This WonderFilm Story Outline is an excerpt from Chapter 23 of the WonderProject overview book entitled An Invitation to WonderWorld.
Chapter – 23
“People Who See Life as Anything More than Pure Entertainment are Missing the Point”
Before any image appears on the screen we hear the roar of an engine and the sound of machine-gun fire.
Suddenly the screen erupts with a massive explosion that billows up from the ground and we see a World War One biplane that is being chased through the smoke and remnants of the fireball by a 1917 German red Fokker Triplane. Following the planes through a dense jungle environment our wing tips scrape and blast aside tree branches and vegetation they pass.
Zooming in closer we move past the tail of the triplane and on up to the cockpit. Here we see the dashing and handsome BARON VON RICKER at the controls.
Following the path of the Baron’s machine gun fire we move closer and closer to the biplane he pursues. SUSAN, a beautiful wild-eyed brunette, snaps the plane’s joystick sharply to the right, banking us into a ninety degree turn that grants us passage through a narrow slit in a canyon wall.
Dressed in a World War One flying jacket, cap, goggles and a white silk scarf that trails behind her, she dips the edge of one wing tip into the turbulent waters of the jungle river sending back a blast of water that drenches the plane of her pursuer. Narrowly avoiding a collision with the tentacles of a massive Banyan tree we climb upward.
Twisting right and then left in an effort to avoid the oppressive enemy fire that is wreaking havoc with her canvas-covered plane, we once again descend into the jungle environment. Suddenly another massive explosion erupts from the ground and we find ourselves flying literally through its’ fireball. Banking into a sharp right turn, we fly over the battle scene that is taking place below.
PETER, a young, handsome dark-haired man, glances up as Susan's plane dashes past. Briefly we CUT to his POINT OF VIEW as the plane and its pursuer bank into dense vegetation and vanish.
CUTTING TO ANOTHER SHOT of the BATTLE FIELD.
Peter and a number of his fellow soldiers are advancing through dense jungle on an enemy stronghold. Machine gun fire and mortar explosions engulf them as they heroically advance. CARMINE, a muscular Rambo-type black man carrying a heavy machine gun, jumps into the scene. Heroically he saves Peter from an enemy ambush that seems to come out of nowhere. The company continues to advance up a hill to the enemy stronghold where they succeed in completely destroying the encampment.
CUTTING TO another EXTERIOR SHOT we follow Peter, Carmine and a number of their fellow soldiers as they emerge from the jungle environment into a clearing. Several of them are walking with arms on each other’s shoulders in macho fashion as they laugh and boast of their exploits.
That’s the second time I saved your ass.
Good… I was getting tired of saving yours.
When the hell did you save mine?
PETER responds with a, “You have got to be kidding” expression.
At the end of the clearing we see an old English style thatched-roof building adorned with a wooden sign that reads, Maggie’s No Games Pub. To the cheers of a rowdy crowd they enter the bar.
MAGGY, a buxom fun-loving English gal dressed in a revealing turn-of-the century, wench-style attire, offers them drinks.
Taking a seat at a large round table, everyone begins to brag about how great they were on the battlefield.
CUT TO A CLOSE SHOT on STEVE
Steve is a Sir Alec Guinness—Obi-Wan Kenobi type. He is one of the planetary elders who serves as a guide for those sincerely interested in learning the true nature of themselves and the realities that surround them. When he speaks, he has a quiet yet powerful voice that inspires one to pay close attention to what he has to say.
Sitting alone at a small table, nursing a drink, his eyes are bright and alert. With the serene intent of a Kung Fu master, he seems to miss nothing.
PANNING AROUND to his POV (point of view) we watch as others from the battle enter the pub, join in the festivities and continue to boast.
WINSTON, a General Montgomery-type Englishman, addresses Peter.
Peter, I say, where's the little woman?
You got me. Last time I saw her she was being chased by some bloody red baron.
CUT TO an EXTXTERIOR SHOT of the air battle.
We see that Susan's plane is in trouble. Machine gun fire has shattered parts of her wing and canvas shrouds are flapping in the wind.
Moving into a MEDIUM SHOT on the cockpit we see that she is wounded. Blood is gushing from her left arm.
Grabbing her white scarf, she wrap's it around the wound. Now, in a last-ditch attempt to best the enemy who is still on her tail, she pulls her plane into a barrel role, emerging in back of the surprised pilot of the Fokker Triplane. In a spray of bullets she destroys the plane only to find herself on a collision course with a waterfall. Her plane streaks through the falls and crashes into the cliff behind it. The plane explodes into a massive fireball and crashes to the ground.
CUTTING back to the INTERIOR of MAGGY'S PUB we see that the rowdy bunch is continuing to boast about their battlefield exploits as Steve continues to watch with interest.
Suddenly the bar door swings open, and ROGER, a tough-looking Lee Marvin type dressed in an enemy uniform, steps in, machine gun in hand. George and Carmine both dash for guns. George fumbles but Carmine swirls around blasting the intruder. Beautiful, stained glass windows shatter and the entrance of the pub is blown to bits as the soldier's body is torn to ribbons.
(yelling in an English accent)
Hey, you blokes know the rules! No war games in the pub!
With these words, the guy who was just blown to bits yells angry rebukes as his body reassembles itself back into perfect condition. In similar fashion, the stained glass and the entire entrance to the pub recreates itself back into its former condition.
Yah, you bastards, you know the rules. Next time try that outside and see what happens.
ANOTHER CLOSE SHOT on Steve reveals that he continues to watch intently, almost with a sly sense of humor.
Now we again CUT TO an EXTERIOR LONG SHOT of the pub and the surrounding battlefield area.
Dead bodies lying on the battle field begin to twitch and reassemble themselves. They rise and head toward the pub.
In ANOTHER SHOT, Susan's body materializes along with the pilot of the Fokker triplane that was after her. They smile at each other, join arm-in-arm and walk into the pub where they are greeted with cheers by everyone.
Okay, Susan, who won?
Yeah, and then I smashed right into the face of a cliff and died.
So how was it?
Something was missing.
What do you mean, something was missing?
I don't know. The games just aren't as much fun as they used to be.
(from across the room, with a clear soft spoken-voice that brings the room to a dead silence.)
All of you think you are so brave and courageous. If you really want to see if you have the right stuff, why don’t you try your little war games on Earth! There you will find it not so easy to reassemble realities.
These are opening scenes from the movie script The Reality Trap. This film is scheduled to be the first installment in a trilogy of romantic Sci-Fi adventures exploring the quantum physics idea that we create our own realities. The stories give credence to the possibility that we may one day be able to consciously tune to any reality we can imagine.
The film is about a group of close friends who come to Earth from a different reality—a reality where pain, suffering, stress and the consequences of war are just a momentary dramatic illusion that has no lasting negative effect on anyone.
Playing on their ego, and the idea that they may not be as wise and grand as they think they are, Steve, one of planet’s elders, entices them to come to Earth to see what it’s like when The Masters of Limitation create a reality.
After arriving they find themselves trapped in this dense world that refuses to respond to their demands. The remainder of the film deals with their attempts to get themselves out of the reality they’re trapped in.
The Reality Trap Trilogy explores the nature of beliefs and forces that pin us into fixed realities. These beliefs are shown to inhibit our ability to freely tune from one reality to another as easily as we change TV channels using our remote.
These types of Reality Matrix Films pay tribute to the magnificent creations of many filmmakers, especially the Wachowski Brothers, who gave us a very different look at reality when they brought their Matrix Trilogy to the screen. Like their films, which gave us an opportunity to take a different look at reality, our films seek to entertain us into the discovery of workable ways to transform Science Fiction into Science Fact.
In our Ego Wars Trilogy of films and documentaries, we take a more conventional look at how we create the day-to-day realties we encounter.
In the first film our story begins on a typical suburban street. Two boys are doing everything they can to invite a beautiful little girl into the trap of creating a miserable day for herself.
Claiming that everything they have is better than everything she has, they bring her to tears. Inviting her to buy into the idea that every truth she holds dear and everything she knows is wrong and less than the things the boys know to be true, they “succeed” in getting her to mentally destroy the things that make life a joy.
To the old kid’s tune of My Dog’s Better than Your Dog, we then rise above this unhappy, all too typical scene, listening to the lyrics of our Ego Wars song.
“My truth’s better than your truth. My truth’s better than yours. You had better take my truth or I’ll be no friend of yours.”
Thus we begin a dramatic excursion of life on Earth that takes us into the source of conflict and turmoil from one end of the planet to the other. This begins with children, husbands and wives who destroy their lives by insisting that their beliefs are better than another’s, and progresses on to nations who go to war based on the same concepts.
However, as is the way with our idealistic WonderFilms, we always take it to a happy ending—an ending of discovery that enables us to love and accept our unique individual beliefs, based on the realization that they really need no defense.
In addition to the ones already mentioned, I am in the process of scripting and outlining a number of other WonderFilms, television programs and theatrical productions that introduce the general public to the characters, stories and philosophies that are the design parameters for the WonderWorld, Magic Track, and Land of the Spirits theme parks.
A Doorway to Desire—A romantic Sci-Fi adventure about the discovery of an inter-dimensional doorway that enables one to return to the past and fulfill every unfilled desire one has ever had.
Big Johnny Raff—A heartwarming tale of the life and times of an always keep-them-laughing, generous-to-a-fault, compulsive-gambling, small-town, Italian bookie and his warm and wonderful wife (who keeps everything together even when he loses the family home in a poker game.)
Captain Ron—A fun-loving, party-giving skipper of a small sailing vessel falls into a deep depression following the loss of both of his parents. After his suicide, he discovers what life is really all about.
The Alistair Class-IV Body—Alistair Android Works announces the creation of the “ultimate body” and subsequently encounters strong political and religious opposition to their marketing campaign enticing people to replace their current body with one of theirs.
The Transitions Trilogy Episode I—The Decision
The people of Earth move into both a glorious and turbulent transition after they make the decision to evolve into higher states of consciousness.
Episode II—The Divine Right of Kings
Supporters of the decision to evolve run into major resistance when they encounter proponents of a clandestine New World Order.
Episode III—An Earth of Our Own
Emerging from a turbulent series of personal and planetary conflicts, the people of Earth find a way to create a personal and planetary Utopia.
In Search of the Genetic Blueprint—On a distant world a scientist discovers that the genetic code that is the source of all living things actually exists in our consciousness.
If we truly wish to create our highest and grandest versions of ourselves and the worlds we wish to live in, I feel we would be wise to create stories, films, television programs, games, media broadcasts, educational facilities and theatrical productions that harmonize with this desire.
If we wish to create a wonderful life I believe we will need to focus on things that are wonderful. We will have to create and produce things that invite us to feel terrific. We will have to cease writing stories that promote that all the things we love and value never last. We will have to admire and retire the idea that we would get bored if things were wonderful all of the time, and admire and retire the characters that create this boredom.
We will have to choose to let go of the idea that there always has to be a conflict, a tragedy, or some kind of misery, or the product simply won’t sell. We will have to choose to give up the idea that there can never be good without evil. We will need to admire and retire the dualistic aspect of our nature, and embrace the Divine.
We will have to admire and retire the idea that we can’t have a wonderful time flying high performance aircraft if there are no enemies to attack. We will have to embrace the idea that we can dream up stories that enable us to play with high tech toys without the need to materialize unwanted pain, suffering and never-ending conflicts.
We will need to embrace our cleverness and find ways that enable us to have everything and anything we desire without the need to harm anyone, including ourselves, in the process. We will have to dream up stories in which people experience states of existence that are wonderful beyond belief—states that are totally and completely satisfying—states that are so marvelous there is no way they could get better, and then do. We will have to create exciting Sci-Fi classics that introduce us to families of ET’s that live lives grander than any we have ever known.
Traditionally cultural changes begin in the arts. The arts and the media are what invite us to believe, support and validate certain ways of experiencing life. To a great degree they invite us to focus on the idea that war and conflict are inevitable. They invite us to buy into the idea that we need to be afraid, or into the belief that we are free and able to create life to be everything we wish it to be.
I believe that we have a responsibility to uplift the culture. For if we do not, it is not likely that the culture will be uplifted.
If we refuse to wave our magic wands and grace the world with beauty, magic and a reflection of how wonderful we can create life to be, there will cease to be beauty, magic and wonderful experiences in our consciousness, and subsequently in the world.
Thus I wish to invite writers, film-makers and creators everywhere to embrace this fun responsibility for the benefit of us all.