Finishing my last post brought an insight that means I’m ditching the first act, at least those scenes involving Adam and Reiner.
The ideas for this change bubbled up after a lot of research about Reiner’s totalitarian mindset. I’ve been concerned since the outset with the action that puts Adam in conflict with Reiner. The idea I’ve been working with, has his relationship with Christine provide the conflict, that pits the two men against each other.
But I’ve never really been happy with how that scenario plays out. It wasn’t strong enough, and doesn’t explain Adam’s decision to put his self-righteous attitudes to one side and save Christine. Neither does it explain the vitriol Reiner has for Adam.
What I’ve really been looking for is something that serves two functions.
First it has to force Adam to land definitively on Christine’s side. Second it has to make an absolute enemy of Reiner. I think I’ve found the solution in the hierarchical structure of the totalitarian regime. Reiner puts his standing with the regime on the line when he sponsors Adam’s induction. The price of admission is Christine, Adam must kill her. When he refuses, he not only puts himself on the wrong side of the regime, he also makes a mortal enemy of Reiner.
Adam is cast out, throw into a cell with Christine and John, condemn to suffer the fate of all junkies in the coming genocide. This changed scenario brings with it an inciting event that kick-starts the story. It allies him with Christine but lets her be an opponent. It gives Reiner a character specific reason to hate Adam.
This mirrors the final battle, resonating against Adam’s choice to help Christine commit suicide.
I hope that all makes sense, this really is me thinking out loud.
The conflict between Adam and Reiner is a fight over the kind of world they will live in. “Will it be a world ruled by freedom or one ruled security?”
If Adam is to have a better life at the end, he has to reject the world of security demanded by Reiner, and make a positive choice for freedom.
The seed of this decision is sowed in the stories inciting event.
Adam has to do something that, to quote John Truby, “causes the hero to come up with a goal and take action”. The difficulty I have is that Adam and Reiner are part of the same tribe, they’re policemen in a totalitarian state that has built its identity on attacking drug users. Adam at some level shares this totalitarians mindset, he couldn’t be a policeman if he didn’t.
So what would make him question the orthodoxy?
If part of the totalitarian mindset, that Adam is part of, is the authoritarian personality exemplified by Reiner, an individual willing to belittle himself so he can, as part of something greater, become great himself, what startles Adam out of that delusion? My gut tells me the only thing powerful enough to force that kind of revelation in Adam, is a direct attack on Christine.
Whatever self-righteous stance he might take against her drug use, she’s still his sister, the only remaining member of his family. Whatever he believes at the beginning of the story, when she is attacked, he’s compelled to save her.
At present the inciting event happens as Reiner attacks a surrogate for Christine. Adam gets a call from her as Reiner beats the surrogate to a pulp. Reiner’s actions, and Christine’s plea for help, prompt Adam to abandon his post and go to help her.
The attack on Adam would need to be more sustained before he finally reject Reiner. Perhaps it’s in the symbiotic tendency of the authoritarian personality, seen in the tyrannical father who torments his wife but is subservient to his superiors. Perhaps Reiner uses Christine against Adam, he’s forced to choose.
Instinct tells me that’s actually the choice Adam has to make in the final battle, the last stepping stone that gets him to the freedom side of the river. What I’m looking for, is the first stepping stone on that journey.
I’m sure it has to be a direct attack on Christine. Reiner makes a move against Christine, which forces Adam to step in. His instinctive response puts him in direct conflict with Reiner.
With this choice made I now have to go back and restructure the first thirty five minutes of the plot.
In my two previous posts I tried to pin down the totalitarian mindset, what is it that makes Reiner such a vitriolic exponent of prohibition? That prompted me to uncovered Reiner’s moral and psychological weakness. Those things that are hurting not only himself, his psychological weakness, but also the people around him, his moral weakness.
Reiner’s moral weakness is his persecution of the drug user, a characteristic implicitly informed by his psychological weakness, an authoritarian personality. The realisation that Reiner has an authoritarian personality fits perfectly with the standing I have for him in my head but ignorance forces me to ask, what is an authoritarian personality?
I found a good answer in Erich Fromm‘s 1957 article “The Authoritarian Personality“. Fromm defines the authoritarian personality as “the inability to rely on one’s self, to be independent, to put it in other words: to endure freedom”.
I’m struck by this phrase “to endure freedom”.
At the core of the conflict between Adam and Reiner is the polarisation of freedom and security. As John Truby points out “a true opponent not only wants to prevent the hero from achieving his desire but is competing with the hero for the same goal“.
On first inspection the two men have completely different goals. Adam needs to save Christine, and Reiner wants to destroy all drug users. On the surface their desires are different, but I’ve realised the two men are actually fighting over the kind of world they will live in. Will it be a world ruled by freedom or one ruled security?
If Adam is to have a better life at the end of Carrion he must choose freedom to the exclusion of that demanded by Reiner. For Reiner freedom always exceeds to security, the safety of the nation, the security of belonging to something greater, a mindset that accepts the logic of the ruler and the ruled.
Exploring the digression a little further I am struck by the torturous state of mind that Reiner must suffer if freedom is something that has to be endured. The freedom implicit in a choice to take drugs must be physically painful for him. Which gives an indication of his hostility for drug users, and why he is compelled to correct the imbalance with violence.Â
That said Reiner’s inability to endure freedom is not the whole story. Fromm’s description of the authoritarian character is complex, more detailed that I can outline here, but when I apply it to Reiner, he is described as an immature personality who “can neither love nor make use of reason”.
Reiner feels alone, gripped by fear, and needs to feel a bond with something greater. A bond he finds “in the symbiotic relationship, in feeling-one with others; not by reserving his own identity, but rather by fusing, by destroying his own identity”. His adherence to the prohibitionist cause is a subconscious desire to be part of a larger unit. What Fromm might describe as “masochistic and submissive character aims” has Reiner belittle himself so he can,”as part of something greater… become great himself”.
Reiner is a “passive-authoritarian” and can only survive by connecting with the figure of an “active-authoritarian”. A character type who, I now realise, is missing from Carrion. He is present in the abstract, in the form of a government, in the “Code-10” laws that seek to marginalise the drug user, but as a tangible character that Reiner has to look up to, has to submit to, they’re missing.
I need to fill this gap if the story world of Carrion is to work. It’s a mistake on my part to think Reiner can function without this figure.
Finally I think it’s a mistake to understand Reiner as an entirely passive. Inherent in the notion of the active and passive authoritarian is the notion of hierarchy. Reiner’s masochistic desire to be ruled, also comes with a sadistic desire to rule. It’s part of the symbiotic tendency inherent in the authoritarian personality, and goes some way to codifying the relationship between Adam and Reiner.
Fromm likens this characteristic to the tyrannical father “who treats his wife and children in a sadistic manner but when he faces his superior in the office he becomes the submissive employee”. Reiner treats Adam in a sadistic manner but in his dealings with his boss is submissive. Put simply he’s a bully.
I’m sure that Reiner’s desire to dominate Adam plays some part in Adam’s rejection of Reiner, but the exact nature of his choice eludes me at the moment. In the story world of Carrion, where the totalitarian mindset is all pervasive, what makes Adam step back and pause for thought?
Perhaps the simple act of hesitation puts him at odds with Reiner? He can smell the scepticism, which is enough to elicits the wrath of the pedant in Reiner.
Adam’s “rebellion” cuts Reiner to the quick, the same way freedom is something he has to endure?
I’ve been thinking about Adam’s main opponent Anthony Reiner, specifically what makes him such a willing exponent of prohibition? As I pondered in the comments of my previous post, “I’m trying to figure out the mechanism of his adherence to the cause. Why does he react so violently to Adam’s need to save Christine?”
Reading back over it I realised, Reiner reacts to Adam’s decision to help Christine as a betrayal of the cause, a reaction rooted in Reiner’s totalitarian mindset, a mindset that has no tolerance for ambiguity.
When he encounters the kind of complexity offered by Adam’s willingness to help Christine, he tries to impose his pre-existing frames of reference on the decision, reducing it to an us or them ultimatum.
Going back to Alfonso Montuori paper “How to make enemies and influence people” it’s interesting to note the kind of personality the totalitarian mindset attracts. Consistent attempts to suppress “complexity through maladaptive simplicity is characteristic of the closed-mindedness of the authoritarian personality”.
Montuori’s characterisation of the totalitarian mindset, as an authoritarian personality, fits perfectly with description I have of Reiner. For Reiner ambiguous situations cause anxiety, a stress he copes with by adhering to “a clear set of rules and regulations… imposed by whoever is in charge”.
While this might be described by John Truby as his psychological weakness, a weakness hurting only himself, it doesn’t describe his moral weakness, the weakness that is hurting at least one other person. It is clear to me now that Reiner’s moral weakness is explicit in his framing of drug users as an external threat. As Montuori notes “the perception of an out-group as a threat and an enemy is the glue that holds this (totalitarian) mindset together”. A distinction that’s at the very core of Carrion.
In this fiction, as in reality, drug users are universally defined as a threat, blamed for everything from social unrest to criminality. The prohibitionist routinely reduces the drug issue to a simple black and white choice, “if we sort out the drug problem everything will be all-right”.
In Carrion the threat from users becomes even more acute when they are attacked by the insects. It’s no coincidence that the government are behind the release of the insects. It serves two functions, first it’s an attack on the drug using population, uniting people against an identifiable enemy. Second it creates a crisis that allows drug users to be targeted for persecution.
In Carrion users are not only a threat to public order, now they’re a threat to public health, a threat that needs to be dealt with in the expedient, harshest, terms possible. Although it’s interesting to remember that when Hitler was asked whether he thought Jews should be annihilated he replied no. If we didn’t have them “we should have to invent him. It is essential to have a tangible enemy, not merely an abstract one.”
In trying to answer the question, what makes Reiner such a willing exponent of prohibition, it’s become apparent that his willingness to persecute drug users is his moral weakness, a manifestation of the totalitarian mindset, embedded in the authoritarian personality, that is his psychological weakness.
While skipping through Anatomy of Story by John Truby, I landed on a section called The Iceberg Opponent.
Truby argues, to make your antagonist as dangerous as possible, you should create a hierarchy of opponents, and “hide the hierarchy from the hero and the audience”.
This worries me slightly because Adam’s opponents aren’t really hidden from him. The only element really hidden from him is the true nature of prohibition, and I’m not sure if that’s enough?
Adam’s main opponent is Reiner, he wants to stop Adam achieving his desire, saving Christine. As the plot develops, Adam encounters ever more hostile forces, police, military, insects. These are less hidden opponents, and more a hierarchy of force.
Why would they hide?
As I’ve noted in an earlier post “prohibitionist’s aren’t shy about telling us they think users should be killed”. Truby urges you to “always look for the deepest conflict that your hero and opponent are fighting over”.
In “The antagonist’s antagonist” I note Adam and Reiner are actually fighting over the kind of society they live in. Which version will prosper? “Will it be a society of freedom ultimately chosen by Adam or will it be a society of security demanded by Reiner?”
So this is a fight for freedom or security.
If you dig even deeper security is actually an analogue of power. I often quip prohibition isn’t about public health, it’s about public control. It’s a aphoristic way of saying prohibition is a mechanism used to control the population.
Adam’s real opponent, the opponent hidden at the deepest part of the iceberg, is actually power. Not just any power, the power to destroy an entire class of people, because they don’t fit their view of how you should live in the world.
The strategy increases the depth of a story, by increasing the number of opponents the protagonist has to deal with. It makes all the characters more rounded, because he’s forced to deal with the central problem of the story, from at least three other points of view.
For Carrion I’ve designed a four cornered opposition which places Adam in conflict with Reiner. They’re the mirror of each other, similar in many ways, but because Adam decides to save Christine they become mortal enemies.
Reiner is the prototypical prohibitionist fighting with Adam over the kind of society they live in, which version of society will prosper? Will it be a society of freedom ultimately chosen by Adam, or a society of security demanded by Reiner?
Adam’s second opponent is Christine. Although she’s his sister and it’s his attempts to save her that put him conflict with Reiner, they’re still in conflict with each other. While she articulates the point of view of the drug user in the story, deep down their opposition is about how he treats his younger sibling. Is he able to respect her point of view, treat her as an equal, behave more compassionately, less patriarchally towards her?
The final character in this four cornered opposition is Sexton. He’s not only in opposition with Adam and Christine but also Reiner. He is the binary opposite to Reiner, the antagonist’s antagonist, articulating the dealer’s point of view in the story, I think? When I fist envisioned Sexton he was the stereotypical drug dealer. I had in my head the many incarnation of drug dealers in cinema, the hapless career criminal of Henry Hill in Goodfellas. He get’s high on his own supply, and drops himself straight into witness protection. I thought of the accent wielding, coke snorting, gun touting nihilist Tony Montana in Scarface. Before considering the calculating, ruthless, out for profit businesspersons of Carlos and Helena Ayala portrayed in Traffic.
The thing is, none of these interpretation of a drug dealers represent my understanding of who Sexton is in Carrion. It wasn’t until I realised Sexton has to be more optimistic that I started to get a handle on who he really is. A large part of that realisation came while reading Jack London’s “The Iron Heel”. A dystopian fiction about the rise of an oligarchic tyranny in the United States. Completed in 1908 London’s novel is based on the fictional “Everhard Manuscript” written by Avis Everhard, hidden and subsequently found centuries later. Added to this manuscript are a series of footnotes written by fictional scholar Anthony Meredith around 2600 AD. It’s a Marxist interpretation of capital told as a love story between Avis and Ernest Everhard. Avis is the middle class daughter of an academic whose eyes are opened to the plight of the proletariat at the hands of the plutocracy. Ernest Everhard is a hero of the working man who is martyred by the oligarchy as he attempts to progress the revolution and progress society to a socialist future. He’s a smart character with a clear view of the world and what he is fighting for.
Reading The Iron Heel made me realise that Sexton needs to have something of the Ernest Everhard’s about him. Adam’s not going to respond to the hapless actions of a character like Henry Hill. He’s not going to listen to the nihilistic rants of a Tony Montana. The ruthless logic of a businessman like Carlos Ayala won’t persuade him to see the world differently. Adam’s only going to respond to someone who is able to see what’s happening and articulate enough to communicate it. He has to be intelligent, articulate, and willing to take direct action.
I’m a little worried that he might come across as unbelievable, somewhat fanciful, an idealist. I know it’s a risk, but take solace in having encountered one or two character who are evangelical about drugs, who take pride in proselytising the grace offered by psychotropic substances.
Carrion needs Sexton, it needs him to show Adam how to live in the world.
I’ve been thinking a lot recently about character change. Specifically Adam’s range of change. I wonder if there is enough room for Adam to move from one moral perspective to another without there being, dread of dreads, a kind of light bulb moment at the end. His actions at the end of the story must be the inevitable consequence of trials he has endured. But if John Truby is right and “true character change involves a challenging and changing of basic beliefs, leading to new moral action by the hero” I’m aware that I’ve plotted a story that demands a complete reversal of moral perspective in less that two days. Obviously this has the potential to be an implausible transformation. There is a pro-log that sets up Adam’s relationship with Christine. It happens six months before the major events of the story. My hope is that there is enough distance between the action of the pro-log and his action at the end to make Adam’s transformation plausible. Adam begins the story as a self-righteous prohibitionist. That’s the point at which I start him. Primarily because it’s the polar opposite of his moral perspective at the end. Adam’s self-righteousness drives him to arrest Christine and John. He takes a specific moral action based on his belief as a prohibitionist. His tough-love stance is born from a belief that he knows what is best for Christine. Chronologically this gives Adam six months to contemplate the consequence of his actions before the events of Carrion really get under way. My hope is that it introduces enough time for a level of self-doubt to creep into Adam’s character. He needs time to really feel the increasing threat of prohibition. So that when Reiner attacks the junkie at the end of act one the action he takes to save Christine don’t seem like too much of a leap. Hopefully the time between the pro-log and the inciting event is enough to make Adam’s arc believable. Ultimately Adam’s need to save Christine must fell not like the first step in his resistance of prohibition but something farther along the line. Something that is more like the forth or fifth step in a ten step journey. Starting this way will make the end point of Adam’s transformation that much closer. So that when he pick up a gun and attacks the forces of prohibition in the closing minutes of the story it doesn’t feel forced. It feels like the inevitable consequence of trials he has endured.
Recently I plotted Carrion using a variation of “The Board” described by Blake Snyder in his book Save the Cat.
Working the board has thrown up several issues relating to Adam’s opponents. One of the key problems I realise needs pinning down is Adam’s conflict with prohibition, how does a prohibitionist find himself on the wrong side of prohibition?
To understand this more fully I find myself going back to reaffirm what I think Carrion is about. I take the view, expressed by John Truby in his book Anatomy of Story, that a story is a moral argument. “Whenever you present a character using means to reach an end, you are presenting a moral predicament, exploring the question of right action, and making a moral argument about how best to live.” To make this argument the hero needs a collection of opponents (and allies) who force him to deal with the central moral problem.
To find the best opponents for Adam I first need to recognise the question at the heart of Carrion, why are drugs prohibited? The usual reason given for drug prohibition is public health. Drugs are dangerous, they cause harm, so should be banned. For me this throws up at least one glaring hypocrisy, why aren’t drugs like cigarettes and alcohol subject to the same prohibitions as MDMA? Both cigarettes and alcohol have significant health risks associated with their use, yet they are both freely available.
For me the distinction between drugs that are banned and those that are not is arbitrary, and because it arbitrary, it’s inevitably motivated by something else, something entirely political. Prohibition isn’t about public health, it’s about public control. Boiled down to its essence, prohibition is a form of oppression. An oppression that is inherently cruel, and demands the destruction of anyone who opposes it.
Faced with this insight it seems to me Adam’s only moral action in the story is to resist prohibition. This leads him to become an insurgent in ensuing civil war. For his arc to be fulfilled his opponents need to articulate the conflicting points of view present in the war on drugs.
Adam’s opponent is prohibition, but prohibition is too nebulous a concept on its own. We need to see it as something concrete, both as an institution and as a character. Actually it needs to be seen through a number of characters on all sides of the issue.
Prohibition organises society against those who take drugs. It’s the laws prohibiting use. The “Code 10” laws that stop convicted users from getting the medical attention. Sanctions imposed on those who help users. Social pressure best described by the maxim, if you’re not with us you’re against us.
The institution of prohibition are only the backdrop to Carrion, what Truby describes as the story world. Its unrelenting cruelty is personified by the drug eating insects that attack users. They are the ever-present sanction prohibition imposes on the citizenry, they can’t be argued with, articulating prohibitions intransigence, you take drugs you die.
As an opponent, the insects attack Adam indirectly through Christine. While they force him to take specific actions that contributes to the moral argument of Carrion, Adam’s real opponent, the opponent who challenges him directly, is Reiner. He’s the “character who wants to keep the hero from achieving his desire”. He’s the one who tries to stop Adam saving Christine. As Truby points out “a true opponent not only wants to prevent the hero from achieving his desire but is competing with the hero for the same goal”.
This point throws up a question, what are Adam and Reiner really competing over? Adam’s desire is to save Christine, Reiner wants to see Christine dead, but he knows the insects will do that for him, he could just wait, let them do their job.
If Adam and Reiner aren’t competing for Christine’s life, what are they fighting over? Adam’s desire represents a threat to Reiner, it confirms his fear, there’s someone out there willing to challenge prohibition. At the core of the conflict is a fight over the the kind of world they live in. They’re fighting to have either a free society or a secure society.
One of the primary arguments for prohibition is that drugs represent a threat, not just to public health but to our security. Users are dangerous, dealers are criminals, drugs tear at the very fabric of society, and prohibition is the tool that keeps us safe.
The irony is, prohibition is more of a threat to our public safety than drug use.
What if prohibition doesn’t protect public health, what if it’s a form of oppression? The choice to take drugs amounts to demand for freedom over security. Deep down they’re fighting for a world of freedom or oppression.
Another of Adam’s opponents is his sister Christine. If Reiner articulates the voice of prohibition Christine gives us the users point of view. Her strength in the story is her ability to attack Adam’s prejudices. Without her Adam would not begin to see the dangers of prohibition, he would not see the oppression. His desire to save his sister is his call to arms. Whatever he may think of drugs and those who take them, Christine makes him see prohibition as something that need to be challenged.
The final opponent to challenge Adam is Sexton, prohibition as seen by the dealer. In an earlier post “Adam’s immoral action” I contemplated another of Truby’s tenants. “In the early part of the story the hero is losing to the opponent. He becomes desperate. As a result he starts taking immoral actions to win.”
In trying to answer this problem I asked myself the question, what kind of immoral actions does Adam take? The answer can best be summed up as “not fighting back”. Only through his conflicts with Sexton does Adam start to behave in a moral way. Structurally Sexton enters the story half way through. Adam has gone as far as he can with his initial course of action, and has failed to save Christine. Then he meets Sexton, an unrepentant drug dealer who is willing to challenge prohibition by taking the fight to them. Sexton’s actions challenge Adam’s immoral action, forces him to realise the only moral action to take against prohibition is to fight it.
Structurally this collection of characters is what Truby calls a four cornered opposition. The system not only allows the moral argument to be fully explored, each character articulating a different set of values, attacking Adam’s great weakness in a different way. By pushing each of their values to the extremities of the four cornered opposition they all become as different as possible from the others.
According to Robert McKee “the inciting incident radically upsets the balance of forces in the protagonist’s life”. Brian McDonald in “Invisible Ink” describes the inciting incident as a curtain moment, a theatrical term denoting the point at which the curtain is dropped between acts. In theatre you have to get the audience back after the intermission “so acts end on the highest point, when the stakes are at their most desperate”.
While both descriptions tell us that something needs to happen at this point, neither give you any real insight into what needs to happen.
Personally I lean towards John Truby’s interpretation. He calls it the inciting event and describes it as a small step that “connects need and desire”. At the beginning of the story “when weakness and need are being established, the hero is paralysed in some way. You need some kind of event to jump-start the hero out of his paralysis and force him to act”.Â
Since starting the redraft of Carrion I’ve struggled to pin down the event that metaphorically takes Adam out of the frying pan and drops him in the fire. I had a whole slew of things going on in the fifteen minutes that lead up to this event.
Adam discovers Reiner murdered his daughter, prompting him to take action. Reiner making a direct attack on Christine, forcing Adam to step in to protect her. I’ve explored an infinite number of permutations based on this scenario ending with Christine attacked, forcing Adam to step in and save her.
In the end it all seemed too complicated, demanding of too much exposition. It wasn’t until I started to think about this section, and where it fits into the story, that I started to get a handle on what the inciting event should be.
Adam needs to see the kind of attack society is making on drug users, see what’s going to happen to Christine if he does nothing. Once I’d realised this, things started to fall into place. Adam and Reiner are part of the squad that is tasked with picking up drug users. When Reiner is particularly vicious in his treatment, Adam gets his first glimpse of the coming storm.
The actual event alluded me until the phrase “Adam has to choose Christine” came to me. The more I thought about it, the more I realise it’s the thing that connects Adam’s need and desire, the thing that takes him out of the frying pan and into the fire.
He’s given a choice, prohibition or Christine.
If he chooses prohibition he’s allowing her to die. From that point, Adam’s desire to save Christine kicks in, and the story is under way.
I have a problem, I’ve started to get this nagging doubt that Adam’s actions aren’t going to work, they’re not proactive enough. The moral vision for the end of Carrion has Adam taking action against prohibition. He starts the screenplay a self-righteous policeman and ends a humbled rebel.
For this transformation to work, Adam can’t just take up arms against prohibition, he has to go through a series of actions that teach him the right way to act in the world. He has to take actions that teach him not only to resist prohibition but to fight it.
Structurally the problem can best be explained by paraphrasing John Truby. “In the early part of the story the hero is losing to the opponent. He becomes desperate. As a result he starts taking immoral actions to win. Other characters criticize the hero for the means he is taking. The hero defends his actions.”
I think what Truby means is only by taking immoral actions that fail can the hero learn the moral way to act. In trying to answer this problem I asked myself, what kind of immoral actions does Adam take? The answer can best be summed up as “not fighting back”. The actions he takes are immoral because it appeases prohibition.
Does the make Adam seem passive? What I’m struggling to reconcile is who Adam is at the beginning of the screenplay, and who he is at the end. The key seems to lay in his conflict with Reiner, a rampant prohibitionist who has killed his drug using daughter.
How does Adam deal with that moral dilemma?
He believes in the law so should arrest Reiner, but with the rabid hatred of drug users we’d be at the end of the screenplay before he’d begun. Alternatively the answer might lay in Adam’s desire to save Christine. Why does he want to save Christine? He wants to save her because she is his sister. Initially he thinks he’s saving her from herself, that’s why he arrests her, then from prohibition.
Alternatively a direct threat on Christine, by Reiner, would push Adam to take action, despite his overwhelming hostility to drug users. That way he’s not passive, appeasing prohibition, but taking positive action to save Christine.
The immoral action in the story world is his attempts to save a drug user.
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