Part 1&2 of “The Rise of the Crytal King”

Written by Tim Ong

Completed Video: https://www.youtube.com/watch?v=AKnWAjGI3D8

Bonus Video: https://www.youtube.com/watch?v=AKnWAjGI3D8

 (Scene 1 and 2 were omitted from the final cut)

Scene 3

Part 1: Mechanic Diversion

The scene opens onto a village that has people screaming. As the camera shows the town littered with debris and destruction, the ninja make their way to the scene.

Scene 4

As people are running and hiding. The ninja ask questions to the village folk about what the attacker looks like. After getting information from several people, they are able to figure out that the vandalizer is the mechanic.

Lloyd: What’s going on here? Why are people screaming?! Townsman Tom: The Mechanic! He’s terrorizing our town! (Flees)

Lloyd: The Mechanic? Oh please, what’s the worst this guy can do? Hack our phones so they say “Obey the Mechanic?”

Zane: Illogical, the Mechanic has been behind 39 other unsolved crimes, he is smarter than that.

Jay: I keep telling you, we should upgrade Zane’s humor coding

The camera quickly cuts to the mechanic burning a house with his mechanic arm and then shows the ninja in shock

Nya: GET HIM!

They all split up to go look for him feeling as though taking them down will be relatively easy. The ninja are seen going in different directions where then the scene changes focus to Lloyd, who is wandering around looking for the mechanic when they hear a strange noise coming from a dark alley. After walking towards it to inspect it, they get snatched and pulled into the darkness.

Lloyd: Alright Mechanic.. It’s over! Come out! Lloyd: Wait.. what’s that?

Lloyd finds a crate and goes to inspect it before getting zapped by the Mechanic Lloyd: Is that.. Vengestone? –AHHH!

Continue reading “Part 1&2 of “The Rise of the Crytal King””

Office Spectacle

by: Jesus Diaz

INT. Office space-day

A Woman sits still at her desk, this is our protagonist who will remain unnamed. She simply sits there staring off into space into her computer’s deepest soul. As she stays there looking off at the computer, we can see in her own face that a part of her remains unfulfilled in the life she holds.

Narrator (v.o)

This woman has been working here at this place for nearly the last 3 years of her life. She is usually well-sound and happy-hearted in her workplace. Many of her fellow workers are happy to have her around

Another woman begins to walk towards the Woman, drooling off at her desk; this is The Boss.

The boss

You ain’t done shit all day today. What the hell is wrong with you.

Freeze-frame

Large Text Appears that says: The Boss

Narrator (V.o)

To a possible large surprise of many. The largest one here is actually the only individual to be seen within miles on end who does not take a kind approach to speaking with her is the boss themselves.

The boss

Quite sick of your shit. Get it together and get to work.

The Boss begins to walk back off away from the Woman’s cubicle; the Woman looks at her as she walks off. When the boss is no longer visible in her sight, she begins frantically typing on her computer to look through the U.N. goals. As she browses through them, the narrator begins to speak again.

Narrator (v.o)

You see. Our lovely unnamed worker here has been having a slight bit of an off week. One of severe existential crises. Quite literally, causing her to question nearly every event in her life. Especially beginning to question her place here in this job and society. She works here 8 hours every day with a single 30-minute break each shift, except for Sunday, where she can receive the full day off. Somewhat useless to her, given that she then stays at church in the morning for 4 hours. Not that it would matter to her, for lots of free time, she can’t afford many activities due to just how little she is paid for her work.

The Woman looks over to the time on her computer, the time for her break is finally almost here. She begins to drool with excitement as the final minute begins to hit, allowing her 30-minute break to sink in.

The woman

(softly) It’s all finally over.

She gets up from her desk and begins to walk off to go get herself some food.

Int. Cafeteria-day

The Woman gets her food and begins to go sit at the table; the camera zooms onto her food, revealing a rather unappetizing meal that she begins to eat with glee.

Narrator (v.o)

In her mind, this is the best meal of the day. She never manages to truly eat much. A simple cafeteria lunch on her break causes the happiest of sensations in her bones.

Fade

INT. Office space-day

The Woman is back at her desk, typing away as her miserable life ticks by and by.

The clock is now much more in the frame, able to be seen by the audience. The Woman begins to look over at the clock as her eyes begin to widen with excitement, but more so a sense of a shimmer of light in her despair-filled world.

The woman

Finally, it’s almost over, I think I’ll be fine.

In her voice, her shakiness and scarred trauma in the life she lives is highly noticeable.

Narrator (v.o)

The end of the day begins to rise, and the Woman will finally be able to go home to her lovely little world that she partakes in. A lovely world based upon the dreams she was told would be hers as a young child. Not to represent what the present holds, but what would simply just be another little factor of her own self-imposed lore, her own little moment of despair in the underdog story she always wanted to believe was hers.

The time finally hits, it’s the end of the day and the Woman stands up and begins to run out with excitement as she can finally get out of work.

The woman

This is it, this is it, this is it.

Fade to:

EXT. Her boxy house-dusk

The camera takes note of her boxy house sitting still in a hallway; she begins to walk up to her lovely little box.

Narrator (v.o)

This is the world and lovely little domain she retreats herself to every single day, after 8 hours, she happily sleeps in the best piece of shelter she can afford; this is what her life has come to and will most likely always continue to be. A simple box in her alleyway is all so far, the only thing her dreams have allowed her to obtain, truly shining glamour in her eyes.

She sits down in her box with a smile on her face, she gets a blanket and her pillow and begins to lie down, slowly falling asleep.

The camera lingers on her sleeping in her box as the image slowly begins to fade.

Fade to:

(credits)

American manga

  Screenplay by:Jesse Diaz

The movie begins with a shot in the Japanese Ghibli Museum, where we have the main character (Riktor) standing in front of a massive picture. Next, to him, a small girl walks into the shot and also stands in front of the massive picture.

 Small girl:  

It’s beautiful isn’t it? I wish that one day when I’m older I’ll be able to draw exactly like this. (she has a small blush)or at least I hope to one day.

Riktor looks over at the small girl. He digs into his pocket and shuffles around until he stops suddenly. He took out a quarter and walked close to the girl. He kneels down next to her and hands her the quarter.

Riktor

Little girl, I definitely can’t really be able to help you but I hope one day this quarter can help you draw like Hayao Miyazaki one day. It might be kinda hard, but you should use this to start saving up for a drawing tablet.

He hands her the quarter very certainly with a small smile on his face. He hears in the back two women speaking Japanese knowing exactly what they’re saying.

Japanese woman #1:

Kare wa koko de ittai nani o shite iru nodesu ka?

Japanese woman #2:

Watashi wa kare ga ikutsu ka no kuso shinsekai-shade wanai kotto o negetta imasu.

Rictor looks over at the two Japanese women. He stands up and moves away from the small girl. He grabs his bag off the floor and shoots the small girl a wink right before he walks away and leaves the museum. While walking he opens up a bag of poki and begins to start eating it while walking towards the exit. Right before he leaves through the door he’s greeted by a woman who works in the ghibli museum.

Ghibli Museum worker:

Have you enjoyed your time here at The Ghibli Museum?

Read more: American manga

Rictor:

Watashi wa koko ni kuru 5-banme no timu o tanoshinda, arigato.

The museum worker looks at him stunned, she has a surprised expression and begins to smile showing extremely white teeth. Victor stands there a little awkwardly and begins to walk out of the exit until he is interrupted by the woman.

Ghibli Museum worker:

Anata no nihongo wa totemo ryuchode jozudesu.How do you speak it so well if you don’t mind me asking?

Victor looks a little surprised by her question but doesn’t mind answering.

Victor:

Oh, I am moving to Japan next week to become a manga-ka. I got really invested when I was younger in anime and manga so I learned Japanese so I could watch and read them without the subtitles and read the original versions of manga.

Ghibli Museum worker:

Are you moving here to become a manga-ka? You’re an American, though, don’t you think that’s a little bit

weird? You don’t think you might have trouble in the Japanese industry? Ya know? Being an American and all?

Riktor:

Well…I’m a pretty big dreamer so I think I’ll be fine. Besides, around these parts, I think I might be a hell of a lot more accepted here than I am back in the states.

Ghibli Museum worker:

Really?

Riktor:

Yeah.I know tragic.

Ghibli Museum worker:

Well, good luck with your future career American.

Riktor looks a little bit weirded out

Riktor:

(under his breath)im Hispanic. (he lifts up his voice again)Thank you and my name is Victor.

Ghibli Museum worker:

Well, in that case then.Anata no shōrai no kyaria de no kōun bikutā.

Victor:

Arigatōgozaimashita.

Riktor finally leaves out of the Ghibli Museum, chowing down on his pakis. After about 2 steps, he stops to look around for any cabs or taxis to pick him up. He goes into the pocket of his jacket and pulls out cheap-looking sunglasses. He looks around for a little and walks down the block hoping to find a cab. He stops at a street corner and calls for a cab to pull up. They pull up on the street corner, and Victor hops in.

Cab Driver:

Anata wa Amerika ni mukatte imasu?

Victor:

Hanedakūkō made tsureteitte kudasai.

Cab Driver:

Kashikomarimashita.

The taxi begins to go down the street. Riktor looks out the window. Feeling extreme raw excitement.

The cab drives into the terminal gate at the airport. Riktor steps out and he notices a statue of Totoro and a smile of excitement crosses across his face. He walks to the cab driver and puts his head through the open window on the passenger side.

Victor:

Totoro to burasagatte iru shashin o totte itadakemasu ka?

The taxi driver looks a little bit confused

Taxi driver:

uhmm…Shōchishimashita(sure)

The taxi driver steps out of the cab. Victor gives him the phone. He then walks to the Totoro statue and does an aheago face. The taxi driver looks a little freaked and reluctantly takes the photo. Though it takes him a few too many seconds. The taxi driver gives him back the phone and walks back to the car. He gets inside and drives off.

The Drakonizing

 Written By

  Jesus L Diaz 

Black Screen/ Fade in:

1 EXT. BENCH-NIGHT

Draketh (Teenager) is standing in the cold Swiss autumn hitting the winter air and weather, he is simply staring off into the distance only with bare small movements in his leg. (Sounds of synthwave Jazz begin to play quietly)

CUT TO-CLOSE UP SHOT TO THE SIDE OF HIS HEAD

He is first staring down at the ground looking melancholy towards the earth but begins to lift his head up and start blinking rapidly.

CUT TO-GROUND SHOT (BEHIND SHOULDER LEVEL OF DRAKETH)

We are then shown the ground behind him but in a blurry depth of field, as drake begins to turn his head behind him a small cardboard figure begins to lurch into the frame and become more visible as he stands motionless on the ground. For now, he is named Cardy.

The Depth of Field begins to less again as we can suddenly see a close up shot of Draketh from a god like perspective looking down on him as he eats a biscotti. By this point he is no longer looking behind him and his head is in the original position.

Continue reading “The Drakonizing”

Nightimers Limousine Dream (ScreenPlay, Work In Progress) By: Jesus Diaz

EXT. ROSE – NIGHT

A rose in front of a dark and grayish background with a sliver of golden liquid slowly dripping from it. (in black and white filter, with only the golden liquid being in color.)

NARRATOR (V.O.)

Some say that at a time in ones own life, love is seen throughout the complexities of the human body–for some there is one in the world that can only exist for them.

FADE TO:

The bottom of the flower is not visible in a close up shot, the black and white filter remains the same and pedals slowly begin to fall off.

NARRATOR (V.O.)

This is an ideal that begins to take over many of the zeitgeist in one’s teenage year. For most, this is a concept that only exists for those in teenage years, but sadly for some the ideals and beliefs never leave their mind.

CUT TO:

INT. LIMOUSINE – NIGHT

An eye-level shot of the limousine window, the limousine is moving normally. The outside world is a visible mountain range with a few slight buildings very visible.

NARRATOR (V.O.)

In most cases, this creates a dissemblance in one’s mind on what the concept of love may become.-

Suddenly, a shadow figure passes through the limousine, barely visible.

NARRATOR (CONT’D) (V.O.)

In some cases, a room in one’s mind may not truly be finished. No matter how intelligent the individual may be, beyond their thoughts of love. Beyond their thoughts of intimate-sexual desires.

Continue reading “Nightimers Limousine Dream (ScreenPlay, Work In Progress) By: Jesus Diaz”

WHO’S CALLING? by Dillon Higgins Adapted from “Sorry, Right Number” by Stephen King

ACT I

FADE IN:

20 year old babysitter, DANI WILLIAMS, is sitting on the couch, eating popcorn, drinking Dr. Pepper, binge watching Grey’s Anatomy on Netflix.

She is so intensely staring into the screen, she doesn’t even realize her phone ringing right next to her. The boy she’s babysitting, 10 year old MARK HANNIGAN, walks into the room.

MARK

Hey, DANI, are you just gonna let that ring forever are you gonna answer it?

(MORE)

She doesn’t even acknowledge his existence.

MARK (cont’d)

HEY! DANI… Are you alive over there?

Continue reading “WHO’S CALLING? by Dillon Higgins Adapted from “Sorry, Right Number” by Stephen King”

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