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Upside-down, The Good Newsletter 2020 - Week 4

The weekly interactive newsletter sent out by Plukrijp to its members

For people living NOW the school of life

For YOU to send all your good news to

upside down = instead of announcing what we plan to do
(& most often find out we do not need to do), we relate what we really did

Building communities of trust is fundamental to healing our collective wound. At Plukrijp, we offer spaces of transparency and solidarity. The community allows people to encounter each other in truth and so develop trust.
We do the garden for YOU
Plukrijp functions on your frequent visits & harvests. Take along for friends & neighbours, this way we recreate real networks between us all, breaking down the illusory restrictions that now still separate many of us from our fellow man = UBUNTU.

What you can harvest now:

Jerusalem artichokes, parsnip, potatoes, carrots, celery, chards, chives, salads, rucola, chervil, pumpkins, cabbages,  mustards of all colors & textures, cauliflower, fresh herbs for taste & medicine.

This week @ Plukrijp

We did:

Carbon was the key word this week:

We received 3+truckloads of pine-wood from Marc. It nicely re-filled the "empty" space we cleaned up last week, where the reserve plastic boxes were stored. Wood for fire or to put into the chicken compost place to grow worms in.
Straw was spread in the roads at Hei, after we dug up the composted near—humus & put it on the beds. Instant local fertility.
Branches & twigs were chipped & added to the chicken compost, promising new fertility for 2022.
Interesting Movies & Documentaries
RSA Minimate: Winners Take All – Anand Giridharadas
Win-win solutions are a fantasy: in reality, progress creates both winners and losers

It’s no secret that the biggest gains in the growing global economy are reaped by the extremely wealthy. And from philanthropy to tech initiatives, plenty of the world’s billionaires claim to have solutions to combat the escalating inequality. But while members of the winning class might believe their own arguments, the US writer Anand Giridharadas says they’re a naive fantasy: regardless of good intentions, those with power cannot elevate others unless they also give up something. In this animated excerpt from a lecture at the Royal Society of Arts in London, Giridharadas explains why, even if so-called ‘win-win solutions’ might sometimes apply in commerce and trade, they don’t make society more equal.
Loneliness On The Path – Bernhard Gunther

Many of us can relate to the sense and experience of feeling alone as we shed the matrix cultural/social programming and sincerely start to seek truth…
First Follower: Leadership Lessons from Dancing Guy

If you've learned a lot about leadership and making a movement, then let's watch a movement happen, start to finish, in under 3 minutes, and dissect some lessons:

A leader needs the guts to stand alone and look ridiculous. But what he's doing is so simple, it's almost instructional. This is key. You must be easy to follow!

Now comes the first follower with a crucial role: he publicly shows everyone how to follow. Notice the leader embraces him as an equal, so it's not about the leader anymore - it's about them, plural. Notice he's calling to his friends to join in. It takes guts to be a first follower! You stand out and brave ridicule, yourself. Being a first follower is an under-appreciated form of leadership. The first follower transforms a lone nut into a leader. If the leader is the flint, the first follower is the spark that makes the fire.

The 2nd follower is a turning point: it's proof the first has done well. Now it's not a lone nut, and it's not two nuts. Three is a crowd and a crowd is news.

A movement must be public. Make sure outsiders see more than just the leader. Everyone needs to see the followers, because new followers emulate followers - not the leader.

Now here come 2 more, then 3 more. Now we've got momentum. This is the tipping point! Now we've got a movement!
As more people jump in, it's no longer risky. If they were on the fence before, there's no reason not to join now. They won't be ridiculed, they won't stand out, and they will be part of the in-crowd, if they hurry. Over the next minute you'll see the rest who prefer to be part of the crowd, because eventually they'd be ridiculed for not joining.

And ladies and gentlemen that is how a movement is made! Let's recap what we learned:

If you are a version of the shirtless dancing guy, all alone, remember the importance of nurturing your first few followers as equals, making everything clearly about the movement, not you.

Be public. Be easy to follow!

But the biggest lesson here - did you catch it?

Leadership is over-glorified.

Yes it started with the shirtless guy, and he'll get all the credit, but you saw what really happened:
It was the first follower that transformed a lone nut into a leader.

There is no movement without the first follower.

We're told we all need to be leaders, but that would be really ineffective.

The best way to make a movement, if you really care, is to courageously follow and show others how to follow.
The Turning Point – Steve Cutts

'The Turning Point' explores the destruction of the environment, climate change and species extinction from different perspective. Music by Wantaways.

The CO2 level in the air due to industry, burning of fossil fuels, cow flatulence & excessive mobility/transport kept on rising & gave us the warmest December & (running) till now the warmest January we ever lived, with, of course, very little rain.

Fertility has been misunderstood since Liebig analyzed its components into N-P-K+20+oligo chemical elements (he recanted on his death-bed, just like Pasteur). Farmers had been creating fertile soil for 20.000 years without chemicals, relying on the manure from the gut-bacteria of the animals they domesticated. Suddenly miraculous harvests seemed possible by just adding some chemicals & ever deeper plowing. Nobody seemed to notice that the real fertility level was dropping exponentially because with every plowing, harrowing, fertilizing, poisoning of soil life ("treatment"), or harvest, we were stealing humus from our
grand-children & compacting the soil structure the plants need to grow fertility with their roots. The time of reckoning now has arrived: our crops need enormous amounts of water since the soil life can not store it anymore in the dead sand, forests burn each summer due to ever descending groundwater levels & disappearing rivers & streams. Effluvium from over-fertilizing poisons marches & river deltas. But still our industrial farm-food business does not slow down, stealing
(still)fertile land from African & Indian & Chinese farmers for out-of-size monster multinational food-factories.

Mad World Remix of Moby Video
(Are You Lost In The World Like Me)
2001 A Space Odyssey

The film received diverse critical responses ranging from those who saw it as darkly apocalyptic in tone to those who saw it as an optimistic reappraisal of the hopes of humanity.

The film garnered a cult following and became the highest-grossing North American film of 1968. It was nominated for four Academy Awards; Kubrick won for his direction of the visual effects.

2001: A Space Odyssey is widely regarded as one of the greatest and most influential films ever made. In 1991, it was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. In 2010, it was named the greatest film of all time by The Moving Arts Film Journal.

See also:
Inspiring Book
Freely from Viktor Fraenkel, "The Will to Meaning":
"Man is pushed by drives, but pulled by values"

These values & inner awareness keep us from being puppets on string being
jerked around by media, work, collective fear hysteria & artificial poverty.

The 3 basic tenets of logotherapy:
  • Freedom of Will
  • Will to Meaning
  • Meaning of Life

Logotherapy literally means therapy through meaning. It is spiritually-oriented psychotherapy. It is designed to make clients aware of their need for meaning & their responsibility.

Modern cult-ure and society have disconnected us from who we truly are.
We have been programmed with beliefs, desires,
needs and wants that are not our own.
We are disconnected from nature, spirit and our own bodies. 
Most of the struggle we experience in life is due
to the friction and conflict within us
– the schism between who we truly are on a soul level (essence)
and the conditioned personality we mistake for our true self.
- Bernhard Gunther
Humor (?)

The Script Check List
(Transactional Analysis)

Script Analysis
Script analysis, from the book 'What do you say after hello?' by Eric Berne, is the logical follow up to game analysis (all under the umbrella term Transactional Analysis). The games are the crooked interactions we repeat over and over in our daily lifes, the scripts are the overarching 'story' of our lifes, structured by early childhood impressions: the things we were and were not allowed to do by our (grand)parents, the non-verbal cues, the example they set, the things they tell us and expect of us. The life we are allowed to lead. An example; work hard, earn a lot of money, marry, screw around, get caught, become depressed, isolate yourself and die of a heart attack by age 56.
It determines our attitudes towards life (OK/Not OK-spectrum), the games we are inclined to play, the people we associate with, weather we are allowed to succeed or not and until when or, conditionally, when. Both parents offer us a script and a counterscript (a permissible way to get out of 'Work hard, earn money' might be 'become an alcoholic'). There are losing scripts and winning scripts. A script where you are set up with an 'I'm ok, you're ok' attitude is a winning script. A 'Not ok, not ok' attitude is an example of a losing script.
The questionnaire included in the newsletter offers a way to analyze and determine your script. At Plukrijp, we'll be filling it in individually and discussing it next week. We invite you to participate, send it in, (come by?).




In order to tell whether or not a certain set of transactions is a game, we look for certain special features. If there is a con, a handle or gimmick, a switch, and a payoff, then we have identified a game. If, in addition, we can do a structural analysis showing which ego states are active during each transaction, and a clinical analysis, which clarifies the advantages gained from playing it and how they got started, then we can say that we have not only identified the game, but that we understand it. The items required for such an understanding can be put down as a "check list," and the formal analysis of a game is based on such a check list. The game check list describes the anatomy of a game, which is a small segment of life.


The anatomy of a script, which deals not with a small segment, but with the whole course of a human life from birth or even earlier until death or even later, is naturally more complicated. A game may be compared to a flip of the wrist, which contains eight bones and involves seven others; a script may be compared to a mountain-climbing expedition, which involves the complete human skeleton of 206 bones. Thus the "check list" for a script contains many more items than does the check list for a game, but such a check list is the easiest way to understand how a script is put together. The first problem is to define a script so that it can be identified when it appears. Any definition will be subject to alteration with advancing knowledge in the field. Game theory is now like a well-made bicycle which will travel reliably and without hesitation over short distances, but script theory is like a one-cylinder automobile of 1900 which may or may not work when it is most needed, so skeptics can still cry: "Get a horse!" (or at least a couch), and perhaps demand that a more conventional therapist with a red flag walk ahead of the script analyst to warn timid people to keep out of the way.


The following definition, based on the current state of knowledge, will serve for the present to distinguish what is a script from what is a "not-script." A script is an ongoing program, developed in early childhood under parental influence, which directs the individual's behavior in the most important aspects of his life. The terms used in this definition can be defined as follows, using standard dictionaries, with some additional explanation.


Ongoing = continually moving forward (Webster).


This implies irreversibility, a one-way street. Each move approaches closer to the termination.


Program = a plan or schedule to be followed (Random House). This means that there is a plan, which is a scheme of action, project, design; the way in which it is proposed to carry out some proceeding (Oxford), and also a schedule. The anlage or skeleton of the plan can be found in a specific fairy tale.


Parental influence = actual transactions with the parents or their equivalents. This means that the influence was exerted in a specific, observable way at a specific moment of time.


Directs = the person must follow directives, but has free choice in matters where the directive does not apply. In some cases there is a special directive that says: "Turn the card over," which means "In this area do the opposite of what I say." Thus "rebellion," when it occurs, is really part of the script, and is not the same as "throwing the card away," which is autonomy. Important aspects = at least marriage, child-rearing, divorce, and manner of death, if that is chosen.



We can test this definition by seeing how well it defines "not-script." "Not-script" would then be reversible behavior, with no particular time schedule, developed later in life, and not under parental influence.


This is a fairly good description of autonomy, which is,in fact, the opposite of script. For example, the autonomous person can reverse his guilts, fears, angers, hurts, and inadequacies and start over without being in a hurry to bring things to a head, instead of following his parents' directive to collect trading stamps and use them with reasonable speed to justify his behavior in marriage, child-rearing, divorce, and death.


Hence, the definition is exclusive: that is, by defining script it also defines "not-script," and that makes it worthwhile. If, then, we find that an individual's behavior in the most important aspects of his life is directed by an ongoing program developed in early childhood under parental influence, we can say that we have identified a script. This can be reduced to a formula, as in the case of games, and the script formula will read:


EPI -» Pr -> C -> IB -» Payoff (Formula S) where EPI = Early Parental Influence, Pr = Program,

C = Compliance, and IB = Important Behavior.


Whatever behavior fits in with this formula is part of a script, and whatever behavior does not fit in with it is not part of a script. Every script will fit this formula, and no other behavior will fit it.

For example, a simple reflex is programed by the nervous system, and not by early parental influence (no EPI); the individual may comply with a blow on his knee tendon, but this is not important behavior (not IB). If an individual learns to drink socially, late in life, that may be social compliance, but if it is not part of his program (not Pr) to become an alcoholic, the drinking will not be important behavior (not IB), and will not be an important influence on his payoff his marriage, child-rearing, or manner of dying. If a boy is heavily programed by his parents to be a trustfund bum when he grows up, but does not comply (no C), then his important behavior is not "scripty."


If a child is moved from one foster home to another, his EPI may be spotty, and his program will be poorly organized (no Pr); he may comply as best he can, but never marry, raise children, stake his life onanything, or make any important decision (no IB). These examples illustrate how each item in the formula applies in actual practice. The tendon reflex is not based on EPI, the social drinking is not part of Pr, the nonbum has EPI and Pr but does not have C; and the orphan avoids IB.


Formula S, then, serves to identify a script in the same way that Formula G (Chapter Two) serves to identify a game. It should be noted that the formula only applies to "scripty" people; the behavior of an autonomous person cannot be reduced to a formula because such a person is making his own decisions on his own grounds from moment to moment. In the same way, inbred laboratory mice can be programed by conditioned reflexes, and their behavior can be directed by the experimenter.


Thus, they act like machines run by a trained operator, just as "scripty" people act like machines operated by their parents. But wild mice do not respond in the same way; they act like "real" people, and make their own decisions. They refuse to accept the experimenter's program when they are put in the laboratory;1 they do not rebel, they simply act independently and autonomously.


If the script is properly diagnosed, then it should be possible to find some elements which can be treated quantitatively. For example, what percentage of all women own red coats? How many Rapunzels actually have long blond hair? These are mostly of the nature of incidence-and-prevalence studies, and their real value is to dissect out the essential elements of scripts in order to make their diagnosis more rigorous. In the case of LRRH, the diagnostic criteria as they are understood at present read as follows:


1. Her mother must have sent her on errands to grandmother's house when she was a little girl.

2. Her grandfather must have played with her sexually during those visits.3. She must be the one most likely to be chosen to run errands in later life.

4. She must be contemptuous about men her own age and curious about older men.

5. She must have a naive kind of courage, confident that there will always be someone to rescue her if she gets into trouble.


If, and only if, all five of these criteria are present, then the diagnosis of an LRRH script is justified. If it is, then it can be predicted that the patient will put herself in the way of older men, will complain that older men ("dirty old men") are making passes at her, will look for someone to rescue her from them, and will laugh when they are discomfited. But many questions come to mind. Do all women who meet these criteria actually spend time in the woods picking flowers?


And do they all own red coats? How many other items could be added to the list? How many of the items are redundant—that is, how many of them could be eliminated without affecting predictive accuracy, and what is the smallest number of essential ones which would predict all the others and script outcome as well? What is the correlation between the items? Do all women who were seduced in childhood by their grandfathers like to pick flowers in the woods? Are women who spend time picking flowers in the woods also the ones most likely to be chosen to run errands? Do all women who meet the five criteria end their lives as spinsters, or after a relatively brief marriage, as divorcees?


This kind of factor analysis would greatly help to test the validity and usefulness of script analysis.

The LRRH criteria are largely "subjective," but then there are other variables which are objective. One of these is family constellation. The most reliable way to study this from a script point of view is to find "scripty" families. One indication in this regard is the naming of children after their parents or after living members of their families, since this is a clear indication that the parents expect the offspring to be like their namesakes, and also implies "I am bringing you up (programing you) to be like your namesake." If a personwho meets this namesake requirement comes to a psychiatrist, that strengthens the assumption that he is saddled with a script, since this is regularly the case with psychiatric patients; it also offers an opportunity to investigate whether the script is related to the name.


If it is, then the patient is a proper subject for study in this connection. The following is an example of such a scripty family.


The Baker family consisted of three girls: Dona, Mona, and Rona. The mother's family consisted of two girls: Dona and Mona. Thus Dona was named after her mother, and her younger sister Mona was named after her mother's younger sister. When Rona was born, they had run out of script names on the mother's side, so she was named after her father's younger sister. The two Donas, mother and daughter, were repeatedly arrested together for the same offenses and shared the same jail tank. The two Monas, aunt and niece, both got married to men who deserted them and were left to raise children by themselves with no support from the fathers. The two Ronas both hated men, led them on, and then drew away. Thus the Donas played "Cops and Robbers" together, the Monas played "Who Needs Him?" and the Ronas played "Rapo." When Mona and Rona (the daughters) came for treatment, it was evident that they were headed for the same kind of endingsas their respective aunts, and neither of them liked the prospect, but they felt helpless, by themselves, to break up their scripts.


Another "scripty" development is repeated marriages and divorces, which can not only be objectively verified, but are accurately numerable. One or two divorces may be considered independently of mother's script, but as the number of divorces rises, the clinician cannot help but be struck by the fact that the greater the number of the mother's divorces, the more likelihood there is that the daughters will follow in her footsteps.


A similar relationship is frequent with arrests or alcoholic hospitalizations of the mother. Sociologists claim that such events may be dependent on social and economic factors, but if we consider arrests and hospitalizations separately, the case is harder to make: that is, it may be that arrests and alcoholic hospitalizations, taken together, are affected by "social and economic factors" in some independent way, but it is important that where there is a choice, some families choose one, other families the other. We are not concerned here with whether the patient breaks the law or drinks, since such acts may not necessarily be central to his script. What we want to know is whether he is "scripty" about stealing or drinking and plays games with them: "Cops and Robbers" or "Alcoholic." The question is whether he steals or drinks enough to be, or in order to be, arrested or hospitalized. A professional thief or a drinking man may play the games he favors and be a winner and retire rich, honored, and happy; that is one kind of script. Another may be a loser and end up in an institution. That is quite a different one. What is important in script analysis is not the act, but the ultimate response and payoff which it yields, since that is what is important for the individual and the people around him.


Another "scripty" area is death. The most frequent script indicator here is when the person expects, or feels that he is expected, to die at the same age as the parent of his own sex did. It seems that the death of the father at a certain age sentences the son (in his own mind) to die before or at the same age, and the same applies to mothers and daughters. While this is subjective, it does involve numbers, and has the added advantage of being easy to check. More objective is the age at which suicide or homicide is attempted or committed, and the relationships of these to deaths of ancestors or near relatives. Regarding causes of death, as already noted, Rudin studied the relationships between stories told to children ("achievement" stories or "power" stories) and those causes of death which would here be called "scripty," and finds many interesting correlations between the types of stories read in childhood in seventeen countries and later causes of death.


All the relationships mentioned above between parents and their children can be scored categorically. A person named after a family member either does or does not follow the script of his namesake; the patienteither does or does not follow the parental script in regard to marriage, divorce, jail, or hospitalization; and he either does or does not expect to die at the same age as his deceased parent. The script problem is a decisive one for human living; the whole meaning of life depends on whether or not script theory is valid. If we are free agents, that is one thing; if we spend most of our time, and our most decisive moments, following instructions received in infancy and childhood, with the pathetic illusion of free will, that is quite another story. It will take at least ten thousand cases to give a feeling of conviction one way or another about such a fundamental matter.


Any confidence extended to a study of fewer than that number will really be a scientific courtesy rather than a valid conviction. Kinsey, as a taxonomist, worked with sets as high as 100,000 specimens of wasps; his books on sexual behavior are based on twelve thousand cases and still leave room for extensive controversy. Since many clinicians see one hundred new patients a year, ten thousand cases is not an unattainable goal, and is well worth the effort. I have seen more than ten thousand games being played in the last ten years (five hundred weeks, about fifty patients seen each week) and a series of such size gives me a feeling of unshakable confidence in transactional game theory. What is needed is a similar series for script theory. In regard to the questions above, the correlations will either be consistent with and reinforce script theory, or they will be inconsistent with it and weaken it. It will be necessary to find these correlations for different parts the country and for different countries of the world, as well as making historical studies, in order to determine whether script theory is in truth "a fact about human nature" or a mere regional impression derived from and confined to a selected population (psychiatric patients); or worse, merely a bright idea with no solid backing in reality.


What is required is what Piatt4 calls "strong inference." It is impossible in a finite time to test the universality of script theory by interviewing every human being, but it can easily be disproven, if it is erroneous, by a relatively small sample (say ten thousand cases). The script analyst, in order to maintain his position that script programing by the parents is a universal directive for all human beings everywhere, and is thus "a fact about human nature," would require, for the strongest possible inference, that all the above correlations should come out very highly positive in every large series.


As an aid to the clinician, wherever he may be, we shall now give a "script check list," consisting of questions which are designed to elicit the maximum of information for each of the numerous items required for a clear understanding of a script.



In order to understand a script clearly, we should understand each aspect, the history of that aspect, and its articulations with all other aspects. This can be most conveniently done by taking the items in chronological order. For each item, a single question is given which is most likely to elicit the maximum amont of relevant information. Other questions are included, which will help if more elaboration is desired about certain specific items. Alternative questions are given where the main question is often found to be inapplicable or unanswerable.


Script analysis in its present form was mainly developed at the San Francisco Transactional Analysis Seminar during the years 1966-1970, and it is almost impossible to dissect out the originator of many of the ideas, since more than one hundred clinicians took part in the weekly discussions during the period. Specific contributions have been published in the Transactional Analysis Bulletin by Pat Crossman, Mary Edwards, Stephen Karpman, David Kupfer, I. L. Maizlish, Ray Poindexter, and Claude Steiner. The original stimulus came from the present writer in a chapter in Transactional Analysis in Psychotherapy, 5 later elaborated in other books and at the Seminar.The idea of a check list was first proposed by Claude Steiner (Berkeley), and Martin Groder and Stephen Karpman (both of San Francisco). It was designed to be used as a shortcut in treatment, giving a quick way of finding the active elements in a patient's script so that its tragic progress could be headed off as quickly and effectively as possible. Their list included seventeen of the most decisive items. 6 The comprehensive list given below includes those items, along with many others derived from the material in Parts II, in, and IV of this book. It is intended for teaching, research, and other specialized purposes, and contains about 220 items. It is followed by a more manageable, condensed version for everyday use.


Questions are given in chronological order as far as it is convenient to do so, with clinical observations put last, thus following for the most part the order in the text. Each stage of development is numbered in sequence, and the questions dealing with that stage are given its key number. The number of the chapter dealing with each stage is given in parentheses. The letter in the key number refers to the section in the corresponding chapter. For example, Stage 1, Prenatal, is discussed in Chapter Four. Its heading therefore reads 1. Prenatal Influences (Chapter 4). The question, number 1F.4 indicates that this is a Stage 1, or "Prenatal" question, that is discussed in Section F of Chapter Four, and that it is the fourth question referring to that section. 2A.3 means Stage 2 (Chapter Five), the third question referring to Section A of that chapter. A "P" after the key number means that the question is intended to be asked of the patient's parents. Thus 2A.3P gives the same location as 2A. 3 but means that this time the question is for the parents, not for the patient. This svstem sorts out the text so that the questions themselves occur in numerical order and can be used separately from the text.



1.B.1 What kind of lives did your grandparents lead?

1.C.1 What is your position in the family?

a. What is the date of your birth?

b. What is the birthday of your next oldest sibling?

c. What is the birthday of your next youngest sibling?

d. Have you any special interest in dates?


1.C.1P How many brothers and sisters do you have?

a. How many children do you (does your Parent, Adult, Child) (want, expect) to have?

b. How many children did your parents want to have?

c. Do you have any special interest in dates?


ID. 1 Were you wanted?

ID. 1 P Did you want him?

a. Was he planned?

b. Where and when was he conceived?

c. Was an abortion attempted?

d. How do you feel about sex?


1E.1 How did your mother feel about your birth?


IE.2 Who was there when you were born?

a. Was it a Caesarean or a forceps delivery?


1F.1 Have you ever actually read your birth certificate?


IF.2 Who chose your name?


IF. 3 Whom were you named after?


1F.4 Where does your surname come from?


IF. 5 What did they call you as a child?

a. What is your Child's name?

b. Did you have a nickname as a child?


IF. 6 What did the other kids call you in high school?

IF.7 What do your friends call you now?

a. What does your mother, father, call you now?


2A.1 How did your mother and father teach you table manners?

a. What does your mother say when she is feeding a baby?


2A.1P What happened during his nursing period?

a. What did you used to say to him then?


2A.2 Who gave you your toilet training?


2A.3 How did they train you and what did they say?

a. What do your parents say about toilet training?


2A.3P How and when did you toilet-train him?

a. What did you used to say to him then?


2A.4 Did you get lots of enemas or laxatives as a child?


2B. 1 How did your parents make you feel when you were little?

a. How did you feel about yourself when when you were little?


2B.2 What did you decide about life when you were little?


2C.1 How did the world look to you when you were little?

a. How did you feel about other people?


2C.2 Do you remember as a child ever deciding that never again would you do a certain thing or show a certain feeling?

a. Did you decide always to do a certain thing, no matter what?


2C.3 Are you a winner or a loser?


2C.4 When did you decide that?


2D.1 What was your interpretation of what went on between your parents when you were little?

a. What did you feel like doing about it?


2E.1 What kind of people did your parents look down on?

a. What kind of people do you dislike most?


2E.2 What kind of people did your parents look up to?

a. What kind of people do you like best?


2F.1 What happens to people like you?


3A. 1 What did your parents tell you to do when you were little?

a. What did they say to you when you were very little?


3A.2 What was your parents' favorite slogan?


3A. 3 What did your parents teach you to do?


3A.4 What did they forbid you to do?


3A. 5 If your family were put on the stage, what kind of a play would it be?


4A.1 What was your favorite fairy tale as a child?

a. What was your favorite nursery rhyme as a child?

b. What was your favorite story as a child?


4A.2 Who read it to you or told it to you?

a. Where, when?


4A. 3 What did the reader say about it?

a. How did she react to the story?

b. What did her face say about it?

c. Was she interested in it, or was she just reading it for your sake?


4A.4 Who was your favorite character as a child?

a. Who was your hero?

b. Who was your favorite villain?


4B.1 How did your mother react when things got tough?


4B.2 How did your father react when things got tough?


4C. 1 What kind of feelings bother you the most?


4C.2 What kind of feelings do you like best?


4C.3 What is your most frequent reaction when things get tough?


4C.4 When a storekeeper gives you trading stamps, what do you do with them?


4D.1 What are you waiting for in life?


4D.2 What is your favorite "if only?"


4D.3 What does Santa Claus look like to you?

a. Who or what is your Santa Claus?


4D.4 Do you believe in immortality?

a. What were your parents' favorite games?


4E. 1 What kind of hassles did your parents get into?


4E.1P What games did you teach the patient when he was little?

a. What games did you play with your parents when you were little?


4E.2 How did your teachers get along with you at school?


4E.3 How did the other kids get along with you at school?


4F.1 What did your parents talk about at the dinner table?


4F.2 Did your parents have any hang-ups?


5A.1 What do you talk about with your friends?


5B.1 Who is your hero nowadays?


5B.2 Who is the worst person in the world?


5C.1 How do you feel about people masturbating?


5C.2 How would you feel if you masturbated?


5D.1 What happens to your body when you get nervous?


5E.1 How do your parents behave when there is company around?


5E.2 What do they talk about when they are alone or with their buddies?


5F.1 Have you ever had a nightmare?

a. What kind of a world do you see in your dreams?


5F.2 Tell me any dream you ever had.


5F.3 Have you ever had any delusions?


5F.4 How do people look to you?


5G.1 What is the best thing you can do with your life?


5G.2 What is the worst thing you can do with your life?


5G.3 What do you want to do with your life?


5G.4 What do you expect to be doing five years from now?

a. Where do you expect to be ten years from now?


5H.1 What is your favorite animal?

a. What animal would you like to be?


51.1 What is your life slogan?

a. What would you put on your sweatshirt so people would know it was you coming?

b. What would you put on the back of it?


6A.1 How many children do you expect to have?

a. How many children does your (Parent, Adult, Child) want to have? (This should be correlated with 1C.1 and



6A.2 How many times have you been married?


6A.3 How many times has each of your parents been married?

a. Did they have any lovers?


6A.4 Have you ever been arrested?

a. Has either of your parents ever been arrested?


6A. 5 Have you ever committed any crimes?

a. Has either of your parents done likewise?


6A.6 Have you ever been in a mental hospital?

a. Has either of your parents?


6A.7 Have you ever been hospitalized for alcoholism?

a. Has either of your parents?


6A. 8 Have you ever attempted suicide?

a. Has either of your parents?


6B. 1 What will you do in your old age?


7B.1 How long are you going to live?


7B.2 How did you pick that age?

a. Who died at that age?


7B.3 How old was your father, mother (if not living) at death?

a. How old was your maternal grandfather when he died? (For males.)

b. How old were your grandmothers when they died? (For females.)


7B.4 Who will be at your deathbed?


7B.5 What will your last words be?

a. What will their last words be?


7C.1 What will you leave behind?


7D. 1 What will they put on your tombstone?

a. What will it say on the front of your tombstone?


7D.2 What will you put on your tombstone?

a. What will it say on the back?


7E.1 What surprises will they find after you are dead?


7F.1 Are you a winner or a loser?


7G.1 Do you prefer time structure or event structure? (Explain terms.)


8A.1 Do you know how your face looks when you react to something?


8A.2 Do you know how other people respond to your facial reactions?


8B.1 Can you tell the difference between your Parent, your Adult, and your Child?

a. Can other people tell the difference in you?

b. Can you tell the difference in other people?


8B.2 How does your real self feel?


8B.3 Does your real self always control your actions?


8C.1 Do you have any sexual hang-ups?


8C.2 Do things go round and round in your head?


8D.1 Are you conscious of odors?


8E.1 How far ahead do you begin to worry about things before they happen?


8E.2 How long do you worry about things after they are over?

a. Do you ever lie awake at night planning revenge?

b. Do your feelings interfere with your work?


8F.1 Do you like to show that you are able to suffer?

a. Would you rather be happy than prove yourself?


8G. 1 What do the voices in your head tell you?


8G.2 Do you ever talk to yourself when you are alone?

a. When you are not alone?


8G.3 Do you always do what the voices in your head tell you?

a. Does your Adult or Child ever argue with your Parent?


8H. 1 What are you like when you are a real person?


9B.1 Why did you choose my profession?

a. What do you think about being assigned to one of my profession?

b. Which profession would you prefer?


9B.2 How did you choose me?


9B.3 Why did you choose me?

a. What do you think of being assigned to me?


9B.4 Who was the magician in your childhood?


9B.5 What kind of magic are you looking for?


9C.1 Have you had any previous psychiatric experience?


9C.2 How did you choose your previous therapist?

a. Why did you go to him?


9C.3 What did you learn from him?


9C.4 Why did you leave?


9C.5 Under what circumstances did you leave?


9C.6 How do you select a job?


9C.7 How do you quit a job?


9C.8 Have you ever been in a psychiatric hospital or ward?

a. What did you have to do to get there?

b. What did you have to do to get out?


9C.9 Can you tell me any dream you ever had?


(Questions the therapist asks himself)

10A.1 What is the script signal?


10A.2 Is he having hallucinations?


10B.1 What is the physiological component?


10C.1 What is the most frequent respiratory expression?


10C.2 What causes voice switches?


10C.3 How many vocabularies are there?


10C.4 What is the favorite part of speech?


10C.5 When is the subjunctive used?


10C.6 Where do the O.K. words come from?


10C.7 What are the script phrases?


10C.8 What is the metaphor scene?


10C.9 How are the sentences constructed?


10C.10 What are the security phrases?


10D.1 When does the gallows laugh occur?


10D.2 What is the gallows transaction?


10E.1 Is he consulting his grandmother?


10.F1 What is the story of his life?


10F.2 What is his favorite drama switch?


11A.1 How do you think your treatment will end?


11B.1 Do you think I am smarter than you are?


11B.2 Who is causing your trouble?


11B.3 How well do you want to get?


11B.4 What would you like to happen here?


11B.5 Are you ready to get well now?

a. What has to happen before you can get well?


11B.6 What keeps you from getting well?


11C.1 Do you think I could handle your parents?

a. Were your parents very powerful?


11D.1 Would you rather get well or be completely analyzed?

a. Would you rather get well or get out of the hospital?

b. Would you rather get well or stay in the hospital?


The following list includes only those items related specifically to script analysis, and is intended as an adjunct, and not as a replacement, for psychiatric history-taking. The fifty-one questions chosen are more "natural" and less intrusive, and in most cases will promote rapport rather than challenge it.


1B.1 What kind of lives did your grandparents lead?


1C.1 What is your position in the family?


1E.2 Who was around when you were born?


1F.3 Whom were you named after?


1F.4 Where does your surname come from?


1F.5 What did they call you as a child?


1F.6 Do you have any nicknames?


2A.4 Were you constipated as a child?


2F.1 What happens to people like you?


3A.1 What did your parents say to you when you were little?


4A.1 What was your favorite fairy tale as a child?


4A.3 What did the reader say about it?


4B.1 How did your parents react when things got tough?


4C.1 What kind of feelings bother you the most?


4F. 1 What did your parents talk about at the dinner table?


4F.2 Did your parents have any hang-ups?


5F.2 Tell me any dream you ever had.


5F.3 Have you ever had any delusions?


5G.4 What do you expect to be doing five years from now?


5I.1 What would you put on your sweatshirt so people would know it was you coming?


6A.8 Have you ever attempted suicide?


6B.1 What will you do in your old age?


7B.1 How long are you going to live?


7B.2 How did you pick that age?


7D.1 What will they put on your tombstone?


7D.2 What will you put on your tombstone?


7F.1 Are you a winner or a loser?


8A.1 Do you know how your face looks when youreact to things?


8B.3 Does your real self always control your actions?


8C. 1 Do you have any sexual hang-ups?


8D.1 Are you conscious of odors?


8E.1 How far ahead do you begin to worry about things?


8E.2 How long do you worry about things after they are over?


8F.1 Do you like to show that you are able to suffer?


8G.1 What do the voices in your head tell you?


9B.2 How did you choose me?


9C.3 What did you learn from your previous therapist?


9C.4 Why did you leave him?


9C.9 Can you tell me any dream you ever had?


(Questions the therapist asks himself)

10A.1 What is the script signal?


10A.2 Is he having hallucinations?


10C.1 What is the most frequent respiratory expression?


Where do the O.K. words come from?


What is the metaphor scene?


10C.10 What are the security phrases?


10D.1 What is the gallows transaction?


10E.1 Is he consulting his grandmother?


10F.1 What is the story of his life?


11A.1 How do you think your treatment will end?


11B.5 What has to happen before you can get well?


11D.1 a. Would you rather get well or be completely analyzed?

b. Would you rather get well or leave the hospital?


This is a list of forty items which indicate that the patient has come out of his script. He may be considered completely cured when the answer to all these questions is Yes. This gives a quantitative way of estimating how effective his treatment has been up to any given point. So far there is no convincing way of weighing the items, so for the present they may be given equal weight. The list is designed to test the theory that a script cure and a clinical cure are identical. It is primarily intended to be used when the patient terminates treatment. It is best used in a treatment group, and the patient's responses are considered valid if the therapist and the other group members concur with him, and questionable if they do not, making due allowance for possible ulterior motives on the part of all concerned.

The questions are keyed in the same way as the script check list.

IF. 7 Do your friends now call you by the name you like?


2B.1 Are you an O.K. person?


2C.1 Does the world look different to you now?


2C.2 Are you free of delusions?


2C.3 Have you changed your childhood decision?


3A.1 Have you stopped doing destructive things your parents ordered you to do?


3A.4 Can you now do constructive things your parents forbade you to do?


4A.4 Do you have a new hero, or see the old one differently?


4C.1 Have you stopped collecting trading stamps?


4C.3 Do you react differently than your parents did?


4D.1 Are you living right now?


4D.2 Have you given up saying "if only" or "at least"?


4E.1 Have you given up playing the games your parents played?


41.1 Have you taken off your sweatshirt?


5F.1 Has your dream world changed?


6A.6 Have you given up your script payoff: prison, hospital, suicide?


7B.1 Are you going to live longer than you used to think?


7B.5 Have you changed your last words?


7D.1 Have you changed your epitaph?


8A.1 Are you aware of how your facial reactions affect other people?


8B.1 Do you know which ego state is in charge at a given moment?


8B.3 Can your Adult talk straight to your Parent and Child?


8C.1 Can you get turned on sexually without artificial stimulation?


8D.1 Are you aware of how odors affect you?


8E.1 Have you cut down your reach-back and afterburn so they do not overlap?


8F.1 Are you happy rather than just brave?


9B.5 a. Have you changed your reason for coming to therapy?

b. Have you stopped doing what used to get you into the hospital?


10A.1 Is your script signal gone?


10A. 2 Are you free of hallucinations?


10B.1 Are your physical symptoms gone?


10C.1 Have you given up coughing, sighing, and yawning for no apparent reason?


10C.4 Do you use verbs, instead of adjectives and abstract nouns, when talking about people?


10C. 8 Do you use a wider variety of metaphors?


10C. 9 Are your sentences crisper?


10C. 10 Have you stopped hedging when you say something?


10D.1 Have you stopped smiling and laughing when you describe your own errors?


11A.1 Do you see your therapist differently?


11B.1 Have you stopped playing games with him?


11C.1 Are you able to stop playing games before they begin?


11D.1 Do you think you have gotten cured rather than just made progress?

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