HERO'S JOURNEY TIPS GRUDGING ACCEPTANCE It is only post the transformations in the First Thresholds, that the Hero gains a grudging acceptance by the Natural Inhabitants of the New World. * In The Shawshank Redemption (1994), the guards and other prisoners begin to to lerate Andy. * In Starship Troopers (1997), the lieutenant gives Johnny a command, to see wha t he can do. * In Ferris Bueller's Day Off (1983), the maitre dee grudgingly accepts Ferris' persuasion that his place is in the restaurant. ENEMIES IN THE NEW WORLD As the Hero crosses from the Ordinary World into the New World, the inhabitants of the New World recognise the Hero as a Fish out of Water and many object to hi s (or her) presence there or his (or her) new behaviour. This is one element of the Existential Battle. * In Erin Brochovich (1999), Ed Masry's female employees take an instant dislike to Erin. * In Apocalypse Now (1979), the vietnamese villager drops a bomb in the invading helicopter. * In Educating Rita (1983), the other students make fun of Rita in Uni. PERIOD OF REFLECTION The Period of Reflection is that consideration just before the Hero decides to d etach from Old World attachments. * In The Insider (1999), Wigand decides that he should become a whistleblower. * In The Godfather (1972), Michael decides to tell Kay he doesn't know when he'l l see her again. * In Bull Durham (1988), Crash decides he better do a good job of training Nuke. FUNCTION OF THE NIGHT SEA JOURNEY One of the functions of the Night Sea Journey is to enable the Hero to collect M agical Gifts (symbolically from the Old World) that will enable him (or her) to survive the Near Death Experience. This ties in with the Mystical Marriage where , symbolically, Two Worlds merge: the Old World tangible is representative of th at World's contribution to The Merging. This forms the base of the further message that, though the Ordinary World and S elf is being left behind, there is value in it. Remember, the Mastery of Two Wor lds requires the incorporation of elements of both. * In An Officer and a Gentleman (1983), Zach reappears with his motorbike. * In Dances with Wolves (1990), John Dunbar goes back to the fort to collect the guns. * In Jason and the Argonauts (1963), Jason rescues Medea. DOORWAYS & PHYSICAL MARKERS Doorways and Physical Markers are an often missed yet critical aspect of the Her o's Journey. We have not come across a successful story that does not contain th is symbolism. * In The Matrix (1999), before Neo meets Morpheus, Trinity makes him stop and co nsider before entering through a doorway. * In Lawrence of Arabia (1962), Lawrence et al cross over railway lines before e ntering the desert. * In Romancing the Stone (1984), Jack and Joan must cross a bridge over a canyon before they can progress. EVERY HERO ACTS LIKE A BULL IN A CHINA SHOP Once the Hero embarks on the Road of Trials, his (or her) initial attempts are c lumsy. In other words, he (or she) acts like a bull in a china shop. * In Scarface (1984), Tony initialy makes his way to the dance floor like a bull in a china shop (in contrast to the later sequence in the nightclub, where he s moothly angles his way around). * In Dances with Wolves (1990), John Dunbar clumsily explains coffee to the Siou x. * In Romancing the Stone (1984), Joan clumsily tries to hack away at the jungle.

MERGING OF THE TWO WORLDS When the Hero Journeys from one World to another, from the Old World to the New, he (or she) does not completely leave the Old World behind forever. The Mastery of the Two Selves and the Two Worlds involves a merging of the two - there is v alue in both the Worlds. The merging of the Two Worlds is often demonstrated by tangibles. * In Dances with Wolves (1990), John Dunbar impresses Kicking Bird with his tele scope. * In An Officer and a Gentleman (1983), the ultimate Zach Mayo is demonstrated b y new clothing (the uniform) and the old bike. * In Erin Brockovich (1999), Erin finally visits Donna Jensen with George. A DANGEROUS PLACE When the Hero finally comes to battle his antagonisms or the antagonist, it most often occurs somewhere dangerous and alien to him (or her). * In Annie Hall (1977), Alvie must visit Annie in LA. * In Deer Hunter (Academy Award Winner Best Film, 1978), Michael must return to Vietnam and play Russian Roulette with Nick. * In Gladiator (Academy Award Winner Best Film, 2000), Maximus is alone, injured and surrounded by Roman soldiers in the colosseum. THE VALUE OF TIME PRESSURE One underrated aspect of storytelling and the Hero's Journey is the use of Time Pressure. It is one of the major tools used to push a story forward [push the He ro et al to the next Threshold]. * In Spiderman 2 (2004), Peter must quickly make a decision because MJ is moving on. * In Planet of the Apes (Greatest Films, 1968), Taylor et al must move on becaus e the groceries run out in three days. * In An Officer and a Gentleman (1982), Lynnette tells Paula to "Come on!" THE NEW WORLD IS A PLACE THAT THE HERO INITIALLY FEARS It is not uncommon for the Hero to experience fear as he (or she) enters the Fir st Threshold. It is not incorrect to say that the First Threshold is a place or state that the Hero is most afraid to go. * In Kramer versus Kramer (1979), Ted is somewhat afraid to be home alone with B illy. * In Scarface (1983), Tony is somewhat afraid of tackling the Colombians. * In The Matrix (1999), Neo is somewhat afraid of crossing over into the Matrix. PAST THE BELLY OF THE WHALE, THERE IS NO GOING BACK The Belly of the Whale is a form of Netherworld, a place of transit. The Hero is past his (or her) Old Self (following the Transformations that have been engage d in, in the First Threshold), yet s/he has not embarked upon the deeper Transfo rmations (that lead to the New Self), which will occur during the Road of Trials and beyond. One element of the Belly of the Whale stage of the Hero's Journey, is the denial of an option to return to the Ordinary World and the Ordinary Self. Beyond this point, there is No Going Back. In Butch Cassidy and the Sundance Kid (1969), Butch and Sundance learn that the posse is ordered not to stop until they are dead. In Brokeback Mountain (2005), once Ennis and Jack Twist have had sex, there is n o way back. It is something that cannot be undone. In The Insider (1999), once Wigand has whistleblown, there is no going back. THE MEANING OF GOODBYE The Hero is often heard saying "goodbye" to allies before venturing into New Wor lds or Thresholds. This too has meaning and is metaphoric for the "Goodbye to th e Old(er) Self." In The Karate Kid (1984), Daniel says goodbye before leaving for California. In Platoon (1986), Taylor says goodbye to his Vietnam buddies. In Dances with Wolves (1990), John says gooodbye to the Indians before entering the tent.

PERIOD OF ISOLATION Once the Hero has become a New Self and been completely accepted into the New Wo rld, he (or she) is thrust away again. One element of this stage is the Period o f Isolation. In The Insider (1999), Jeffrey Wigand sits alone in a hotel after the negative P R threatens his new teaching job. In Bull Durham (1988), Crash sits alone in the pool hall after he is fired from the team. In Apocalypse Now (1969), Willard is incarcerated after meeting Kurtz. THE VALUE OF SEIZING THE SWORD The Seizing of the Sword is a critical stage of the Hero's Journey. The Sword is a tangible representation of a number of intangibles and it is not seized witho ut reason; there is purpose in doing so. One of the intangibles is that it represents is de jure acceptance into the New World and as a New Self. In Dances with Wolves (1990), it is only after John has partaken in the buffalo hunt and tasted the buffalo's heart that he becomes a fully accepted member of t he village. In Scarface (1983), it is only when Tony takes over Frank's territory that he be comes a legitimate doper. In The Godfather (1972), it is only after Michael marries Apollonia that he beco mes a de jure Sicilian. AFTERLIFE ACT Many successful stories go beyond the Freedom to Live stage. An Afterlife Act cl oses successful stories or prepares them for continuation. In Out of Africa (1985), Denys' burial follows a very specific pattern. In Star Wars: Episode III - Revenge of the Sith (2005), the Supernatural Aid awa its the coming of the next generation, according to a very specific pattern. In Conan the Barbarian (1982), Conan becomes king and lives on, according to a v ery specific pattern.

EVERY HERO GETS A NEW NAME Every Hero transforms from an Ordinary (Old) Self to a New Self. The emergence o f the New Self is demonstrated in a number of ways. One of these is the receivin g of a New Name. In City Slickers (1991), before Mitch, Phil and Ed set off on their Journey, the y're "City Slickers." When they return, they're "Cowboys." In Big Jake (1971), John Wayne is initially "Daddy." Finally, he is "Father." In The Matrix (1999), "Neo" becomes "The One." THE METAPHOR OF THE "NEW WORLD" The Hero must cross from an Ordinary World into a New World to transform from an Ordinary Self to a New Self. But the "New World" can be literal (a New Physical Place) or metaphoric (a New Physical, Psychological State). In The Thing (1982), MacReady et al remain in the same physical place but the ar rival of The Thing causes them to enter a New State. In Kramer versus Kramer (1979), Ted and Billy remain in the same house but the d eparture of Joanne causes them to enter into a New State. In Annie Hall (1979), Annie and Alvie's meeting causes them to both enter into a New State. THE UNDERRATED USE OF SYMBOLISM Most of the time we don't notice it, but screenplays consist of much more struct ure and symbolism than is commonly assumed. And that is right, because they shou ld be designed for maximum impact.

Take the role of water. At the stage of the Near Death Experience, romantic love rs part in the rain (50 First Dates, 2004), protagonists are tortured with water (Green Mile, 1999), protagonists happen to be on vessels that sink (War of the Worlds, 2005) and heroes are submerged underwater (Jaws, 1977). The role of wate r is ancient and works on the audience subconsciously; it signifies baptism / di rt to cleanliness / washing away the Old and emergence of the New Self. Or take mirrors. The hero often looks at himself (or herself) in a mirror whilst in the Ordinary World (Bonnie and Clyde (1967), An Officer and a Gentleman (198 3), Thelma and Louise (1991)). Mirrors most often signify dissatisfaction with t he Ordinary Self and dissatisfaction with the Period of Obscurity. It is this th at pushes the hero forward. Or take tunnels. Often heroes are seen moving through tunnels, which symbolise m ovement from one state to another. Or bridges, gates, rivers and railroads - all of which mark boundaries between s tates and thresholds. Or the colour red - signifying blood, damage to the Physical Self and transmogri fication to the New Self. Symbolism is just another way of communicating the physical and psychological st age of the Journey / Transformation - there are quite a few of these tools, and you should use them. Coppola and Scorsese et al do. Even Shakespeare did. THE BEACHHEAD A good way to understand the First Threshold is to look at it as a Beachhead. It is the first foothold in the New World and explains some of the events that mus t occur there (if you want to write successful stories and screenplays), such as the Fish out of Water stage. In Scarface (1983), the burger stand is the Tony Montana's first foothold in the USA. In The Devil Wears Prada (2006), the junior receptionist job is Andy's first foo thold in the fashion world. In The Thing (1982), Macready gives the Thing it's first foothold in the station . NATURAL INHABITANTS OF THE NEW WORLD The Hero often battles the "Natural Inhabitants of the New World." These are sim ply metaphoric for obstacles that prevent the Hero's penetration into the New Wo rld. The Penetration into the New World is simply metaphoric for the Becoming of the New Self. As the Hero penetrates deeper into the New World, he (or she) becomes the function of the Journey is to induce a Transformation. a Newer Self In Platoon (1986), Taylor et al battle Charlie. In Dances with Wolves (1990), John Dunbar battles the Apache. In Apocalypto (2006), Youngblood et al battle the hostile Mayan rulers.

THE REAL ELIXIR The Elixir is often a tangible, usually a treasure, crown (coronation) or simila r. However, that tangible is only representative of the real prize, which is the ability to cross both Old and New Worlds and Selves at will. In The Odd Couple (1968), Felix is ultimately able to come and go into Oscar's a nd the Pigeon sister's apartments. In Barefoot in the Park (1967), Paul is ultimately able to be a stuffed shirt du ring the day and let loose at night. In Gone with the Wind (1939), Scarlett is ultimately able to keep Tara and try a nd win Rhett back. MAGICAL APPEARANCE OF THE SUPERNATURAL AID

The Supernatural Aid commonly appears magically and mysteriously. In Star Wars (1977), Obi Wan appears from nowhere to save Luke. In The Big Lebowski (1998), the Stranger suddenly appears and disappears. In Rambo First Blood (1982), Col. Samuel Trautman appears from nowhere. EVERY GOOD HERO HAS AT LEAST FOUR CORE CHALLENGES In every successful Hollywood story, there are a number of challenges to be reso lved. It is not uncommon for the Hero to have at least Four Core Challenges (Inn er, Outer, Romantic, Greater Antagonism) and each is mapped onto the Hero's Jour ney and resolved in a very specific order. In American Beauty (Academy Award Winner Best Film 1999), Lester Burnham's Inner Challenge is to feel good about himself, his Romantic Challenge is Angela, his Outer Challenge is his marriage with Carolyn and the Greater Antagonism is Col. Frank Fitts, US Marine Core. In Top Gun (1986, receipts of $176,000,000), Maverick's Romantic Challenge is Ch arlie, his Inner Challenge is his personal and father's story, his Outer Challen ge is getting over Goose's death and the Greater Antagonism is becoming Top Gun. In Titanic (Academy Award Winner Best Film 1997; No. 1 All-Time USA Boxoffice wi th receipts of over $600,000,000), Rose's Inner Challenge is to overcome her com mittment to her mother as well as Jack's lower status, her Romantic Challenge is Jack, her Outer Challenge is Cal and the Greater Antagonism is escaping the sin king ship. The Four Core Challenge categories can be viewed as classes: In Tootsie (Academy Award Nominee Best Film 1982), Michael's Romantic Challenge is Julie, his Inner Challenge is represented by his penultimate line "I was a be tter man with you as a woman than I ever was with a woman as a man...I just gott a learn to do it without the dress...", his Outer Challenge is Ron [symbol of ma le condescension] and the Greater Antagonism is his problem that the network and fans thinks he's really a woman. But within the class of the Inner Challenge is Sandy and within the class of the Romantic Challenge are the attentions of Les and Van Horn. It is common for secondary characters to have their own (fewer) challenges (thes e are the core of any subplot) and each is also resolved in a very specific orde r: In Gladiator (Academy Award Winner Best Film, 2000), Proximo and Lucilla both ha ve their own demons to overcome. REBIRTH One element of the Rebirth, following the Near Death Experience, is where the He ro consciously decides to reject the Old World and Self and accept the New World and New Self. In The Insider (1999), Jeffrey Wigand decides to testify because "nothing ever c hanges." In Bull Durham (1988), Annie realises she is waiting at the door, but for the wr ong man. In Apocalypse Now (1969), everybody sees Willard differently after he shoots the vietnamese lady. STATUS LADDER One useful method of measuring the dissolution of the Old Self during the Road o f Trials is to watch the Hero's status. As the Hero adapts and is accepted into the New World, so his or her status in it rises until he or she becomes a leader . In Thelma and Louise (1991), Thelma eventually eclipses Louise and takes charge. In The Shawshank Redemption (1994), Andy Dusfresne becomes the guards' accountan t.

In When Harry met Sally (1989), Harry goes from being an unacknowledged acquaint ance to a lover.

PASSING THE MANTLE It is not unusual for Old(er) World Mentors to, willingly or reluctantly, pass t heir charge (the Hero) to a New Mentor (Supernatural Aid). In The Karate Kid (1984), Daniel's Mom allows Mr Miyagi to continue Daniel's edu cation. In The Fly (1986), Stathis Borans reluctantly gives way to Seth Brundle. In Twisted (2004), John Mills gives way to Mike Delmarco. EVERY GOOD HERO EXPERIENCES A PERIOD OF DESOLATION Post the Call to Adventure comes the Refusal, the Interdictions and the Hawk and Dove debates etc. Resistance still exists post the meeting with the Supernatura l Aid and his or her guidance. This period of uncertainty and inertia is known a s a Period of Desolation and is an intrinsic and explicit part of successful sto ries and screenplays. The Period of Desolation is actually an extension of the Hero's original State o f Frustration. It is the Hero's destiny (Dharma) to embark on the Journey, to Tr ansform, to be the Carrier of the Changing. By resisting this destiny, the Hero finds himself (or herself) desolate. This applies whether the Hero is willing or unwilling. In The Incredibles (2004), Mr Incredible finds himself desolate and frustrated he is unable to continue in his natural role of SuperHero. In Star Wars (1977), Luke finds himself looking out at the two suns, yearning fo r change and to fulfil his destiny. In Alien (1979), Ripley is de facto desolate when Dallas gives Ash authority ove r her. THREE ACTS There is a tendency for writers to divide their stories into three acts. If that is valid at all, then the division should be as follows (the 188 stage Hero's J ourney explains each process in detail): First, the Hero is pushed out of his (or her) Ordinary World into a New World. I n The Devil Wears Prada (2006), Andy is pushed straight from college into the fa shion magazine world. Second, the Hero's Old Self gradually dissolves away until he (or she) becomes a de jure and de facto member of the New World and a New Self. In The Devil Wears Prada (2006), Andy becomes Miranda's right-hand woman and replaces Emily to go to Paris. Third, the Hero is pushed out of the New World and away from the New Self and to wards a confrontation with challenges or antagonisms until he (or she) becomes a Master of the Two Worlds and Selves. In The Devil Wears Prada (2006), Andy witn esses Miranda's sacrifices and decides she doesn't want that life, motivating he r to release herself. THE INTERDICTOR AND INTERDICTION The Interdictor is a figure of authority that prevents the Hero departing from t he Ordinary World under threat of some punishment (Interdiction). The Interdicto r and Interdiction are separate and distinct from Refusal and Threshold Guardian s: In The Incredibles (2004), both the government and Mr Incredible's boss prevent Mr Incredible from acting on his instincts. In The Matrix (1999), Agent Smith interviews and interrogates Neo, offering him incentives not to involve himself in the adventure. In Out of Africa (1985), a soldier explicitly tells Karen not to venture out fro m the farm and find her husband. LOSING A TANGIBLE REPRESENTATION OF THE OLD WORLD AND OLD SELF

During the Hero's Journey and Transformation, representations of the Old World a nd Old Self are gradually lost. The representation of the Old World (the physica l journey) is usually a tangible, physical thing - often clothing or emotional a ttachments. The representation of the Old Self (the psychological journey) is of ten an attitude, belief or behaviour. In Elizabethtown (2005), Drew loses Ellen. In An Officer and a Gentleman (1982), Zack hides his tattoo and we don't see his bike until he has changed. Emilio has his head shaved. In The Insider (1999), Wigand loses the office suit and house. A STATE OF FRUSTRATION A number of tools are used to demonstrate the Hero's Ordinary World State and ju stify a push out of it. One of these is a State of Frustration. In Thelma and Louise (1991), Thelma is dissatisfied with her life as a housewife and with Darryl. In Goodfellas (1990), Henry doesn't want an ordinary life like everyone else - h e sees the benefits of being a gangster. In Scarface (1983), Tony Montana will do anything to escape Cuba and make it big in Miami. HAND TO HAND BATTLE One often missed aspect of the Hero's Journey is the Hand to Hand Battle. The He ro and Antagonism must confront each other directly. In Spiderman (2004), the Green Goblin and Peter confront each other. In Annie Hall (1977), Alvie must confront Annie. In Gladiator (2000), Commodus and Maxuimus confront each other. LOSING ATTACHMENTS The function of the Journey is Transformation. This can be explained in many way s and one way is to look at it as "the gradual losing of attachments." The Hero ventures into a New World and gradually loses attachments to the Old World (thes e attachments are often represented by tangibles). In Gorillas in the Mist (1988), Dian gradually loses the attachment to her Old b oyfriend. In Kramer vs. Kramer (1979), Ted gradually loses the attachment to his Old job. In Educating Rita (1983), Rita gradually loses the attachment to her husband. ADAPTATION The function of the Journey is Transformation. This can be explained in many way s and one way is to look at it as adaptation. The Hero ventures into a New World and adapts until he (or she) becomes an integral part of it. In Gorillas in the Mist (1988), Dian becomes one of the gorillas and "owns" the mountain. In Kramer vs. Kramer (1979), Ted becomes a Mom. In Educating Rita (1983), Rita becomes the archetypal student.

STARTING AS A FISH OUT OF WATER It is common for the Hero to begin his (or her) Journey as a Fish out of Water. This is because he (or she) does not often begin the Journey in the Ordinary Wor ld but arrives from Another World. In Platoon (1986), Taylor simply arrives in Vietnam. In Dead Poets Society (1989)), the boys simply arrive in their new school. In The Quiet Man (1951), Sean simply arrives in Ireland on the train.

TYPES OF MAGICAL AID Magical Aids are integral to the vast majority of successful stories but are ser iously misunderstood. There are various categories, including: Magical Aids that assist the Hero vanquish enemies. In Stand by Me (1986), the g un helps to vanquish the other gang. Magical Aids that assist to cross Thresholds. In Dances with Wolves (1990), John Dunbar is given a letter of transit. Magical Aids that assist the Transformation. In Annie Hall (1977), Alvie gives A nnie books to read. EVERY HERO MUST BE A FISH OUT OF WATER AT SOME POINT One critical element of any successful story - as all stories involve Transforma tion - must be the Fish out of Water stage. The Hero demonstrates the Devolved S tate upon entering a new domain and the Evolved State upon leaving it. In Beverly Hills Cop (1984), Axel arrives in Beverly Hills as a Fish out of Wate r and departs it as a Master [of that World]. The Fish out of Water stage is commonly seen at a number of points [along the He ro's Journey], including: Upon entry of the First Threshold, where the Hero enters a New World. In Departe d (2006), both Billy and Colin are initially Fishes out of Water in the police d epartment. In Brokeback Mountain (2005), both Ennis and Jack Twist are Fishes ou t of Water when they first make their way to camp on the mountain. Upon entry of the Road of Trials and Transformation. In The Godfather (1972), Mi chael is initially a Fish out of Water when he arrives in Sicily. In Gladiator ( 2000), Maximus is initially a Fish out of Water in Rome. SUPERNATURAL AID'S CORE COMPETENCY Superatural Aids come in many shapes and sizes. The most common form is the wret ched old man or hag, but this is not necessarily a given. The only requirement of a Supernatural Aid is that he (or she) be able to traver se both the Old and New Worlds. It is this quality that enables the Supernatural Aid to provide Magical Gifts. In Raging Bull (1980), Vickie is able to straddle both Jake's world and the worl d of the mafia. In Gorillas in the Mist (1988), Sembagare speaks both languages. In Kramer vs. Kramer (1979), Margaret understands both Ted and Joanna. SACRIFICE AND THE CONSCIOUS DECISION The concepts of Sacrifice and the Conscious Decision are highly underrated in sc reenwriting, yet these are vital and interrelated elements of every successful s tory. Every Hero must transform from an Old Self to a New Self. It is the New Self tha t is able to conquer challenges that the Old Self could not. But the path to the New Self often involves a Conscious Decision to Sacrifice th e Old Self. In the Godfather (1972), Michael consciously sacrifices his Old Self ("I don't k now when I'll be back, Kay...") and consciously accepts the transformation to hi s New Self ("I'm with you now Pop, I'm with you..."). In Star Wars (1972), Luke consciously lets go of his Old Self ("there's nothing for me here now; I'm never coming back here again...") and accepts the transform ation to his New Self ("I want to become a Jedi like my father..."). INNER RESOLVE One often missed aspect of the Hero's Journey is the stage of the Inner Resolve. The Hero faces an Unbearable Antagonism that forces him to reveal his True, New Self. In Return of the Jedi (1983), Luke shows he is stronger than Vader (after Vader threatens Leia). In Cinderella Man (2005), Jim Braddock starts to win (after it appears his oppon ent will win).

In The Matrix (1999), Neo plays with the bullets (after it appears that the odds are against him). THE TRIVIAL TASK Following the debates between Doves and Hawks, the Interdictions and the Refusal s, the Hero is immersed in a Period of Desolation, unsure of whether to embark o n his or her Journey and Transformation. There is frustration and expectation. Often, a Trivial Task pushes the Hero out of this inertia (and away from his or her Ordinary World and from his or her Ordinary Self) - unconsciously, unwilling ly - into the Journey. We are intimately familiar with the Trivial Task from our fairytales: a) Go up the hill and fetch a pale of water. b) Go to the market and get a fair penny for these pigs. c) Go to grandma and give her these cakes I've baked. ENHANCEMENT OF CAPABILITIES Post the Dragon Battle (a metaphor for obstacles that guard the Sword - which is itself a metaphor), the Hero experiences an Enhancement of Capabilities. In Stand by Me (1986), all the boys feel invincible after dodging the train. In Platoon (1986), Taylor feels able to follow and stop Barnes, who wants to kil l Elias. In Out of Africa (1985), Karen is no longer scared of the jungle after the battl e with the lions. A LITERAL ROAD The stage of the Road of Trials is often made explicit literally. That is, you o ften see...well...a road. In Withnail & I (1987), Marwood goes for a walk along a country road. In Cool Hand Luke (1967), the chain gang tar the road. In Little Miss Sunshine (2006), Olive and family take to the road in the VW Camp ervan. When a literal road is not made explicit, the symbolism is often not hard to see . In Stand by Me (1986), the road is represented by a train track.

TANGIBLE ELEMENT OF THE OLD WORLD The Hero commonly takes a tangible element of the Ordinary World forward into th e New World. The eventual loss of this is metaphoric for the losing of the Ordin ary Self and the becoming of the New Self. In Apocalypse Now (1979), Willard takes Kilgore's surfboard. In The Thing (1982): the Doc takes back paperwork from the Norwegian station. In The Wizard of Oz (1939), Dorothy takes Toto to Oz. DEPARTURE OF THE SUPERNATURAL AID One often missed aspect of the Hero's Journey (and one that is apparent in many successful stories) is the Disappearance of Transcendental Powers. An element of this is the departure of the Supernatural Aid. In A Fistful of Dynamite (1971), John dies at the end. In Midnight Cowboy (1969), Ratso dies. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. THE NATURE OF THE ELIXIR From the perspective of the physical Journey, the Elixir is a tangible, often a valuable prize of some sort. But from the perspective of the psychological trans formation, the Elixir is the Master of the Two Selves. It is only once the Hero has become his (or her) Ultimate Self, that she (or he) can claim the tangible p rize. In The Insider (1999), it is only once both Lowell and Jeffrey have made the req uired sacrifices that they defeat the corporation.

In Back to the Future (1985), it is only once Marty has Mastered his Old and New Selves, that he can return to find the perfect family. In Erin Brockovich (1999), it is only after Erin has Mastered her Old and New Se lves, that she can go on to defeat PG&E.

SUPERNATURAL AID'S SACRIFICE It is often not recognised that the Supernatural Aid's Magical Gifts often have a price. Or that, in general, the Supernatural Aid also has to make sacrifices. (The Supernatural Aid is also a Bringer of the Changing). In The Bicycle Thieves (1942) [ Ladretta de bicicletta], Ricci's wife has to sel l the bedsheets so that he can buy back the bicycle. In The Insider (1999), Lewell has to betray 60 Minutes to the New York Times. In Star Wars (1977), Obi Wan gives his life. HERO AND ANTAGONISM AFFINITY It must be remembered that the Hero and Antagonism are shadows of each other and that, subconsciously, the Hero is battling himself (or herself). It is this qua lity that is respsonsible for the large degree of mirroring that is found in suc cessful stories and significant final stages of the Hero's Journey, such as True Nature and Mask Removed. In Basic Instinct (1992), Nick knows that Catherine won't hide behind a lawyer. And she knows all about him. In Once Upon a Time in the West (1968), Harmonica and Frank intuitively recognis e each other. In Se7en (1995), John Doe is obsessed with Mills. DISSOLUTION OF THE OLD SELF Every Hero undergoes a Transformation, a significant part of which occurs during the Road of Trials. It is here that the Hero's Old Self dissolves away. In The Godfather (1972), Michael's Old Self dissolves away once he is in Sicily. In Educating Rita (1983), Rita's Old Self dissolves away under Dr. Bryant's tute lage. In The Devil Wears Prada (2006), Andy's Old Self dissolves away under Miranda an d Nigel's guidance.

APPRECIATING THE UNIVERSAL TERMINOLOGY Many writers do not appreciate the universal nature of the terminology that is p art of the Hero's Journey / Transformation. They hear phrases like "Final Confli ct," "Hand-to-Hand Battle," "Ultimate Antagonism" and fail to see how it can app ly to their real world, gritty, modern day story or screenplay. This is missing the point, for the terminology applies (sometimes literally, usu ally symbolically and metaphorically) to the vast majority (if not every) succes sful story or screenplay you may have come across. In The Godfather (1972), when Sonny is gunned down, what is that if not an Unbea rable Antagonism? In Annie Hall (1977), when Alvie finally goes to meet Annie in Los Angeles, that is a Hand-to-Hand Battle and is the same one-on-one confrontation as Luke and V ader battling it out at the end of every Star Wars movie; the same mano-a-mano c onfrontation between Riggs and Joshua in Lethal Weapon (1987), the same confront ation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989). There are hundreds of these terms and they all exist for a purpose. The thing to

do is not dismiss the terminology as irrelevant, but try and see how it is appl icable. HERO'S VALUE RECOGNISED The least glamorous aspects of the Hero's Journey and Transformation turn out to be where the some of the greatest value lies. Take, for example, the general st age of the Rescue From Without. There is a very distinct process that the vast m ajority of successful stories and Hollywood blockbusters use to bring the Hero b ack into the "battle." One aspect of this micro process is the moment where the Hero's Value is recogni sed. In Erin Brockovich (2000), Ed Masry and Kirk Potter realise that they're messing the case up and that they need Erin. In The King and I (1956), Lady Thiang tells Anna that the King needs her. In The Quiet Man (1952), Mary Kate recognises Sean's place in the house.

MAJOR FIRST THRESHOLD GUARDIAN The Major First Threshold Guardian is that character that the Hero must overcome before he (or she) is allowed into the Deeper New World and towards the Deeper New Self. In Spartacus (1960), Spartacus must overcome Marcellus before he is free and all owed to build his army. In The Godfather (1972), Michael must overcome Sollozzo before he is allowed to proceed to Sicily where his Old Self dissolves away. In Scarface (1983), Tony must overcome the Colombians and Omar before he is allo wed to proceed onto the task of robbing Frank of his kingdom. SYMBOLISM OF SELF-REFLECTION The Hero's Transformation and the becoming of the New Self is demonstrated using a variety of symbolism. One common aspect of the beginning of Transformation is self-reflection and this is often symbolised by viewing the Present Self in the mirror. In Bull Durham (1988), Crash looks at himself in the shop window. In An Officer and a Gentleman (1983), Zach looks at himself in the mirror. In Trainspotting (1996), Renton looks at himself in the mirror. EVERY GOOD HERO TRANSFORMS IN THE FIRST THRESHOLD Whilst Transformation is the essence of the whole story and can be traced back t o before the Call to Adventure and does not end until the Mastery of the Old and New Worlds and Self, a significant change occurs in the First Threshold. Consid er this: In The Godfather (1972), before entering the First Threshold, Michael Corleone i s having fun with Kay in a hotel, plans to marry her, wants nothing to do with T he Family business and is safe because the other Families know he is a "civilian ." Upon departure of the First Threshold, he is prepared to kill a police Captai n, incite a war between the Families, will be hunted by the other Families and w ill voluntarily leave Kay behind and disappear to Sicily (where he will further follow the traditional path by marrying a Sicilian). In Spartacus (1960), Spartacus enters the training camp and is taught by Marcell us. By the time he leaves, he is able to defeat him. In The Matrix (1999), when Neo enters the Nebuchadnezzar he is a Fish out of Wat er. By the time he leaves, he has mastered a number of martial arts and is keen to defeat Morpheus.

DEVOLVED NAME It is not unusual for the Hero to be given a Devolved Name, which represents his (or her) Devolved Self. This is an alternative to the Hero's Ordinary World nam e. In Bull Durham (1988), Crash keeps calling Nuke "Meat." In An Officer and a Gentleman (1983), Foley calls Zach "Mayo(nnaise)." In the Dirty Dozen (1967), the men are referred to by their criminal names befor e Reisman collectively calls them the "Dirty Dozen." EVERY HERO MAKES USE OF MAGICAL GIFTS AND SPELLS Many writers hear of the Hero's Journey and associated terminology such as "Magi cal Gifts" and "Magical Spells" and dismiss it as a template for fairy tales, th inking "...how can this fit the gritty, real-world story I want to write?" This is bad thinking. For a start, the terminology is most often metaphoric and applies to all success ful stories and screenplays, from The Godfather (1972) to Brokeback Mountain (20 06) to Annie Hall (1977) to Lord of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979). The Magical Gift does not have to be Ruby Slippers or Harry Potter's Wand. In Wa ll Street (1987), Bud Fox visits his father, who simply provides advice and mone y. In Gladiator (2000), Maximus finds strength from a statuette. In American Bea uty (1999), Ricky Fitts gives Lester Burnham a joint. Magical Spells (again, most often metaphoric), are any competencies or capacitie s that the Hero acquires before embarking on the deeper transformation (Road of Trials; the Dissolution of the Old Self). In Spartacus (1960), Spartacus learns the gladiatorial arts. In The Godfather (1972), Michael learns how to fire the g un accurately and quickly assassinate Sollozzo and Captain McCluskey. ORDINARY WORLD ROMANTIC CHALLENGE The Ordinary World Romantic Challenge is that attachment that does not evolve wi th the Hero, remains in the Ordinary World and does not share the Hero's motivat ion to enter into the New World and become the New Self. The Ordinary World Roma ntic Challenge is separate and distinct from the New World Romantic Challenge. In Educating Rita (1983), Rita leaves Denny behind. Close Encounters of the Third Kind (1977), Roy leaves Ronnie behind. In Gorillas in the Mist (1988), Dian leaves here old boyfriend behind. STRICT PATH When the Hero leaves the Ordinary World, as far as he (or she) is concerned, he (or she) is intent on quickly returning. Further, there are warnings not to stra y from a strict path. In The Terminator (1984), Sarah is intent on returning to the apartment at some point, but we never see her return. In Pretty Woman (1990), Vivian is intent on selling sex to Edward for money and then returning to the street. In Star Wars (1977), when Luke searches for R2, he plans to return quickly and i s wary of the sand people. WHOLE-NEW SELF The Hero's transformation into the New Self is incremental and the Rebirth post Near Death Experience marks the endpoint of it. [The New Self is separate and di stinct from the further significant transformation into the Master of Two Worlds and Selves]. In Dances with Wolves (1990), John Dunbar's endpoint transformation is symbolise d by the emerging from the tent as a fully clothed Sioux. In Gorillas in the Mist (1988), Dian's endpoint is symbolised by admitting that she is hooked. In The Terminator (1984), Sarah's endpint is symbolised by emergence of the skin less terminator. RUPTURE

Rupture (or Physical Separation) is that stage of the Journey where the Hero is (often forced out) of the First Threshold and into the Deeper New World. This is the marker where the Hero breaks with the Old Self. In Dances with Wolves (Academy Award Winner Best Film, 1990), John Dunbar leaves the fort and ventures to the Indian village. In The Godfather (100 Greatest Films, 1972), Michael leaves New York for Sicily. In Close Encounters of the Third Kind (1977), this is where Roy begins his obses sion. In Raging Bull (1990), this is where Jake gets married, has kids and gains weigh t.

INTO A NEW WORLD AND TOWARDS A NEW SELF The idea of the Hero entering a New World and venturing towards a New Self shoul d not be taken lightly in storytelling. It is the essence of the Hero's Journey and is symbolically prevalent in the vast majority of successful stories. So muc h so that this process is the skeleton around which your story should be based: In Dead Poets Society (Academy Award Nominee Best Film, 1989), the boys arrive i n their new school - the New World in which the boys will evolve. In Platoon (Academy Award Best Film, 1986), Taylor arrives in Vietnam - the New World in which Taylor will evolve. When Harry met Sally (1989), both Harry and Sally travel from Chicago to New Yor k - the New World in which both shall evolve. JOY OF INFANCY REGAINED Once the Hero has Seized the Sword, he (or she) gains a number of intangibles. O ne of these is the Joy of Infancy Regained - joy of the like that has not been e xperienced since youth. In Scarface (1983), once Tony seizes Frank's empire, he experiences the stage of the Joy of Infancy Regained. In The Godfather (1972), once Michael marries Apollonia, they both experience th e stage of the Joy of Infancy Regained (the honeymoon period). In Basic Instinct (1992), Nick admits he is in love with Catherine. Once he beds her, he experiences the stage of the Joy of Infancy Regained. STATUS LADDER One useful method of measuring the dissolution of the Old Self during the Road o f Trials is to watch the Hero's status. As the Hero adapts and is accepted into the New World, so his or her status in it rises until he or she becomes a leader . In Thelma and Louise (1991), Thelma eventually eclipses Louise and takes charge. In The Shawshank Redemption (1994), Andy Dusfresne becomes the guards' accountan t. In When Harry met Sally (1989), Harry goes from being an unacknowledged acquaint ance to a lover. THE OPPOSITE SELF During the Road of Trials and the Dissolution n for the Hero to meet an Opposite Self. This of the Hero's eventual New Self (as he or she is akin to the Prototype Father (see Advanced In Pretty Woman (1990), Edward encounters the

of the Old Self, it is not uncommo is someone that is representative would like to be). This archetype Archetypes). owner of the company he is buying.

In The Godfather (1972), Michael encounters Don Tomasino. In Goodfellas (1990), Henry is introduced to Jimmy Conway.

EVERY HERO MUST READ THE BOOK OF LAW Throughout his (or her) Journey, the Hero enters various New Worlds, each increm entally dissolving away his (or her) Ordinary Self and building a New(er) Self. In the first of these worlds (the First Threshold), the Hero must read the Book of Law. These are instructions or rules given by Authority Figures on how to sur vive in this world, which the Hero, if he chooses to ignore them, does so at his peril. In Scarface (1983), Frank tells Tony what he must do to survive as a doper long term. In Spartacus (1960), Lentulus tells the newly arrived gladiators what they must do to survive and possibly gain their freedom. In Goodfellas (1990), Jimmy tells Henry that, "the worst thing in this world is a rat...." Pauly tells Henry not to get involved in drugs. THE MYTH OF CONFLICT A pervasive myth argues that the essence of story is conflict. This is extremely misleading. The essence of all successful stories and Hollywood blockbusters is Journey, Tra nsformation, Detachment and Attachment. In The Godfather (1972), Michael journeys to Sicily. In The Godfather (1972), Michael transforms from a relative innocent and war her o to a bringer of death and head of a mafia clan. In The Godfather (1972), Michael detaches from Kay and attaches to his father an d the Family. MAGICAL INNER CHALLENGE RESOLUTION Once the Hero has conquered all other challenges, the capacity to confront and c onquer the Inner Challenge is almost magically attained. In Spotswood (1992), Errol gives up his management consultancy job to Kim. In Die Hard (1988), John McClane is whole with his wife and family again. In The Godfather (1972), Michael resolves his dilemma with Kay (metaphoric for t he Old Self) by lying to her. AN INTIMATE PLACE During the Process of the Dissolution of the Old Self, the Hero is invited into an Intimate Place within the New World. The Hero's initial discomfort in this pl ace and the eventual comfort in it is representative of the Hero's evolution. In Dances with Wolves (1990), John Dunbar is invited into village. In Educating Rita (1983), Frank invites Rita into his home. In The Devil Wears Prada (2006), Andy is invited into Nigel's dressing room. VALUE OF THE MYSTICAL MARRIAGE One aspect of the Mystical Marriage is that it is the merging of the Old with th e New and is a prelude to the true becoming of the New Self. In Dances with Wolves (1990), John's marriage to Stands with a Fist preludes his Rebirth. In Kramer vs. Kramer (1979), it is Ted's hugging of Margaret that preludes his R ebirth. In The Godfather (1972), it is only after Michael returns for Kay and asks her t o marry him that he is completely reborn.

TRANSFORMATION MENTOR Before the Trials and Transformation, it is not uncommon to meet a Transformatio n Mentor. This person may be separate and distinct from the earlier Mentor / Sup

ernatural Aid. In Gladiator (2000), Proximo sees to it that Maximus becomes a Gl adiator. In Memoirs of a Geisha (2005), Mamaha is responsible for Sayuri's trans formation into Geisha. In King Kong (2005), it is King Kong that causes the Tran sformation. In Raiders of the Lost Ark (1981), it is Sallah. It is not unusual for the Transformation Mentor to perform a dual role. In Walk the Line (2005), June Carter Cash is both the Transformation Mentor and Romantic Challenge. *****Curse of the Wizened One***** Sponsors. Important people, who may have encouraged the Hero's venture, may gree t him. This is an audience with the Elders. Curse of the Wizened One. The Hero, having gained an Expansion of Consciousness, is not easily understood by Ordinary Men. He (or she) may be ridiculed or disow ned. In Dances with Wolves (1990), the soldiers don't like and understand why Jo hn has "turned injun.". Elevated Status. Whether appreciated or not, incarcerated or not, the Hero is gi ven some sort of status. Even his jailors appreciate that his presence is a gift or a curse. He is the talk of the Township. His Word is Law. The returned Hero, even a mysterious and unknown entity, may be recognised as one that has traversed the far corners of the unknown and his (or her) word is given gravity. Preparation. It is known (if not believed) that engagement with a Greater Antago nism is imminent, hence preparations are not uncommon. *****Physical Marker***** Before entry into the First Threshold, the Hero stops and views from a distance. Then is pushed forward. In Bonnie and Clyde (1967), Clyde stops outside the ban k and Bonnie asks, "...what are you waiting for...." *****Loop***** The Loop closes the story by linking the first and last sequences. Methods inclu de: Return to the Ordinary World. In Lord of the Rings, Frodo, Sam et al return to t he Shire. Journey to the New Life in a New World. In An Officer and a Gentleman (1982), Za ch and Paula go to wherever he is assigned. Symbolic link: In Drugstore Cowboy (1989), the loop is symbolic, with a return t o Bob's hospital bed. In War of the Worlds (2005), images of bacteria and the sm allness of Earth within the Universe make up the symbolic linkages. *****Comedic Break**** Comedic rest breaks are not uncommon here [around the the time of the Persuading of Allies to Seize the Sword]. In Dances with Wolves (1990), John feels harmony and dances around a fire, pretending to be an Indian. In The Empire Strikes Bac k (1980), Han feels terrible. *****Resisting the Belly of the Whale***** There is often resistance to the Belly of the Whale (unwilling Hero) or obstacle s to it (Willing Hero). Three resistances make an impact. In Dances with Wolves (1990), a) John Dunbar prepares to defend himself against the Indians, b) the ch ildren fail to steal Cisco and he knocks himself out, c) John Dunbar pulls a gun on Wind in his Hair. *****Meeting the Oracle***** Post the Road of Trials, the Hero must journey toward an Expansion of Consciousn ess, which is represented by a tangible (the Sword). It is the Oracle that guide s them towards this tangible. In Bonnie and Clyde (1967), they're losing oil - t hey gotta swipe another car and that will lead them to kidnap the owners of that car.

*****Final Conflict: Unbearable Antagonism***** Post the Crossing of the Return Threshold and before the Master of Two Worlds an d Selves, a hell of a lot happens that is rarely given mention. The Final Confli ct (a metaphor for this stage) follows a distinct process. An Unbearable Antagon ism pushes the hero to the stage of the Inner Resolve. In Straw Dogs (1971), Dav id is surprised that Amy really doesn't care....but he does...and keeps Henry in the house. *****First Threshold Middle Cave***** The Middle cave of the First Threshold is where the Hero meets Allies and Enemie s. This is also then, obviously, where subplots are initiated or further develop ed. In Straw Dogs (1971), Henry plays with Janice. *****Pre the Hand-to-Hand battle***** Post the Crossing of the Return Threshold and before the Master of Two Worlds an d Selves, a hell of a lot happens that is rarely given mention. The Final Confli ct (a metaphor for this stage) follows a distinct process. It is post the initia l catharses and the increases antagonism that the hero often demonstrates calmne ss and confidence. This is illustrated in many ways. In Straw Dogs (1971), David fixes his glasses and plays music, disconcerting his enemies. *****First Trial Inner Cave - New Self***** A number of things happen in the Inner Cave of the First Trial. One element is t he expression of the Newer Self. In Bonnie and Clyde (1967), Bonnie has new clot hes. ****Mentor's True Nature***** It is during the First Threshold Outer Cave Trial that the Mentor's True Nature often becomes apparent. In Bonnie and Clyde (1967), Clyde gets attacked by the s hopkeeper, knocks him out and says "..I ain't against him " *****Resisting the Crossing of the Return Threshold***** The Return Crossing is dangerous. There is resistance and a Period of Dissonance . In Brokeback Mountain (2005), Junior wants to stay with Daddy again. *****Hero's Private World***** Obstacles to the Hero are somehow overcome and the Heralds are invited into the Hero's Private World. This is a special place where the Hero spends much time al one, where he (or she) is safe and at home. As with the Hero's Ordinary World, it is representative of the Hero's psychologi cal state (often idyllic if the Hero is unwilling or repressive if the Hero is w illing). In The King of Comedy (1983), Pupkin lives at home. It is possible that the Private World is alluded to. In Dances with Wolves (1990 ), the General gets his personal surgeon.

*****Impossible Dilemma***** Before facing the Antagonist (past the Crossing of the Return Threshold), the He ro will have to overcome an impossible dilemma. In Spiderman (2002), Peter Parke r has to save the people in the lift or Mary Jane - he cannot do both simultaneo usly. In Gladiator (2000), Maximus defeats his opponents even though he has been stabbed and is dying. Failed Hero. An alternative Hero may attempt to tackle the Antagonist (or the Im possible Dilemma) and be mowed down, enhancing the magnitude of the challenge. Time Pressure becomes acute for some reason. In Goldfinger (1964), the nuke goes off in less that 3 minutes. *****Meeting the Oracle*****

The Oracle's job is to send the Hero toward that place where he can retrieve the tangible representation of the Expansion of Consciousness. The Oracle has, perh aps, the capability to defeat the Antagonism but this is really for the Hero, as the Antagonism is ultimately the Hero's own id. In Straw Dogs (1971), Charlie a sks David to go hunting; he agrees. *****Near Death Experience***** It is at the stage of the Near Death Experience that a Hero often confronts the antagonism in one form or other. In Straw Dogs (1971), David fires Cawsey et al. In Scarface (1983), the FBI arrest Tony et al. *****Romantic Challenge***** The Romantic Challenge is developed or further made explicit (post Trial 3 and t he conquest of the Outer Challenge). The Hero has come a long way but he (as wel l as the audience) are reminded that this has yet to be conquered: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). In Dances with Wolves (1990), Stands with a Fist is increasing ly attracted to John. *****New World of Trials and Transformations***** Just like any New DOmain (most often described as a New World), the World of the Trials and Transformations has never been experienced before. In Bonnie and Cly de (1967), Bonnie, Clyde, Buck and Blanche all go into the house.

*****Shape Shifter and Antagonist relationship****** Post the Crossing of the Return Threshold and before the Master of Two Worlds an d Selves, a hell of a lot happens that is rarely given mention. The Final Confli ct (a metaphor for this stage) follows a distinct process. The Shape Shifter, wh o has often been close to the antagonist, may be saddened by his (or her) death. In Straw Dogs (1971), Amy is saddened at Charlie's death. *****Final Conflict: Surrender***** Post the Crossing of the Return Threshold and before the Master of Two Worlds an d Selves, a hell of a lot happens that is rarely given mention. The Final Confli ct (a metaphor for this stage) follows a distinct process. During the initial st ages, the hero seems weak and the likelihood of victory is small. Allies (dark a llies, doves etc) may push the hero to surrender. In Straw Dogs (1971), Amy want s David to give Henry to Tom et al. *****Foreshadow of the Rebirth***** It is the Foreshadow of the Rebirth (previous to the Near Death Experience) wher e chalenges and a change in response to them is made explicit. In Straw Dogs (19 71), Amy doesn't want to hide in the study with him anymore. *****Rescue from Without***** The Rescue from Without is a stage of the journey where "the world comes calling ," that is, the hero is in retreat and needs to be pulled back [by the world]. H owever, as the Hero is ultimately battling his own demons (using a Freudian anal ysis, all stories can be reduced to a battle between the id and superego), it is not unusual for the hero to trigger the pull back himself. In Straw Dogs (1971) , David calls the pub where Tom et al wait. *****Fade IN***** This is another word for context. In Bonnie and Clyde (1967), photos of 20's and text explain when Bonnie and Clyde were born and that they were vicious crimina ls. *****Middle Cave*****

The Middle Cave, whichever it is (First Threshold, Road of Trials or beyond) is where the Hero confronts Allies and Enemies. In Straw Dogs (1971), the Major arr ives in the pub and refuses a drink from Tom. This is also where subplots are de veloped (which are after all, the Allies and Enemies' Challenges). In Straw Dogs (1971), Tom and Norman warn John about his brother. *****Evolution***** The First Threshold has distinct phases of evolution. When the Hero first arrive s in the First Threshold, he (or she) is a Fish out of Water, by the time he (or she) leaves, he is less so. In Brokeback Mountain (2005), Jack learns to contro l the horse. *****Transcendental Powers Remain Behind***** Previous to the Crossing of the Return Threshold, all Transcendental Powers must remain behind. The Hero must fight his (or her) final battle alone - how else w ill he or she know that the Antagonisms (which in no small part are psychologica l) have certainly been overcome. In Bonnie and Clyde (1967), Buck is shot and Bl anche captured. *****Call of the Woodsman***** When the Hero is engaged in the Trivial Task, he or she is distracted and attrac ted by a force, which cannot be resisted. This pulls the Hero off the Normal Pat h. Knowing that veering off the Path is dangerous and that there have been warni ngs against it, this stage of the Journey frequently involves: Haste. The Hero moves toward the Call hastily. Stealth. The Hero moves toward the Call stealthily. Dead of Night. The Hero moves toward the Call in the dead of night. In The Incre dibles (2004), Mr Incredible visits Edna in secrecy. *****Rescue from Without***** This is where the Hero et al are pulled out of No Mans Land. In Bonnie and Clyde (1967), they're shot at in the morning. *****Anti-Hero***** There are various types of Hero: a) the good, willing Hero (Star Wars, 1977), b) the good, unwilling Hero (Shawshank Redemption, 1994), c) the Anti-Hero (Raging Bull, 1980; Goodfellas, 1990; Scarface, 1983) etc. Nevertheless, their stories all mirror the Hero's Journey template. The difference between hero, anti-hero a nd other variations simply lies in situation, motivation and result (Hero's evol ve, Ant-Hero's regress). The different hero-types are simply alternate archetype s. *****Belly of the Whale***** This is a place where the Hero confronts who he is, what he must do or become. I n Brokeback Mountain (2005), Ennis says, "...You know I ain't queer...." And the n goes to bed with Jack in the tent. *****Seizing the Sword***** Only the Hero is allowed to enter the Inner Chamber and Seize the Sword; Expansi on of Consciousness is for him (or her) alone. Characteristics include: Imposters Die. Anyone who is not the Hero is often brutally disposed of. Only Ki ng Arthur can pull the Sword out. Seizure. The Hero takes the Sword. In Star Wars (1977), Luke rescues Leia. In Th e Matrix (1999), Neo rescues Morpheus. In Dances with Wolves (1999), John and St ands with a Fist kiss and make love. In Spartacus (1960), Spartacus and Varinia have a baby. Magic of the Sword. Upon seeing the Sword, the Hero is taken aback, in awe, asto unded or similar. Overwhelming Beauty. The Hero is struck by the Sword's enormou s beauty.

*****Time Pressure***** Having established the Hero in his (or her) Ordinary World and his (or her) Chal lenges, it is quite common for there to be an urgency to embark on the Journey a nd Transformation. This manifests itself in a number of ways, including: The Antagonism demonstrates his (or her) evil. The need for a resolution becomes ever more urgent. In Spiderman (2002), Norman Osborne kills his fellow scientis t. One of the characters initiates a Speed Call. In An Officer and a Gentleman (198 2), Lynette tells Paula to "hurry up!" In Romancing the Stone (1984), Mrs Irwin is in an awful rush. A Pull pushes the Hero et al forward. In Titanic (1997), Jack has to run to the ship, which is about to leave. In Little Miss Sunshine (2006), the radio announc es that the contest in only days away. *****Shape Shifter and post Mastery fo the Two Worlds***** Post the Crossing of the Return Threshold and before the Master of Two Worlds an d Selves, a hell of a lot happens that is rarely given mention. The Final Confli ct (a metaphor for this stage) follows a distinct process. It is post the master y of the two worlds and two selves that the shape shifter (especially one who ha s been engaged in the Period of Dissonance for an inordinately long time) often demonstrates allegiance. In Straw Dogs (1971), Amy is slow to get the gun, but s he does get it. *****Outer Challenge***** The Outer Cave of the First Threshod is where the Hero's Outer Challenge is made explicit, In Straw Dogs (1971), David sees Charlie put her hands on Amy's throa t; he hides behind the curtain - a metaphor for his hiding in the house. *****Transcendental Powers Remain Behind***** The Hero must fight his (or her) Final Battle alone - how else can he (or she) b e certain that the antagonisms (which in no small measure are psychological) hav e certainly been overcome. Allies remain behind: In Lord of the Rings, (2003), Frodo journeys up the mounta in alone. In Alien (1979), no one is left but Ripley. Mentors remain behind: In the Wizard of Oz (1939), the Wizard cannot control his balloon and flies away. In Wall Street (1987), Bud Fox falls out with his Dad, Carl Fox. Magical Aids remain behind: In American Beauty (1999), Ricky can no longer suppl y Lester with marijuana. In Bullitt (1968), Frank no longer has Ross' dead body to play with. *****Push to the Oracle***** Despite conflict and resistances (often from a Romantic Challenge), there is a p ush to the Journey to the Oracle and then Sword. In Straw Dogs (1971), David con fronts Cawsey and Scott about the dead cat. *****Push into the Middle Cave***** Pushes and Pulls are an underrated aspect of storytelling. Pushes and Pulls forc e the Hero et al from one stage of the Journey to the next. A push or pull of some sort will drive the Hero inward, from the Outer Cave into the Middle part of the Cave. There will be resistance or obstacles to the Middl e Cave (resistance to change is natural). In An Officer and a Gentleman (1982), the recruits have to do push-ups. *****Rebellion***** It not uncommon for the Hero to embark on the Journey or Trivial Task through a minor act of rebellion. The Hero takes the initiative. In The Incredibles (2004) , Mr Incredible rebels and deceives his wife. In An Officer and a Gentleman (198 2), Zach rebels against his father.

*****Fish out of Water***** Here, on arrival into the Great Cave of the First Threshold, it is demonstrated that the Hero is obviously out of his depth, a Fish out of Water. In Star Wars ( 1977), Luke is obviously a Fish out of Water in the bar. Being a Fish out of Water means the Hero is reacted to in particular ways: Unwelcome. The Hero and his accomplices are made to feel decidedly unwelcome. In An American Werewolf in London (1981), the pub landlady refuses courteous servi ce. Unfriendly. The inhabitants are unfriendly. No one wants to know you if you don' t fit in. Differentiation. Those who do fit into this world will establish their suitabili ty for it and the unsuitability of the Hero. Often symbols are used. In Star War s (1977), one of the criminals is wanted in several star systems and shows his s cars. *****Foreshadow of the Atonement***** The Atonement (facing and conquering the Inner Challenge) is often alluded to. A Father Figure is often involved. In Straw Dogs (1971), the Reverend and his wif e are there to invite them to the church social. *****Regression***** It is here that any unresolved issues are brought to light (post Trial 3 and the conquest of the Outer Challenge). Deception or Miscommunication. Some distrust will enter the fragile relationship dynamic. In Transamerica (2005), Toby distrusts Bree because she doesn't tell h im that she's a man. In Walk the Line (2005), June Carter runs from Johnny. Polarization. The deception or miscommunication causes one or more parties to po larize and their relationship to regress. In Transamerica (2005), Toby distrusts Bree because she doesn't tell him that she's a man. *****Ultimate Boon***** The expression and result of the conquest of the Inner Challenge. In Bonnie and Clyde (1967), "...I'm your family now..."; they have sex.

*****Overcoming Doubt (into the Road of Transformation and Trials)***** Though doubtful, the Hero is pulled into the Transformation. There are often thr ee stages of encouragement. In Dances with Wolves (1990), John meets with Kicking Bird and Wind in his Hair et al ("Katanka."), John makes coffee, then the Indians give John buffalo skin a nd he tries to give them food. In The Matrix (1999), Morpheus shows Neo the Nebuchadnezzar, then introduces Neo to his team, then shows Neo the Matrix from the console perspective. In Omen (1976), Robert Thorne is not convinced that Damien is the Anti-Christ. I t takes three trials to bring him round to the idea: a) Mrs Baylock arrives, b) Damien won't go into the Church and c) Damien scares the giraffes and the baboon s attack in the zoo. In Jaws (1975), Brody doesn't hire Quint until after a) Alex is attacked, b) the argument with the Mayor and c) the attack in the pond. *****Fish out of Water***** Every Hero must be a Fish out of Water at some point - the essence of every stor y is Transformation. Commonly, one Fish out of Water stage is upon entrance of t he New Domain of the First Threshold. In Brokeback Mountain (2005), the sheepher der tells Jack and Ennis what not do to; don't order soup; don't need soup; Jack can't ride. *****Call to Adventure*****

A staple of the Hero's Journey and Transformation. Separate and distinct from th e Inciting Incident. A Call for the Hero to set out on a Journey; an implicit Ca ll to face Challenges. It is the undergoing of the Journey that will Transform t he Hero and provide him (or her) with the capacity to conquer challenges that we re previously unconquerable. In Bonnie and Clyde (1967), Clyde invites Bonnie fo r a drink. *****Allies and Enemies***** It is in the Middle Cave where Allies and Enemies are met and their capabilities demonstrated. In Straw Dogs (1971), Tom breaks the glass and starts a fight. An d Magistrate tells Tom to behave himself.

*****No Mans Land***** The Hero has not yet completed his Journey and Transformation - there is still t he Greater Antagonism to conquer. This is a final pit stop and may even be a com plete return to the Township. Familiarity. This domain is often a familiar place on some level, but not quite home. Safe Haven. This domain is a safe haven, for a while at least. Rest. In this domain, the Hero may be allowed to rest temporarily. Significant New Self. A complete new wardrobe, behaviour, body language, symboli sms, attitudes, beliefs etc represent a significant change. Change. Others comment on (make explicit) the Hero's change. Often, change is ma de explicit relative to another - often the Hero has surpassed a Peer Brother. Different form Ordinary Men. The Hero is not like anyone else here. This is a place for worrying about greater things. In Spiderman (2002) Peter is more worried about his aunt in hospital. *****Journey to the Atonement***** The Atonement is the At-One-Ment, the confrontation and conquest of the Inner Ch allenge. Now that the Hero has gained an Expansion of Consciousness and been Reb orn, there is no delay in confronting it [the Inner Challenge]. This is where th e Hero travels to now, consciously or unconsciously. Certain characteristics are common: Resistance. There is resistance to it. Obstacles. Real or perceived obstacles prevent the Hero facing up to it. Time Pressure. There is a need to Atone quickly, for some reason or other. Pushed to the Atonement. Mentors or Antagonists push the Hero to Atone. *****Crossing the Return Threshold***** It is at this stage that the Shape Shifter is quite often revealed. In Bonnie an d Clyde (1967), Pop doesn't like that Moss took up with Bonnie and Clyde and Fra nk wants to talk to Blanche. This is also a moment of the Red Herring. The Shape Shifter has most definitely the chance to change his mind again. *****Foreshadow of the Mentor***** Often the Hero is aware of the Mentor before the actual meeting. In Bonnie and C lyde (1967), Bonnie sees Clyde beforehand. In The King of Comedy (1983), Pupkin knows all about Jerry. *****First Threshold Trial***** Past the Fish out of Water stage, the Hero always undergoes a Trial in the Outer Cave of the First Threshold, In Bonnie and Clyde (1967), Clyde gets the groceri es at gunpoint. *****Leaving the First Threshold*****

Upon leaving the First Threshold, a New Self is slowly becoming apparent. The He ro leaves behind the Old Self. Often this is expressed by a Change of Clothes. I n Bonnie and Clyde (1967), Bonnie puts on New Clothes and is dressed nicely now. *****Secondary characters are functional***** Secondary characters are functional, that is, they most often exist to fulfil sp ecific story functions, especially help the Hero through his (or her) Transforma tion. Once you have figured out what your Hero's Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evo lves from thereon: you give the secondary characters their own challenges to res olve. *****Pull Back to the Old World***** The First Trial on the Road of Trials involves a Pull Back to the Old World. In Bonnie and Clyde (1967), they meet the older brother (Buck) and his wife (Blanch e). *****Outer Challenge***** A vital part of the Hero's Ordinary Self is his (or her) Outer Challenge. The Outer Challenge is often a product (or consequence) of the Hero's Inner Chal lenge. In An Officer and a Gentleman (1982), Zach doesn't care about anyone (Out er Challenge) because no one has ever cared about him, a consequence of his moth er's suicide (Inner Challenge). In Titanic (1997), Rose is with Cal (her Outer C hallenge) because she worries about money and status (Inner Challenge). In Ameri can Beauty (1999), Lester Burnham's Inner Challenge is to feel good about himsel f and this effects his marriage (Outer Challenge). *****Foreshadow of the Inner Cave***** Foreshadows are underestimated. In Brokeback Mountain (2005), Ennis says, "....y ou may be a sinner but I ain't yet had the opportunity...." *****Afterlife Act***** Sequences include: The Hero rules on his throne (Conan the Barbarian). He bears children, most often including a male heir. He mentors the next generation. After a while, he is ousted by a Demon King or commits a critical error. He is exiled to a far off land. He disappears or dies a mysterious death. In Out of Africa (1985), no one knows exactly how Denys died. *****Chance Meeting***** It is not unusual for the Heralds to meet the Hero by chance. Often, they have i ntended to search for something or someone else. In Star Wars (1977), C3PO and R 2D2 do not intend to find Luke Skywalker. In Dances with Wolves (1990), the Gene ral did not expect to see John Dunbar attempt suicide. In The Magnificent Seven (1960), the farmers expected to find someone, but not necessarily Chris and Vin. *****First Trial Inner Cave - Polarization***** A number of things happen in the Inner Cave of the First Trial. One element is P olarization. In Bonnie and Clyde (1967), Bonnie and Blanche argue. *****The Purpose of Allies***** Allies exist, not because the Hero needs friends, but to serve particular story functions, the most important of which is to help develop the Hero and help him (or her) through the Transformation: Reflect the Hero's Character. In Casablanca (1942), Ferrari offers Sam a pay ris e to leave Rick's Bar. He refuses. Demonstrate that the Hero is superior from Ordinary Men. In Butch Cassidy and th

e Sundance Kid (1969), Sundance is a loveably fearsome character yet is loyal to Butch. *****Hero Confident***** Post the Crossing of the Return Threshold and before the Master of Two Worlds an d Selves, a hell of a lot happens that is rarely given mention. The Final Confli ct (a metaphor for this stage) follows a distinct process. Though the Hero is of ten perceived to be weak, he himself is confident - he (or she) has, after all, gained the required Expansion of Consciousness. In Straw Dogs (1971), David tell s Amy to go to bed..."...I can handle this....."