When it comes to structuring your story, I would first start with the four signposts from each Throughline, and then the Story Drivers. So you might have:
OS: Past - Progress - Future - Present
MC: Doing - Learning - Obtaining - Understanding
IC: Conceptualizing - Being - Becoming - Conceiving
RS: Subconscious - Preconscious - Conscious - Memory
With Five Story Drivers, weaved together it might look something like this:
- Initial Story Driver
- Past
- Doing
- Conceptualizing
- Subconscious
- Second Story Driver
- Learning
- Progress
- Being
- Preconscious
- Third Story Driver (Midpoint)
- Future
- Conscious
- Becoming
- Obtaining
- Fourth Story Driver
- Memory
- Understanding
- Conceiving
- Present
- Concluding Story Driver
Right there you have an awesome story. But it might be a tad anemic when it comes to fleshing out a two-hour screenplay (and even moreso if you're writing a novel). So you'll want to break down those individual Signposts into the Sequences that lie underneath.
For screenplays, and most stories, I suggest only doing the Overall Story Sequences. These are the sequences found in the Plot Sequence Report. The other Throughlines I only look at if I need to "cheat" and I can't come up with something on the spot that feels right. If you're nearing a deadline, the Sequences become your best friend. 
So, if we take the PSR for the Overall Story Sequences we get:
- Past: Approach, Self Interest->Morality, and Attitude
- Progress: Prerequisites, Strategy->Analysis, and Preconditions
- Future: Senses, Conditioning->Instinct, and Interpretation
- Present: Wisdom, Skill->Experience, and Enlightenment
What you do is you REPLACE the instances of the Overall Story Signposts with these Sequences. In the first Structural Act you will now have THREE beats of Past: Past in terms of Approach, Past in terms of Self-interest to Morality, and Past in terms of Attitude.
Your structure might now look something like this:
- Initial Story Driver
- Past in terms of Approach
- Doing
- Past in terms of Self-interest to Morality
- Conceptualizing
- Subconscious
- Past in terms of Attitude
- Second Story Driver
- Learning
- Progress in terms of Prerequisites
- Being
- Progress in terms of Strategy to Analysis
- Preconscious
- Progress in terms of Preconditions
- Third Story Driver (Midpoint)
- Future in terms of Senses
- Conscious
- Future in terms of Conditioning to Instinct
- Becoming
- Future in terms of Interpretation
- Obtaining
- Fourth Story Driver
- Present in terms of Wisdom
- Memory
- Present in terms of Skill to Experience
- Understanding
- Conceiving
- Present in terms of Enlightenment
- Concluding Story Driver
From there you might add an extra beat or two from the Main Character Throughline or the Relationship Story Throughline - whatever feels right for your story.
I've also found that as you get closer and closer to the end - these beats tend to weave tighter and tighter with each other, especially in comparison to where they began in the first Signpost.
With this approach you end up with 28-32 STRUCTURAL story beats from which you can start to write a treatment/master outline or even the story itself. You've kept the perspective of Author consistent throughout the structuring process.
Plus, it's a ton of fun.
