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“These five are taken from your sires,
Six summers from the womb:
Your length of days, your fate, your wealth,
Your learning and your tomb”.
         Erik Berne, "What Do You Say After You Say Hello?"

Script is one of the key concepts of transactional analysis, studied and described by the American psychologist and psychiatrist Erik Berne. It manifests itself as an invisible force, pushing us to fulfill a life plan deliberately drawn up under the influence of our parents, sometimes repeated from generation to generation. We start writing it from the first months of our life, when a child learns everything from his parents: what to see, what to hear, what to touch, to feel, how to react and what to say. By the time the draft of the script is made, we begin to look for suitable actors in our life for the main roles in our future performance. Unofficial casting is expressed unconsciously: with facial expressions, specific muscle tensions and gestures. Actors, whose life scenarios intersect with ours, respond with pleasure and become our closest environment. We get a certain shape and form, so that we can fit in a suitable cell. The ball goes into a round hole, and the cube goes through a square one. What the hero treats as his freedom of choice is in fact an alternative scenario or its exact opposite, the riot.
We got used thinking that beauty and success are determined primarily by inherited abilities. In fact, this is not so much a matter of anatomy as of parental permission. If they allowed the child to be beautiful, brave, smart, successful, it will undoubtedly grow up that way. The seeds of acceptance of self and the others, the main components of a happy life and a good script, are born in our hero in response to the kind sincere smile of his father and mother. In his scenario, he achieves something for the parent of the opposite sex, and learns this from the parent of the same sex. A life position in relation to self and the others is an imprint - the foundation of the personality on which our whole life is built and it is also the key to the script. Imprinting was discovered and described by the zoo-psychologist Konrad Lorenz, as a result of the study of newborn goslings. He found that they treat as mother any object they see immediately after leaving the egg. It could be a goose, a golf ball, or Konrad Lorenz himself. Despite the absurdity of the situation, they continued to take this object for a mother, and in adulthood they tried to mate with a similar one, showing no interest in species of the opposite sex. Imprinting is also inherent in humans. If the child receives enough love and safety from the parents, then the script will be inspiring. Otherwise, the hero runs the risk of carrying the burden of drama throughout the narrative. No matter how favorable the conditions are, he will be guided by the impulses of the reptilian brain, will always be preoccupied with satisfying the basic need for security in anticipation of the tragic ending of his essay. So, when the hero has already learned who "I" is and how others should treat him, he proceeds to search for a suitable plot that answers the question "what happens to people like “I”?" One day he will hear a fairy tale from his grandmother, a story about a girl or boy, sounded on the street or from a speaker, about someone who resembles "I". He will immediately understand and say: "It's me!"
The cornerstone of a good tragedy or drama scripts are injunctions and stoppers. These are prohibitions or negative commands expressed by parents to the child. Depending on their intensity, they can form the basis of a plot that is different in emotional shade. Phrases like: "Better if you weren't born at all", "You will end up in prison / gutter", "You are stupid as a felt boot", "You are the same as your father / mother", "You will never achieve anything in life", "Don't be smart" foresee a sad ending, where the hero often follows orders in the literal sense. Most often, injunctions and stoppers demand: do not live, do not act, do not grow up, do not be yourself, do not be loved, do not be significant, do not achieve success, do not think, do not trust, do not feel, do not be healthy.
For the happy end scenario, parental blessings are more appropriate: "Be great", "Be happy", "Enjoy life".

First of all, the script force us to maintain the same emotions, our mood in life. We unconsciously look for right people and find ourselves in similar situations, each time sincerely surprised: "Why is it happening to me again?" Erik Berne called it “trading stamps”. Heroes collecting “brown stamps” of anger, fear, grief, guilt do not understand at all what to do with “gold stamps”. They (We) do not seem to notice the attention of others, they mistake sincere compliments for false flattery. In the end, if those around him do not spontaneously provoke the hero, do not insult, frighten or deceive, he starts the game to force them to do it. Upon collecting enough stamps of emotional pain, he (we) can trade it for one free suffering.
The hero does not know how much information is expressed by his face and body. He is permanently transmitting script signals invisible to him, but quite obvious to his willingly reacting surrounding. He is left alone surprised and exclaiming: "I do not know why they respond this way. I did nothing to cause such a reaction!" The hero sits at a mechanical piano and hits the keys, sincerely believing that he is the one playing music and is desperately afraid to look inside the instrument. To stop playing roles, he will need the courage to let go the illusion of his own independence and admit that he is not the master of his fate, as he had always imagined. Undoubtedly, therapy and meditation will help him, but the most effective healing he will find in love, then, perhaps, as Erik Berne put it: “Hamlet begins to use lines from Abie's Irish Rose, Ophelia has to change her lines, too, in order to make sense of it, and the whole performance will proceed differently. The two of them might then take off together instead of skulking around the castle — a bad play, but probably a better life."
The scenario, first of all, is the result of the choice we made ourselves, and not a justified reason to blame  parents for all our troubles. They did everything they could within the limits of their knowledge and awareness. No matter how good or bad it is, the script takes our freedom. Whether the bio-robot is well programmed or not, he is still a bio-robot. The script does not have power to make us happy, it has predictability and safety, just like a cage for a lab mouse. You may press buttons and get food and drink, but the door is always open. Perhaps, to be really free and happy we have to answer on all the same eternal questions: “Who am I and what does it mean to be human?” This boat was made in image and likeness to sail, not to ride on the rails.
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