PANEL 33:
Andrew moves as if to start a dance but stays in that position.
ANDREW:
Unmatched indeed, I'm an unparalleled hoofer
TOBY:
But can you run with the bangtails.
ANDREW:
Or backwards Hop with Lindy
PANEL 34:
Toby puts his hand on Andrew's arm.
TOBY:
Then why hide these talents and virtues? Why not sing them to the word instead of carrying a shadowed torch?
(CONT)
Why not show the dames your abilities instead of hiding from the mark behind curtains.
(CONT)
Your leg seems made of the Charleston.
PANEL 35:
Both men share a grin.
ANDREW:
Strong indeed.
TOBY:
Like a bull, fit for men born under Taurus.
PANEL 36:
Andrew winks at Toby.
ANDREW:
Taurus, oh that's sides and heart.
TOBY:
Oh no no, that's gams and thighs. Now show me the Lindy Hop, my good friend, haha!
PANEL 37:
Both are visible from the back, stumbling through the hall.
END OF SCENE
Adaptation Notes:
* "All Wet": 1920's Slang for completely incorrect and improper. I chose to exchange confine and wet, because while both can be applied to clothing. I wanted to utilize the double meaning of wet, both for the slang and the usual sense of the word.
**"Tomato": Slang for woman
*** With this slang, I purposefully had Toby misuse the words. While these words seem very perverse, they're all slang for things like "kill her". At the same time, with Shakespeare, to die is often taken in a very sexual way, so I wanted to allude to that.
**** Nailed in that time meant to be caught by the cops. Given the time and the fact they're both heavy drinkers, I figured a bit of sarcasm fit Maria well here, instead of the more polite (but also more socially correct in that era) version. Following this line, I cut the jokes about parting, because I felt it would be too difficult to modernize the sword jokes and would not end well.
The dance references: The Lindy Hop and foxtrot are both dances popular in the 1920s, while hoofer is slang for dancer. Meanwhile bangtails is racehorses. I wanted to keep a semblance of their play on words but knew it would be impossible to translate it perfectly, so I changed the play to horses instead of food.
The hardest part with Toby and Andrew was developing their witticisms and play with words to fit naturally in an era whose slang and phrasings I'm less familiar with. While the shift did cause some parts to lose some meaning, it also increased or merely just changed the meaning in others.
I have a lot less explanation for this scene, because explaining each witticism's multiple meanings sort of takes away from the word play. I started to explain some of them, but realized that it wasn't going to be effective for the text. If one exchange is unclear, I can explain it individually. Most of my large overarching adaptations are explained in my presentation, including the choice to make these men bootleggers, which seems almost immediate and obvious.