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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