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, 08157772250:bornproff@yahoo.com

PRE-SCRIPT SUMMARY

CONTENTS

(i) Title Profile

(ii) Script Structural Profile

(iii) Summary of Major Characters and clue to Casting

(iv) 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 re-

incarnation.

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.