Chapter 27: Girl and Middle-Aged Man

Akiwara Yuto thought for a while, took a pile of snacks, opened the packaging, and placed it in front of Igawa Akemi, signaling her not to be polite.

His proposal could be affirmed, and this beautiful college student in front of him must have contributed quite a bit, so let's reward the other party a little.

Seeing her eating happily, Akiwara Yuto greeted her and returned to the desk to ponder constantly.

Which one should be adapted? He began to dig deep into the memories of his past life.

In Japan, the content of stage plays is very extensive, with adaptations of two-dimensional works, such as Prince of Tennis, Bleach, Touken Ranbu, Black Butler, Naruto, Fate, etc., as well as adaptations of classic works and original ones. As for detective works, it's not that there are none, but the proportion is extremely small.

Like the short stories of the Otsuichi series, they are one of the detective novels suitable for adaptation into stage plays; the stories are short and concise, and also have a certain reversal and exploration of human nature. Most importantly, because they are short, the time required for rehearsal is not high, and they can be completed before the school festival in mid-August.

Determining that there was no problem in this regard, he took out paper and pen from the drawer again and pondered another question—because of the copyright issue mentioned by Asano Aiko, the works he used must be published before the school festival.

Calculated this way, there are only these 5 pieces: "Little Ornament and Yoko," "Sofar," "Seven Rooms," "Zoo," and "Poem of the Sun."

His heart moved, and he thought of a question, so he walked back to the living room and asked Igawa Akemi: "Ms. Igawa, how big is your drama club, and how many actors are suitable for performance."

This point cannot be guarded against; what if he writes a work that requires more than a dozen actors, but the other party has a few club members, wouldn't that be awkward.

Igawa Akemi heard this question, put down the snacks in her hand, and counted them with her fingers, "Let me think, besides me, there are Risa-chan, Tomomi-chan, Rikako-chan who have performance experience... and Takashina-san, Matsuno-san who are responsible for behind-the-scenes work..."

Although she spoke vaguely, Akiwara Yuto had a further understanding of the division of labor in the drama club: the director was served by their instructor, and besides more than a dozen behind-the-scenes personnel such as lighting, props, and costumes, the number of actors with skilled performance experience was ten, totaling about fifty people.

Akiwara Yuto pondered for a while; if there were so many actors, stories like "Little Ornament and Yoko" and "Sofar" which only had a few characters would definitely not be suitable.

Then, how about "Seven Rooms"?

From the perspective of the number of people, "Seven Rooms" requires quite a few actors due to the plot setting, and at the same time, each actor can fully play the characteristics of his role.

From the perspective of the tension of the plot and the degree of reversal, "Seven Rooms" can also grab the audience's attention. Coupled with some thriller music and lighting, it can shape a very good stage play effect.

Making up his mind, he prepared to return to the study to carefully sort out the outline. Just as he stood up, he found that the corner of his clothes was grabbed by a hand that reached out.

He looked down and found Igawa Akemi looking at him aggrievedly: "Mr. Akiwara, it's already noon, I'm a bit hungry."

Hearing the other party's request, Akiwara Yuto had a black line on his face, constantly complaining in his heart, aren't you eating snacks all the time? Why are you still hungry? Did you feed it to the pigs?

Igawa Akemi saw Akiwara Yuto's expression was unkind, feeling that she was also a bit excessive, worried that she would drive away the "writer screenwriter" she had finally invited, so she also stood up and showed a bright smile: "Mr. Akiwara, you have nothing to do at noon, give me a chance to treat you?"

Akiwara Yuto looked up at the alarm clock and found it was about time for lunch. He thought about it and agreed.

The two walked downstairs, changed their shoes at the entrance, walked for more than 20 minutes, and reached a family restaurant nearby with the name "Garden" hanging on it.

The Japanese family restaurant is mainly a form of restaurant that creates a family atmosphere and provides a variety of dishes, a bit similar to Saizeriya and Pizza Hut.

Its price is relatively popular, and the price of a meal is about 500~2000 yen (25-100 yuan), which is considered cheap and good quality relative to the price level in Japan.

The two walked into the store door, were led to a dining table by the window by a female waiter who looked like a high school student, and after looking at the menu, the two ordered a beef bowl and a curry chicken steak bowl.

While waiting, Akiwara Yuto also constantly pondered in his mind how to design the dialogue. Because the artistic form of stage play is different from novels, the script is basically actor + action + dialogue.

Taking "Seven Rooms" as an example, it is what action and expression the sister made, what she said, what action and expression the brother made in response, and what he said. At which plot, what kind of voice-over should be matched.

Igawa Akemi didn't know Akiwara Yuto was thinking about the script; she saw the brows on both sides of the other party frowned, thinking he was thinking about something distressing.

What should I do? Mr. Akiwara's expression looks so serious; why not distract his attention? Right, just do this.

Igawa Akemi's brain started to move; she observed the surroundings and said "exaggeratedly": "Mr. Akiwara, have you noticed that the female waiter who just ordered for us seems to be a good match with the handsome chef next to her."

Akiwara Yuto was thinking about dialogue design and didn't expect to be interrupted by her sentence; he felt a bit impatient in his heart, and his eyes didn't even look at it; what does it have to do with you whether others match or not? Hurry up and eat and leave.

Igawa Akemi saw Akiwara Yuto was not interested and said with a little frustration: "Mr. Akiwara, shouldn't writers usually observe the people around them to obtain writing materials?"

Akiwara Yuto glanced at her subconsciously and was a bit surprised; he thought the other party had nothing else in her brain except eating, but didn't expect she could say such a sentence.

He pondered slightly and felt that what the other party said was indeed reasonable; any excellent writer must learn to observe other people and things and refine them into their own materials.

So he pretended to look, but the more he looked, the more he felt something was wrong.

From the appearance, what Igawa Akemi said was not wrong, the female waiter and the chef were indeed handsome men and beautiful women, but unlike the eyes of the handsome chef laughing and talking to the other party, the female waiter's eyes looking at the other party were completely cold and official. Her eyes, however, occasionally paid attention to the store manager next to her.

Akiwara Yuto looked at the store manager who was collecting money next to him again: 40-something years old, a messy hair, and even bald spots on the back of his head.

What is this? Triangle love + middle-aged love? Learned, learned; art really comes from life.

While he was sighing, another female waiter with fluffy short hair also delivered the dishes they ordered; Akiwara Yuto put down his wild thoughts and said "I'm starting" with Igawa Akemi on the side, and moved his chopsticks.

Lunch ended; he thanked Igawa Akemi and agreed to contact the other party after the script was completed, and then said goodbye and left.

He prepared to find a place to collect some script examples to use as a reference for himself. ===== CHAPTER 28 =====