Lesson 12

[Kenneth Wood]

Ken’s Level 3 Horror Emotion Scene

I learned that in Act 3, it’s time for the Lead Character(s) to experience the greatest and most direct onslaught of the monster, or whatever is creating the terror.

I’ve done my best to ratchet up the emotions of Anguish, Panic, Horror and Hysteria.

In my Act 3 scene, Teras, the most intelligent, deadly, and aggressive spider in the world, finally has escaped the lab and made it back to the banana shipment at Crutchfield’s Produce Warehouse at the sea port. We discover that getting back to egg sacs, that she has planted among the bananas, has been her driving force and cause of her deadly aggression. However, our lead characters, Rexy, Keaton, Sheriff and Atticus converge on the warehouse just before her arrival, thinking that she might be returning to the smells of her native country, Brazil.

The humans discover the egg sacs, and while Rexy’s team believes they should be killed on the spot, CIA Operatives behind the gain-of-function spider venom experiment, known as QUICK KILL abscond with the egg sacs planning to use their venom in their assassination program. No sooner do they have the egg sacs in their hands, Teras shows up, more agitated than ever. The CIA Operatives drop the egg sacs which burst open causing the thousands of baby spiders to swarm them and others nearby. Teras viciously attacks as many humans as she can, fully intent on killing all of them.

Teras is especially enraged when Crutchfield begins to torch her offspring with a homemade flamethrower. A big moment of these horror emotions is when Keaton gets bitten on the finger by Teras. Atticus has been bitten as well, but takes the anti-venom for himself that Rexy was bringing to Keaton. So, Keaton asks the Sheriff to shoot off his finger to save his life, which the Sheriff does.

My Scene:

CRUTCHFIELD’S WAREHOUSE

Upon entering, they are greeted by a livid Sheriff Mauer reaming out Bob Crutchfield.

SHERIFF MAUER

What the heck do you mean, you had to get them to market?

BOB

Only half of them. I had to break even.

SHERIFF MAUER

Did you check them for other spiders? This thing is a killing machine, Bob.

BOB

I’d be dead already then, huh? Come on. I watched those bananas a whole day and a half turning yellow. Didn’t see no more creepy crawlies. Only a…

Bob halts abruptly.

SHERIFF MAUER

What was that?

BOB

I found an egg sac. Only one, but, I trashed it.

REXY

Oh, no. She’s reproduced. How big was it?

BOB

About four inches long. It ran between some bananas.

REXY

How wide?

BOB

Maybe an inch.

Rexy squeezes Keaton’s arm. He bends over.

REXY

(whispering)

That’s large enough for at least a thousand eggs.

Keaton’s eyes grow wide.

SHERIFF MAUER

Bob, were you gonna call and tell me?

BOB

I figured I’d just apologize when the time came. Over here.

Bob leads them toward a large, rubber, trash can. Keaton rummages around in the can.

BOB

I tied the bag real tight. They can’t get out. Those are premium bags.

SHERIFF MAUER

You better hope to God.

Keaton and Rexy inspect it.

REXY

We have to check the rest of the crates. There may be more.

SHERIFF MAUER

Let’s get to it.

A frantic search for egg sacs ensues. In one of the last crates, Keaton announces…

KEATON

I found one. He pulls out a cluster of bananas. He lifts a banana to reveal the large egg sac underneath.

They all converge to look at it.

REXY

We have to destroy the egg sacs.

BOB

I’ve got a homemade flamethrower I use to burn those banana spiders when they crawl out on the concrete. I don’t get near ‘em.

SHERIFF MAUER

Get it. Let’s do this now.

Bob retrieves the flamethrower. Keaton lays the banana cluster and egg sac on the ground.

Bob lifts out and cuts open the trash bag, pulls out the cluster of bananas with the other egg sac, and hands them to Keaton. Keaton places them alongside the other cluster.

Bob lights the device with a camping flint.

ATTICUS (O.S.)

You can’t do that.

The group wheels around to see Atticus, flanked by gun-bearing Anon and his Fellow Associate.

ATTICUS

Those spider eggs are protected, too. Turn that thing off.

Bob complies and sets it down.

ANON

Sheriff, drop the gun.

Sheriff Mauer complies. Anon forces Rexy and Sheriff Mauer away from the clusters.

KEATON

What brings you here, Atticus?

ATTICUS

We can’t find Teras, so, we’re looking for the next best thing.

SHERIFF MAUER

(to Anon and Fellow Associate)

Who the heck are you guys?

Anon flashes a fake badge.

ANON

Brazilian Ministry of Environment.

REXY

Atticus, the Teras species is going to destroy thousands of other species. You can’t let Teras and her offspring live. They’re too aggressive and too deadly.

ATTICUS

Not if we can contain them.

REXY

Haven’t you learned yet? You can’t contain Phoneutria Teras. They’ll spread faster than a Corona Virus.

ANON

Shut up, lady!

Rexy’s eyes plead with Atticus. Atticus shrugs.

ATTICUS

These men have all the guns.

ANON

(to Fellow Associate)

Get those egg sacs.

Fellow Associate approaches Keaton and Bob.

FELLOW ASSOCIATE

Step back.

Bob steps away but, Keaton steps in front of the clusters. Fellow Associate smacks him in the side of his head. Keaton falls.

>>>> Change to possible fight here?

Fellow Associate picks up one cluster. Anon makes his way over and picks up the other. Atticus follows to inspect the sacs.

ATTICUS

Those are the hers, alright.

ANON

Alright. Let’s go.

They start toward the door. But stop dead in their tracks. Teras has appeared right in front of them.

She is in battle stance, with her front legs up in the air. Her fangs fully extend with beads of venom beads forming on her fangs.

Teras lets out a blood-curdling SCREECH.

Anon aims at her. BANG! Teras side steps. Missed.

Teras SCREECHES again and moves quickly around to the far side of Fellow Associate. Keaton stirs from the blast.

Fellow Associate takes aim at Teras. BANG! Missed again. Teras moves around.

ATTICUS

You better drop those bananas and do it now if you want to live.

Anon and CIA Associate release the clusters.

IN SLOW MOTION, THEY FALL. AS THEY HIT THE CONCRETE, BANANAS PULL APART AND RIP BOTH SACS OPEN. THOUSANDS OF BABY TERAS’S SWARM OUT AND CLIMB UP ANON AND FELLOW ASSOCIATE LIKE DARK STORM CLOUDS. SOME SWARM ON KEATON AND ATTICUS AS WELL.

Teras launches onto Anon, crawling up to his face and plunging her fangs in his cheek, fiercely pumping in venom. Anon falls.

Teras jumps onto Fellow Associate’s back and climbs up, and bites him in the neck. He falls to the ground. Shortly, both men go into paralysis, then seizure, then death. The baby spiders begin to feast.

Teras jumps on Atticus’s arm and bites him. Keaton tries to knock Teras off of Atticus, but TERAS SEES HIS HAND COMING AND WRAPS AROUND IT.

SHE BITES DOWN ON KEATON’S MIDDLE FINGER. WE SEE TERAS PUSHING THE VENOM IN. KEATON RIPS TERAS OFF.

REXY

No!

Rexy scrambles in her purse and pulls out the vial of anti-venom and a syringe and runs to Keaton. Nervously, she sucks the anti-venom into the syringe and raises it to inject Keaton.

Suddenly, Atticus’s hand grabs hers and redirects the shot into his own arm. Rexy goes into total shock and looks at Keaton with absolute despair.

Rexy slugs Atticus square in the nose and knocks him to the ground.

Teras heads toward Bob. Bob lights up the flame thrower and holds Teras off.

KEATON

Sheriff, I need you to do something quick.

SHERIFF MAUER

Okay.

KEATON

I’ve got about thirty seconds and I’m dead. I need you to take your gun and shoot me.

SHERIFF MAUER

I’m not going to do that.

Keaton holds up his middle finger. We see the fang marks.

KEATON

Not me. My finger.

Rexy and Sheriff Mauer look at each other in horror.

KEATON

Now!

Sheriff Mauer takes aim. BANG! Keaton writhes in pain. Rexy rips of part of her shirt and makes a tourniquet around the stub.

REXY

Get up, Keaton. Let’s go.

She whacks off baby spiders from Keaton, and those which are now on her.

REXY

Hurry.

Bob tries to torch Teras in liquid fire, but she dodges. Teras SCREECHES and tries to get at Bob, but he holds her off.

Bob now battles the baby spiders who now bite him. He drops the flamethrower to fight them off.

Sheriff Mauer grabs the flamethrower and begins to torch all the spiders he can while swiping them off of Bob and himself.

Many of the baby spiders are feasting on, now dead, ANON and Fellow Associate. Sheriff Mauer torches them all and keeps Teras at bay.

Baby spiders by the hundreds, now aflame, begin to scatter all over the room in a surreal spectacle.

Sheriff Mauer is relentless, he hunts down every last one of the spiders, torching them with a vengeance. They all begin to turn into smoldering blobs of char.

TERAS, climbs up to the tallest banana crate, rears up, and CRIES IN AGONY for her dying babies.

REXY

Over here, Sheriff.

At the sound of her voice, Teras squares on Rexy and launches off the crates toward her. Rexy’s hands go up and catch Teras by the legs, pinning her in the air. Rexy falls on her back.

Teras tries to lunge at her face and hands with her fangs but Rexy holds her off.

Teras shakes urticating hairs toward Rexy’s face, Rexy turns, holds her breath and closes her eyes.

Keaton sweeps Teras off of Rexy and throws her away, hard. Teras bounces, tumbles and slides. As she rights herself she becomes aware of her crying, burning, babies again.

Rexy gets on her feet, successful in avoiding the hairs.

REXY

Give me that torch, Sheriff.

Rexy takes it and heads toward Teras. Fearful of the fire, Teras attempts to make it to the door.

Almost there, Teras sees Rexy coming up behind her. Her face looks like the devil himself. She takes aim with the flamethrower.

REXY

Die, Legs!

She presses the handle, but, only a small burst of liquid fire sputters out upon Teras. Rexy shakes the can and tries again, but it’s out of juice.

Teras escapes out the door with a patch of fire on her back.

[…]

• This reply was modified 2 years, 1 month ago by  Kenneth Wood.

[Kris Kristensen]

Kris’ Level 3 Emotion Scene

What I learned from this, was really the lean into the Anguish. This scene is basically lifted from the latest draft of my script, but being aware of playing into the anguish is great. It’s kind of like that rule where, you don’t want to see your protagonist cry when they do something noble, but you want to cut to someone who is affected by their decision, and let the tear come from them.

Previously on THE QUARTERMAN… Pete thought he had buried the Quarterman in the sublevels of the family castle, but the creature escaped. He made his way back to Henry’s home, where when Henry was confronted by the monster, he seized the family sword from above the mantle, and severed the Quarterman’s head. Henry rewarded himself by tossing the head in the fireplace, and poured himself a drink. Unbeknownst to him, the creature stirred and reached for the sword.

EXT. HENRY’S HOUSE NIGHT

Fireplace glow.

Pete approaches the front door. He steps

INSIDE.

Henry sits in his high back chair facing away from the door. He is knitting something. Whiskey glass beside him.

Pete closes the door behind him and leans against. Exhausted. Safe.

The flesh has mostly burned off of the Quarterman’s head. All that remains is a skull in the fire.

PETE

(smells the air)

Ugh… What have you been cooking?

(gathers himself)

Dad, I love you, and I love that you want me to follow in your footsteps, but I don’t have construction in my blood. The kitchen is where I need to be. I’ll never be you, no matter how hard you try to make me you.

Henry says nothing.

The yarn ball keeps jerking on the floor beside his chair as he continues to just knit.

PETE (cont’d)

And now I see you trying to shape Liam into what you want, so for his protection I’m taking him back to Dublin. I’ll be making arrangements in the morning, and we’ll be out of here before the week is over.

Henry just knits.

The ice in the whisky glass shifts.

PETE (cont’d)

Dad, are you listening?!

One last tug on the yarn ball, and this time it rolls across the floor to Henry’s headless corpse near the fireplace.

Pete is confused.

What he presumed was Henry, now rises from the leather

chair.

The Quarterman has been sewing Henry’s head atop his previously vacant neck with the knitting yarn.

He is no longer the Quarterman, he is The QuarterHenry.

He hisses at Pete.

PETE (cont’d)

Dad…?

• This reply was modified 2 years, 1 month ago by  Kris Kristensen.

[Kenneth Wood]

Nice one, Kris!

[Mike Coste]

Mike’s Level 3 Horror Emotion Scene

What I learned from this lesson is how to create an atmosphere of horror using the interplay between the emotions of anguish, panic, horror, and hysteria.

INT- ROOM 313- EVENING

Emily, Heather, and Brad are sitting in the classroom.

HEATHER

Em, I’m so sorry. This is my fault. And you just tried to help Jacob. Now he’s coming for you.

BRAD

Okay, this time we know who he’s coming for. We need a plan.

Emily puts her finger to her mouth to shush Brad. She looks up to a camera in the corner of the room. She begins writing on the scrap paper.

HEATHER

He should be brining Jacob back, right? Emily got the question right. He can’t kill him can he?

BRAD

If he’s alive, that’s a good sign. It means the professor is a man of his word. Maybe we can get out by passing the exam.

HEATHER

Yes, but our brainiac is leaving us. We”l have to solve it without her.

BRAD

We’ll do it. We can do it.

HEATHER

Have you lost your mind? Two people are dead because we couldn’t figure it out. Because I couldn’t figure it out. We’re failing this exam. Emily’s out only hope. She’s the only one who can help us, and now she’s next. When she’s gone, we have no hope. (sobs) God, oh God. Emily, I’m so sorry. The things I accused you of. I thought you were the killer and all the time I’m the killer.

We see Emily hunch over and put her had to her mouth. She looks back, silent.

BRAD

Don’t worry, Em. We’ll figure it out. Just trust us, okay.

Emily looks back and nods. Heather is still sobbing.

The professor barges into the room holding a gun.

HEATHER

Hey. Where’s Jacob. Emily answered the question.

THE PROFESSOR

So she did. Clever girl. Well done, Emily.

BRAD

Yes, well done. So where’s Jacob? Do you just kill no matter what? This isn’t much of an exam.

THE PROFESSOR

Young man, this is serious. It appears your friend lacks integrity. He violated academic integrity and he is no longer part of this class.

HEATHER

No longer part of this class? You let him go?

THE PROFESSOR

I’m sorry. I can’t divulge that information. Decorum prohibits that.

BRAD

Decorum? Decorum? You’re killing people and your lecturing us about decorum?

THE PROFESSOR

Now listen young man. I don’t fail students; students fail themselves. If you were more diligent in your studies and clear in your thinking, we wouldn’t be having this conversation would we?

Brad jumps up to attack the professor but is help back by his cuffs. The Professor pistol whips him.

THE PROFESSOR

Young man, you are to stay at your desk. If you want to get up, you ask permission. Do you understand?

Brad nods.

The Professor walks over to Emily and puts the gun to her head.

THE PROFESSOR

You may come with me. I won’t have an y trouble with you will I?

Emily shakes her head no.

THE PROFESSOR

Good. You’re a smart girl.

The Professor uncuffs Emily and motions for her to stand up. She stands up and then lunges toward Brad, grabs him and kisses him deeply. The Professor throws her down. There is a momentary struggle, and The Professor cuffs Emily.

HEATHER

No. No. Please. Take me. Leave her. I’m the one who got us here. Please.

EMILY

Heather, it’s okay. Be a good student. Don’t disrespect him.

Heather gives Emily a look of confusion and puts her head down on the desk, once again sobbing.

The professor leads Emily out of the room, closing and locking the door.

Brad leans down and pullls a piece of paper out of his mouth.

• This reply was modified 2 years, 1 month ago by  Mike Coste.

[Rachelle Storti]

Rachelle’s Level 3 Horror Emotion Scene

What I learned: My third act is a little thin. I think this is a common issue with my writing.

INT. NIGHT – LAST ROOM BEFORE EXIT

Zinnia hears Pip’s screams as Cerberus rips them apart. She is paralyzed, watching in horror (anguish).

Ryan slams the door, just as Cerberus finishes Pip off and is headed for the rest of them. Zinnia protests, they need to go back for Pip (panic). She claws at Ryan, who holds her back from opening the door. They are fighting each other.

Ryan catches the edge of a hole in the floor and falls. He is hanging by his hands, desperate for one of them to help him back up. Zinnia runs to the door and opens it. She sees Pip’s mangled, lifeless body (horror).

Cerberus rushes through, into the hole in the floor and falls to the basement. The three headed dog is unharmed, working hard at climbing his way back up, gnashing at Ryan’s heels.

Ryan is screaming for one of them to help him. Estrella tries, but needs Zinnia’s help.

The three make it to the exit and Zinnia is laughing hysterically.

[Bill Anderson]

Bill Anderson’s Level 3 Horror Emotion Scene

What I learned doing this assignment is the importance/value of clearly, separately defining each of the four emotions – making sure each one lands and they don’t lose power by dissipation in an undifferentiated mix.

Context from Outline:

INT – FARMHOUSE – EVENING

…Jack is lighting oil lamps when he hears a rumbling from outside…

EXT – FARMHOUSE – EVENING

… axe in hand, Jack steps out onto the concrete slab outside the front door and sees the tsunami of roots coming across the fields towards the farmhouse – he sees the frontrunners make contact with his ring of herbicide in the soil at the edge of the slab – the roots recoil: hissing and squirming in agony – his defences work! – he reassures Beth and Jan who’ve come to the door – but then he senses something in his feet – he gets down and puts his ear to the concrete – he hears what sounds like big roots scraping deep under the slab: the creeper growing up the outside of the house starts to come to life – Beth and Jan retreat inside – Jack takes his axe to the creeper, but its branches are too quick – too many…

EXT – WILD FOREST – EVENING

… Leah sprints back to her family…

Scripted scene:

INT. FARMHOUSE – NIGHT

Beth has moved to protect Jeb as creeper roots are breaking the glass in the windows and forcing their way inside.

Jan sees that in spite of Jack’s efforts outside, creeper roots are coming in through the door. The roots are becoming thicker and stronger, fungi sprouting in their wake.

Jeb’s eyes swivel in terror – he call’s out his wife’s name:

JEB

… Sarah?… Sarah?

JAN

She didn’t die giving birth to Leah! You poisoned her and now she’s come back for you!

Jack is backed into the farmhouse by a root that he’s failing to keep at bay with his axe. Jan shouts to him:

JAN

We’ve got to get him out of here – let her have him!

Jack agrees but needs to buy some time with the root. Jan goes to pull Jeb off the couch so she can drag him out, but Beth stops her:

BETH

No!

The sisters fight. Jack drops his axe and comes over to intervene, but in the heat of the fight none of them have noticed the creeper roots moving towards the sisters’ feet.

Jan viciously punches Beth extremely hard – the creeper roots at the sister’s feet suddenly all grab Jan. Jan freezes for a second as she feels their grip tighten.

Jack and Beth watch in horror as the roots suddenly lift Jan into the air and pull her out of the window – Jan’s body smashes into the walls either side of the window – she’s dragged through the small window opening, folded in two like a rag doll, her dying screams being forcibly pumped out of her as her chest is crushed into her knees.

Beth and Jack are frozen for few seconds before they hear the fire that has been started in the room by the burning oil lamps that Jan’s body knocked over as it flew to the window.

Jack sees some of the roots recoiling from the rapidly rising flames – seizes the moment:

JACK

Out! Now!…Beth!!

Jack throws Jeb on his back in a fireman’s lift and heads for the door – some of the creeper roots wrap around the handle of his axe and slide it over the floor – neatly severing Jack’s foot as he struggles out with Jeb. Jack screams with pain, screams even more as he has to put his and Jeb’s weight onto his bleeding stump, but somehow carries on…

… Beth is stopped in her tracks by a huge contraction – she falls to her knees, gripping Jeb’s couch, bellowing. Roots are surrounding her. Flames are surrounding her. Another contraction – Beth holds on for dear life as roots enveloping her calves are trying to pull her away from the couch when a heavy burning timber crashes on top of them – and her legs – Beth screams – more roots try to travel towards her, over the burning timber but are driven back by the flames, sap boiling and hissing.

EXT – FARMHOUSE – NIGHT

Leah arrives back at farmhouse as Jeb is carrying her father outside…

[Kenneth Wood]

Hey, Bill. This is a powerful scene. Well, done.

[Andre]

Andre’s Level 3 Horror Emotion Scene.
What I learned doing this assignment is…
• While writing is a solitary process, filmmaking is not. It is a team endeavor.
• ESSENCE: The traumatic emotions that either end in death or will scar them psychologically or physically for life.
• ANGUISH: Excruciating or acute distress, suffering, or pain.
How to: Put someone they care deeply about in danger of torture or death.
For this emotion, we are specifically focused on the pain we feel when a loved one is in danger. If the lead character is being attacked, they feel panic or horror, but when a character they care about is in the same situation, it is anguish they feel.
To do this, I need to create a relationship first. It could be a family member, best friend, or a character they have come to care about.
Then the lead character is put in a position where they witness the danger. They can see it, be on the phone when it is happening, or be told that it is going to happen. Finally, we need to see the suffering that the lead character is experiencing.

• PANIC: A sudden overwhelming fear, with or without cause, that produces irrational behavior. It can spread through a group of persons or animals.
How to: Create the need for “fight or flight” at such a level they can’t control their reaction.
If the person is already in fear, suspense, or dread, it is easy to elevate it to panic by having the monster come out of nowhere.

• HORROR: An overwhelming and painful feeling caused by something frightfully shocking, terrifying, or revolting; a shuddering fear.
How To: Cause them to witness terrible deaths and realize that they are likely to be the next victim.

Notice the definition reads “a shuddering fear”. This takes the emotions to a new level. Witnessing terrible deaths, knowing they are going to be the next victim creates an unspeakable horror.
This is a special horror situation that I will likely save for my 3rd Act. The Character has seen the carnage and knows their turn is coming. It is also a moment I may savor for the audience, adding in suspense as the Character somehow delays the impending doom.

• HYSTERIA: An uncontrollable outburst of emotion or fear, often characterized by irrationality, laughter, weeping, etc.
How To: Push the person far beyond their breaking point. Put them in constant danger that is completely out of their control. Create extended horror and helplessness.

Now, we have taken characters to the emotion that is closest to total insanity. They have legitimately lost their mind. The key words here are “extended horror and helplessness.”
Here, I want to focus on the helplessness. Brainstorm interesting ways to incapacitate or weaken the characters, making them defenseless and powerless.

My Act 3 scenes are where the true horror happens. My job is to take the audience into unspeakable horror, so this isn’t the time to hold back.
• Remember, producers and directors are going to look at these scenes to see if they will sell the movie and create buzz with audiences.

Full out Horror. Rethink EVERYTHING…
Atmosphere of Evil Established.
Isolated Situation.
INT. COURTHOUSE – DAY
As the elevator beams its passengers to the 13th floor, the gateway bridging this world and that world, is crossed. An Ai ELEVATOR OPERATOR informs/instructs its passengers.
ELEVATOR SPEAKER 1:
“Always remember, Potential Infinity is absolute and inseparable from eternity. Actual Infinity in Time can never be anything but partial and must therefore be non-absolute; neither can Infinity of actual personality be absolute except in unqualified Deity.”
ELEVATOR SPEAKER 2:
“And it is the differential of Infinity potential in the Unqualified Absolute and the Deity Absolute that eternalizes the Universal Absolute, thereby making it cosmically possible to have material universes in Space and Spiritually possible to have Finite Personalities in Time”.
MANOVANDET MELCHIZEDEK
“And the angels who kept not their first estate but left their own habitation, he has reserved in sure chains of darkness to the judgment of the great day.”

BACKSTORY- There was a War in Heaven; This war in heaven was very terrible and very REAL! Displaying none of the barbarities so characteristic of physical warfare on the immature worlds, this conflict was far more deadly; material life is in jeopardy in material combat, but the war in heaven was fought in terms of life eternal.
FUTURE SCENE- The race War fought here on earth not in the superficial aspects of white, black etc, no, more like human race vs other races; such as angels and Nephilim, Humans vs midway creatures and humans vs. Djinns.

BEELZEBUB is the leader of the disloyal midway creatures who have allied themselves with the forces of the traitorous Caligastia-The Devil.
THAT War can now be played out here, on Earth.
CHARACTER TBA
Humans are dumb enough to do most of the infighting themselves. But what can you expect from a race that killed their own God?

Horror Situation.
All HELL is unleashed on screen…
A world where the people have killed their God.
A world where financially poor yet innocent people are held in prisons, yet wealthy and guilty people are allowed to roam freely.
Marriage is a pseudo arraignment for societal hierarchy. Majority of spouses cheat, adultery is rampant, one third of children are not fathered by the husbands because the wife stepped out and slept with the boss or co-worker, or “best friend”. Many men secretly have households outside the marriage.
Marriage is a failed institution. A status symbol designed to make one appear to be wanted and desired.
US Constitution is ripped apart and interpretated as deemed fit. The first amendment is reinterpreted to abridge the freedoms of speech, control a puppet press. Used to silence and infringe on the peoples the second amendment, all in the strategy to disarm before attack.
The Second Amendment is infringed upon by faulty claims of mental illness and false criminal convictions.
The Third Amendment is disassembled by making homeownership invalid due to cost of homeownership. Without consent of the Owner, no soldier shall in time of peace be quartered in any house.
4th Amendment protecting the right of the people to be secure in their persons, houses, and papers and effects against unreasonable searches and seizures is interpreted as deemed fit. Those without rights cannot be violated.
With false crimes being charged against its citizenry, the freewill of a people is infringed upon with the 13th Amendment of Slavery and involuntary servitude being reinstated as punishment for crimes not committed, but charged and falsely convicted.

In a nation spiritually and financially incapacitated by a diabolically corrupt “leadership”. The perfect setting for a soulless Being to preside.
Lynching’s are legalized. Beneath the hood, are black faces, continuing the perpetration of racism. There is money, fame and clout in being a victim, both the Jew and Black have mastered that.
The negative narrative of the African American is accepted by the black community as their accepted and normalized narrative of normalcy. 2/3 of all blacks die for accepting the negative narrative of the negro. The remaining 1/3 survives long enough to realize the lucky one died off early. One-tenth of this one-third who survive after the initial two-thirds die off in the human race war, are selected to be infused with biologic uplift. They are chosen for their potential, their innocence of heart, their sense of purity, and non-degrade. The black church has failed them. How can a community allow themselves to accept a narrative about them, and act it out in acceptance? This narrative being SANs, and what that implies statistically.
Black Lives matter séance during riots and chaos to invoke dark evil spirits to house the anti-christ.
BEAT.
2/3 of all Asians are less smart and financially broke. They start mass suicides due to this new reality. The remaining 1/3 survives long enough to realize the lucky one died off early. One-tenth of this one-third who survive after the initial two-thirds die off in the human race war, are selected to be infused with biologic uplift. They are chosen for their potential, their innocence of heart, their sense of purity, and non-degrade. Our Protagonist Indigo is one of them.
BEAT.
2/3 of all Caucasians die the rest are outnumbered by the now majority who were minority. And the financial systems fail, along with political systems. The fear of every white man, that his daughter would have sex with a black man, and that his wife has, comes true; a true living nightmare for the once superior white man. Similar to Asians and Blacks, the remaining 1/3 survives long enough to realize the lucky one died off early. One-tenth of this one-third who survive after the initial two-thirds die off in the human race war, are selected to be infused with biologic uplift. They are chosen for their potential, their innocence of heart, their sense of purity, and non-degrade.
BEAT.
The 1/3 of each race remaining, now fight with midway creatures and djinns and other unseen forces. They wanted a race war, they got one, just not how they anticipated. All “races” of humanity, The remaining 1/3 survives long enough to realize the lucky one died off early. One-tenth of this one-third who survive after the initial two-thirds die off in the human race war, are selected to be infused with biologic uplift. They are chosen for their potential, their innocence of heart, their sense of purity, and non-degrade. Dogs, cats and other animals are spared.
TRANSITION TO*.

CALIGASTIA (the Devil), Earth’s apostate Planetary Prince, was a Lanonandek Son, number 9,344 of the secondary order.
Experienced in the administration of the affairs of the local universe in general and management of the local system of Satania in particular, is still free on our planet.
Free to Prosecute his nefarious designs. But he has absolutely no power to enter the minds of men, neither can he draw near to their souls to tempt or corrupt them unless they really desire to be cursed with his wicked presence.
In looking back over the long career of Caligastia “The Devil”, we find only one outstanding feature of his conduct that might have challenged attention; he was ultra-individualistic.
No real fault was ever found in him up to the time of his shameful betrayal of UrantiaEarth.
Inclined to take sides with almost every party of protest, He was usually sympathetic with those who gave mild expression to implied criticism.
We detect the early appearance of this tendency to be restless under authority, to mildly resent all forms of supervision.
(Of Lucifer it is said:)
“Your heart was lifted up because of your beauty; you corrupted your wisdom because of your brightness.”

“How are you fallen from heaven, O Lucifer, son of the morning! How are you cast down, you who dared to confuse the worlds!”
BEAT
Declaration of Liberty
Gabriel is profoundly impressed with the certainty of the impending outbreak that he goes directly to Edentia to confer with the constellation fathers regarding the measures to be employed in case of open rebellion.
BEAT
It is very difficult to point out the exact cause or causes which finally culminate in the Lucifer rebellion, but one thing is certain, and that is Whatever these first beginnings are, they have their origin in Lucifer’s mind. There must be a pride of self that nourishes itself to the point of self-deception, so that Lucifer for a time really persuades himself that his contemplation of rebellion is actually for the good of the system, if not of the universe.
At first, the Lucifer upheaval appears to be an unmitigated calamity to the system and to the universe. Gradually benefits begin to accrue. With the passing of twenty-five thousand years of system time (twenty thousand years of Urantia time), the Melchizedeks begin to teach that the good resulting from Lucifer’s folly have come to equal the evil incurred. The sum of evil has by that time become almost stationary, continuing to increase only on certain isolated worlds, while the beneficial repercussions continued to multiply and extend out through the universe and superuniverse.
The Melchizedeks now teach that the good resulting from the Satania rebellion is more than a thousand times the sum of all the evil.
The cause of the rebels is stated under three heads:

1. The reality of the Universal Father.
LUCIFER
(charges)
a. that the Universal Father does not really exist.

b. that physical gravity and space-energy are inherent in the universe, and

c. that the Father is a myth, invented by the Paradise Sons to enable them to maintain the rule of the universes in the Father’s name.
He denies that personality is a gift of the Universal Father.
He trades on reverence as ignorance.

2. The universe government of the Creator Son—Michael.
LUCIFER
(contending that )
The local systems should be autonomous.
He protests against the right of Michael, the Creator Son, to assume sovereignty of Nebadon in the name of a hypothetical Paradise Father and require all personalities to acknowledge allegiance to this unseen Father.
LUCIFER
(asserting that )
The whole plan of worship is a clever scheme to aggrandize the Paradise Sons.
He is willing to acknowledge Michael as his Creator father but not as his God and rightful ruler.

3. The attack upon the universal plan of ascendant mortal training.
LUCIFER
(maintaining that )
far too much time and energy are expended upon the scheme of so thoroughly training ascending mortals in the principles of universe administration,
Principles which he alleged were unethical and unsound.
He protests against the agelong program for preparing the mortals of space for some unknown destiny and points to the presence of the finaliter corps on Jerusem as proof that these mortals have spent ages of preparation for some destiny of pure fiction.
He intimates that they have been debauched by overmuch discipline and prolonged training, and that they are in reality traitors to their mortal fellows, since they are now co-operating with the scheme of enslaving all creation to the fictions of a mythical eternal destiny for ascending mortals.
He advocates that ascenders should enjoy the liberty of individual self-determination.
And it was with such a Declaration of Liberty that Lucifer launched his orgy of Darkness and Death.
BEAT
GABRIEL
Lucifers folly is the attempt to do the non-doable, to short-circuit Time in an experiential universe.
His crime is the attempted creative disenfranchisement of every personality in the system of Satania, the unrecognized abridgment of the creature’s personal participation – freewill participation – in the long evolutionary struggle to attain the status of Light and Life, both individually and collectively.
In so doing, this onetime Sovereign of our system set the temporal purpose of his own will directly athwart the eternal purpose of God’s will as it is revealed in the bestowal of free will upon all personal creatures.
The Lucifer Rebellion thus threatened the maximum possible infringement of the freewill choice.
A threat forevermore to deprive every Being the thrilling experience of contributing something personal and unique to the slowly erecting monuments to experiential wisdom which will sometime exist as the perfected system of Satania-perfecting imperfection.
Thus does the Lucifer manifesto, masquerading in the habiliments of liberty, stand forth in the clear light of reason as a monumental threat to consummate the theft of personal liberty and to do it on a scale that has been approached only twice in all the history of Nebadon.
Caligastia (The Devil) so completely distorts his personality, that his mind has never since been able to fully regain it equilibrium.
Very little was heard of Lucifer on Urantia owing to the fact that he assigned his first lieutenant, Satan, to advocate his cause on our planet.
Satan was a member of the same primary group of Lanonandeks but had never functioned as a System Sovereign; he entered fully into the Lucifer insurrection.
Lucifer and Satan freely roam the Satania system, until the completion of the bestowal mission of Michael on Urantia.

They were last on our world together during the time of their combined assault upon the Son of Man
TRANSITION.
Reaction to Horror Situation.
Rethink EVERYTHING…

The wages of Sin, is death.
Our Human Characters find it difficult to fully comprehend the significance and to grasp the meanings of Evil, Error, Sin, and Iniquity.
Slow to perceive that contrastive Perfection and imperfection produce potential Evil; Evil is the mis-adaptation of plans and the maladjustment of techniques resulting in universe disharmony and planetary confusion.
That conflicting truth and falsehood create confusing Error;
That the divine endowment of freewill choice eventuates in the divergent realms of Sin and righteousness; Sin is a deliberate transgression of the divine will; it is ritual, not rational, an act, not a thought.
That the persistent pursuit of divinity leads to the kingdom of God as contrasted with its continuous rejection, which leads to the domains of Iniquity.
Even though this project of modifying the divine plan had been conceived and executed with entire sincerity and with only the highest motives concerning the welfare of the world; it constituted evil because it represented the wrong way to achieve righteous ends, because it departed from the right way, the divine plan. [add this to case Gabriel vs. Lucifer]
CHARACTER TBA
The Gods neither create evil nor permit sin and rebellion.
CHARACTER TBA
Potential Evil is time-existent in a universe embracing differential levels of perfection meanings and values.
CHARACTER TBA
Sin is potential in all realms where imperfect beings are endowed with the ability to choose between good and evil. The very conflicting presence of truth and untruth, fact and falsehood, constitutes the potentiality of error.
CHARACTER TBA
The deliberate choice of evil constitutes sin; the willful rejection of truth is Error; the persistent pursuit of Sin and Error is Iniquity.
CHARACTER TBA
Liberty. Stemming from the Lucifer Rebellion is the consequences of the Default of Divine Plan, resulting in Miscarriage of Adam and Eve; the Default of Trust.
Of all the perplexing problems growing out of the Lucifer rebellion, none has occasioned more difficulty than the failure of immature evolutionary mortals to distinguish between True and False liberty.
CHARACTER TBA
True Liberty is the quest of the ages and the reward of evolutionary progress.
CHARACTER TBA
False Liberty is the subtle deception of the error of time and the evil of space.

CHARACTER TBA
Enduring Liberty is predicated on the reality of justice—intelligence, maturity, fraternity, and equity.
Perfecting the divine plan requires presentation of ALL of the facts with Justice Mercy and Love.
Sin on Earth does very little to delay biologic evolution, but it does operate to deprive the mortal races of the full benefit of the Adamic inheritance.
Evil and Sin visit their consequences in material and social realms, and may sometimes even retard spiritual progress on certain levels of universe reality; but never does the Sin of any being rob another of the realization of the divine right of personality survival.
The fear of shadows becomes a thing. The presence of flies represent Death. The buzzing sound of unseen mosquitos, yes be fearful of that, something wants your blood.
BEAT
These spiritually defunct, psychologically amoral empty vessels, are proof of the degradation and retardation of humanity. They are the ones who usher in the Anti-Christ.
He, It is their leader.
TRANSITION.

• This reply was modified 12 months ago by  Andre Howard. Reason: added script