[Andrea Gilbert]

LESSON 16- Version 1 – ANDREA’S PROFOUND MAP

1. What I learned doing this assignment?

The profound map helps organize and guide the essential principles of the profound movie into a coherent transformational movie. It has helped me add depth, dimension, and substance to any otherwise fair concept.

2. THE PROFOUND MAP:

TITLE: Fly Girls
WRITTEN BY: Andrea Gilbert

1. What is Your Profound Truth?

· Just like writing a good story we are all responsible in life for developing good character of depth, asking questions (i.e.., what’s next?) and making choices (i.e., what is in alignment with me now?) in order to be empowered to create our own “preferred” reality.

· You are a multi-dimensional being with enormous potential beyond the five senses – and as soon as you realize this – anything is possible.

· Everyone can create their own reality through self-mastery.

2. What is the Transformational Journey?

Old Ways:

· Jill is neurotic with repressed traumatic memories.

· Self-sabotaging

· Self-doubt

· Powerlessness

· Disconnected

· Uses defense mechanisms like dissociation and sarcasm to cope with others

· Distrustful of others

· Goes along to get along – people pleaser

· Repressed anger

The Journey:

Instead of finding her lost story characters to satisfy a book publishing deal, Jill is forced to look at her traumas and repressed emotions when she goes to look for them though a hypnotherapy journey.

New Ways:

· Self-aware

· Empowered

· Heightened intuition

· Fearless

· Capacity to love others: receive and give love

· Emotionally free from repressed negative emotions

· Personal agency

· Ahisma – Do no harm. Take no shit

Transformational Logline:

A neurotic mid-age writer whose main characters of her graphic novel have gone missing must journey to her subconscious mind through hypnosis where she is immersed in her chaotic sci-fi YA story to face and heal from traumatic memories so she can become whole and invisible and create a reality beyond her dreams.

3. Who are Your Lead Characters?
Change Agent: Jill’s higher-self, Ami
Transformable Character(s): Jill
Betraying Character: Skyler
Oppression: The subconscious “world”, the neurosis/repressed emotions

4. How Do You Connect With Your Audience?

· Relatability: Jill is insecure at trying to move forward in her life as an artist and writer. She has conflict with her mother, half-brother, and her job.

· Intrigue: Jill’s book characters seem to have a life of their own without Jill’s awareness. In the beginning the characters have gotten into some dangerous trouble, which seems loosely related to Jill’s problem of “losing them”.

· Empathy: We feel for Jill’s anxiety over presenting her book to a publisher and being called out for not going deep enough. We sympathize when she is picked on by her mother and boss at work.

· Likability: Jill makes funny yet sarcastic remarks about her life as she goes along – observational humor. Jill makes an ally out of the loner Native American, Jimmy Nightwalker, who seems disenfranchised from the world – but becomes a mentor for Jill.

5. The Three Gradients of Change:

Gradient 1. The Emotional Gradient

· Denial – Jill is completely unaware of why her life is stuck

· Doubt – The hypnosis world is strange, dangerous, and triggering.

· Hope – About her newfound strengths and psychic abilities

· Discouragement – Jill rescues a young girl (Ami) only to have her arm dismembered. As a result of the rescue, Jill, now Skyler, is trapped being Ami’s bodyguard.

· Revelation – Jill, now Skyler, finds a new sense of appreciation, confidence, and trust in her collaboration with Ami. Ami provides unconditional love to Skyler, which she never had before.

· Courage – Jill, having seen Skyler die in her session, must resolve to go back into trance to find a new perspective for Skyler and change the outcome.

· Triumph or loss – Jill squares off with Skyler, who has had second thoughts on this growth process – and discovers that she is in fact Skyler. With this revelation, Jill is able to convince Skyler to join with her, and Ami, and become one fully functional human.

Gradient 2. The Action Gradient

SET UP

· Jill pitches her graphic novel to get published

· Fights in an over-reactive way with her toxic mother

· When Jill gets a second shot at this, her characters go missing.

JOURNEY

· Jill undergoes hypnotherapy to resolve the problem.

· Jill ends up in a subterranean sci-fi world in an unknown location at an unknown time and is soon abducted by child trafficking space pirates.

· Jill fights her way out of the pirate mothership using her new psychic powers – but loses her ally due to distrust in herself.

· Jill escapes the pirate mothership and ends up on an alien planet where she rescues Ami –> loses an arm.

· Jill, who now looks like Skyler, becomes Ami’s bodyguard, and doesn’t like it.

· Ami teaches Skyler how to use her new powers and to elevate her vibration to survive the manipulations of the reptilian race and how to fly a spaceship run by consciousness.

· Skyler and Ami bond creating trust and acceptance Skyler never had.

PAYOFFS

· Skyler flies the spacecraft away from the dangerous planet

· Skyler is triggered by the presence of her enemy and crashes the ship.

· Skyler faces her enemy in anger and loses her life as a result.

· Jill, out of the trance, has a dream that her life will be disastrous if she doesn’t go back and resolve the death ending of Skyler.

· Jill goes back into the trance to gain a new perspective for Skyler.

· Instead of Skyler getting the new perspective, Jill must face Skyler’s anger and the truth about her father betraying them.

· Ami stands in unity with Skyler, letting Jill know it is she who must get on board with the truth and accept it.

· Jill realizes she IS SKYLER and AMI and integrates them into her to become a whole person.

· Jill creates an award-winning video game

· Jill responds to her toxic mother in a new way.

Gradient 3. The Challenge / Weakness Gradient

Challenge/Weakness –

C. Jill has to put aside personal control

W. Ignorance

Challenge / Weakness:

C: Jill, in the hypnosis, is trafficked by space beings

W: Powerlessness

Challenge/ Weakness:

C: Tries to activate a giant toddler through telepathy as a distraction for when she and her friend Pal try to get away in a space craft, but her abilities are limited

W: shame/guilt for not being good enough

Challenge/ Weakness:

C: Jill, who now looks just like her character Skyler, must learn from the girl (Ami) how to vibrationally outsmart the reptile people so they can escape. Skyler tries to enhance her psychic abilities to operate a consciousness-assisted space craft – but realizes her repressed anger impedes progress.

W. Self-doubt

Challenge/ Weakness

C: Skyler must overcome her lower vibrational habits such as negative self-talk in order to lift off.

W: Self-sabotage

Challenge/ Weakness:

C: Making sense of the trauma and the feelings Jill is faced with, not realizing these are hers (as opposed to her character Skyler)

W: Dissociation

Challenge/ Weakness

C: Convincing her shadow Skyler that she is worthy and can be given a new role in Jill’s life.

W. Undeserving

6. What is the Transformational Structure of Your Story?

MINI-MOVIE 1 ­ STATUS QUO AND CALL TO ADVENTURE

Jill gives a graphic novel presentation – we see the comic-book images “come to life”: a spaceship– on board are two young girls: one 8 years-old, the other a gritty teenager with a titanium arm. Jill is nervous giving the presentation – meanwhile, behind Jill’s awareness, there’s something wrong inside the world of the space-girls. As Jill struggles to answer tough questions about her story, her characters head for a crash landing.

Filled with anxiety, Jill faces typical stressors: her difficult mother, a challenging job for an introvert as a bartender, and an extroverted, in-your-face successful video gaming podcast mogul half-brother who lets her live with him – for now.

Jill deals with conflict and stress with sarcastic humor and by entertaining ‘flights of fancy’ in her mind – both are types of defense mechanisms to ward off unpleasant feelings she is essentially disconnected from.

Good news, the publishers are willing to give her story a second look with some deep dive changes – bad news…

TURNING POINT: JILL’S characters have gone missing from her pages.

MINI-MOVIE 2 ­ LOCKED INTO CONFLICT

Jill is caught up in the “real” challenges of her failing financial reality and must grudgingly accept a promotion as a bar manager. While she frets about what she can do about finding her characters, she meets a quantum hypnotherapist having dinner at the bar who’s in for an Alien Con weekend as a presenter. Jill learns that she can access her imagination through hypnosis and….

TURNING POINT: Decides hypnosis may be her only chance to solve her problem.

MINI-MOVIE 3 — HERO TRIES TO SOLVE PROBLEM ­ BUT FAILS.

Jill’s experience in the so-called subconscious mind is a huge departure from the surface reality. She’s clearly no longer on Earth, or in this time, but is in fact, in a subterranean part of this strange planet where she’s a teenager, poor, orphaned and lured by a man who feeds her food in order to catch her for child trafficking. She is powerless.

The cargo of trapped kids is shuttled out of this ice-planet by space pirates to a mother spaceship. Jill sees the sky for the first time and is awe-struck. She also notices the sparkling city of the elites down below reminding her she was nothing.

Jill fights to get away from her captors by sheer force and brutal skills that surprise even her. She meets a boy her age, Pal – who she reluctantly allows to tag along.

TURNING POINT: Survival Mindset Fails

MINI-MOVIE 4 ­ HERO FORMS A PLAN

Jill and her new friend Pal hide and gather intel until they meet a shipmate who is motivated to help them escape. Jill discovers she has psychic abilities to see energy streams around different people, beings, and systems, helping her navigate this odd place and form a plan.

But when the shipmate changes his mind and betrays them before they can get to an escape pod, Jill attempts to telepathically connect to a giant toddler and a mutant cat with disastrous effects.

TURNING POINT: Jill must do her best to leverage her new skills in mental telepathy to create a diversion – only to have it go wrong – losing her friend Pal in the process.

MINI-MOVIE 5 ­ HERO RETREATS & ANTAGONIST WINS

Jill finds herself on a strange planet run by human-looking reptilians who seek to keep this ignorant population severely restricted and controlled. She is immediately drawn into rescuing a young girl from being dismembered – only to lose her own arm and be tasked as this girl’s bodyguard.

The girl, Ami, is the spiritually gifted daughter of the reptilian elite, who is always trying to get out from under their control. Jill, who has now transformed to look like Skyler (the main character in Jill’s novel) is tasked with being Ami’s bodyguard. But the actuality stings even more- as Skyler must take her cues from Ami if she wants to survive the rigid and punitive rules of this society.

Ami sees Skyler as a diamond in the rough and takes her to be initiated by the Venusian Elders who teach her the ways of shifting vibrations. When one shifts their vibrations higher, they are immune to the rule’s others are trapped by: they float like water over all challenges and move like a silent breeze past those who seek to control.

For the first time Skyler allows herself to trust and love another human being and to feel joy.

The ultimate challenge of self-mastery is to operate a consciousness-assisted spacecraft. All spacecraft on this planet are preprogrammed to go only to approved areas – however, the elite have access to special wet-wired craft that can merge with the DNA of the pilot and travel anywhere. Ami gains access to one of these craft to get Skyler prepared to leave forever one day. However, Skyler has repressed anger issues that cause problems.

MIDPOINT: Jill makes the transformation in this hypnotic journey to becoming Skyler – the scrappy main character from Jill’s novel. She found her but doesn’t realize she IS her.

Ami – originally the “side-kick” but truly THE CHANGE AGENT also makes her debut in this origin story.

TURNING POINT: Skyler realizes she has repressed anger issues that must be addressed.

MINI-MOVIE 6 ­ HERO’S BIGGER, BETTER PLAN!

The plan to leave this evil society has just been moved up to now. An alliance between Ami’s parents and the ruling reptilian factions has doomed Ami to participate in a militant space defense program and used for her special gifts. She will be transported tomorrow!

Though unsure and not ready, Skyler takes Ami in the conscious-assisted spacecraft (CAS) and flies them out and away from the planet. They’re followed – the chase is on. Skyler escapes to a nearby planet and when she enters the atmosphere, realizes it’s her home ice planet, where she last encountered her betraying enemy Snow-Blinder. Her emotional rage is triggered causing her to lose control of the craft and head for a difficult landing. Now they’re stranded and Ami is unconscious. Skyler leaves to assess damages and gets stuck in a snow drift – then sees Snow Blinder approach. Blinded by her rage at him, she attempts to fight him and ends up slipping off a cliff to her death.

From a hypnosis point of view, Jill is drifting away from this life into the void. She snaps out of the trance very shaken, and before she can be debriefed, runs out of the office.

TURNING POINT: Blinded by her rage at him, Skyler attempts to fight Snow-Blinder and ends up slipping off a cliff to her death – leaving Ami on her own.

MINI-MOVIE 7 ­ CRISIS & CLIMAX

After coming home and having a lucid dream showing her the disastrous life which she is projected toward now (if she doesn’t resolve this issue) Jill is motivated to try and go into the hypnosis session again to get a new perspective for Skyler.

Jill determines to find the hypnotherapist – who is now on her way to the airport – to be put back into trance so she can retry that last fatal scene from another perspective, which she isn’t sure what that is yet.

Jill, back in trance, as herself – confronts Snow Blinder (a bad guy in her novel) who is not anything like she remembered or believed. He has reformed and has a very sympathetic backstory and perspective on what happened.

Jill believes she can convince Skyler to shift her perspective and take a new course. But when she finally gets her chance to re-enter that fated scene – and Jill saves Skyler from falling to her death – instead of gratitude and reason, Jill is met with heightened vitriol and rage from Skyler about the past Jill has never been burdened to know.

Skyler, having acted as Jill’s defensive ego all her life, was there when her father left – no- abandoned them to the poisonous mother who felt nothing but bitterness and contempt. Jill was saved from having to bear the brunt of this trauma. Similar “you -can’t- handle- the -truth” TRUTH BOMBS are hurled at a baffled Jill. Skyler creates violent mayhem moving things with her mind, causing destruction with her rage.

TURNING POINT: Go big or just quit.

MINI-MOVIE 8 ­ NEW STATUS QUO

Jill gets triggered by Skyler’s truth bombing as she now recalls a flood of painful repressed memories that come through.

Ami appears by Jill’s side. Jill is stunned and is touched by her honesty and gentle patience. Jill peers into Ami’s sun goggles and sees the reflection of Skyler within.

JILL REALIZES THE TRUTH NOW…. she IS Skyler. Ami goes to Skyler, and immediately calms her down and stands in alliance with her. Jill marvels at the trust and love that radiates between them.

Jill closes her eyes. When they open, Jill is the only one there.

Jill realizes then that Ami and Skyler are the source of connection for her: Skyler is her shadow – Ami is her.

Tying up Loose Ends:

Skyler is assigned a new role in Jill’s life, which keeps her busy and happy, with similar duties – only more productive and lucrative for Jill’s creative goals developing the interactive, introspective video game. Ironically one that her video podcaster brother has trouble playing.

Top of her game now, Jill meets a man at Comic Con who bears a striking resemblance to Pal, the guy from the mothership. Love is a strong potential.

Finale:

Old belief “We were abandoned – and therefore unloved!” ->

New belief: “We can fly from this new place of wholeness – together as a team.” ~ Fly Girls.

7. How are the “Old Ways” Challenged?

What beliefs are challenged that cause a main character to shift their perspective…and make the change?

A. CHALLENGE THROUGH QUESTIONING

QUESTION:

ANDREW (publisher)

Your characters seem like “types” rather than fleshed out humans that we can relate to.

OLD WAY – Jill’s lack of depth into her characters and herself.

QUESTION:

MOTHER

(sighs)

What dramatic event is it this time?

OLD WAY – Jill’s inability to make herself clear and understood in the face of a narcissistic mother. Lack of self-confidence/ assertiveness.

QUESTION:

MOTHER

Honey, there’s no place you fit in.

OLD WAY – Triggers Jill’s insecurity that “not fitting in” is a BAD thing.

QUESTION:

DAN

Why’s you’re face so red then?

(Throws up his hands)

Jeez, I’m just joking. Lighten up! I forgot how sensitive you are…

OLD WAY – Jill’s insecurity in the face of antagonizing bosses – doesn’t stand up for herself – no boundaries.

Question:

INT. RESTAURANT/BAR

The bar is darkened for evening service. Nightwalker watches Jill’s fading confidence.

NIGHTWALKER

Remember. They’re just people.

OLD WAY: Jill is intimidated by new experiences, especially those that involve lots of people.

B. CHALLENGE BY COUNTEREXAMPLE

COUNTEREXAMPLES to an OLD WAY

a. CE:

NIGHTWALKER

Your heart shines with the light of a thousand suns. It just happens to be hiding behind some clouds right now.

Old Way – Jill’s insecurity. Nightwalker has the clarity Jill is lacking.

b. CE:

JILL

They didn’t pass…not yet. I’ve got to show what my characters want.

CONNER

They want money and to be successful. Who doesn’t?

JILL

This is a sci-fi story, Conner. People in space age universes don’t care about money.

CONNER

They do if they don’t want to be kicked out on the street to be homeless.

OLD WAY – Challenges Jill’s lack of ambition to help herself succeed. Conner represents the new way: Success.

C. CHALLENGE BY “SHOULD WORK, BUT DOESN’T”

1. OLD WAY: Jill dissociates when met with conflict – but now that she has accepted a job with more responsibility, she can’t get away with it.

CHALLENGE: PATRON

SCENE APPLICATION:

Jill approaches a table.

JILL

How’s everything tonight?

A blue-haired woman looks startled.

BLUE HAIR

Who are you? Are you new here?

JILL

I’m the new manager, but you may have seen me at the bar.

BLUE HAIR

Did you come here to drink?

JILL

No, I…um…was the bartender. Ha, ha. That’s a good one.

The woman looks serious.

BLUE HAIR

Well, I’m not at all happy with my salad…

As the woman goes on and on about her salad, Jill’s eyes glaze over.

JILL IMAGINES…

The woman getting on top of the table, as if she were an evangelical preacher giving a sermon…and the crowd throwing rotten tomatoes at her.

BLUE HAIR

(snaps)

I BEG YOUR PARDON. ARE YOU GOING TO REPLACE MY SALAD OR JUST STAND THERE GAWKING?

Jill blinks then snatches up the salad having no idea what Blue Hair wanted.

2. OLD WAY: Jill Needs to Isolate When She’s Overwhelmed – but now that she has accepted a job with more responsibility, she can’t get away with it.

CHALLENGE: Chef

SCENE APPLICATION:

Jill stands in the refrigerated icebox surrounded by salads and prepped vegetables – and tries to catch her breath.

One of the chefs walks in. He doesn’t look happy.

CHEF

You can’t use this space. You have your own space now. We have to have room to come and go and not feel like we’re disturbing you.

3. OLD WAY: Jill is crippled with self-doubt

CHALLENGE: On the mothership, Jill and her friend Pal are looking for a way off the ship.

SCENE APPLICATION:

A job opening appears for a cargo pilot in the breakroom. Jill balks at the idea… c’mon, be serious. She is the only one who may qualify since she has psychic tendencies. Then when they meet a motivated crew member to help them so he too can get off, she starts to see how she may be able to do this. But, when the opportunity presents itself to take the aptitude test – she refuses – putting the plan in jeopardy.

OLD WAY: Jill is self-righteous when it comes to the defending the underdog.

CHALLENGE: A genetically engineered giant toddler being used for its beautiful hair is disturbed by Jill’s tirade.

SCENE APPLICATION:

As Jill learns about this giant 30 ft toddler’s DNA being used to produce beauty/ hair products her angry energy disturbs the baby, causing it to almost tear down the door. Before, her tirades or tantrums had no effect whatsoever. Now they garner attention.

INTRODUCTION OF A NEW WAY: Jill is persuaded to “sing” a lullaby to the child to settle it down – and it works.

D. CHALLENGE THROUGH LIVING METAPHOR

a. OLD WAY: Jill has repressed her dark feelings causing her to be imbalanced in her life.

CHALLENGE: Jimmie Nightwalker “sees” her.

METAPHOR: BLACK WOLF

SCENE APPLICATIONS:

After NIGHTWALKER has told the tourists at the bar the story of the Two Wolves – he gives Jill a Black Wolf talisman to remind her to be on the lookout for the shadow and when you find it – make sure you remember to feed it too.

b. OLD WAY: Jill lets others define her/ no personal boundaries

CHALLENGE: General Manager Dan, New General Manager Rachel, space traffickers.

METAPHOR: HAIR – How Hair Defines Jill’s ability to reclaim her authenticity and personal power.

SCENE APPLICATIONS:

SCENE 1. In one scene Dan is negging Jill about her hair – how it’s a bold look for her.

SCENE 2: In a follow up scene, after Rachel coerces Jill into becoming the new bar manager. Rachel, on Jill’s first day on the job, then forces Jill to fix her hair to an appropriate style.

SCENE 3: In another later scene, when Jill is in the hypnotic journey world – she is captured along with other kids on this alien planet and then forced to have their heads shaved. It looks as though Jill will “go along to get along” – until she snaps and causes chaos and mayhem to get away.

SCENE 4: Jill shaves half her own head in solidarity with the “taken” – but keeps half to show her defiance.

c. OLD WAY: Jill has been unaware of her true “expansive” potential because she has been over-shadowed by her repressed feelings.

CHALLENGE: In the hypnotic journey – The cargo spaceship carries the captive children from the subterranean world to a mothership outside of the planet’s atmosphere.

METAPHOR: THE SKY

SCENE APPLICATIONS:

The cargo ship flies out of the underground of this ice planet and rises above the surface, where Jill sees the sky for the first time – and is in awe.

d. OLD WAY: Jill seems unaware of her higher self – meaning she is anchorless without a guiding compass.

CHALLENGE: Initially, the cargo ship on the mothership, is a conscious-assisted sentient being once it downloads the appropriate consciousness to operate it. Jill has to figure out how to operate it…now that she has qualified.

METAPHOR: THE SPACECRAFT

SCENE APPLICATION:

Jill is able to enter the craft by virtue of her ability to telepathically link with it. But operating this thing is another matter…and she’s in a big fat hurry. Once she is consciously linked through her hands the ship begins to communicate with her. And though she is able to get it to levitate and move forward – even get the doors to open – the auto pilot flicks on for the rest of the way, as she is not yet suitably trained for this stage of flying. The metaphor is she needs to learn to relax and trust the guidance and then be able to master her own vessel.

e. OLD WAY: Jill has repressed emotional trauma -> her shadow-side

CHALLENGE: Going into a hypnotic journey to discover her characters and who knows what else.

METAPHOR: The World she encounters during the hypnosis is her mental state.

SCENE APPLICATION:

Everything from page 30 until 75 and then again in the whole third act.

8. How are You Presenting Insights through Profound Moments?

A. ACTION DELIVERS INSIGHT

ACTION: Jill stops the man who tries to shave her head –> later decides to shave half her head of hair in solidarity for the kids who she was abducted with who could not get away as she did, the other half in defiance for her freedom.

INSIGHT: It’s necessary to take control of your Destiny

ACTION: Skyler (aka Jill) attempts to fly a conscious-assisted spacecraft that requires her mental connectedness. She did it before, sort of, but because she feels unworthy now, she is unable to make it happen – she’s blocked. As a result, she gets triggered by shame then anger and spirals into a meltdown in front of her ward, Ami. There’s no escaping the meltdown and so is forced to look at this painful emotion as the reason she has been held back in life.

INSIGHT: Self Examination will get you over the hurdles

B. CONFLICT DELIVERS INSIGHT

CONFLICT: Jill thinks she is superior to her brother Conner for her artistic medium of writing graphic novels, while he plays and podcasts video games for money. They argue about it. Jill is stunned to learn video games reach a much wider audience – and she can control the narrative.

INSIGHT: A new perspective can make all the difference in choices you make.

CONFLICT: Ami reveals a secret she has kept about needing Skyler to be able to fly her off this planet before her parents turn her over to a nefarious secret operation for exploitation. Now that date has been pushed up Skyler doesn’t feel she is ready to learn to fly a spacecraft. Skyler flat out refuses until she reveals to Ami, she is terrified that her past will catch up with her.

INSIGHT: Expressing vulnerability can lead to trust, which leads to cooperation.

CONFLICT: Skyler’s spacecraft is intricately connected to her consciousness – so when she flies into the airspace of the one who betrayed her in the beginning of this journey – Snow Blinder – her anger toward him triggers her to the extent that it causes her plane to malfunction. Now she knows the consequences of not doing the necessary inner work.

INSIGHT: It’s important to know the consequences of your beliefs and limits so they can be adjusted.

C. IRONY DELIVERS INSIGHT

IRONY: Jill is unaware that Skyler and Ami are parts of her psyche playing out roles in her comic book.

INSIGHT: Self-actualization brings life into perspective.

IRONY: Ami, who is unconditional love, is paired with Skyler, an angry and vengeful teenager filled with self-doubt and grief. Ami sees the real girl beneath the anger and gets Skyler to trust her.

INSIGHT: Love & appreciation heals all wounds.

9. What are the Most Profound Lines of the Movie?

PATTERN A: HEIGHT OF THE EMOTION

The 5 most emotional moments, the emotion, meaning and line of dialogue.

1. Jill is triggered by being questioned in a pitch meeting, then having to contend with her insensitive, toxic mother. The emotion: shame for not being good enough. Jill has been called out for her characters not having much depth…which she unconsciously blames her mother for, since her mother doesn’t seem to care for who Jill is or what she is experiencing in her life. Jill’s mother goes on about her other child – Jill’s half-brother who the mother really adores.

JILL

YOU’RE A FEW PILLS SHY OF MAKING MOTHER OF THE YEAR RIGHT NOW.

2. Jill is embarrassed by a sincere compliment given to her by a Native American who helps at the bar she works. Emotion: embarrassment. This counter example for Jill’s insecurity makes her feel awkward and exposed. The compliment is a sincere observation from an authentic person.

NIGHTWALKER

Your heart shines with the light of a thousand suns. It just happens to be hiding behind some clouds right now.

JILL

IT’S NOT A CLOUD, IT’S MY SHADOW HOLDING IT HOSTAGE.

3. Jill is alone by a stream devastated by not being able to locate her characters in her digital file or sketchbook. Emotion: Powerless. Terrified. Jill stands to finally make her dreams come true by having her Sc-fi graphic novel published – and now her dream is being snatched away.

JILL

WHY DO YOU HATE ME SO MUCH? WHAT HAVE I EVER DONE TO DESERVE THIS?

4. In the hypnotic world, Jill is enraged at being lured and captured by a man who gained her trust with food. Emotion: rage. Jill is under a hypnotic trance and is imaging this scene where she is a teenage orphan, starving and homeless, and a man has taken advantage of this fact to use food to lure into a trap for child traffickers to capture her. The feelings she feels are real, however. Jill is caged in the back of a truck and looking at the man, burning his image in her mind.

JILL

I WILL REMEMBER YOU. WHEN I SEE YOU AGAIN, AND I WILL, MY FACE WILL BE THE LAST THING YOU WILL EVER SEE.

5. Jill is mesmerized by seeing the sky for the first time coming out from within the planet. Emotion: Awe. Jill had been living within a subterranean reality within this icy planet. She had never seen the sky before now. Now she and the other kids are being transported by cargo spacecraft to a mothership….and she can see the sky, as well as the planet below.

JILL

IF ONLY I HAD KNOWN THIS WAS HERE, I WOULD HAVE TRIED HARDER TO FIND ANOTHER WAY OUT.

PATTERN B: BUILD MEANING OVER MULTIPLE SCENES

· THE LINE: They’re just people.

· THE ARC: Jill is easily overwhelmed by large crowds of people because of childhood neglect instance –>to where she is cared for by someone –>to where she becomes solid within herself, and crowds no longer bother her.

· MEANING FOR EACH LINE:

1^st time provokes a quick flashback to when her mother lost Jill in a large crowd as a child – then later came back and said in an impatient gaslighting huff “They’re just people, Jill – stop being so dramatic!”

2^nd time – A consoling gesture by Ami, who actually cares about Jill.

3^rd time: Jill’s possible reply to her mother at the end as a new way of standing up for herself.

· THE LINE: It never fails to amaze me!

· THE ARC: Jill’s neurotic filter sees the world as crazy and disappointing –>Jill is disappointed in herself –>Jill is surprised by how a new perspective can change everything.

· THE MEANING FOR EACH LINE:

1. What you look for is what you get in the game of projecting.

2. When Jill starts to become self-aware.

3. When Jill sees evidence of how a fresh perspective can change her inner reality: insight

10. How Do You Leave Us With A Profound Ending?

A. Deliver The Profound Truth Profoundly:

When Jill realizes that her characters reflect herself, she integrates them back into her persona and makes the ultimate decision: to forgive and let go of the hurt caused her so long ago.

B. Lead Characters Ending Represents The Change:

Jill has a new perspective about who she is, where her trauma originated and is now prepared to move forward with her creative pursuits.

C. Payoff Key Setups:

Answers to: Will Jill realize she is represented by her book characters – and when she does, what will she decide to do about it? Will she get her book published…or something better? What will happen to Skyler and Ami when Jill realizes the truth about them?

D. Surprising, But Inevitable:

Jill is surprised when she encounters her cartoon character Skyler, who is raging and uncooperative. Skyler is fighting this “rational” resolution that Jill brings her about the “new perspective” – because it’s more make-believe bullshit to her. It’s more smoke and mirrors, denial, and delusional thinking – and that pisses her off. Skyler knows the truth: Jill’s father abandoned them because he was an asshole. Jill didn’t do anything wrong and should stop acting like she did. Then Jill realizes Skyler is her – her subconscious self – who knows all and wakes up from the delusion to integrate these disparate parts back together.

E. Leave Us with a Profound Parting Image/Line:

1. Jill meets her hypnosis ally, Pal, reincarnated here in this life at a video-con or Comic-Con.: 2. Skyler and Ami both have starring roles in Jill’s new interactive video game – as they fly off together in their spaceship. The sky is the limit!

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[Andrea Gilbert]

LESSON 15 – PT 2 ANDREA BUILDS MEANING WITH DIALOGUE.

1. What I learned doing this assignment?

A line of dialogue can mean different things depending on when and how it’s delivered, by whom and the stage the protagonist is in at the time. This shows the audience the transformation process.

ASSIGNMENT 2

Build Meaning Over Multiple Experiences.

· THE LINE: They’re just people.

· THE ARC: Jill is easily overwhelmed by large crowds of people because of childhood neglect instance –> to where she is cared for by someone –> to where she becomes solid within herself, and crowds no longer bother her.

· MEANING FOR EACH LINE:

1^st time provokes a quick flashback to when her mother lost Jill in a large crowd as a child – then later came back and said in an impatient gaslighting huff “They’re just people, Jill – stop being so dramatic!”

2^nd time – A consoling gesture by Ami, who actually cares about Jill.

3^rd time: Jill’s possible reply to her mother at the end as a new way of standing up for herself.

· THE LINE: It never fails to amaze me!

· THE ARC: Jill’s neurotic filter sees the world as crazy and disappointing –> Jill is disappointed in herself –> Jill is surprised by how a new perspective can change everything.

· THE MEANING FOR EACH LINE:

1. What you look for is what you get in the game of projecting.

2. When Jill starts to become self-aware.

3. When Jill sees evidence of how a fresh perspective can change her inner reality: insight

[Andrea Gilbert]

LESSON 15 – PT 1 ANDREA’S HEIGHT OF EMOTION

1. What I learned doing this assignment?

It is a challenge at this stage to find my character’s voice. It’s still not right. She’s grittier and not so eloquent – but for now this works.

ASSIGNMENT 1

Height of the Emotion.

The 5 most emotional moments, the emotion, meaning and line of dialogue.

· Jill is triggered by being questioned in a pitch meeting, then having to contend with her insensitive, toxic mother. The emotion: shame for not being good enough. Jill has been called out for her characters not having much depth…which she unconsciously blames her mother for, since her mother doesn’t seem to care for who Jill is or what she is experiencing in her life. Jill’s mother goes on about her other child – Jill’s half-brother who the mother really adores.

JILL

You’re a few pills shy of making mother of the year right now.

· Jill is embarrassed by a sincere compliment given to her by a Native American who helps at the bar she works. Emotion: embarrassment. This counter example for Jill’s insecurity makes her feel awkward and exposed. The compliment is a sincere observation from an authentic person.

NIGHTWALKER

Your heart shines with the light of a thousand suns. It just happens to be hiding behind some clouds right now.

JILL

It’s not a cloud, it’s my shadow holding it hostage.

· Jill is alone by a stream devastated by not being able to locate her characters in her digital file or sketchbook. Emotion: Powerless. Terrified. Jill stands to finally make her dreams come true by having her Sc-fi graphic novel published – and now her dream is being snatched away.

JILL

Why do you hate me so much? What have I ever done to deserve this?

· In the hypnotic world, Jill is enraged at being lured and captured by a man who gained her trust with food. Emotion: rage. Jill is under a hypnotic trance and is imaging this scene where she is a teenage orphan, starving and homeless, and a man has taken advantage of this fact to use food to lure into a trap for child traffickers to capture her. The feelings she feels are real, however. Jill is caged in the back of a truck and looking at the man, burning his image in her mind.

JILL

I will remember you. When I see you again, and I will, my face will be the last thing you will ever see.

· Jill is mesmerized by seeing the sky for the first time coming out from within the planet. Emotion: Awe. Jill had been living within a subterranean reality within this icy planet. She had never seen the sky before now. Now she and the other kids are being transported by cargo spacecraft to a mothership….and she can see the sky, as well as the planet below.

JILL

If only I had known this was here, I would have tried harder to find another way out.

[Andrea Gilbert]

LESSON 14 – ANDREA DELIVERS IRONY!

1. What I learned doing this assignment:

I will say this was a tricky way to look at my story. But once I found one bit of irony naturally occurring in the theme I could see more. The fun will be building out the scenes, so they flow as well as the examples given.

5 different ways to create irony in my screenplay and deliver insight.1. INSIGHT: Self-Actualization:

Jill is unaware that Skyler and Ami are parts of her psyche playing out roles in her comic book.

2. INSIGHT: Only through darkness does light have meaning.

Ami is love, light and magic while her family is planning to use her gifts as a commodity to increase their stature amongst reptilian war lords.

3. INSIGHT: Love & appreciation heals all wounds.

Ami, who is unconditional love, is paired with Skyler, an angry and vengeful teenager filled with self-doubt and grief. Ami sees the real girl beneath the anger and gets Skyler to trust her.

4. INSIGHT: We learn about ourselves in what we see in others.

Jill focuses on Skyler’s mistakes of perception and tries to correct her, not realizing she IS Skyler. When she does realize this, she receives a deeper understanding of herself.

5. INSIGHT: Emotional freedom requires close examination of one’s beliefs.

Skyler felt betrayed by Snow Blinder within the hypnotic journey Jill undergoes, sending her on a rampage of anger and revenge, just as Jill subconsciously felt betrayed by her father when he left Jill as a child and her mother. But they/she can’t know about the intentions of the actual man and how he felt or what he was thinking at the time, which had nothing to do with the girl. The story told about him and why he did what he did became a “story” in the mind – a defense mechanism to protect from hurt and pain. Once Jill meets “Snow Blinder” within the subconscious hypnotic journey and discovers the truth – the why – she is able to empathize, forgive and let it go.But Skyler has a harder time being convinced. She, as the shadow within the subconscious mind, was the first line of defense and bore the brunt of the hurt and betrayal. It will take more processing to get her to let it go.Ha, Ha....I don't know how this formatting happened....I just know I can't undo it it.😊

[Andrea Gilbert]

LESSON 13 – ANDREA DELIVERS INSIGHTS THROUGH CONFLICT

1. What I learned doing this assignment:

Conflict helps to elucidate the subtext as well as the possible truth and insights in any scene that contains it. There are opportunities within conflict to learn something new, about yourself and others, that can take you in a new direction- as is true in actual life.

2. Conflict Patterns that Deliver Insight

· NEW WAY: A new perspective of something once thought to be useless.

Jill thinks she is superior to her brother Conner for her artistic medium of writing graphic novels, while he plays and podcasts video games for money. They argue about it. Jill is stunned to learn video games reach a much wider audience – and she can control the narrative.

· NEW WAY: Skyler/ Jill is able to identify and express a fear that would have been kept hidden before – this shows trust in others, as well as in herself to be able to confront the fear without being paralyzed by shame.

Ami reveals a secret she has kept about needing Skyler to be able to fly her off this planet before her parents turn her over to a nefarious secret operation for exploitation. Now that date has been pushed up Skyler doesn’t feel she is ready to learn to fly a spacecraft. Skyler flat out refuses until she reveals to Ami, she is terrified that her past will catch up with her.

· NEW WAY: Skyler/ Jill is trusting her 6^th sense about others.

When Skyler stares at her new benefactors, Ami’s parents, they become annoyed. At that moment Skyler is able to see their true reptilian faces beneath the polished veneer.

· NEW WAY: Skyler/ Jill realizes the consequences of her own lack of self-awareness and personal responsibility.

Skyler’s spacecraft is intricately connected to her consciousness – so when she flies into the airspace of the one who betrayed her in the beginning of this journey – Snow Blinder – her anger toward him triggers her to the extent that it causes her plane to malfunction. Now she knows the consequences of not doing the necessary inner work.

[Andrea Gilbert]

LESSON 12 PT 2 – ANDREA TURNS INSIGHTS INTO ACTION

1. What I learned doing this assignment:

I did have a breakthrough watching Seabiscuit: I found the new ways in the profound moments that resonate with me in my movie. This exercise helped me home in on what it is the change is really about in this movie.

Like The Matrix, Jill enters a special world – a state of consciousness that exists outside of the 3D construct that is the Matrix – but this is an inner world. The world of the subconscious mind as it intersects with the quantum realm to the degree that is useful for Jill’s awakening process. So, while there is a psychological benefit from doing “shadow work” – there is an expansion of consciousness that is also shown.

2. New Ways and Insights my audience will experience watching my movie:

· Takes control of destiny

· Begins to self-examine

· Develops trust in self and in others

· Allows herself to feel free – to be present, to exhale, to feel joy

· Asks for help

· Accepts help

· Advocates for herself

· Believes in herself

· Releases buried anger, shame, guilt, and grief

· It’s never too late to bloom

· Facing the shadow side of self is empowering

· Expanded perspective of being eternal and limitless.

· Emotional Healing Increases mental and emotional bandwidth

· You can recover from a terrible childhood

· There is a higher self/ power -> and it is for you all the time.

3. New Ways and the Action that will express them:

· NEW WAY: Takes control of her destiny.

ACTION: Jill stops the man who tries to shave her head  later decides to shave half her head of hair in solidarity for the kids who she was abducted with who could not get away as she did, the other half in defiance for her freedom. HAIR IS A LIVING METAPHOR.

· NEW WAY: Begins to self-examine.

ACTION: Skyler (aka Jill) attempts to fly a conscious-assisted spacecraft that requires her mental connectedness. She did it before, sort of, but because she feels unworthy now, she is unable to make it happen – she’s blocked. As a result, she gets triggered by shame then anger and spirals into a meltdown in front of her ward, Ami. There’s no escaping the meltdown and so is forced to look at this painful emotion as the reason she has been held back in life. THE SPACECRAFT IS A LIVING METAPHOR.

· NEW WAY: Trust in self and others.

ACTION: As if it were a test, Skyler (aka Jill) gets lost in a crowd on the streets of this city where she and Ami are trying to escape. Skyler can’t find Ami. She’s so focused on locating Ami she doesn’t even realize there are others around. This also conveys the fact that Skyler/Jill is becoming more selfless, meaning she is becoming more secure within herself.

· NEW WAY: Expanded Awareness.

ACTION: Jill enters a deep theta state of consciousness where she becomes aware of new way of perceiving – she sees energy…and soon discovers she can communicate with and manage herself through this new perspective.

[Andrea Gilbert]

LESSON 12 PT 1 – ANDREA’S SEABISCUIT ANALYSIS:

1. What I learned doing this assignment:

I can’t even talk about this movie without crying.

The profound moments reveal the new way embraced by the characters in the story. Much care and precision were taken to set up and to challenge these old ways until they ran out of gas and exhausted their purpose. Then when the new ways were presented, they made an emotional landing in the hearts and minds of the audience. (sigh)

2. List of Profound Moments in Movie Seabiscuit and What Made Them Profound:

· This scene with the father/family supporting Red getting his first horse

We never know how high we are
Till we are called to rise;
And then, if we are true to plan,
Our statures touch the skies—

The Heroism we recite
Would be a daily thing,
Did not ourselves the Cubits warp
For fear to be a King— Dickinson

…was profound and underscored the loving foundation from which Red was raised before tragedy struck his family. The quote seemed to be a thumbnail of the theme for the movie – the heroism of the “little guy”.

· Red losing his family due to the depression.

MAJOR REVERSAL.

The BAG OF BOOKS being a living metaphor – used to represent Red’s devotion to his family and value of knowledge being sacrificed or displaced temporarily ->

· to be regained later symbolically as RED MAKES HIS FINAL DECISION (on the bridge) to let go the pain of abandonment & subsequent misfortune (the weight of the bag of books) and to turn his attention and trust toward his new family -> his love for literature restored.

· Charles Howard – when he discovered his son was dead.

MAJOR REVERSAL

The moment was depicted with stark images – 1. the birds flying off the branches, startled, 2. showing how the boy was impressed by the father’s values when he was “absent” (old way), and how this led to tragedy – 3. losing the son and wife and how this tragedy impacted Charles’ world -> closing up of his industry – again shown with stark images: The dark barn doors closing, the padlock.

Good example of “Should work but doesn’t”.

This scene colors how Charles embraces his second chance at love and family, and how he chooses differently in his next venture capital in Tijuana. (new way)

· Tom Smith, the trainer, saves the white horse (New Way).

This is profound to me because this demonstration of character signals the powerful influence one life can have on another. Tom is the change agent in my opinion. His ability to “see” and understand humans (especially underdogs) and horse’s value and potential is strong and potent.

Old Way: Horses get shot when they’ve stop earning money through racing.

· Charles “sees” potential in Tom (New Way):

This marks the beginning of Charles’ new venture capital journey putting humans in the center role of importance – including his new wife and now Tom, the new trainer. Tom wins him over by his authenticity: Clearly, Tom values life, sees its potential, and always tells the truth.

Old Way: Tom being misunderstood and exiled by the horse training community.

· Tom chooses Seabiscuit for the spirit in his eyes (New Way) and Red.

This always makes me choked up when I think of how some of us can see beyond a being’s brokenness to see its spirit within. It’s a special intuitive gift. I know I have it in spades – but it doesn’t always pay off. It’s a risk you take, like when Tom decided to risk giving Seabiscuit a chance, then Red.

The Old Way: the horse and Red being repeatedly misunderstood and abused.

· Tom brings the White Horse in to soothe Seabiscuit (New Way).

Nice payoff for saving the horse’s life. The white horse serves a very important role in Seabiscuit’s story.

Old Way: Horses that misbehave get whipped or sold off.

· Red makes friends with Seabiscuit.

They seem to recognize each other or understand each other in a way no one else can. It’s more than just the offering of an apple. The apple symbolizes “I understand your pain”.

New Way: Trust, understanding, compassion

Old Way: fighting with everyone.

· Seabiscuit is allowed to run free (New Way).

To allow Seabiscuit to rediscover himself as an authentic horse he is given the freedom to run free without the restrictions of the racetrack and its old trappings. He is restored. This is so exhilarating – I felt renewed vicariously through this scene.

Old Way – as introduced and challenged in a “Should work but doesn’t” is the racetrack, the whip, the manipulations etc.

· Red asks for a loan from Charles (New Way)

This is significant in that Red usually doesn’t accept handouts (Old Way). It’s a sign of weakness accepting support he knows won’t pan out. Here he is ready to ask, and risks being refused support. But Charles doesn’t hesitate. He passes the test with flying colors and wins Red’s undying trust and devotion. Red earned the strength for this by letting his old resentments go earlier at the bridge.

· Red accepts help from George to ride Seabiscuit in the big race against War Admiral (New Way):

Red never allowed George to help him. They’re competitors, not friends. Red was able to rise above his ego (Old Way) so that Seabiscuit could find glory. Sacrifice of self for another. Learns about the true nature of collaboration.

· Charles lets Red ride in the last race -> becomes the good responsible father (New Way)

Charles has redirected the love of his dead son onto Red and now is afraid of losing him too.

Old Way – clinging to the memory of his son and the regret that he should have been there or been able to do something. Worry.

· Red rides and wins.

This ending is a culmination of wins made by Red’s transformation: 1. He advocates for himself, because he believes in himself, and he trusts Charles’ devotion for him enough to test it now – as opposed to before when he had the rug pulled out from him rendering him powerless. 2. Red allows George the jockey to help him and Seabiscuit win by slowing down and letting the horses look at each other, which they both know is the key for Seabiscuit winning – strength in collaboration. 3. Charles’ full support – based on the aforementioned decision he makes – allows Red to reclaim his true independence and power as a man. 4. Red’s devotion to another’s transformation: Seabiscuit – as well as himself – a selfless and egoless hallmark in his lifetime.

[Andrea Gilbert]

LESSON 11 – ANDREA’S LIVING METAPHORS

1. What I learned doing this assignment:

Applying SHOULD-WORK-BUT-DOESN’T requires a close look at the character’s old ways – and to be able to set this up suitably so the time they try their old way, and it doesn’t work, the moment should land. I imagine using this technique as a subtextual seasoning to put the audience and the character on alert that their days are numbered using the old ways. I was happy to see I have already done much of this in the first act instinctually.

Using METAPHORS is much more intuitive for me. Since my theme in the movie is about doing SHADOW-WORK, the living metaphors pop up easily. I mean my whole hypnotic journey world is a living metaphor for Jill’s oppressive emotional state of mind. As a fan of Jungian psychology this is a field day for me.

2. Examples of SHOULD WORK, BUT DOESN’T Challenges: w/ challenge, old way, and application in story:

a. OLD WAY: Jill dissociates when met with conflict – but now that she has accepted a job with more responsibility, she can’t get away with it.

CHALLENGE: PATRON

SCENE APPLICATION:

Jill approaches a table in the restaurant.

JILL

How’s everything tonight?

A blue-haired woman looks startled.

BLUE HAIR

Who are you? Are you new here?

JILL

I’m the new manager, but you may have seen me at the bar.

BLUE HAIR

Did you come here to drink?

JILL

No, I…um…was the bartender. Ha, ha. That’s a good one.

The woman looks serious.

BLUE HAIR

Well, I’m not at all happy with my salad…

As the woman goes on and on about her salad, Jill’s eyes glaze over.

JILL IMAGINES…

The woman getting on top of the table, as if she were an evangelical preacher giving a sermon…and the crowd throwing rotten tomatoes at her.

BLUE HAIR

(snaps)

I BEG YOUR PARDON. ARE YOU GOING TO REPLACE MY SALAD OR JUST STAND THERE GAWKING?

Jill blinks then snatches up the salad having no idea what Blue Hair wanted.

b. OLD WAY: Jill Needs to Isolate When She’s Overwhelmed – but now that she has accepted a job with more responsibility, she can’t get away with it.

CHALLENGE: Chef

SCENE APPLICATION:

Jill stands in the refrigerated icebox surrounded by salads and prepped vegetables – and tries to catch her breath.

One of the chefs walks in. He doesn’t look happy.

CHEF

You can’t use this space. You have your own space now. We have to have room to come and go and not feel like we’re disturbing you.

c. OLD WAY: Jill is crippled with self-doubt

CHALLENGE: On the mothership, Jill and her friend Pal are looking for a way off the ship.

SCENE APPLICATION:

A job opening appears for a cargo pilot in the breakroom. Jill balks at the idea… c’mon, be serious. She is the only one who may qualify since she has psychic tendencies. Then when they meet a motivated crew member to help them so he too can get off, she starts to see how she may be able to do this. But, when the opportunity presents itself to take the aptitude test – she refuses – putting the plan in jeopardy.

d. OLD WAY: Jill is self-righteous when it comes to the defending the underdog.

CHALLENGE: A genetically engineered giant toddler being used for its beautiful hair is disturbed by Jill’s tirade.

SCENE APPLICATION:

As Jill learns about this giant 30 ft toddler’s DNA being used to produce beauty/ hair products her angry energy disturbs the baby, causing it to almost tear down the door. Before, her tirades or tantrums had no affect whatsoever. Now they garner attention.

INTRODUCTION OF A NEW WAY: Jill is persuaded to “sing” a lullaby to the child to settle it down – and it works.

3. Examples of LIVING METAPHOR Challenges: w/ challenge, old way, and application in story:

a. OLD WAY: Jill has repressed her dark feelings causing her to be imbalanced in her life.

CHALLENGE: Jimmie Nightwalker “sees” her.

METAPHOR: BLACK WOLF

SCENE APPLICATIONS:

After NIGHTWALKER has told the tourists at the bar the story of the Two Wolves – he gives Jill a Black Wolf talisman to remind her to be on the lookout for the shadow and when you find it – make sure you remember to feed it too.

b. OLD WAY: Jill lets others define her/ no personal boundaries

CHALLENGE: General Manager Dan, New General Manager Rachel, space traffickers.

METAPHOR: HAIR – How Hair Defines Jill’s ability to reclaim her authenticity and personal power.

SCENE APPLICATIONS:

SCENE 1. In one scene Dan is negging Jill about her hair – how it’s a bold look for her.

SCENE 2: In a follow up scene, after Rachel coerces Jill into becoming the new bar manager. Rachel, on Jill’s first day on the job, then forces Jill to fix her hair to an appropriate style.

SCENE 3: In another later scene, when Jill is in the hypnotic journey world – she is captured along with other kids on this alien planet and then forced to have their heads shaved. It looks as though Jill will “go along to get along” – until she snaps and causes chaos and mayhem to get away.

SCENE 4: Jill shaves half her own head in solidarity with the “taken” – but keeps half to show her defiance.

c. OLD WAY: Jill has been unaware of her true “expansive” potential because she has been over-shadowed by her repressed feelings.

CHALLENGE: In the hypnotic journey – The cargo spaceship carries the captive children from the subterranean world to a mothership outside of the planet’s atmosphere.

METAPHOR: THE SKY

SCENE APPLICATIONS:

The cargo ship flies out of the underground of this ice planet and rises above the surface, where Jill sees the sky for the first time – and is in awe.

d. OLD WAY: Jill seems unaware of her higher self – meaning she is anchorless without a guiding compass.

CHALLENGE: Initially, the cargo ship on the mothership, is a conscious-assisted sentient being once it downloads the appropriate consciousness to operate it. Jill has to figure out how to operate it…now that she has qualified.

METAPHOR: THE SPACECRAFT

SCENE APPLICATION:

Jill is able to enter the craft by virtue of her ability to telepathically link with it. But operating this thing is another matter…and she’s in a big fat hurry. Once she is consciously linked through her hands the ship begins to communicate with her. And though she is able to get it to levitate and move forward – even get the doors to open – the auto pilot flicks on for the rest of the way, as she is not yet suitably trained for this stage of flying. The metaphor is she needs to learn to relax and trust the guidance and then be able to master her own vessel.

e. OLD WAY: Jill has repressed emotional trauma -> her shadow-side

CHALLENGE: Going into a hypnotic journey to discover her characters and who knows what else.

METAPHOR: The World she encounters during the hypnosis is her mental state.

SCENE APPLICATION:

Everything from page 30 until 75 and then again in the whole third act.

[Andrea Gilbert]

LESSON 10 – ANDREA’S COUNTER EXAMPLES

1. What I learned doing this assignment:

That I had been thinking this way organically on my own for this particular story…although doing this consciously will help me improve my characters, scene work and dialogue. It’s like another form of subtext we lay on the viewers to feel the contrast, conflict and necessity for change.

CHALLENGE: To call The Old Way into doubt – two techniques:

*QUESTION: A way of challenging the Old Ways via looking deeper, observation, curiosity, pointing out inconsistencies, feels off, asking why…?

*COUNTEREXAMPLE: An example or fact that is inconsistent with a hypothesis or refutes an assertion or claim. Another way of challenging the Old Ways through dialogue, character, or experience. It has the potential to shift a person’s perspective.

2. 5 question-challenges to an old way

a. QUESTION:

ANDREW (publisher)

Your characters seem like “types” rather than fleshed out humans that we can relate to.

OLD WAY – Jill’s lack of depth into her characters and herself.

b. QUESTION:

MOTHER

(sighs)

What dramatic event is it this time?

OLD WAY – Jill’s inability to make herself clear and understood in the face of a narcissistic mother. Lack of self-confidence/ assertiveness.

c. QUESTION:

MOTHER

Honey, there’s no place you fit in.

OLD WAY – Triggers Jill’s insecurity that “not fitting in” is a BAD thing.

d. QUESTION:

DAN

Why’s you’re face so red then?

(Throws up his hands)

Jeez, I’m just joking. Lighten up! I forgot how sensitive you are…

OLD WAY – Jill’s insecurity in the face of antagonizing bosses – doesn’t stand up for herself – no boundaries.

e. Question:

INT. RESTAURANT/BAR

The bar is darkened for evening service. Nightwalker watches Jill’s fading confidence.

NIGHTWALKER

Remember. They’re just people.

OLD WAY: Jill is intimidated by new experiences, especially those that involve lots of people.

COUNTEREXAMPLES to an OLD WAY

a. CE:

NIGHTWALKER

Your heart shines with the light of a thousand suns. It just happens to be hiding behind some clouds right now.

Old Way – Jill’s insecurity. Nightwalker has the clarity Jill is lacking.

b. CE:

JILL

They didn’t pass…not yet. I’ve got to show what my characters want.

CONNER

They want money and to be successful. Who doesn’t?

JILL

This is a sci-fi story, Conner. People in space age universes don’t care about money.

CONNER

They do if they don’t want to be kicked out on the street to be homeless.

OLD WAY – Challenges Jill’s lack of ambition to help herself succeed. Conner represents the new way: Success.

c. CE:

CONNER

Well, unless you get promoted at your job or somehow get this publishing deal, lack of money will get you a one-way ticket to Texas to live with Mom.

OLD WAY – An in-your-face statement about what the consequences can be when you don’t do what it takes.

d. Conner’s dad, GEORGE, comes in bearing breakfast. Conner practically jumps in his arms with joy.

CONNER

Dad! Awesome! I’m starving. I got like 15 minutes before the next level starts on the new game I’m testing.

Conner grabs the bag and tears it open.

GEORGE

Is it up to your standards, Son?

CONNER

(chewing)

It’s just more space warfare. Nothing I ain’t seen. Good challengers, though. They’re tough.

(grins)

I like tough.

GEORGE

Atta boy!

CONNER

(For Jill)

It beats being out of touch with reality!

Jill retreats into her room, takes out her secret photo of her father, stares at him for a while as if pleading for a reason he’s not there for HER.

OLD WAY – Jill believes fathers are unsupportive, because hers had been. Conner clearly demonstrates how easy life is when you have support.

e. CE:

INT WALK-IN

Jill stands in the refrigerated icebox surrounded by salads and prepped vegetables – and tries to catch her breath.

One of the chefs walks in. He doesn’t look happy.

CHEF

You can’t use this space. You have your own space now. We have to have room to come and go and not feel like we’re disturbing you.

Jill looks wounded.

JILL

But there are people in the office.

CHEF

So, use the lady’s room, or go out back. Vamonos!

OLD WAY: Jill needs to hide from everyone when she gets stressed or overwhelmed.

[Andrea Gilbert]

LESSON 9: Part 1 – ANDREA’S 12 ANGRY MEN ANALYSIS (part #2 is below)

1. What I learned doing this assignment:

Each individual has their own point of view, set of beliefs, filters of perception and values based on their early experiences in life, or what their society/family taught them to believe and how to view the world. It’s hard to change this way of thinking as this becomes our operating system (OS). Most importantly, this OS or conditioned mind as I call it, colors and shapes our reality – so it’s crucial to examine ourselves on a regular basis.

It was interesting to see how as the men in the movie whittled the details of the testimonies down, they were able to see how reality wobbled. They couldn’t be sure anymore. Their original beliefs, based upon subconscious ideologies were replaced with reasonable doubt through deeper scrutiny and questioning.

2. Old Ways in 12 Angry Men:

Jurors #2 and #10 were the most stubborn, loud, ignorant, angry, and biased individuals to convince. #2 had a personal vendetta – his anger was projected onto the accused, whether it was anger at himself or his son – guilt was plaguing this guy from the get-go.

#10 was a self-righteous bigot. He was blinded by his absolute belief about “this kind” being untruthful, immoral and a menace to society. He felt that way about the foreign man sitting next to him. In fact, anyone who disagreed with him was a target for his wrath, judgement, and criticism. “What are you so polite about? Juror #11 For the same reason you’re not – it’s the way I was brought up”

Assumptions were made about the ones (old man and woman) who made testimonies in the case – that they were right – until Juror #8 poked holes in their abilities to see or hear what they claimed.

Many assumed the 18 yo was lying because of his ethnicity – but again doubt was raised about the weapon being unique, the fact that he returned when he said he did, and his possible motives – which were very slim.

Many of the jurors didn’t really bother to think very much into the case and just accepted the evidence presented on the surface until it got picked away for them to see clearly. And many, like jurors #7, #3 and #10 got angry when others started asking questions and making them think deeper and challenge their previous assumptions.

Many people in our civilization act this way – walking in their sleep accepting whatever the news or social media tells them is true instead of questioning and digging deeper – making up their own mind. In fact, #7 was challenged by #11 for just rolling over with his verdict of not guilty because he said he was just tired of it. #11 said, “Don’t you think you have the guts to do what you think is right?”

It was interesting how “the facts” that made the boy guilty by many were easily twisted or reversed to make for reasonable doubt when a new perspective was introduced. Juror #10 “You can twist the facts any way you need to…” and #9 replied “Exactly what this man (#8) has been saying.” Reality can be so subjective when we are speculating on possibilities. It’s a good reminder to not take our own judgements, biases, or perspectives so seriously, especially when changing our perspective could tip the odds in our favor.

REGARDING CHALLENGES:

It was notable to see certain men rise to the task of “policing” each other on their bad behavior, assumptions, prejudices, ignorance, playing games, telling stories to distract from the business at hand, not paying attention, taking the case personally, bullying and so forth. The biggest challenge was for Juror #10 when almost everyone stood and turned their back on him for his persistent racism and bigotry.

I would love to see a remake of this film for modern times – it’s really relevant right now.

LESSON 9: PT2 – ANDREA’S OLD WAYS CHALLENGE CHART – (I did create a chart, but it could not be pasted into this format)

1. What I learned doing this assignment:

There seems to be a lot of OLD WAYS in my story – and I wonder if I will dilute the focus of my purpose addressing them all. I suppose they can be consolidated a bit – but I can’t decide yet now which to focus upon. This is the challenge that lays ahead.

2. OLD WAYS

* Jill has little confidence in herself.

* Jill assumes she has few options or power to influence her life.

* Jill responds to stress with sarcastic humor and dissociated flights of fancy.

* Jill does not trust people.

* Jill cannot go deeper with her novel’s characters b/c she is disconnected from her emotional body -> where the pain lives.

* Jill takes responsibility for other’s needs before her own, thus avoiding the shadow.

* Jill (as Skyler) loses her cool due to repressed emotions coming to the surface.

3. CHALLENGES:

* Publisher challenges Jill to look deeper.

* Half-brother Conner urges Jill to find another place to live besides his place.

* Employer, Rachel, pressures Jill to take the promotion to manager at the restaurant – even though Jill belies she would be selling out.

* Jill’s defensive asocial behavior gets her into trouble at work.

* Jill’s comfort zone is challenged when she seeks help from a hypnotherapist.

* Jill’s hypnotic journey puts her face to face with the source of her repressed feelings.

* Jill (as Skyler) is tested in the hypnotic journey in being able to control her emotions, while raising her vibrations on order to be able to fly a specific type of spacecraft – crucial to the mission. But it’s not enough.

• This reply was modified 1 year, 12 months ago by  Andrea Gilbert. Reason: Lesson was in two parts
• This reply was modified 1 year, 12 months ago by  Andrea Gilbert.

[Andrea Gilbert]

LESSON 8: ANDREA’S PROFOUND ENDING

1. What I learned doing this assignment:

It started to become clear where the journey was heading – it had to build to an emotional crescendo. And that has to look chaotic – personal growth always does. It’s not pretty. And it usually starts because there’s emotional pain trying to break out. We “think” we understand – but the mind can’t comprehend a solution to a problem at the same level of consciousness the problem was created.

Triggers expose raw feelings of guilt, shame, fear & grief. Feelings are myth busters and they’re very, very real. Hurt feelings, if allowed to be felt, will always lead to the basis of a limiting belief sitting obscured deep within our subconscious mind and clear a path to self-awareness. -> the authentic self.

I am certain there is more to this excavation – but I need to keep the story simple and streamlined, too. Allow the audience to have their own experience without telling them what to feel or believe.

2. What is the PROFOUND TRUTH…?

We create our own reality based on what we believe, and feel is true consciously, and unconsciously.

… and how will it be delivered powerfully in your ending?

(There will likely be more to the following…but here’s a taste…)

After Jill’s first hypnosis session, she comes out believing that Skyler (a missing character in her graphic novel who stars in her session) is the one who must change her attitude/ perspective in order to forgive and let go of what the character, Snow Blinder, did to lure her into this abusive world of hurt in order to avoid the catastrophe that she inevitably faces and make life easier for Jill. Jill goes into trance a second time to tell Skyler her point of view.

However, Skyler, who’s not interested in any more childish delusional bullshit, angrily shoots “truth bombs” about all the abuse and hurt she has had to endure at Jill with her titanium arm/weapon.

Ami – who was thought to be unconscious from the initial crash – comes out and surprises Jill. Then, after looking into Ami’s snow goggles and seeing Skyler there in the reflection, Jill realizes she IS Skyler and sees Skyler’s plight is her plight. Ami goes over to an irate Skyler and instantly Skyler calms down. Their connection from earlier scenes is remarkable.

Jill asks an important question to Skyler.

Jill: “Why are you so angry then? Why won’t you just let this go?”

Skyler blinks at Jill.

Skyler: “You have no idea, do you? I was there when it happened. I have been there since the beginning, when he was there sometimes to feed us breadcrumbs of affection, some gifts every once in a while…but mostly he was just not there.”

Jill: “Who…what are you talking about?”

Skyler: “Him!”

Skyler points at where Snow Blinder stood – but it’s NOT Snow Blinder anymore. It’s JILL’S FATHER – basically Snow Blinder without the heavy beard.

Skyler: “The question isn’t what happened, is it? It’s why it happened. Why did Dad leave….and never come back?

You asked yourself, over and over in your child’s mind – was it something I did? Was it my fault? Was I not good enough?

And I couldn’t bear the shame and guilt you put yourself though, so I blocked it. Well, most of it. Mostly it has become the distorted way you view the world. And I had sit-back and watch, and wait… At least until you were ready to see the truth.”

Triggered, Jill allows the tears to flow. She can’t believe how much it hurts.

Skyler: “And it’s really f’d up that I have had to carry this burden, because you never got around to asking the question. And even after you turned me into this angry character in your fictional story – I was trying to get your attention – to let you know.”

Jill: “What? What is it I need to know?”

Skyler: “That it’s not your fault.”

Jill really loses it now.

Jill: “So, what is it you want from me?”

Skyler: “I just want you to succeed….to be happy.”

Jill: “ok…”

Skyler rolls her eyes, exhales, and walks over to Jill – Ami joins them. Group hug.

Skyler: “I guess I’m worried now that I’m out of a job.

Jill: “Maybe not…. I have an idea”

Jill closes her eyes… .and when she opens them, she is the only one standing there.

3. How do your lead characters come to an end in a way that represents the completed change? See #2

4. What are the set up/pay offs that complete in the end of this movie, giving it deep meaning?

· Set up – Jill keeps her hurt and confused feelings about her absent father a secret, as no one in the family wants to discuss it. Showing this hurt behind closed doors when her half-brother Conner demonstrates how great his relationship is with his dad.

· Set up – Jill tells her hypnotherapist about her dad going missing – as if it was a joke.

· Set up – when Jill first goes under hypnosis, she finds herself in a SUBTERRANEAN WORLD as a starving orphan who gets lured in by a shadowy man (Snow Blinder) to be picked up by child traffickers and hauled off her icy home planet to a mother ship. This is the metaphor for this abandonment issue Jill harbors in her psyche. This abandonment leads to a dangerous world of peril and uncertainty.

· The journey Jill/Skyler take in the trance-induced subconscious realm shows how the shadow-self Skyler carries the weight of the anger throughout the story and how she ultimately learns to transcend, raise her frequency, embrace her higher potential, and feel her authentic self once again -> making it powerful when Skyler finally gives the hurt back to where it belongs – with Jill – to sort it out as a MATURE ADULT.

· Set up – Asking “story questions” is important (key) to keep the story moving – either through fiction or real life. So, Jill starts to have breakthroughs when she becomes pro-active enough to start asking questions.

· Set up – the spacecraft is consciousness-assisted – meaning it is a biological/ conscious extension of the pilot – in this case Skyler becomes the pilot and learns from flying her spaceship (higher self). Another metaphor for self-mastery. I may have Skyler demonstrate her self-mastery by flawlessly flying this ship and shooting “truth bombs” at Jill.

5. How are you designing it to have us see an inevitable ending and then making it surprising when it happens?

My intention is to show Jill beginning to take back her power in act 3 once she sees this death scene of her characters within the hypnosis session. But to be clear, Jill hasn’t actually taken responsibility for her own unprocessed feelings yet. She is at a RATIONAL LEVEL of understanding…. we may believe Jill has it all figured out, like she does. Many people who go through cognitive counseling stay at this level of awareness for years before they allow themselves to feel anything.

The surprise is when Jill encounters her shadow-self, Skyler, who is raging and uncooperative. Skyler is fighting this “Rational” resolution – because it’s more make-believe bullshit. It’s more smoke and mirrors, denial, and delusional thinking – and that pisses her off. Skyler is like the goddess Kali – the goddess of destruction.

So that leaves the viewers feeling shaky and uncertain. What can Jill do to bring these disparate parts of herself together? Have a meltdown, of course.

6. What is the Parting Image/ line that leaves us with the PROFOUND TRUTH in our minds?

I’d like to show how Jill’s interactive intuitive video game will work with Skyler and Ami as its avatars or guides – and then show the player finding freedom (scoring high) and Ami and Skyler flying free in their spaceship – through a big expansive beautiful sky – where THE SKY IS THE LIMIT.

[Andrea Gilbert]

LESSON 7: ANDREA’S CONNECTION WITH AUDIENCE

1. What I learned doing this assignment:

The main characters of a transformational profound story need to engage the viewers in order to want to go along for the journey. I believe I will discover more of their relatability, likability, intrigue, and empathy as I get into the actual scene creation.

2. First 30 minutes connecting to audience for…

Jill: Transformable Character

· Relatability:

Jill struggles to present her art to a publishing company, which exposes her vulnerability – so much that it triggers her nervousness and insecurity. We’ve all been there. Jill also, as an artist, has difficulty with her real-world job as a bartender. Many creative types can relate to that.

· Intrigue:

Jill is predisposed to ‘flights of fancy’ – whenever she encounters conflict her imagination generates a silly scenario in her head to take off the edge.

· Empathy:

We feel her pain when she has to deal with her narcissistic mother who doesn’t even try to understand Jill, as well as an insensitive bar manager, and an oblivious half-brother with whom she lives.

· Likability:

Jill has a neurotic and sarcastic sense of humor that is rather self-deprecating and adorable. Think Diane Keating in Annie Hall if she were more like Woody Allen.

Skyler and Ami make their appearance in the first page as characters in Jill’s graphic novel. The scene is animated, so they’re live action.

Skyler (transformable character)

· Relatability:

Skyler is genuinely concerned for hers and her passenger Ami’s safety as their spaceship enters into enemy territory.

· Intrigue:

Skyler has a titanium arm – is she cyborg?

· Empathy:

We sympathize with her as she tries to get “someone’s” attention (is it Jill’s) regarding the danger she is heading for- presumably to help her. We sympathize as she gets more and more triggered by the crisis.

· Likability:

Skyler is a little rough around the edges, but she’s entertaining in her gruff exterior. She is really trying her bravest best under the circumstances.

Ami (change agent)

· Relatability:

Ami is sweet.

· Intrigue:

Ami makes interesting and wise insights for a very young girl during the scene where they are in possible trouble.

· Empathy:

Ami doesn’t have direct control over fixing the trouble she and Skyler are in – she seems to be along for the ride.

· Likability:

Ami is sweet.

[Andrea Gilbert]

LESSON 6: ANDREA’S TRANSFORMATIONAL STRUCTURE

1. What I learned doing this assignment:

This was a particularly grounding exercise in getting my ducks in an escalating row where my story is concerned. I am good at big picture stuff. This forced me to tighten up and make some clear decisions about my character’s gradient arc…which, again, I imagine will continue. This class is taking me to task and I love it.

2. Transformational Character: Jill

3. Mini Movie Structure -> with transformational logline –> The Three Gradients in Escalating Challenges – using a slight combo of forced and desired change.

TRANSFORMATIONAL LOGLINE:

A neurotic mid-age writer whose main characters of her graphic novel have gone missing / must journey to her subconscious mind through hypnosis where she is immersed in her sci-fi YA story to face and heal from traumatic memories / so she can become whole and invisible, and create a reality beyond her dreams

MM 1 (p 1-15)

DENIAL

Challenge/Weakness

C: Nothing is turning out as Jill expected with her big break pitching her graphic novel to the publishing company. Everyone/thing seems to be against her.

W: Jill’s victimhood approach to life.

Jill gives a graphic novel presentation – we see the comic-book images “come to life”: a spaceship– on board are two young girls: one pre-teen (Ami), the other a gritty teenager with a titanium arm (Skyler). Jill is nervous giving the presentation – meanwhile, behind Jill’s awareness, there’s something wrong inside the world of the space-girls – as Jill struggles to answer tough questions about her story, her characters head for a crash landing.

Afterwards, Jill is filled with anxiety, as she faces typical inner stressors: her difficult mother, a challenging job for an introvert as a bartender, and an extroverted, in-your-face successful video gaming podcast mogul half-brother who lets her live there – for now.

Jill deals with conflict and stress with sarcastic humor and by entertaining ‘flights of fancy’ in her mind – both are types of defense mechanisms to ward off unpleasant feelings she is essentially disconnected from.

Good news, the publishers are willing to give her story a second look with some deep dive changes – bad news…

TURNING POINT: JILL’S characters have gone missing from her pages.

MM2 (p 15-30)

ESCALATION

Challenge/Weakness –

C. Having to step up and accept a bigger responsibility in order to take care of basic life’s needs.

W. Fear of failure

Jill is caught up in the “real” challenges of her failing financial reality and must grudgingly accept a promotion as a bar manager – while she frets about what she can do about finding her characters – then she meets a quantum hypnotherapist having dinner at the bar who’s in for an Alien Con weekend as a presenter. Jill learns that she can access her imagination through hypnosis and….

TURNING POINT: Decides hypnosis may be her only chance to solve her problem.

MM 3 (p 30-45)

DOUBT

Challenge / Weakness:

C: being trafficked by space beings

W: Powerlessness

Jill’s experience in the so-called subconscious mind is a huge departure from the surface reality. She’s clearly no longer on Earth, in fact she is in a subterranean part of this strange planet where she’s a teenager, poor, orphaned and lured by a man who feeds her food in order to catch her for child trafficking. She is powerless. (Metaphor for the beginning phases of childhood for trauma survivors)

The cargo of trapped kids is shuttled out of this ice-planet to a mother spaceship. Jill sees the sky for the first time and is awe-struck. She also notices the sparkling city of the elites down below reminding her she was nothing.

Jill fights to get away from her captors by sheer force and brutal skills that surprise even her. She meets a boy her age, Pal – who she reluctantly lets tag along.

TURNING POINT: Survival Mindset Fails

·

MM 4 (p 45-60)

HOPE:

Challenge/ Weakness:

C: Tries to activate a giant toddler through telepathy as a distraction for when she and her friend Pal try to get away in a space craft, but her abilities are limited

W: shame/guilt for not being good enough

Jill and her new friend Pal hide and gather intel until they meet a shipmate who is motivated to help them escape. Jill discovers she has psychic abilities to see energy streams around different people, beings, and systems, helping her navigate this odd place and form a plan.

But the shipmate changes his mind and betrays them before they can get to an escape pod,

TURNING POINT: Jill must do her best to leverage her new skills in mental telepathy to create a diversion – only to have it go wrong – losing her friend Pal in the process.

MM 5 (p 60-75)

DISCOURAGEMENT:

Challenge/ Weakness:

C: Jill, who now looks just like her character Skyler, must learn from the girl (Ami) how to vibrationally outsmart the reptile people so they can escape.

W. Self-doubt

Jill finds herself on a strange planet of humanoids run by human-looking reptilians who seek to keep this ignorant population severely restricted and controlled. She is immediately drawn into rescuing a young girl from being dismembered – only to lose her own arm and be tasked as this girl’s bodyguard.

The girl, Ami, is the spiritually gifted daughter of the reptilian elite, who is always trying to get out from under their control to help people. Jill, who is now transformed to look like Skyler (the main character in Jill’s novel) is tasked with being Ami’s bodyguard. But the actuality stings even more- as Skyler must take her cues from Ami if she wants to survive the rigid and punitive rules of this society.

Ami sees Skyler as a diamond in the rough and takes her to be initiated by the Venusian Elders who teach her the ways of shifting vibrations. When one shifts their vibrations higher, they are immune to the rules others are trapped by: they float like water over all challenges and move like a silent breeze past those who seek to control.

For the first time Skyler allows herself to trust and love another human being and to feel joy.

The ultimate challenge of self-mastery is to operate a consciousness-assisted spacecraft. All spacecraft on this planet are preprogrammed to go only to approved areas – however, the elite have access to special wet-wired craft that can merge with the DNA of the pilot and travel anywhere. Ami gains access to one of these craft to get Skyler prepared to leave forever one day. However, Skyler has repressed anger issues that cause problems.

MIDPOINT: Jill makes the transformation in this hypnotic journey to becoming Skyler – the scrappy main character from Jill’s novel. She found her but doesn’t realize she IS her.

Ami – originally the “side-kick” but truly THE CHANGE AGENT also makes her debut in this origin story.

TURNING POINT: Skyler realizes she has repressed anger issues that must be addressed.

MM 6 (p 75-90)

REVELATION

Challenge/ Weakness

C: Skyler must overcome her lower vibrational habits such as negative self-talk in order to lift off.

W: Self-sabotage

The plan to one day leave this evil society has just been moved up to now. A pre-arranged marriage has been set for Ami – an interbreeding program that secures the bloodline success of the ruling race. Ami is doomed.

Skyler takes Ami in the conscious-assisted spacecraft (CAS) and flies them out and away from the planet. They’re followed – the chase is on. Skyler escapes to a nearby planet and when she enters the atmosphere, realizes it’s her home ice planet, where she last encountered her betraying enemy Snow-Blinder. Her emotional rage is triggered causing her to lose control of the craft and head for a difficult landing. Now they’re stranded and Ami is unconscious. Skyler leaves to assess damages and gets stuck in a snow drift – then sees Snow Blinder approach. Blinded by her rage at him, she attempts to fight him and ends up slipping off a cliff to her death.

From a hypnosis point of view, Jill is drifting away from this life into the void. She snaps out of the trance very shaken, and before she can be debriefed, runs out of the office.

TURNING POINT: Blinded by her rage at him, Skyler attempts to fight Snow-Blinder and ends up slipping off a cliff to her death – leaving Ami on her own.

MM 7 (p 90-105)

COURAGE

Challenge/ Weakness:

C: Making sense of the trauma and the feelings she is faced with, not realizing these are hers (as opposed to her character Skyler)

W: Dissociation

Now at home Jill is recovering from the shock of what this all means. They’re dead? Her characters are dead? Is this the end of her writing career? When she goes to sleep, she dreams she is visited by her Native American friend, Jimmy Nightwalker, who we meet in the first act. He takes her to a possible future lifetime. Here Jill sees that not only does she become very ill in the future, but she is forced to be caretaken by her nagging mother. Her life is doomed if she doesn’t resolve this inner conflict now.

Jill determines to find the hypnotherapist – who is now on her way to the airport – to be put back into trance so she can retry that last fatal scene from another perspective, which she isn’t sure what that is yet.

Jill, back in trance, as herself – confronts Snow Blinder (a bad guy in her novel) who is not anything like she remembered or believed. He has reformed and has a very sympathetic backstory and perspective on what happened.

Jill believes she can convince Skyler to shift her perspective and take a new course. But when she finally gets her chance to re-enter that fated scene – and Jill saves Skyler form falling to her death – instead of gratitude and reason, Jill is met with heightened vitriol and rage from Skyler about the past Jill has never been burdened to know.

Skyler, having acted as Jill’s defensive ego in her life, was there when her father left – no- abandoned them to the poisonous mother who felt nothing but bitterness and contempt. Jill was saved from having to bear the brunt of this trauma. Similar “you -can’t- handle- the -truth” TRUTH BOMBS are hurled at a baffled Jill. Skyler creates violent mayhem moving things with her mind, causing destruction with her rage.

TURNING POINT: Go big or just quit.

MM8 (p 105-120)

FINAL VICTORY

Challenge/ Weakness

C: Convincing her shadow Skyler that she is worthy and can be given a new role in Jill’s life.

W. REPRESSED GRIEF

Jill gets triggered by Skyler’s truth bombing as she now recalls a flood of painful repressed memories that come through.

Ami appears by Jill’s side. Jill is stunned and is touched by her honesty and gentle patience. Jill peers into Ami’s sun goggles and sees the reflection of Skyler within.

JILL REALIZES THE TRUTH NOW…. she IS Skyler. Ami goes to Skyler, and immediately calms her down. Jill marvels at the trust and love that radiates between them.

Jill closes her eyes. When they open, Jill is the only one there.

Jill realizes then that Ami and Skyler are the source of connection for her: Skyler is her shadow – Ami is her.

Tying up Loose Ends:

Skyler is assigned a new role in Jill’s life, which keeps her busy and happy, with similar duties – only more productive and lucrative for Jill’s creative goals developing the interactive, introspective video game. Ironically one that her video podcaster brother has trouble playing.

Top of her game now, Jill meets a man at Comic Con who bears a striking resemblance to Pal, the guy from the mothership. Love is a strong potential.

Old belief “We were abandoned – and therefore unloved!” ->

New belief: “We can fly from this new place of wholeness – together as a team.” ~ Fly Girls

New Status Quo

• This reply was modified 2 years ago by  Andrea Gilbert.

[Andrea Gilbert]

LESSON 5: ANDREA’S THREE GRADIENTS

1. What I learned doing this assignment:

This stage cannot be rushed. Laying this part out has enabled me to see the ebb and flow of the story beats – and whether they escalate or not to a satisfying and deep conclusion. I had to reach deep into my heart for this…as I imagine I will need to keep doing until this is done and dusted. I added an emotional beat that made sense for my character’s development.

I am not ashamed to say this process made me cry more than once.

Transformational Logline:

A neurotic mid-age writer whose main characters of her graphic novel have gone missing / must journey to her subconscious mind through hypnosis where she is immersed in her sci-fi YA story to face and heal from traumatic memories / so she can become whole and invisible, and create a reality beyond her dreams

2. Emotional Gradient:

** Desired Change

· EXCITEMENT:

Action: Jill has the opportunity to have her graphic novel published. Although she is daunted when her characters go missing, she is relieved to try the mysterious technique of quantum hypnosis to delve into her imagination – where she must commit to uncertainty.

Challenge/Weakness –

C. having to put aside personal control

W. Ignorance

· DOUBT:

Action: Within the subconscious trance Jill is faced with a dark, subterranean scene that is clearly not of this world – in this realm she’s a poor orphan, hungry, 18 yo and dependent on strangers to help her. She is deceived (betrayed) by a man who lays food out – but it’s a trap…. she is corralled by weird looking aliens and carted onto a spaceship with other misfit children. Acts out in anger and violence in an effort to escape the ship.

Challenge / Weakness:

C: being trafficked by space beings

W: Powerlessness

· HOPE:

Action: Jill discovers she has heightened but limited psychic abilities: i.e., sees energy fields, can communicate telepathically, has intuition of what to do next, pre-qualified to operate a consciousness-assisted space craft (marginally)…intel that emboldens her to form a plan of escape. She grudgingly accepts a co-escapee to support her.

Challenge/ Weakness:

C: Tries to activate a giant toddler through telepathy as a distraction for when she and her friend Pal try to get away in a space craft.

W: Her anxiety appears to get her friend killed.

· DISCOURAGEMENT:

Action: Jill finds herself on a strange planet and immediately is drawn into rescuing a young girl from being dismembered – only to lose her own arm and be tasked as this girl’s bodyguard. This planet is controlled by manipulative reptilian’s who hide behind a disguise of being human-like – these are the girl’s elite family.

Challenge/ Weakness:

C: Jill, who now looks just like her character Skyler, must learn from the girl (Ami) how to vibrationally outsmart the reptile people so they can escape. Skyler tries to enhance her psychic abilities to operate a consciousness-assisted space craft – but realizes her repressed anger impedes progress.

W. Self-doubt

· REVELATION:

Action: Ami’s influence on Skyler grows – along with trust and acceptance and a greater ability to feel joy and love. Ami discovers she is to be wed to one of the reptilian families for advancement of their species – Skyler abandons her old isolationist mentality and escalates her self-mastery training to fly them out of there.

Challenge/ Weakness

C: Skyler must overcome her lower vibrational habits such as negative self-talk in order to lift off.

W: Self-sabotage

· COURAGE:

Action: Jill – having witnessed Skyler and Ami die in her session because Skyler got triggered by the one who betrayed her (Snow Blinder) – awakens out of trance and runs out upset before getting debriefed.

After having a bad dream that night where Jill is shown a possible future life on this trajectory (problem unresolved) where it’s much worse than dying – she resolves to go back into a trance and replay the scenario over to look for a new perspective (for Skyler).

Challenge/ Weakness:

C: Making sense of the trauma and the feelings she is faced with, not realizing these are hers (as opposed to her character Skyler)

W: Dissociation

· TRIUMPH OR LOSS:

Action: Jill – inside the hypnosis session – visits the betraying character (Snow Blinder) and gains a new perspective she is eager to convey to Skyler. Skyler violently rejects this so-called rational point of view and wreaks havoc – threatening to undo all the gains she has made over her refusal to let this anger go. Ami arrives on the scene soothing Skyler.

Jill realizes then that Ami and Skyler are the source of connection for her: Skyler is her shadow – Ami is her intuition and after completely surrendering and breaking down with grief over holding this anger in for so long, integrates all the parts back together.

Challenge/ Weakness

C: Convincing her shadow Skyler that she is worthy and can be given a new role in Jill’s life.

W. Undeserving –

Finale:

Old belief “We were abandoned – and therefore unloved!” ->

New belief: “We can fly from this new place of wholeness – together as a team.”

[Andrea Gilbert]

LESSON 4: ANDREA’S LEAD CHARACTERS

1. WHAT I LEARNED DOING THIS ASSIGNMENT:

Watching Dead Poet’s Society helped me remember my roots. This movie inspired many of my aspirational goals out of college. I had gotten a master’s in education in a program that fostered inside-out self-oriented education though group processes. I believed in free thinking since high school. But free thinking is really only available to those who dare to do some introspection about who they are – which includes the parts that live in the subconscious mind – which occupies 95% of our habitual, automatic thoughts. For example, the subconscious program of not being allowed to disobey his father is the fear that drives poor Neil (of DPS) keeping him from just telling his father what he wants for his life– just before he ends it.

I was able to get back in touch with why I need to tell this – and other stories – because this is my mission. Self-discovery has been my path – due to repressed insecurities stemming from my childhood. I too must be a Mr. Keating – a change agent. And yes, I have made the mistake of revealing too much too soon to those who were not ready for the full arsenal of “free-thinking”. It’s a powerful tool and must be revealed with caution and safeguards – especially for those who have been heavily oppressed and/or programmed in life.

I also discovered about the shape-shifting nature of the betraying character. Neil could be considered to be a betraying character. Not for taking the risk of following his bliss despite his father’s disapproval – but for not being able to rise to the pressure of reaching that final challenge of speaking his truth to power in the moment it really counted. I think a betraying character can be on a slippery slope – as that is the nature of change – but its real dramatic purpose is whether they can stick or not when it matters most – and then who it effects thereafter.

Can the Betraying Character be used as a final complication for the transformable character to rise above to make that final leap? Like when Todd was pushed to stand up for Mr. Keating in a way he never would have – due to the fact he lost his closest friend Neil and was forced to sign a confession blaming Keating.

The betraying character has range and possibilities.

2. TRANSFORMATIONAL LOGLINE

A neurotic mid-age writer whose main characters of her graphic novel have gone missing must journey to her subconscious mind through hypnosis where she is immersed in her sci-fi YA story to face and heal from traumatic memories so she can become whole and invisible and create a reality beyond her dreams.

**All characters in Jill’s book are part of Jill’s psyche.

3. CHANGE AGENT(s):

Ami is a 10-year-old character in Jill’s graphic novel who remembers who she is – spiritually speaking – representing a golden child or inner child. Living in a galactic multi-verse, Ami knows her planet of origin and why she is here on this planet, with these parents and what her mission is – or was. Things have changed for the worse, but Ami has learned to raise her vibration in order to circumnavigate her family’s manipulation and deception programs.

Ami’s plan is leave. She meets Skyler (another of Jill’s characters), an 18-year-old refugee who saves Ami’s life and is hired to act as Ami’s bodyguard. Skyler (Jill’s shadow/ego) is burdened by anger and cynicism and needs Ami’s guidance toward mastery of her emotions in order to be able to consciously navigate a bio-spaceship and fly them out of there for good.

Both Ami and Skyler are essential for Jill to understand in order for her to overcome her neurotic self-sabotaging tendencies. So, in a way, the lessons, insights, and perspectives they both reveal are crucial for Jill’s emotional freedom. They could be co-change agents from different angles.

4. TRANSFORMABLE CHARACTER:

Jill is a time bomb ready to blow. She is not in control of her writing career, or her life in general, as she is pulled this way and that through her repressed emotional “issues”. Jill is pushing 45 and is stuck and on the verge of forfeiting her dream and heading for a doomed path. She sorely needs self-awareness in order to begin the journey back to wholeness and empowerment – so she can succeed in the one area she loves – writing and creating stories.

But because she is in denial – a crisis must be created.

5. THE OPPRESSION:

The oppression is Jill’s inner distortion – her unresolved trauma from childhood and beyond. This out pictures/ externalizes in Jill’s environmental circumstances in her everyday life (an unsympathetic, narcissistic mother, a dead-end job Jill hates, a success-driven half-brother who doesn’t get her “issues”) …

as well as the dangerous sci-fi YA story she wades through in her hypnotic, subconscious journey. The outer conflict reflects the inner turmoil – as well her reactions to same.

6. BETRAYING CHARACTER:

Skyler learns many things from Ami about how to raise her frequency in order to understand her natural intuitive abilities and to fly consciousness assisted spacecraft – however, she struggles to overcome her grudge against Snow blinder – a character who sells her out to a child trafficking ship early on in the story (and symbolically represents her absent father). This rage she has for being deceived, betrayed, and abandoned by this man she didn’t even know causes her to lose control of her spacecraft and endanger hers and Ami’s lives.

Even as Jill ultimately becomes aware that she IS Skyler and sees that this Snow Blinder character (like her absent father) meant no harm and has in fact moved on to redeem himself by doing good. And even as Jill moves to purge this repressed rage out and forgive – the Skyler aspect holds back using its cynicism, doubt and “nobody loves and understands me” ploy to hold onto an outdated role that has defined her throughout Jill’s life. This makes for a messy struggle of rational realizations, mixed with complex PTSD feelings that run deep. But vacillation is totally normal, with personal growth being a process of continual uplevelling – one step forward, two steps back…

But once the dust settles, Jill has an idea – and we cut to the epilogue where Skyler is assigned a new role in Jill’s life, which keeps her busy and happy, with similar duties – only more productive and lucrative for Jill’s creative goals developing the interactive, introspective video game.

[Andrea Gilbert]

LESSON 3: Andrea’s Transformational journey

What I learned doing this assignment is…

I can get very specific about this story now as my focus narrows and I have to “show up”. I’ve been thinking about this for some time now…and now that I have to show my work it takes me to another level of precision (I guess). I am finding I am highly motivated to show my best side – and maybe that’s what makes the difference.

I am performance motivated – as opposed to writing just for myself or my writing partner and husband John. And John is a professional screenwriter – just not in this genre. He’s more into thriller or crime fiction. Anyway, this edge of writing to show my muse tends to make me sharper. That’s what I notice – and it’s a good thing.

Btw, any inkling that the story I am writing is about my own personal transformational journey is just a coincidence, lol. I AM AWARE! 😇

Log-line:

A neurotic mid-age writer whose main characters of her graphic novel have gone missing must journey to her subconscious mind through hypnosis where she is immersed in her sci-fi YA story to face and heal from traumatic memories so she can become whole and invisible and create a reality beyond her dreams.

The Old Ways:

Jill is a neurotic YA Sci-fi graphic novelist who holds repressed traumatic memories of her past that keep her stuck in self-defeating patterns of *self-sabotage, *low self-esteem, *poor life choices, *very little control, or power over her life’s direction, *lack of willingness or maturity to take responsibility for her life – and ultimately keeps her from succeeding in the one thing that brings her joy – writing and illustrating stories to inspire young people.

Even here with her art, she is unsure and superficial about who her story characters are or what they want – which makes her prospective publishers wary. They decide to give her a chance to go deeper and repropose her concept to them in a second presentation – but now her characters have “gone missing”. They’re nowhere to be found! – and she’s running out of options…😩

The New Ways:

Jill becomes self-aware and empowered. She finally understands who her characters (Skyler and Ami) are – their traumas, fears, concerns, and wants, as well as their buried potential – such as heightened intuition, mental telepathy, and clairsentience (multi-dimensionality). And realizes they are her.

As Jill overcomes her fears, faces her traumas, and lets these go – her self-awareness and intuitive powers grow, enabling her vibration to raise and make her a powerful force for good and an agent of change in the world.

Her potential book publishing deal becomes a life-changing contract to create an epic interactive, introspective, multi-dimensional video game that enables its players to make positive, empowering choices over negative, self-defeating ones throughout the game and enhance their vibrational score and thus their potential reality of choice. Practice for the so-called “real world”.😉

• This reply was modified 2 years ago by  Andrea Gilbert.

[Andrea Gilbert]

LESSON 2: Andrea’s First Three Decisions.

What have I learned from doing this lesson?

Although I have thought long, hard, and deep on this concept over the years I am amazed at how much more I am able to whittle it down to its most fundamental parts. And yet I have created two options for each question. I guess there is more whittling to do 👽

1. What is your profound truth?

**You are a multi-dimensional being with enormous potential beyond the five senses – and as soon as you realize this – anything is possible.

** Everyone can create their own reality through self-mastery.

2. What is the change your movie will cause with an audience?

Two possibilities:

**The audience feels the swelling empowerment that comes from integrating the shadow self with the whole self when you expand into a multi-dimensional being.

**The audience now realizes anything is possible if they can imagine and believe it – and are willing to become self-aware, forgive and let go of old subconscious wounds and limiting beliefs.

3. What is your Entertainment Vehicle that you will tell this story through?

**Metaphor. The special world I will be creating in the second act is a hypnosis induced YA Sci-fi Graphic Novel through which the protagonist (a writer) must understand her characters (i.e.., herself) in a deep way – including their unprocessed traumas/ and or hidden potential. The characters are metaphors for the protagonist’s inner-child and unexamined shadow.

[Andrea Gilbert]

I, Andrea Gilbert,

agree to the terms of this release form.

GROUP RELEASE FORM

As a member of this group, I agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

[Andrea Gilbert]

Hi! My name is Andrea. I first took Hal’s Pro Series class about 20 years ago.

I have written about 3 scripts since then – one which has turned into a graphic novel which I write and illustrate. I also wrote a TV pilot for a series that has transformed into a YouTube channel I call Day Trips out of the box – which I also script, film, edit and post on YouTube.

3. My hopes for the class?

(background) I conceived of this character and idea back when I wrote the TV pilot – also called Day Trips out of the Box (2006). The notion was looking at this character from a multidimensional point of view and watch her grow from being a basically unaware, unconscious girl who is abruptly faced with her shadow side (a separate character) and forced to learn who she is on a deeper level. I began writing the movie version of this three years ago (2020)- then it went on the back burner when I started writing my graphic novel, learning quantum hypnosis (QHHT) and then the YouTube channel last year.

Long story short – I have since gained valuable information, clarity and perspective. My bandwidth has grown so much from all this extra curricular work. Now is the time to write this story- which I started 4 months ago. Then, I watched Hal’s infomercial this second time and literally cried. I knew it was time to do this – and with Hal’s incredible insights – to do this the right way!

I hope for much sorely needed mentorship, guidance, wisdom, insight, structure and feedback. It would be awesome if I could connect with likeminded souls here who might “get it” and reciprocate encouragement.

4. Something unique? I am an INFJ personality type. What’s that? It’s the one of the rarest of the 16 personality types according to Myers-Briggs Personality test. It stands for Introverted Intuitive Feeling Judging – and why is this relevant? INFJs of all the personality types are the ones who look for profound meaning and purpose in everything. They feel they are here to help humanity – even though they have difficulty being around many humans. lol. 😉

This class – this mission to write this profound movie – is what INFJs live for.

It’s what my YouTube channel is used for – to help people break free from their conditioned minds and limiting beliefs – to realize the best version of themselves…

and I use Quantum Healing Hypnosis Technique – QHHT to take people beyond their conscious “conditioned” mind to the subconscious where their deepest memories and imagination rule.

Sorry if this is long….but my journey has been very long. I’m now 58 and am finally ready. Let’s do this!!

Can’t wait to meet you all and see what kinds of profound stories you need to tell 😄.

Andrea

[Andrea Gilbert]

Andrea’s Analysis of Groundhog’s Day

What I learned from this assignment is…

I can relate to this movie in a profound way this time around because I too feel like I have been treading water in the same set of circumstances and location for the last 12 years. In spite of the seeming limitedness of this, I have chosen to grow from the inside out – and my actions have followed suite. As I change my perspective, my environment changes, and people’s attitudes around me change – because the world is a projection of the beliefs and perspectives that I hold in my vibrational field. This movie reminds me there is hope that as I surrender to what is – anything is possible – to include finally writing the profound movie that will open hearts and minds.

ANSWERING THE QUESTIONS:

1. What is the CHANGE this movie is about? What is the Transformational Journey of this movie?

Moving from shallow, cynical and ego-centric to authentic and service to others oriented.

2. Lead characters: Who is the Change Agent (the one causing the change) and what makes this the right character to cause the change?<div>

Rita – She’s ‘the divine mother’ of inspiration to Phil – he admires her.

Who is the Transformable Character (the one who makes the change) and what makes them the right character to deliver this profound journey?

Phil – who seems impossible – so stuck, so rigid in his core belief that he’s entitled something for nothing, and yet so desperate to break out.What is the Oppression? The frozen time factor is keeping Phil in a state of limbo – or so he believes. The ego.

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3. How are we lured into the profound journey?

The intrigue of the stopping of time and watching Phil react to it.

What causes us to connect with this story?

Phil’s changes he makes as he fails repeated attempts to manipulate the circumstances to his will. Humorous effects and reactions.

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4. Looking at the character(s) who are changed the most, what is the profound journey?

Phil tries everything an average person might think to try once he realizes it doesn’t matter. He lacks responsibility for himself or others. A real lack of care. Then he decides to acquire the one thing he thinks he wants (Rita)– but it comes from a shallow place and so he uses shallow methods – manipulation, to get it. From “old ways” – using external manipulation and cleverness. to “new way of being.” – authenticity and tapping into what is true for yourself – it’s self-awareness, centeredness and surrender to what is. An inside out approach.

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5. What is the gradient of change? What steps did the Transformational Character go through as they were changing?

* Superficial niceness – feigned politeness out of gate. Mostly arrogant, cynical, and condescending.

* 3^rd time he hits GHD he becomes scared and runs to Rita and refuses to do broadcast -> realizes it doesn’t matter what he does. Becomes destructive and reckless.

* 4^th time -> he’s elated he gets away with his bad behavior and sets off to explore what else he can do with this magical time capsule in terms of manipulating people and things to get what he desires – greed, lust, and false power-over tactics.

* Goes after Rita with same egoic tactic of making observations and using the intel to manipulate her into liking him. She catches him every time. He plays off her preferences and interest because he has none of his own. He is emotionally bankrupt. **Leads to unhappiness and powerlessness.

* Hits a wall – spirals down. Crashes and goes crazy – steals the groundhog and tries to kill himself multiple times.

* Convinced he is a god – not the God, but immortal. Doesn’t feel like he exists. He knows everyone and everything about this town – and almost convinces Rita. He is having an existential crisis and is very, very close to acceptance and surrender…he’s about ready…

* When Rita agrees to stay over, it inspires his last phase of becoming a better man – helping others, devoting his time to improving himself, serving others, and exploring interests in earnest – even prioritizing this over Rita.

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6. How is the “old way” challenged? What beliefs are challenged that cause a main character to shift their perspective…and make the change?

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Phil originally looked down upon everyone in this small town with his very small mindset – like “I’m better than this.” “I deserve better – so I’ll just take it.” He takes instead of giving.

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7. What are the most profound moments of the movie?

When Phil gets up and immediately sets out to improve his behavior by helping other and learning new things. When Phil tries to save the old man. When Phil asked Rita if there was anything he could do for her today.

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8. What are the most profound lines of the movie?

“What if there was no tomorrow? We could do whatever we want.” “I’m not going to live by their rules anymore. You make choices and you live with them.” To Rita, “What would you do if you only had one day?” “What do you want?” “I’m a god, not the God.” “I don’t even exist anymore.” “No matter what happens tomorrow, I’m happy now, because I love you.”

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9. How does the ending payoff the setups of this movie?

Setups include the people and details of the town that he collected along the way to end up helping in various ways, how hard it was to get Rita to notice him, want him and stay overnight,

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10. What is the Profound Truth of this movie?

· Grow where you’re planted – idiom

· It’s not about you – Stoicism

· There’s no out there ‘out there’. – Quantum physics

· Surrender the ego to become who you were meant to be

· Happiness is not found in things (outside world) but in virtue alone – Stoicism

· We don’t control external events – only our thoughts, opinions, decisions, and duties. – Stoicism

· Our personal development is interconnected in cooperation with others – stoicism

· The challenges we face in life is the path (spiritual path)

· Anyone can change for the better and find happiness if they accept who and where they are in their life and learn to be grateful for what they have.

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[Andrea Gilbert]

I’m glad you’re standing up to those greedy corporations, Will! Someone has to!

Looking forward to seeing how this unfolds.

Andrea

[Andrea Gilbert]

Thank you for your enthusiastic response, Will. It means so much to me that you get it.

Cheers!

Andrea

[Andrea Gilbert]

Thanks Mary. Turns out you can edit these posts 🙂 I keep a running log of all the lesson write-ups in a Word doc – so you can add, refine and so forth as you gain more insight.

Thank you for your kind encouragement.

Andrea

[Andrea Gilbert]

Jeanne,

Sounds like the making of a powerful story.

Andrea

[Andrea Gilbert]

Hi Joanne,

What kinds of things have you done in the field of spirituality? I am a quantum hypnotherapist – which delves in the quantum realm though people’s subconscious ie., imagination, which is the language the higher self uses to communicate with us.

Looking forward to reading your ideas.

Andrea

[Andrea Gilbert]

Hi Bob,

A nuclear whistle blower. I hope that’s the seed of your story! Can’t wait to hear what you got!

Andrea