The document provides background and context for a proposed film or story titled "The Riddle of God". It explores the concept that love is the closest way for humans to experience God, though fully understanding God is impossible. The story will follow characters through multiple lifetimes to depict reincarnation and explore principles of Eckankar, which sees love and light as fundamental spiritual truths. It provides character profiles, planned scenes, and guidance on tone, pacing, and soundtrack to immerse viewers in the symbolic themes.

1. 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)
(ii)
(iii)
(iv)
Title Profile
Script Structural Profile
Summary of Major Characters and clue to Casting
Pace, Mood and Sound Structure.

2. 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.

3. 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

4. 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.

5. 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.

6. 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.

7. 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.

8. 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?

9. 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

10. 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…

11. 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

12. 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?

13. 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

14. 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

15. 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

16. 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.