Sample script 1, victor prince dickson

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Information about Sample script 1, victor prince dickson

Published on February 27, 2014

Author: victorprincedickson



For any production to be worth the time and resources the script must inspire adventure. The story line is one thing and the plot another. Here is a sample of my script writes, please advent if you would. Comments are welcome!

In the RIDDLE OF GOD Love is a holy liquor and the answer is a paradox. Inspired by Paul Twitchell’s; “Stranger By The River”. Written by Victor Prince Dickson. 08036126128, PRE-SCRIPT SUMMARY CONTENTS (i) (ii) (iii) (iv) Title Profile Script Structural Profile Summary of Major Characters and clue to Casting Pace, Mood and Sound Structure.

TITLE PROFILE The bulk of human search through existence is always the question of God before everything else so much that it has become the world greatest riddle giving birth to one religion after another. However, the truth remains, no man born of a woman can unfold God because there is no human apparatus that is qualified enough to unfold God in all his majesty. So the closest a true Seeker can experience God is to know, appreciate and apply the most important part of his principles-LOVE, for this is the closest to God, love is holy because it flows from God, also that love is like a Liquor which intoxicates, love allows the Divine to flow through the Human. Nevertheless, every riddle indeed must have an answer, but in the RIDDLE OF GOD, the answer is not one sided nor is it two sided, it is divine, then it is human, at best this can only be described as a Paradox. This interprets the multi-dimensional plot structure of the story and it also summarize the intent of the production as well as provide the thematic drive of the stories. SCRIPT STRUCTURAL PROFILE Based on the opening lines, the story is divided into three structural paths, three parallel structures and three vertical plot patterns. The first incarnate season of Gloria, Tilda, Joemel and Ndidi defines the second incarnate where what looks like unexplained events occurs, in this incarnate; we see re-incarnation as a principle and the causal display of karma.

The second incarnate season of Okon, Ashionye, Nkiru, Oluchi and Mgbechi investigates karma, the law of reverse and the path of reincarnation. The third plot provides the Seeker’s experience through soul travels and dreams where the major principles of Eckankar in words and images are explored to provide basic knowledge of Eckankar as the religion of Light and Sound. The last scene is structured to conclude re-incarnation, love and knowledge. It is a local Sugmad where all souls meet, this is to exemplify the fact that we are all from one source. Every other thing is interpretative. SUMMARY OF MAJOR CHARACTERS Joemel; in his second incarnate season, is a man of 35-40yrs old who is conservative in character. He is slow to take actions with an air of doubt around him, he feels there is more to living but at the same time, he is also lazy towards the pursuit of these ideals. He has the habit of cocking his head to the left when studying a thing or person. Joemel due to his conservativeness largely wears trousers and T-shirts only. He is a graduate, but despite his conservative nature, he speaks good impeccable English, he is a little plumpy but most importantly he doesn’t wear beards except his moustache. Okon; in his first incarnate season is Joemel only that as Joemel in this season is smart, almost near flashy, his choice of colour is always bright, then also he wears beards well trimmed opposite to Joemel in some ways. He cocks his head to the right and often smiles while rubbing his cheeks. Okon is also a graduate. At a glance, Okon is a perfection at age 45, Okon carries a good

charisma but then whenever he gets uncomfortable, Okon shows signs of fidgeting, unlike Joemel whose voice is clear and softer, Okon’s voice is a little bassy and authoritative. Both characters though the same however differ due to differences in incarnate seasons which will be embellished with specific touch of make up and costume not to mention characterization. The character fluctuation is challenging, hence, I recommend a very, very flexible Artist. Then again, I strongly recommend that due to the symbolic structure of the story both in content and meaning, any type-Artist will kill the symbolic interpretation of the story, therefore, most of the Artist must be unpopular so that they can embody the meaning of the story. This characterization structure provides the same basic principles for which other roles like Ndidi/Ashionye, Gloria/Mgbechi, Nkiru and stone will be casted. This is so that we can achieve a kind of contrasting harmony which will complete the visual image presented as a whole. However, this is subject to the Director’s consent and approval within his interpretative style. PACE, MOOD AND SOUND We can access and control the rate of the heart beat which will translate to control of emotions and attention, using the audience breathing pattern to harmonize with the pacing and mood of the stories. Then again, since it is a soul discourse, there should be a dominance of strings and flutes since they tend to provide emotional links. For pictorial difference, we suggest that there be a colour tint that is almost invisible just to mooden the pictorial flow and separate incarnate seasons.

Zuka’s Eckankar album will be appropriate. This is so that we can maintain the sound channel to the soul, thereby deepening the meanings in the story to achieve the overall objectives of the project.

BLACK SCREEN [very soft quartz playing] V/O [soft male voice in reflective tone] My father told me that there are three kinds of people; Those who ask question? Those who ask question! Those who ask question. MONTAGE AND CREDIT. Different continents, different cities, different fashions, different architectures from 15th century to 18th century to 19th century to 20th century, modern times and the future, the Sugmad, the universe, mountains and valleys, sound clouds and multiple light paths… CUT. SCENE 1. INT. DAY. MONTAGE. American quartz is playing, the room is blur but we see Joemel dancing with a white woman as they circle the room. SCENE 2. INT. SAME LOCATION. American quartz is still playing, the same blur room but this time we see Joemel dancing with another American woman. SCENE 3. INT. SAME LOCATION.

Joemel is dancing, we see a white man dancing with a black woman, a couple dancing, both whites and another, both blacks. JOEMEL-V/O [reflective] I enjoyed every bit of my stay in America. NDIDI-V/O Are you planning to go back? The camera blurs again defocusing from the dancers to Joemel who is now dancing with Ndidi. He looks at Ndidi… JOEMEL (shaking his head) No. Just then, the camera defocuses to establish the room. It is Joemel’s one room apartment. JOEMEL [leading Ndidi] Let’s rest. I can see that you are not used to this kind of dance. Ndidi smiles. CUT. [sound-track; Hue in the morning] SCENE 4. EXT. C & C PRIVATE CLINIC. DAY/MORNING.

A not very sophisticated clinic, moderate in design, furnishing and personnel. A car drives through the gate and parks in front of the clinic. Clement gets out of the car, slams the door and walks in. CUT. SCENE 5. INT. SAME LOCATION. The receptionist who is sitting, jumps up suddenly to greet Clement who just breezes in without answering. He stops mid-track CLEMENT (without pleasantries) Where is nurse Ijeoma? RECEPTIONIST (trying to compose) She just left to tend Mr. Kola’s stitches. CLEMENT Tell her to report to my office immediately. RECEPTIONIST (now composed) Okay Sir. CLEMENT [turns to go but stops] And is Christopher on seat?

RECEPTIONIST Yes Sir, he…he has not gone home since yesterday. CLEMENT (surprised) Okay, just send in Ijeoma. He turns shaking his head, he heads for his office. CUT. [instrumentals of Hue in the morning]. SCENE 6. INT. CHRISTOPHER’S OFFICE. Christopher is looking exhausted and is barely able to round up his table work. Clement opens the door, looks at him sadly and slowly closes the door. He leans on the door. CLEMENT (pitifully) Chris, you can’t save the whole world. CHRISTOPHER [remove glasses, rubs his eyes and stretches] Who is saving the world? CLEMENT But you have not gone home since yesterday… I pity Oge; she is not even enjoying her new husband…see… CHRISTOPHER [lifts his hand to stop, Clement] Enough Clement…there’s more to marriage than just MARRIAGE, I love her and you know it. I just don’t believe that we were sent into this world

Just to come and marry. There is something higher. Thank God Oge understands. CLEMENT (sighs in defeat) Well if you say so, but at least go home today. CHRISTOPHER Of course, do you think I married her for fancy? Both laugh in friendship. CUT. SCENE 7. INT. C & C PRIVATE CLINIC. MOMENTS LATER. A pregnant woman is producing a mosquito buzz noise while the receptionist watches her in controlled amusement. PREGNANT WOMAN That is what I hear every second ever since I entered Into the advanced stage of this pregnancy. REEPTIONIST Well Madam, tomorrow is your antenatal schedule, No doctor can attend to you now and today. PREGNANT WOMAN Where is Dr. Clement? RECEPTIONIST You know we have only two doctors, Dr. Clement and Dr. Chris, Everything is on schedule, please come tomorrow. PREGNANT WOMAN You don’t seem to get it, the buzz is killing me…wait…

She brings out a sheltox spray and starts to spray around her. The receptionist cringes, the few people coming into the hospital stops at the door in surprise. RECEPTIONIST Madam there are no flies or mosquitoes around now, you can ask from the other people. Those at the door curiously begins to walk in. PREGNANT WOMAN (dismayed) Are you saying that the flies…the mosquitoes are inside my head? RECEPTIONIST (moves closer) It’s possible… The pregnant woman looks at her more closely in shock. [continues] …no! It is not abnormal, its just one of those Irregularities of the body during pregnancy. Just then, one of the women that came in earlier, who has been watching them in silence walks up to the pregnant woman and draws her aside. ECKIST WOMAN You say you hear constant buzzing like mosquitoes and big flies? PREGNANT WOMAN (gladly) Yes! And it started when I got to the advance stage and … Yes, it just occurs to me now that I usually hear these sounds only during my pregnancy circles. You know what? They get louder as my condition advances. ECKIST WOMAN It is nothing to worry; it is the presence of souls waiting for you to give birth

So that they can enter the body… So simply said, it is the soul of your unborn child. The pregnant woman looks at her in shock, then fear as she picks up her bag and runs off, but at the door, she stops and looks back at the Eckist woman who looks back at her in understanding and nodding her head. Both eyes lock for a while but then, the sound of footsteps from down the hall breaks the look. The pregnant woman collects herself and leaves. Ijeoma walks into the reception, looking at everybody from pregnant woman to pregnant woman trying to figure out what just happened. Unable to get any answer, Ijeoma turns to the receptionist for clue. SCENE 8. INT. CLEMENT’S OFFICE. MOMENTS AFTER. Clement is in his full doctor’s regalia and going through some patient’s cards when Ijeoma knocks and walks in. CLEMENT (not looking up) Nurse Ijeoma, what’s the clinic’s schedule? IJEOMA Sir, you handle the morning shift from 6a.m-6p.m While Dr. Chris completes the clock. CLEMENT So which means? IJEOMA That your schedule ends at 6p.m. CLEMENT So why did you disturb me at 6:45p.m yesterday?

IJEOMA Sir, it was an emergency…when Mr. Kola and his friend were brought in fro the accident wreck, Dr. Chris had a full hand, so I thought since you were around, You could help. CLEMENT (raising his head) So you now thought for me. IJEOMA No Sir… CLEMENT Do you know the meaning of schedule? IJEOMA Yes Sir… CLEMENT (cuts in) Obviously you don’t, but I’ll educate you; Schedule means an agreed season of responsibility and duty. Outside that time, I am not to be held responsible for anything. IJEOMA I am sorry Sir. CLEMENT I am not Chris, I don’t believe in saving the world. I want to save myself too… [jumps up in anger but with controlled voice] …never again break the schedule, When I’m done, I am done for the day. get out! IIJEOMA

Sir… Clement looks angrily at her, she turns leaves and closes the door behind her. CUT. SCENE 9. INT. RESTAURUANT. EVENING. Joemel is seated with Ndidi in an average restaurant filled with people. They are seated in the centre, a few steps away from the window on Joemel’s right. On their table is a simple plate of akpu for Ndidi and rice for Joemel. The setting sun is setting can be seen from Joemel’s right window side. People are eating and drinking and the girls are busy attending to the numerous customers. NDIDI Joe, you know, it amazes me that I am feeling this way towards you, After all, its not been long we met. JOEMEL Well, feelings come in sizes. NDIDI You know what they say, it’s better for a woman to love a man less, While the man do most of the loving. That way, the woman is safe. JOEMEL Well, I think women often times confuse passion, loyalty and love, For one thing-LOVE. NDIDI Are you saying I don’t love you? JOEMEL I am saying you are capable of other feelings. NDIDI

See Joe, both of us are old enough, so let’s face it, I will not mind to settle down with you. JOEMEL (considering) Ehm…well… NDIDI Are you saying that it has not even crossed your mind? See Joe, the only weakness I have as a person is anger, And that I have learnt to control. JOEMEL (looking straight at her) Thank God you know one of your Karmas very well… I all honesty, I will not marry you. Ndidi goes still for a while, and then gradually through her eyes and face muscle, we see anger building in her. Joemel still looks trying to understand the sudden change as gradually her hand creeps towards the fork on her plate. As she picks it up to stab Joemel, the sun sets to an angle where it reflects into the restaurant through the window. The sun ray has the EK of Eckanker and it goes Joemel and freezes Ndidi’s action, while Joemel though still sitting stands up and enters the light and disappears. {suspended image} CUT. SCENE 10. INT. DAY. Tracing the sun ray, we arrive at what looks like a house with four windows, two windows on either side; four chairs are placed in the middle of the house, the concentration of the light is on the north wall of the house. The light is not too intense, it has a sunset glow and through one of the windows a smaller light filters in and grows to stand before the stronger light on the wall. We pass the light full

figure, to focus on the on the wall light, gradually, the light begins to change shape into the face of a man, it is the Mahanta. MAHANTA [in a simple friendly teacher’s voice] This is your third incarnate season. Obviously, you have been learning and unlearning. You are handling the mantras with more maturity now but you still need to grow, Especially with certain karmas you brought forward from your first and second incarnate season. Focus and don’t be weaked, your juncture is near… Gradually, the face melts into the light and the light on the wall disappears leaving an after glow. We turn to Joemel, behind him, the four initial empty seats are now occupied with three men still covered with the after glow, only one seat is empty, Joemel turns and walks to the empty chair and sits. 1ST SEAT Joemel, you are 999days away from your juncture, The day of your wealth. 2ND SEAT That will be 20th October 2011, Two days before the Mahanta’s birthday. 3RD SEAT Do your best to love, shed the light…sound to become a co-worker with God. Resist any negative karma and you will have your day. That’s the message. Joemel looks around and nods his head in appreciation and agreement. Suddenly, a great glow fills the hall and swallows them.

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