Scene

Directions successful stories start strong. This means that they communicate salient information from the get go, often using very direct techniques such as text and voice-over. In War of the Worlds (2005), Morgan Freeman narrates over visuals of bacteria and the Earth as a single planet amongst billions this sets the context, tone and hits the ground running.

FADE IN:

In Scarface (1983), we learn of the Cuban expulsion of criminals by Castro through text, visuals and powerful music. In Star Wars (1977), the famous roll down text communicates information regarding the Rebellion and the Empire. In Gladiator (2000), text communicates the state of Rome and their battle with the Germanic tribes. ItLoop. is not unusual for the story to Loop Back to an initial sequence at some point. Most often the Freedom to Live sequence Loops Back to the Fade In sequence or the Ordinary World. In War of the Worlds (2005), the initial and final images are those of bacteria, neatly closing the story. Most often the Loop Back is used when the Ordinary World has been imbalanced and the Loop signifies that all has returned to normal. In the Lord of the Rings trilogy, Frodo et al return to their idyllic (and now safe) home. But there are other similar uses: In The Great Escape (1963), the Loop signifies that all has not returned to balance. The Loop Back is most often not used when the Hero has succeeded in escaping his or her Ordinary World: In An Officer and a Gentleman (1982), Zach does not return home.

Inciting Incident / Greater Antagonism.

Ordinary World and Ordinary Self sequences.

The Inciting Incident can precede or follow the

Though the Call to Adventure implicitly refers to an Incitement, it is not unusual to find a distinct Inciting Incident that establishes one or more of the Antagonisms [Inner Challenge, Outer Challenge, Romantic Challenge, Greater Antagonism], though often it is the Greater Antagonism. In Star Wars (1977), the first sequence introduces the Antagonist and the need for a resolution [Vader kidnaps Leia]. Polarization. The Inciting Incident has the benefit of polarizing Protagonists and Antagonists and 3 developing context: In French Connection (1971), the Inciting Incident establishes Pierre as the bad guy and the context of heroine export from France to the USA. Preparing the Ground. The purpose of the Inciting Incident can simply be to prepare the ground for the Final Confrontation. In Titanic (1997), Jack and Rose must escape the sinking ship (the Greater Antagonism). The Inciting Incident simply shows the ship leaving dock. 3In American Beauty (1999), Lester has to deal with the Col. (the Greater Antagonism). The Inciting Incident simply shows him and his family moving in next door. 4

Ordinary World.

The Ordinary World establishes environment.

It is not unusual to have shots of the city, the Hero's workplace, home or similar. In War of the Worlds (2005), we meet Ray Ferrier at work and at home.

In Beverly Hills Cop (1984), we are exposed to images of Detroit. The Ordinary World and Ordinary Self sequences are often intertwined. In Raiders of the Lost Ark (1981), hunting for treasure is Indianas Ordinary World. We learn he is good at it. In Gladiator (2000), doing battle is Maximus Ordinary World. We learn he is good at it. Often, the whole point of a story is to escape from the Ordinary World (An Officer and a Gentleman, 1982; The Great Escape, 1963) or return to it (Lord of the Rings trilogy). Moving from the Ordinary World to a New World is the Physical Journey.

Ordinary Self. The Ordinary Self establishes the Hero's place in the Ordinary World. Often, the whole point of the story is to Transform the Ordinary Self into a New Self (and possibly back). In a sense, the Ordinary World and Ordinary Self is a benchmark. Moving from the Ordinary Self to a New Self is the Psychological Journey.
Innate Capabilities. Once we meet the Hero, we learn of his or her capabilities. Often Heros have supernatural abilities, which in the modern day translates into them being exceptional at something. In War of the Worlds (2005), Ray Ferrier is excellent at his job which we know by the way he sensitively handles the load he is lifting at work. In Gladiator (2000), we discover that Maximus is an excellent swordsman in battle. Challenge Feasibility. One purpose of the Hero's Capabilities (above) is to demonstrate that the challenges are feasible. In Gladiator (2000), we believe that Maximus can quickly become a gladiator because we are [early on] exposed to the fact that he is capable in battle and with a sword. In Return of the Jedi (1983), we do not believe that Luke is a Jedi because we were not exposed to the completion of his training. This is a major failing of this movie. Status and Loyalty. Defining the hero relationship to others is common: 5 In Spiderman (2002), no one wants to sit next to Peter Parker on the bus. In Forrest Gump (1994), no one wants to sit next to Forrest on the bus. In Beverly Hills Cop (1984), other officers try to interact with Axel Foley they follow him around. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). In Gladiator (2000), Maximus' dog follows him in battle. True Nature. We learn of the Heros True Nature (which if negative, may be an inner challenge). In Gladiator (2000), Maximus takes time to feel the tall grass. Heros Mysterious Birth. Often the hero has a mysterious birth and / or his ancestors or parents or relatives are powerful in some way. These relations may be dangerous to the hero. Doves and Hawks may debate the pros and cons of these intricacies. In Star Wars (1977), Uncle Owen and Aunt Beru debate the dangers of letting Luke know who he really is. In El Cid (1961), Rodrigo is the wealthy son of the kings ex-champion. Jesus is the son of God. Moses is related to the King of Egypt. However, sometimes this is completely reversed. Sometimes a complete nobody rises to the throne but a virtue is made of his nobodyness.

Inner and Outer Challenges.

A vital part of the Hero's Ordinary Self are his or her Inner and Outer Challenges. These are expressed in many ways and indicate what the Hero must Transform from and into / Change / Resolve, often before battle with the Greater Antagonism. One sequence says it all. In Get Carter (1971- the superior version with Michael Caine), we discover in the first scene that Jack Carters Outer Challenge is to discover who killed his brother, his Inner Challenge is to escape from his criminal associates / past and his Romantic Challenge is to wrestle Britt Ekland away from the mob boss. Devolved State. The state that the Hero is in prior to the Journey and Transformation. In Tsotsi (2005), Tsotsi is part of a criminal gang, which is something he will leave behind by the end of the story. Motivations. We learn why the Hero takes a particular course of action. In Goodfellas (1990), the first sequences explain why Henry wanted to be part of the gangster family. Elixir. The tangible manifestation of the Hero's desire is made explicit. This is separate and distinct from the Ultimate Boon. In Back to the Future (1985), Marty wants a 4x4: "someday Jennifer, someday" In Wall Street (1987), Bud Fox wants to be on the other side of the line: "somedaysomeday" 6 In Spiderman (2002), Peter must win over Mary Jane. Hero Tested. Often, the challenges are expressed through tests. In Casablanca (1942), Ferrari offers to buy Rick's Caf giving him the chance to flee Casablanca with the Letters of Transit. In War of the Worlds (2005), Ray walks away from other workmen as they ask him favours illustrating selfishness. Back-story and Flashbacks are useful for revealing necessary information. In Midnight Cowboy (1969), Joe Buck sets off for New York almost immediately his inner challenges and back-story are revealed through flashbacks. In The Shawshank Redemption (1994), Andy Dusfresne goes to jail almost immediately the reasons for the sentence (his wife was murdered) are quickly made explicit. In Platoon (1986), the first sequence shows Taylor getting off the aircraft into Vietnam. Fears and Fobias. In Raiders of the Lost Ark (1981), we learn that Indiana is afraid of snakes. In The Truman Show (1998), we quickly learn that Truman is afraid of water. Later he has to directly confront that fear (atonement with the father) before he can attain apotheosis. In Dances with Wolves (1990), John Dunbar must learn that all Indians are not thieves and beggars. 7 Romantic

Challenge. The Hero's Romantic Challenge stage uses many of the same techniques as explained in the Inner and Outer Challenge stage.

However, as the Romantic Challenge is an extremely common and important character, there are certain additional sequences: Romantic Challenge's Ordinary World. In Raiders of the Lost Ark (1981), we meet Marion in Nepal. Romantic Challenge's Capabilities. In Raiders of the Lost Ark (1981), Marion out drinks the Nepalese men. Romantic Challenge's Challenges. In Raiders of the Lost Ark (1981), Marion refers to being left behind. In Spiderman 2 (2004), MJ needs wants to become an actress.

Hero's Allies. has allies at this stage, their characters are made explicit and their If the Hero allegiance is tested. Again, this says something about the Hero (why are allies being loyal?) or the characters of the allies themselves (why are they willing to Journey with the Hero?).
8 In Casablanca (1942), Ferrari offers Sam a pay rise to leave Rick's Bar. He refuses. In Alien (1979), Parker and Brett only agree because they have to, and then keep complaining about their share.

Herald'sThe Herald is the bringer of the Call to Adventure or better, The Call to Journey. Transformation. But his or hers can be a minor story in itself.
Pursued. It is not unusual for the Hero to be pursued, either by his or her own demons or the Hero's Greater Antagonism. Time Pressure. It is not unusual that that the Herald is under (usually extreme) Time Pressure. Either because his or her own life is threatened but more often because a Challenge or Antagonism has implemented an urgency. This time pressure is often manifest quite subtly. In Romancing the Stone (1984), Mrs Irwin is rushing home. Multiples. It is not unusual for the Herald's to travel in pairs or groups. Conflict. It is not unusual for the Heralds to conflict amongst themselves on their way to the delivery of the message. In Troy (2004), the bringers of the message do not agree. Separation. It is not unusual for the Herald's to separate. Diversion. Sometimes the separation diverts the pursuers and allows one Herald to deliver the message. Death. It is not unusual for one or more Heralds to die delivering the message. Chance Meeting. It is not unusual for the Heralds to meet the Hero by chance. In Star Wars (1977), C3PO and R2D2 do not intend to find Luke Skywalker. Not Recognised. It is not unusual for the Hero to not recognise the Heralds or the coming message. Guardians. Often the Herald's purpose is known by Doves, the Antagonist's Allies etc and they will attempt to block the Herald's meeting with the Hero. 10Push

to the Call.

As is said, Guardians block the Herald from meeting the Hero and so a Push is

needed to overcome resistance.

Call to Adventure / Transformation. The Herald brings a message or simply calls to attention
that the Hero must confront either his Inner, Outer or Romantic Challenges or the Greater Antagonism. Time Pressure. That the hero receives the Call to Adventure is usually a matter of urgency. In Raiders of the Lost Ark (1981), Indiana must quickly embark on the adventure before Hitler finds the Ark. Explicit or Implicit. This Call can be explicit or implicit. In The Shawshank Redemption (1994), Andy Dusfresne doesnt know what his call is when he is sent to jail. But it is inferred he must escape this place eventually. In Alien (1979), no one knows they are even on a journey until the Alien pops out of Kanes chest. Sacred Meeting. It is not unusual for the Hero and Herald's to be alone together, often in a place where the Hero feels safe and at home. Willing or Unwilling. It is here that we are informed whether the Hero is intrinsically for the Journey / Transformation or not. In Star Wars (1977), Luke really wants to follow his Father's footsteps, leave Tattooine, become a Jedi and fight the Empire. In Alien (1979), everyone really would have preferred waking up on Earth.

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Refusal of the Call / Inertia.

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This stage of the heros journey concerns itself with resistances to the Journey / Transformation. Change is hard. General Resistance. The motivation simply may not be there. In Alien (1979), no one wants to embark on the adventure. Diversions. The Hero makes excuses.

13Interdictions. These are really developing the resistance, but in a more forceful manner. There are people of power and punishments should the Hero refuse not to Journey / Transform. Warnings. The refusal could come in the form of warnings from mentors or others. In Raiders of the Lost Ark (1981), Marcus warns Indy about the dangers of the Ark. Impossibility. The task may seem impossible or suicidal. In Dances with Wolves (1990), Johns fellow soldiers tell him hes crazy. Then they murmur that he is a likely suicide. Yet this triggers the adventure. In Never Ending Story (1984), Bastian doesnt believe the book is special. Interdictor. A person or higher authority may prevent the hero journeying. In Star Wars (1977), Uncle Owen wants Luke to wait another harvest. In The Incredibles, the government bans all superhero activity. The interdiction is further enhanced by Mr Incredibles anal boss (if you act youll be fired!) Punishments will result in following the call.

In Star Wars (1977), uncle Owen prevents Luke from going to the academy or seeking out Obi Wan. There will be hell to pay. Doves and Hawks both argue about the pros and cons of the journey. Doves against it and hawks for it both accepting the dangers involved. In Star Wars (1977), Uncle Owen is the Dove and Aunt Beru the Hawk (he cant stay here forever.) The Dark Side. Sometimes the call is to enter the dark side and it may be resisted, knowing the dangers of succumbing. In Raging Bull (1980), the local Mafia want Jake La Motta to take a dive. He resists this call as it will surely lead to the dark side. 14

Supernatural The hero Mentor. Aid or is unconsciously searching for spiritual guidance and strength. He seeks a mentor / supernatural aid. Often the mentor is a wretched, deformed old man or woman but it can also be anyone that pulls the hero in the required direction.
In Star Wars (1977), the mentor is Obi Wan. In The Empire Strikes Back (1980), it is Yoda. In Raging Bull (1980), it is Vickie a young blonde sexually alluring teenager. In Wall Street (1987), Bud Fox has his Dad. In Raiders of the Lost Ark (1981), it is the older Marcus Brody and Sallah. In The Shawshank Redemption (1994), it is the older, longer serving Red. In The Big Lebowski (1998), it is Sam Elliott as The Stranger.

More than One. It is not unusual to find two mentors that guide the hero. One through the First Threshold and the Physical Separation and the other through the Transformation. In Silence of the Lambs (1991), Jack Crawford and Lecter both guide Clarice. In Raiders of the Lost Ark (1981), both Marcus and Sallah guide Indy. Warnings. Though the supernatural aid is often referenced before the meeting, but there are warnings, or hesitance, against meeting him or her. In Raging Bull (1980), Joey tells Jake that Vicky is unattainable. Jakes first wife attempts to prevent him from going out at night, where he will see Vicki. He consciously ignores her. In A Fistful of Dynamite (1971), Juans fellow bandit tells him there is no need for Juan. Forced to the Mentor. A force beyond the heros control pushes him to travel to seek his supernatural aid. In Star Wars (1977), Luke is forced to follow C3PO. Hastily, Stealthily and in the Dead of Night. If the journey to the supernatural aid breaks an interdiction, he will likely leave in secret, in haste and in the dead of night. Else he may consciously ignore the interdiction. In The Incredibles (2004), Mr Incredible visits Edna in secrecy. Near Death Experience. The journey to this mentor is difficult and life threatening 40 days and 40 nights). It is not unusual for the hero to undergo a battle or trial or come across an obstacle, conflict or threshold

Guardian that prevents the meeting. In Star Wars (1977), Luke nearly dies at the hands of the sand people just before he meets Obi Wan. Heros True Nature. The near death experience draws out the heros true nature. He will often be concerned for an ally. Supernatural Appearance. The supernatural aid may appear in some mysterious way and magical way. In The Big Lebowski (1998), The Stranger seems to magically appear and disappear. Saved by the Mentor. It is not unusual for the supernatural aid to save the hero. Unsurprised. The hero and supernatural aid familiarise themselves with each other. The hero may be surprised to meet the supernatural aid but he is not surprised to see the hero. He may have been watching the hero for some time. Supernatural Aid has his own challenge. The Supernatural Aid often is not a passive bystander, but has his own challenges to conquer. In Spiderman2 (2004), Aunt May has severe money problems. In Silence of the Lambs (1991), Hannibal Lecter must escape his cell. In Star Wars (1977), Obi Wan intends to confront Vader. Supernatural Aid may have his own mentor(s). These mentors help the Supernatural Aid overcome his own challenges. Further, this adds to the Supernatural Aid's three dimensional characterization. In Crouching Tiger Hidden Dragon (2000), Li and Shu Lien have their own mentor is Sir Te. Safe Place. The supernatural aid takes the hero to a safe place. Sacred Meeting on Hallow Ground. A sacred meeting between the hero and supernatural aid takes place. Usually in the Mentors home environment. In Star Wars (1977), Ben and Luke talk in Bens home. In Raiders of the Lost Ark (1981), Indy and Sallah have a meeting, as do and Indy and Marcus. Both take place in the home. In Wall Street (1987), Carl takes Bud aside. In The Incredibles (2004), Mr Incredible meets Edna in her environment. Sacred Meeting Alone. Others absent themselves from the Sacred Meeting. In Wall Street (1987), when Carl takes Bud aside, his friends leave them alone. In Star Wars (1977), R2D2 turns himself off during the meeting between Ben and Luke. In Raiders of the Lost Ark (1981), Indy and Sallah and Indy and Marcus are alone (Marion plays with the Sallahs children). Spiritual Lessons. The supernatural aid provides the hero with spiritual lessons and guidance. He corrects the heros misconceptions and tells him about himself. Often the hero is uncertain of his parenthood, importance, special gifts or destiny. Dangers of the Diversion from the True Path. The mentor will warn of the dangers of diverting from the

true path. Magical Aid. The supernatural aid will give the hero magical aids and potions that will help him and protect him along his journey. James Bond often receives multiple gifts from Q that help him through his adventure. Resisting the First Threshold. The hero will resist moving onto the next stage. The resistance may occur three times. Again, this is a form of refusal. Frustration results when hero is unable to embark on the adventure. The refusal (to follow his destiny) results in frustration. In Star Wars (1977), Luke looks out into the sky. In The Incredibles (2004), Mr Incredible can hardly contain his frustration as he watches a mugging he can do nothing about. Only Needed for the Journey. The mentor or supernatural aid often journeys with the hero but tends to disappear when the journey is complete. In A Fistful of Dynamite (1971), John dies at the end of the movie. In Raging Bull (1980), Vickie leaves. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. Opposing or Testing Mentor. An Opposing or Testing Mentor may appear. His role is to offer the hero an opportunity to forego the adventure and to test the loyalty of allies. In Casablanca (1942), Ferrari offers Rick the chance to sell his bar and escape using the Letters of Transit. He also offers Sam a pay rise that is refused.

Antagonism / Challenges Grow. It is at this point that either the Greater Antagonism or the Inner, Outer and Romantic Challenges (depending on your story) grow in significance. These help push the Hero beyond the Refusal and Interdiction phases. 15
In Star Wars (1977), Vader decides to inject Leia. In Spiderman 2 (2004), MJ is moving on.

Direct Affect.of the Antagonism / Challenges has a direct affect on the Hero. This is The growth important as the next sequences encourage the Hero to accept the punishments forced upon by the Interdiction and Journey to THAT PLACE WHICH THE HERO FEARS MOST AND FROM WHICH THERE IS NO RETURN (FIRST THRESHOLD).
16 In The Matrix (1999), Neo is pursued by the agents, interrogated and implanted. In Star Wars (1977), storm troopers kill uncle Owen and aunt Beru. In The Incredibles (2004), Mr Incredible sees a person on the street being mugged. This causes him to snap. 17Conscious

and Explicit Agreement. It is the previous growth of the Antagonism / Challenges and their direct affect on the hero that force the Hero to consciously agree to Journey / Transform.
Explicit Statement.

In The Matrix (1999), Neo has a choice between the blue and red pill. In Star Wars (1977), Luke explicitly states that he wants to join Obi Wan. Even if the Hero is unwilling, the Explicit Statement may be implicit in the Hero's action. In Gladiator (2000), Maximus decides to go forward because his wife and child's lives are at risk.

First Threshold Marker. Before the Hero Journeys to that Physical and Psychological place which s/he fears most and from which there is no return, the Hero does a number of things:
From a Distance. The Hero usually views the First Threshold from a distance. In Lawrence of Arabia (1962), Lawrence et al stop before and overlook the desert. Else, the view from a distance causes at least an emotional reaction. In Dances with Wolves (1990), we see the majesty of the prairies. Physical Marker. A marker of some sort represents the physical and psychological crossing. In Red River (1948), they cross a river. In Raging Bull (1980), the physical crossing the no going back - is represented by the marriage to Vickie. No Going Back. The hero is warned or it is made obvious that past this place, there will be no going back. In Dances with Wolves (1990), the joker that brought John Dunbar to Fort Hayes rides away. John cannot go back. In The Matrix (1999), Neo must choose between the red and blue pills, there is no way back if he decides to proceed. In The Godfather (1972), once Michael Corleone shoots Sollozo and Captain mccluskey, there is no going back. Danger. The Hero is warned of the dangers of the First Threshold. In Lawrence of Arabia (1962), Omar Sheriff warns Peter OToole of the dangers of the suns anvil.

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First Threshold Guardian. Before the Hero et al enter the First Threshold, they must pass a
Threshold Guardian. 19 In Star Wars (1977), Luke and Obi Wan must pass the Storm Troopers into Mos Isley. In Goodfellas (1990), the young Henry Hill gets arrested. 20

New World of the First Threshold.

characteristics are noticeable.

Upon entry into the First Threshold, some marked

Polar Opposite. The New World of the First Threshold is markedly different from the Hero's Ordinary World, it is usually the Polar Opposite of the Ordinary World. In The Matrix (1999), the world of the machines is nowhere like Neos normal World. In Goodfellas (1990), the World of the gangsters is the polar opposite of Henry's parent's World. New Creatures and Behaviours. The New World is full of new creatures, new people, new behaviours, new colours etc. In The Matrix (1999), Neo meets one of the machines.

In Star Wars (1977), we meet the creatures in the bar. In Goodfellas (1990), we meet the crew.

Descent.

The journey into the Outer Cave of the First Threshold is the beginning of the Hero's Trials in the First Threshold.

Descent can be interpreted in many ways the hero can physically and mentally descend, he can go deeper in the sense of involvement or familiarisation. In Dances with Wolves (1990), Fort Hayes is initially unwelcoming and alien. But John Dunbar makes it his home. Again, certain characteristics are noticeable: 21Dark and Unknown. The descent is often dark and the Hero et al seem as if they are travelling into the unknown or unexpected. Anything could happen here. Pull Down. The Hero et al have no choice but to descend into the Outer Cave something forces them there. In The Matrix (1999), Neo literarily falls. Resistance. There will be resistance or obstacles to the descent and the Outer Cave. Foreboding. Phrases like "I dont like the look of this" are common. Warnings. Phrases like "dont go there" are not uncommon.

Outer Cave of the First Threshold.

common.

Once inside the Outer Cave, certain elements are

New World. Just as the First Threshold is a New World, so the Cave is itself a distinct World within the First Threshold. The Cave can be described as a sub-culture / world of the First Threshold. 22 In Superman (1978), Clarke's school is a subworld of Kansas.

New Rules by an Authority Figure. An authority figure will warn the Hero about rules that he must not break or of actions he should guard against. New Creatures and Behaviours. Just as the hero et al encounter new creatures in the First Threshold, so they encounter even odder ones in the Outer Cave. 23

Fish out of Water in the Outer Cave. of the Journey and This is a critical part Transformation. Here, 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: Losing part of the Ordinary / Old Self. In An Officer and a Gentleman (1982), Emilio gets his head shaved. Unwelcome. The hero and his accomplices are made to feel decidedly unwelcome. In An American Werewolf in London (1981), the pub landlady refuses courteous service. Unfriendly. No-one wants to know you if you dont fit in.

Differentiation. Those who do fit into this world will establish their suitability for it and the unsuitability of the Hero. Often symbols are used. In Star Wars (1977), one of the criminals is wanted in several star systems and shows his scars.

Facing the Self Trial; Outer Challenge.

It is in the Outer Cave that the Hero will have to undergo a Trial that will make his or her deficiencies obvious. Normally, the Hero is confronted with the Outer Challenge. In Harry Potter: The Prisoner of Azkaban (2004), Harry has a duel with the Monster Book of Monsters, which he will learn to control later.

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It is sometimes but not always the case that the Outer Challenge is a manifestation of the Hero's Inner Challenge. In An Officer and a Gentleman (1982), Zach's Outer Challenge is that he is selfish, which is the result of his mother committing suicide when he was a kid (Inner Challenge). Push into the Middle Cave. A push or pull of some sort will drive the Hero inward, into the Middle Cave, where s/he will meet Allies and Enemies. 25 Resisting the Middle Cave: There will be resistance or obstacles to the Middle Cave.

Allies and Enemies. Where Help, Hindrances, Enemies and Obstacles become clarified.
New Allies. The Hero will meet new allies here. In Dances with Wolves (1990), John meets Two Socks and he has Cisco. In A Fistful of Dynamite (1971), Juan meets Dr. Villega. Shape Shifter. A new ally is not unusually a Shape Shifter. This is an important character in the story and often his back-story is expanded. In A Fistful of Dynamite (1971), Dr. Villega helps Juan beat the police. 26 In Star Wars (1977), Luke meets Han. Certain characteristics mark the Shape ShifterOne critical factor about the Shape Shifter is often this: Shape Shifter is Competition. In another situation, the Shape Shifter could be the Hero and Challenges him or her. One method of challenge is to attempt to seize the Heros Romantic Challenge. In The Matrix (1999), Cypher is in love with Trinity and attempts to woo her. In Raiders of the Lost Ark (1981), Renee gives Marion a dress. In Star Wars (1977), we dont know who should get Leia Han or Luke. In Out of Africa (1985), Bror challenges Denys (you could have asked, Denys)

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Romantic Challenge.

If the Romantic Challenge has not already been met, then this is the place where the two meet. Else the Romantic Challenge is developed further here.

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Push into the Inner Cave. A pull or push of some sort will drive the hero into the Inner Cave.
Resisting the Inner Cave: There will be resistance or obstacles to the Inner Cave.

Inner Cave.
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This is where the Hero and or a major character confronts his or her Inner Challenge. It is not unusual to find death her. In An American Werewolf in London (1981), Jack is killed by the werewolf and David is bitten. In Pulp Fiction (1994), this is where Mia overdoses and Vincent fears what Marcello will do. In Superman (1978), Clarke's foster father dies; who will mentor him now?

Resisting the Belly of the Whale. There is often resistance to the Belly of the Whale (unwilling
Hero) or obstacles to it (Willing Hero). Three resistances make an impact. Resistance (1). In Dances with Wolves (1990), John Dunbar prepares to defend himself against the Indians. 30 Resistance (2). In Dances with Wolves (1990), the children fail to steal Cisco and he knocks himself out. Resistance (3). In Dances with Wolves (1990), John Dunbar pulls a gun on Wind in his Hair.

Pull into the Belly of the Whale / No Going Back. Inevitably, the Hero is forced to the
Belly of the Whale. In Dances with Wolves (1990), there is an Indian meeting to encourage familiarisation with the strange White Man. In Superman (1978), Clark Kent must leave the farm. In Thelma and Louise (1991), both are forced to flee from the bar after shooting Harlan. If there is a mentor involved, he will encourage the journey. In The Matrix (1999), Morpheus ensures things progress along. Time Pressure in some form will push things along. In Star Wars (1977), stormtroopers hunt the droids. In Titanic (1997), there is an iceberg warning. 32Belly

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of the Whale. This is a form of Netherworld in between the First Threshold and the World of the Transformation. It is where the Hero comes face to face with what s/he must do or be or become or face. This stage is characterised by certain elements:
Losing the Old Self/ Welcome the New Self. Here the Hero further strips away part of the Old Self and elements of the New Self appear. In Star Wars (1977), Luke sells his speeder. He consciously decides to never come back here again. Commitment. If the Hero is willing, there is conscious commitment to the Journey. In Star Wars (1977), Luke consciously decides to never come back here again.

If the Hero is unwilling, lack of commitment is noticeable. In Thelma and Louise (1991), Louise doesnt yet know what to do. New World. The Belly of the Whale is again a New World. In Superman (1978), Clark travels north and builds the Ice House. In Thelma and Louise (1991), they book into a hotel. New Knowledge. Here a mentor or other guide teaches new skills and knowledge. In Superman (1978), Clark learns from Jor-El through the crystals. What you're getting into. In Harder they Fall (1956), Art shows Eddie the video. Physical Deformation. The body is physically deformed or changed on some level. This triggers a new form once the transformation has been complete. In Raiders of the Lost Ark (1981), the Nazi torturers hand is imprinted with the writings of the stone. In Godfather (1972), Michael Corleones face is deformed after a punch from captain Mccluskey.

Pushed out of the Belly of the Whale.

Whale:

Often, the Hero et al are forced out of the Belly of the

In Romancing the Stone (1984), Zolo catches up with Jack and Joan and starts firing. In Butch Cassidy and the Sundance Kid (1969), both are pursued by the posse. Physical Marker. The Physical Separation is marked by a Physical Marker. In Romancing the Stone (1984), Jack and Joan have to cross the rope bridge across the gorge. In Butch Cassidy and the Sundance Kid (1969), both have to jump into the river down below to escape their pursuers.

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Resisting the Physical Separation.

The decision to Transform is often not taken lightly.

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In Butch Cassidy and the Sundance Kid (1969), both have to jump into the river down below to escape their pursuers (Sundance: "I can't swim." Butch: "Why you crazy, the fall will probably kill you.") Preparing to Physically Separate. In Dances with Wolves (1990), John is tired of waiting to engage with the Indians. He decides to introduce himself.

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Physical Separation. a physical separation from the Belly of the Whale and The Hero makes toward the Trials Transformation.
Conscious Decision. The Hero often consciously decides to leave the Belly of the Whale. In Thelma and Louise (1991), Louise asks Thelma is she wants to go to Mexico. She says yes. In Lawrence of Arabia (1962), Lawrence has to go back into the desert to rescue the fallen Arab.

In Dances with Wolves (1990), John Dunbar travels to the Indian village. In Raging Bull (1980), Jake has a baby and puts on weight. Forced Out or Pursued Out. The Hero may be forced out. In Star Wars (1977), Luke et al blast off Mos Isley pursued by storm troopers. In The Godfather (1972), Michael Corleone bids farewell to Sonny, Tessio, Paulie et al and leaves, out of necessity, for Sicily.

New World of the Transformation. It is not unusual for the New World of the Transformation
to be made explicit and developed before the hero engages in the Trials and Transformation. In Walk the Line (2005), Johnny moves straight from succeeding at the audition to singing in front of a crowd, where he meets June Carter. In Gladiator (2000), Maximus is brought into Proximo's World.

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From Afar. The World of the Transformation (the coming adventure) is viewed. And it causes an emotional reaction. In Dances with Wolves (1990), the Indian village looks majestic. In The Godfather (1972), Michael Corleone sees Apollonia; a break from his American past and Kay. 37

Transformation Mentor

Before the Trials and Transformation, it is not uncommon to meet a Transformation Mentor. This person may be separate and distinct from the earlier Mentor / Supernatural Aid. In Gladiator (2000), Proximo sees to it that Maximus becomes a Gladiator. In Memoirs of a Geisha (2005), Mamaha is responsible for Sayuri's transformation into Geisha. In King Kong (2005), it is King Kong that causes the Transformation. In Raiders of the Lost Ark (1981), it is Sallah Ordinary World of the Transformation Mentor. We are often privy to the New World of the Transformation Mentor. In Raiders of the Lost Ark (1981), Indy and Marion visit Sallah at home with his wife and children in Cairo. Duality. 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. Learning about the New World. The Transformation Mentor will teach the Hero about the World of the Transformation and how to survive in it. In Harry Potter, Harry always learns new tricks from his teachers. In The Matrix (1999), the Morpheus teaches Neo about the Matrix and how it came to be. In Scarface (1983), Frank tells Tony how he can survive as a drug dealer long-term; as opposed to

most who do not last to see their children grow up.

Lack of Commitment. begins the Trials and Transformation, there is a stage Before the Hero where s/he in still not fully committed or is committed but is blocked. This must be definitely overcome:
Guardians block the way and are overcome. In Dances with Wolves (1990), Wind in his Hair tells John he is not welcome. In The Godfather (1972), Apollonias father resists Michaels advances but he brings him round to his way of thinking. Pulled into the Trials and Transformation. Mentors or some other force may encourage the Hero. In Dances with Wolves (1990), the Indians meet and decide to engage with John. In The Matrix (1999), Morpheus tells Neo that he must begin training. In Scarface (1983), Frank helps Tony's maturation into dealer. Encouragement in 3's. There are often three 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 and 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. It 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 baboons attack in the zoo. In Jaws (1975), Brody doesnt hire Quint until after a) Alex is attacked, b) the argument with the Mayor and c) the attack in the pond. Persuading Allies. Cynicism. There may be cynicism; allies and enemies may have to be persuaded as to the Hero's value In The Matrix (1999), Neo gets to know Morpheus team. They are unsure whether he is The One. In Gladiator (2000), Hagen is not initially impressed by Maximus. Importance of Allies. The importance of allies in aiding the Transformation is stressed. In Dances with Wolves (1990), Stands with a Fist is needed.

38

Passive Hero. Lack of commitment comes across as passivity. In Gladiator (2000), Maximus did not choose to be enslaved and forced to learn the gladiatorial arts. He resists and this is a period of passivity. In The Incredibles (2004), Mr Incredible is Interdicted from being the superhero. This results in a period of passivity. Affecting Others. However, it should be noted that though the hero is passive, this passivity itself affects others and change. In Gladiator (2000), Juba attempts to persuade Maximus to fight. And Proximo is intrigued by him. Expectation. Periods of passivity lead to others expecting action from the Hero. In The Incredibles (2004), the little boy wonders when "something will happen."

Committing. Ultimately though, the hero must proactively engage in the transformation.
In Gladiator (2000), when the time comes, Maximus engages. Conscious Decision to Transform. In The Matrix (1999), Neo is impressed that he learns Kung Fu quickly. He wants more. 39 In Shawshank Redemption (1994), the library and helping with the guards with their taxes pulls Andy in. Passive to Active. The path from passivity to proactivity tends to proceed in sets of three. In The Matrix (1999), Neo first learns martial arts by simulation (passive), then is taught by Morpheus (passive) and then must (alone) jump the building (Proactive). In Elizabethtown (2005), Drew first confronts his father's grave (passive), then meets the other side of the family (passive) and then saves Samson from driving away in the car (active). 40

Trials and Transformation firstPull and Transformation, the Hero is In the 1: Trial Back. pulled back to the Old World and Old Concepts the Willing Hero resists it whilst the Unwilling Hero prefers it. However, the Hero is pushed forward to the New Self.

Tentative Steps Forward. The hero clumsily begins the Transformation. He is like a bull in a china shop, still a fish out of water. In Scarface (1984), Tony makes his way to the dance floor just like that like a bull in a china shop (in contrast to the later sequence in the nightclub, where he smoothly angles his way around). In Dances with Wolves (1990), John Dunbar doesnt know how to smoke the pipe. He doesnt even know their names (he is right, introductions should come first). In The Matrix (1999), Neo initial battle with Morpheus is clumsy. In Romancing the Stone (1984), Joan grabs the machete and clumsy with it. Pull Back. Some aspect of the Old World and Old Self presents itself. Willing hero's may resist this whilst unwilling hero's may welcome it. In An Officer and a Gentleman (1982), Zach doesnt like being taught martial arts. Rest Break. Bonding with Allies. The Rest Break is often a chance to familiarise oneself with allies. In Alien (1979), right before the Alien explodes from Kanes stomach, time is spent getting to know the characters even more. In An Officer and a Gentleman (1982), Zach gets to know Worley. In Romancing the Stone (1984), Joan gets to know Jack. Referencing the Old Self. The Hero and allies reference their Old Selves and Back Story. In An Officer and a Gentleman (1982), Zach talks about his days in the PI. In Romancing the Stone (1984), Jack didnt know the Doobey Brothers had split up; he ws into short cuts. New Clothes / New Self. Some symbol of the New Self presents itself.

In An Officer and a Gentleman (1982), Zach is wearing the white officers uniform. In Romancing the Stone (1984), some clothes are torn off Joan and she is willing to smoke and drink. Polarization with the Shape Shifter. The gap between the hero and shape shifter increases or decreases (polarization or de-polarization). In The Incredibles (2004), Bomb Voyages attitudes and opinions increasingly fall in line with those of Mr Incredible. In Gladiator (2000), the attitudes and beliefs of Lucilla increasingly fall in line with those of Maximus. In Alien (1979), Ash and Ripley drift further apart. In The Matrix (1999), Neo and Cyphers differences are developed. Potential Rewards. The rewards of the journey are visible and entice the hero into the Transformation. In Shawshank Redemption (1994), Andy can make a difference by helping the inmates with their education and the guards with their taxes. In Scarface (1984), Tony sees the material rewards available to those who have followed the path. In Romancing the Stone (1984), Jack tries to persuade Joan that going after what's on the map is the key to solving her problems. Revue the Decision to Transform. The hero reflects on his arrival in the World of the Transformation. In The Matrix (1999), Neo doesnt agree with Cypher that he took the wrong pill. In Dances with Wolves (1990), John writes in his diary that these people are nothing like he was told. He made the right choice. Marker of Change. Change is in the air and it is illustrated by a marker. In Dances with Wolves (1990), the buffalo arrive? In Godfather (1972), the exchange of gifts and the chaperones foreshadow a new beginning. In Romancing the Stone (1984), Joan looks at Jack with bedroom eyes. Initiation and Celebration. A trial precedes an initiation and a ceremony. In Dances with Wolves (1990), John is mildly beaten by the Indians during the celebration, after the buffalo arrives. In Romancing the Stone (1984), Jack and Joan drink and get high. Forced to Confront an Element of the Old Self. Here, some aspect of the Old World presents itself and the Hero is forced to push away from it. In Romancing the Stone (1984), Joan has an idea what a real man should be, but this is proved wrong when Jack saves her life. In An Officer and a Gentleman (1982), Zach is forced into a bar fight and Paula makes him push away from the thought of it in the hotel room. Set of 3. Again, 3 is the number of sequences required.

In The Matrix (1999), Neo first learns martial arts by simulation, Neo improves on his martial arts by battling Morpheus in the gym, Neo is able to jump off the building (whereas before he resisted).

Trials and Transformation 2: Innate Suitability.

In the second Trial and Transformation, the Hero proves he is worthy for the New World and the New Self. Danger of the Trial. The Hero is reminded of the danger and difficulty of the New World and New Self.

Forced to a Trial. The Hero is forced into a Trial to gauge how innately suited he is to the New World and New Self. Allies Survive. Some allies whom the Hero has come to know are, along with the Hero, well suited to the 41New World and New Self. Allies Perish. Some allies who the Hero has come to know perish, usually Sacrificial Lambs. This indicates the difficulty of the New World and New Self. Mentor's Suitability. Mentor's often demonstrate how well suited to the New World and New Self they already are or have been. Mentor's Surprise. It is not unusual for Mentors to have doubted the Hero's suitability and may be surprised or satisfied that he has passed this test.

Resistance to the Final Trial (3)/ Outer Challenge. The Final Trial is actually the confrontation with the Outer Challenge. Failure to confront the Outer Challenge will result in the Hero not progressing, not succeeding or worse, being sent back to the Ordinary World. Often, the Hero makes an error that triggers a threat of banishment back to the Ordinary World unless s/he corrects his or her ways. Confronting the Outer Challenge is not easy. As such there are:
Warnings. The danger of confronting the Outer Challenge is expressed. Foreboding. The fear of confronting the Outer Challenge.

42

Resistance to the confrontation of the Outer Challenge. In Dances with Wolves (1990), the Indians run into a herd of buffalo that have been skinned. John realises he is different and resists. He cannot sleep with the Indians. Encouragement. In Dances with Wolves (1990), John and Kicking Bird share a telescope. Push Forward. In An Officer and a Gentleman (1982), Foley wants Zach to DOR. 43

Final Trial (3) / Conquering the Outer Challenge

Consciously Decision. The Hero consciously decides to confront the Outer Challenge. In Romancing the Stone (1984), Joan decided to follow the map. New Clothes. In Dances with Wolves (1990), John puts on war paint. Mirroring. The hero begins to engage in the correct behaviour. He mirrors his mentors. In Dances with Wolves (1990), John mirrors the Indians as they chase the Buffalo. Cynicism. Others are critical of the heros ability to pass the final test. In The Matrix (1999), Cypher, Tank et al are unsure of Neo is the One. Even Trinity is unsure.

Others just dont care whether the hero passes the trial or not. Encouragement. At the same time, there are allies that encourage the Hero. Differentiation from others. It is made explicit how different the Hero is form others; they have conquered the Outer Challenge, s/he hasnt. In An Officer and a Gentleman (1982), Foley tells Zach that Seegar has refused liberty to work on her body strength. The Trial itself consists of three stages. In An Officer and a Gentleman (1982), Zach trains in front of the boys as they leave for liberty, then on the beach, then face down in the puddle. Pushed by the Mentor. In An Officer and a Gentleman (1982), it is Foley that makes Zach see what his Outer Challenge really is.

Reward. is a reward for passing the Trials and conquering the Outer Challenge. Sex is not There
unusual. In Godfather (1972), Michael is now able to have sex with Apollonia. In Dances with Wolves (1990), Wind in his Hair shares a buffalo heart. In Matrix (1999), Neo gets to go inside the real world Matrix and visit the possibilities the girl in the red dress. In An Officer and a Gentleman (1982), Zach and Paula are in bed. 44 Celebration. The passing through the Road of Trials is cause for celebration. Humour may be a component here. In Dances with Wolves (1990), John tells stories by the campfire. Reluctantly letting go of the Old Self. The hero resists letting go of his Old Self. In Dances with Wolves (1990), John exchanges clothes with Wind in his Hair. Consciously letting go of the Old Self. The hero consciously lets go of his Old Self. In Dances with Wolves (1990), John gives his hat away. 45

Challenge Developed.

One of the other Challenges is now developed.

It could be the Greater Antagonism: In The Matrix (1999), Neo learns about Agent Smith. And that no one has ever beaten an agent in battle. In Gladiator (2000), while Maximus is learning the gladiator art, we learn more about Commodus. It could be the Inner Challenge: In An Officer and a Gentleman (1982), Zach talks about his Mother committing suicide. In Beverly Hills Cop (1984), this is when we learn that Taggart is uptight and Rosewood doesnt

think for himself. It could be the Romantic Challenge: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). Antagonist's Mentor. It is not unusual for the Hero to have to deal with the Antagonist and his Mentors and Lieutenants at this stage. In Star Wars (1977), Vader defers to Governor Tarkin. In Empire Strikes Back (1980), Vader defers to the Emperor. In Goldfinger (1964), Bond must deal with Goldfinger and the fearsome Oddjob. In Die Hard (1988), John Maclane must deal with Hans and the ferocious Karl. In Beverly Hills Cop (1984), Zack is demonstrably more vicious than Victor Maitland. In Star Wars (1977), Vader and Governor Tarkin form the Antagonistic Team.

New World. Before the Meeting of the Oracle and the Seizing of the Sword, it is not unusual for the Hero to glimpse the World post the Complete Transformation. This is most usual when the Transformation is significant.
In Transamerica (2005), Bree and Toby arrive at the Gender Pride party in Dallas. Threshold Guardian. As normal, the Threshold Guardian allows entry. In Transamerica (2005), Marianne welcomes them to the Gender Pride party. Creatures of this New World. In Transamerica (2005), we meet the characters at the Gender Pride party. In Matrix (1999), we meet the other gifted children.

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Regression. It is not unusual for there to be a regression at this point. It is a stage when a) there may
be sadness at the loss of the Old Self and / or b) previous misunderstandings are cleared up. Deception or Miscommunication. Some distrust will enter the fragile relationship dynamic. 47 In Transamerica (2005), Toby distrusts Bree because she doesnt tell him 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 regress. In Transamerica (2005), Toby distrusts Bree because she doesnt tell him that she's a man.

Communion.

The regression is resolved, often by a Communion.

In Transamerica (2005), Toby leads Bree to Sammy's Wigwam. 48 Water. The Communion is often held in a place where water is abundant, a pool, sauna, bog or similar. Water is representative of cleanliness, wiping away the Old Self and Renewal. In Transamerica (2005), Toby tells Bree that she's not a freak, just a liar, in the pool.

Guided to the Oracle. The Hero is guided to an Oracle.

Mentor. Often the guide is a Mentor. In The Matrix (1999), Morpheus accompanies Neo to the Oracle. In Gladiator (2000), Proximo guides Maximus toward Rome. In Dances with Wolves (1990), Kicking Bird asks John to stay behind and protect his family. Accident. It could be that the Hero enters the World of the Oracle by accident. 49Supernatural Ability. Often, the Hero is made aware of the Hero's supernatural ability; else the Oracle, whatever it is, provides the answers. World of the Oracle. The Hero enters the unique World of the Oracle. New Creatures. The Oracle is surrounded by creatures that are unique to his or her World and gifts. In The Matrix (1999), the Oracle is surrounded by others with special abilities. Wolves Clothing. The Hero often has to disguise himself. Marker. A physical marker, such as a door or river marks the World of the Oracle. Obstacles. The journey to the Oracle may not be easy. Often the Oracle is guarded and overcoming the guardians is a prerequisite. 50Guided

to the Sword.

A main function of the Oracle is to guide the Hero toward the Sword; tell

him or her about it. Geography. The Oracle will inform of the geography of the World of the Sword; where it is and how to attain it. Often the Sword is a High Concept. In Carlito's Way (1993), Carlito agrees to help Kleinfeld out of loyalty. In Out of Africa (1985), Karen is drawn to the possibility of capturing something wild and free (Denys). In Dances with Wolves (1990), John Dunbar is drawn to Stands with a Fist, the capture of which represents love and complete transformation. In Raging Bull (1980), Jake La Motta has to take a dive for the Mafia in order to eventually have a chance at the Title. Tangible Representation of the High Concept. Though the Sword may be a High Concept, it is represented by something tangible that the Hero must attain. In The Matrix (1999), Morpheus is the Sword. In Star Wars (1977), Leia is the Sword. In Syriana (2005), the Sword is simply a note. Impossible Dilemma. It is not incorrect to say that Sword represents an impossible dilemma or decision or choice. In The Matrix (1999), Neo must save Morpheus or himself. Altruism. The Ideal often requires the Hero to think of others as opposed to himself.

In Star Wars (1977), Luke thinks of Leia before himself. Love. The Sword is often, but not necessarily, love of some kind. The Sword is often, but not necessarily, the Romantic Challenge. In Star Wars (1977), Luke is romantically inclined toward Leia. In Scarface (1984), Tony gets Elvira. Willing or Unwilling. Though the Sword is this valuable love and high concept, it is not always a wanted prize; or the prize comes at a cost. In Raging Bull (1980), Jake doesnt want to take a fall for the mafia.

Divergence.

Before the Journey to the Sword, it is not unusual to find that a separation occurs:

Physical Separation of Allies. In Dances with Wolves (1990), Kicking Bird and Wind in his Hair go off to fight the Pawnee. In Goodfellas (1990), Henry is separated from Karen upon entering prison. 51 In Carlitos Way (1993), Gail distances herself from Carlito when he agrees to help break Tony T out of prison. Separation of Ideals. A divergence of Ideals is often the cause of a Separation: In The Empire Strikes Back (1980), Obi Wan cannot help Luke. Setting up the Rebirth through Near Death Experience (NDE). This is an occasion where allies are kidnapped, fall ill or similar a prelude to the NDE. 52

Journey towill often involve significant self-sacrifice. It will (often) lie at the heart of the Sword the Antagonist's world and consequently the journey to it is dangerous, is embarked upon against the greatest of odds, lies deep underground, in the dark, in an uncomfortable environment, is guarded by the Antagonist's lieutenants and so on.
Persuading Allies. Critical allies have to be persuaded to help on the Journey to the Sword it is a dangerous mission: In Star Wars (1977), Han Solo and Chewy are resistant to rescuing Leia until Luke persuades them. Rest Break. It is not uncommon for some sort of rest break or time to slow down before the hero sets about Seizing the Sword. It is not unusual for this period to be comedic in nature. In Dances with Wolves (1990), John feels harmony and dances around a fire, pretending to be an Indian. New World and New Creatures. The World of the Sword is commonly very different from that which the Hero has previously experienced. In Star Wars (1977), Luke, Han and Chewy enter the depths of the Death Star and meet the little robots. Anime. It is not unusual for the Hero to be pulled towards the Sword by a lost or wounded animal (literarily, symbolically, metaphorically). In Raging Bull (1980), Vickie draws Jake onto the Mafia table. He resists their insinuations that he should take a dive for them. Misjudgement. The Hero perhaps makes a critical error and misjudgement that pulls or pushes him toward the Sword. The Sword may present itself in harmless form. In Raging Bull (1980), the mafia pretend they are harmless.

Foreboding. It is not unusual to sense a dark foreboding and this may be stated verbally. In Raging Bull (1980), Jake knows he should stay away from the mafia. Magnetic. The Pull of the Sword is magnetic. Unavoidable. Warnings. Many may argue that the inevitable movement towards the antagonism is foolish. Wolves Clothing. In entering the World of the Antagonism (wherein the Sword most often lies), the Hero again camouflages himself in the Wolves Clothing. He becomes invisible on some level. In Harry Potter: Prisoner of Azkaban (2004), Harry literarily puts on an invisible cloak. In Raging Bull (1980), Tommy has to speak to the mafia don and behave as though he was one of them. In Diamonds are Forever (1971), James Bond pretends to be a worker in the plant. Conflicts and Misunderstanding. This is a time of tension and conflicts and misunderstandings amongst the Hero and allies in not uncommon. In Dances with Wolves (1990), Stands with a Fist is upset when John mentions her dead husband. Doves will warn of the Impossibility of seizing the Sword. In Star Wars (1977), Han Solo thinks the plan to rescue Leia is suicide. In Dances with Wolves (1990), Two Socks tries to keep John behind.

Antagonism. It is around this time that the antagonism or challenges step up a gear.
This increases Time Pressure. This can also be a set up for the NDE or Atonement. 53 In Star Wars (1977), Vader feels a disturbance in the force. He knows Obi Wan is near. In Dances with Wolves (1990), the women know that the there is something between John and Stands with a Fist. 54 Seizing

the Sword is no easy thing. The following stages are common (literarily, symbolically or

metaphorically): Guardians of the Outer Chamber prevent the Outer Chamber being breached. Outer Chamber. The Hero et al breach an Outer Chamber. Guardians of the Inner Chamber prevent the breaching of the Inner Chamber. In Dances with Wolves (1990), John cannot be seen with Stands with a Fist, as she is in mourning. In Raiders of the Lost Ark (1984), Nazi soldiers block the way. In Out of Africa (1985), bulls block the way. Foreshadow of the Transformation. There will be references state of affairs once the Sword is Seized. In Dances with Wolves (1990), John is given a lodge in the village. In Star Wars (1977), Tarkin explicitly states that they must not be allowed to get away. Old World being Left Behind. The Old world will be referenced. It is being left behind.

In Dances with Wolves (1990), John writes in his diary in the cobwebbed Fort Hayes. Marker to the Inner Chamber. The Inner Chamber, in which the Sword rests, is indicated by some physical marker a door, a line, a track or similar is not unusual. Breaching the Inner Chamber. Hero et al break in, often under Time Pressure. Obstacles will be developed. Having breached the Inner Chamber, the Hero may not know the location of the Sword. Magic of the Sword. Upon seeing the Sword, the Hero often taken aback, in awe, astounded or similar. Overwhelming Beauty. If the Sword represents the Hero's love a typical Goddess he will be struck by her enormous beauty. Seizing the Sword. The Hero takes the Sword. In Star Wars (1977), Luke rescues Leia. In The Matrix (1999), Neo rescues Morpheus. In Dances with Wolves (1999), John and Stands with a Fist kiss and make love. Allies begin to Trust. Amazed at having Seized the Sword, allies begin to believe that maybe there is something to this Hero: In Dances with Wolves (1990), Two Socks takes the meat from Johns hand. In The Matrix (1999), Trinity et al begin to believe Neo is the one. 55Night

Sea Journey. The Night Sea Journey (NSE) is the lead into the Near Death Experience (NDE), after which the Hero is reborn.

Woman as Temptress. The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladiator (2000), Lucilla persuades Maximus to go along with the plan. Descent. The Night Sea Journey often leads the Hero physically downward, underground, below or similar. Metaphorically, a spiritual descent. In Star Wars (1977), Luke follows Leia down the shoot into the garbage section of the detention level. Time Pressure. The Night Sea Journey is undertaken under Time Pressure. In Butch Cassidy and the Sundance Kid (1969), both have to jump into the river down below to escape their pursuers (Sundance: "I can't swim." Butch: "Why you crazy, the fall will probably kill you.") Night, Dark, Cold, Rain, Unfavourable Conditions. The Night Sea Journey is most usually undertaken in the night, in the rain, in the cold etc. In Dances with Wolves (1990), the journey to retrieve the guns occurs at night, in the hard rain, with only a child for help and under extreme time pressure. The World Down Below. Often we are privy to a glimpse of the world down below. In Scarface (1983), Tony Montana is snorting his own supply. Its grim. In The Shawshank Redemption (1994), Andy is in the hole for an impossibly long time. Its grim down there. Weakness. In the darkness of the descent, the hero et al are weak. In Scarface (1983), Tony

Montana knows they are header for trouble because they are not hungry anymore. In Star Wars (1977), Luke et al are helpless in the garbage compartment in the detention level. Theyre blasters will just bounce off the walls. Conflict with Allies. In the darkness of the descent, the hero conflicts with allies. In Scarface (1983), Tony and Manny argue. In Star Wars (1977), Luke, Han, Leia and Chewy all argue when they find themselves trapped in the garbage level. Comedy. It is not unusual for this stage of the journey to be comedic on some level. Death, tragedy and comedy are very close. In Dances with Wolves (1990), Stone Calf uses the gun as a rod instead of shooting it.

Near Death Experience. The hero has a near death experience after which he is reborn.
In An Officer and a Gentleman (1982), Zack Maya is beaten to near death by Sgt. Foley this happens in the martial arts gym, which is representative of Zacks old world and it happens after his argument with Paula. In Al Pacino Scarface (1983), Elvira tempts Tony down this path with the words I dont sleep with the help. This encourages Tony to claim the throne. In Unforgiven (1992), the Sheriff beats Clint Eastwood to a pulp in the bar that is, in effect his territory. In A Fistful of Dynamite (1971), the main sequence is occupied by Dr. Villega. He is captured, tortured and forced to reveal the identities of his associates. John recalls his back-story and a similar situation in Ireland. Rod Steiger faces an execution at the hands of a firing squad. Serpent Battle. It is not unusual for the battle to occur with a serpent like creature and for it to occur underwater. The serpent is representative of the evil and the submergence underwater is symbolic of a baptism. In War of the Worlds (2005), Ray Ferrier is submerged as an Alien sinks the ferry and everything in it. He battles the serpent like tentacles of the Alien underwater. 56 In Star Wars (1977), Luke Skywalker follows the Princess down into the garbage compartment on the detention level where he is submerged by an underwater, tentacles, serpent like creature. Dungeon and Hostage. It is also not unusual for the hero at this stage to be held hostage in a dungeon type situation and tortured. In Lethal Weapon (1987), Martin Riggs is held hostage in a cell and tortured by serpent like whips and electrocuted with serpent like wires and water. In The Empire Strikes Back (1980), Han, Leia et al are tortured by Vader until Luke arrives. In Goldfinger (1964), Bond is held hostage and nearly spliced in half by a laser. Out of the Frying Pan, Into the Fire. Often there are multiple Near Death Experiences. In Unforgiven (1992), Clint Eastwood does not easily recover from his beating. In Star Wars (1977), Luke et al are compressed by the garbage compactor, after Luke nearly dies at the hands of the Serpent. Escape from the Fire. This is an event in itself often the Hero et al are still under Time Pressure and being Pursued. In Scarface (1983), Tony Montana arranges with his lawyer to beat the rap. In Star Wars (1977), Luke has to save Leia again (the swing scene).

Rebirth. the Near Death Experience triggers a rebirth. This is often demonstrated in a Surviving number of ways.
Physical Expressions of Joy. In Star Wars (1977), Luke et al rejoice at surviving the garbage compactor. Celebrations mark the rebirth and the seizing of the sword. In Dances with Wolves (1990), the tribe celebrates. Change of Clothes mark the transformation of the Hero. 57 In Dances with Wolves (1990), John Dunbar is dressed in the full Sioux outfit. In Goldfinger (1964), Bond goes into the bathroom to change and comes back in new clothes. Goodbye to the Old Self. The Hero says Goodbye to his or her Old Self. In Dances with Wolves (1990), John Dunbar literarily says Goodbye. In Syriana (2005), Arash says goodbye to his Father. New Behaviour. In Alien (1979), Ripley takes charge.

Reward / Conquest of the Romantic Challenge.

Sex. Rewards often have a sexual element. This is the classic point where the boy gets the girl. Rewards are referenced. In Dances with Wolves (1990), Kicking Bird's wife brings up the topic of John's relationship with Stands with a Fist. Obstacles to the Reward are referenced. 58 In Dances with Wolves (1990), Kicking Bird's wife discusses the mourning. Removal of Obstacles is normally straightforward. In Dances with Wolves (1990), Kicking Bird tells Stands with a Fist that she can stop mourning. In Star Wars (1977), Luke swings to the other side of the bridge, Leia in his arms. Rewards are given. In Star Wars (1977), Leia gives Luke a kiss. In Dances with Wolves (1990), John Dunbar and Stands with a Fist marry. 59

Convergence.
Reattachment. Those allies, who were previously separated, now return. In Dances with Wolves (1990), Kicking Bird, Wind in his Hair et al return. In Goodfellas (1990), Henry moves Karen and kids into a swanky apartment as soon as he is released from prison.

In Goldfinger (1964), Bond activates the homing device; Felix and the CIA prepare. Convergence of Ideals. Where Ideals had previously diverged, here they converge. Retarded Convergence. As allies begin to converge toward the hero, it is not unusual for an obstacle, some misinformation or some misjudgement to delay them. This can be a set up for a later catharsis. In Goldfinger (1964), Oddjob crushes Solo in the car and the homing beacon is lost. It appears that they have lost Bond.

Shape Shifter Revealed and The Red Herring.

Shape Shifters True Nature. During the escape, the shape shifters true nature becomes apparent. In The Incredibles (2004), Bomb Voyage assists the Incredibles to escape. 60 In Star Wars (1977), Han considers "leaving this party."

Red Herring. Misdirections are toyed with. For example, a character who has constantly been wearing black may turn out to be a good guy. In Syriana (2005), we are led to believe that it is Whiting who will be sacrificed. In Harry Potter and the Goblet of Fire (2005), we are led to believe that Severus Snape is a threat.

Journey to the Atonement/ Inner Challenge.

Challenge. Facing and conquering it is not easy: Resistance. There is resistance to it. 61

The Atonement is actually the Inner

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.

Atonement with the Father / Conquering the Inner Challenge.

Confrontation. That which is the greatest barrier to the apotheosis is confronted. In Alien (1979), Ripley confronts Ash. In Scarface (1983), Tony Montana confronts himself and the choice he has taken (the restaurant scene). In The Empire Strikes Back (1980), Luke confronts Vader. 62 In Raging Bull (1980), Jake confronts Joey and asks him whether he slept with his wife. In Casablanca (1942), Rick confronts both Ilsa and Victor. Internalise the Father. In antiquity, the knowledge and strength of people were absorbed through the eating of their flesh and the drinking of their blood. Therefore it is not unusual to find a story where the hero destroys the father and drinks his blood. Symbolically, the father is internalised. Death is normal at this stage. This is separate and distinct from the near death and rebirth of the hero in the woman as temptress stage. In Star Wars (1977), Obi Wan dies but he lives on inside Luke he is internalised. In The Shawshank Redemption (1994), Andy walks out wearing the wardens shoes.

Apotheosis.

From one point of view, this is the elation that is felt once the Hero has overcome his or her Inner Challenge. Part of it is, "what was I so worried about." It is the breaking out of previous restraints and restrictions, as these are ultimately psychological. And it involves a seminal insight, an illumination - the apotheosis. In Casablanca (1942), Rick's insight is that if you love someone, you sacrifice yourself for their happiness. That sacrifice can include selling your most prized material possessions (he sells his bar), allowing your love to find happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is likely that his ultimate actions will see him to a concentration camp), leaving dear friends (he will have to leave Sam behind) and forced exile from home and heart (he will have to leave Casablanca). In The Shawshank Redemption (1994), Andy Dufresne's apotheosis is that you either get busy living or you get busy dying. He reaches that insight in the scene by the prison wall with Red (Morgan Freeman). In Al Pacino Scarface (1983), Tony Montana's insight is that the rewards of the path he's chosen are not worth the spiritual price he is paying, expressed with the words (in the restaurant scene): "is this it? Is that what it's all about Manny? Eating, drinking, fucking, sucking," "no free rides in this world kid," "I lost my appetite," "is that what I worked for? With these hands? Is that what I killed for? For this?" In Raging Bull (1980), Jake discovers that Vickie has been sleeping with everyone, including his brother. That he cannot trust anyone. That all will betray him.

63

The Ultimate Ultimate Boon is the prize associated with breaking through personal The Boon. limitations; the prize that is gained after one has conquered Inner Challenges, Inner Demons.
Obstacles and Challenges are conquered with ease an inner resolve, there are no delaying obstacles and the Hero makes no mistake. Synergy. When the hero and his allies break through the limitations of their egos, they begin to effectively work together to the same goal. In The Dirty Dozen (1967), Lee Marvin's challenge is to make his men operate as an effective unit. When Charles Bronson et al attain synergy - they overpower the Major's men in the war games sequence. The whole second act is constructed around the need to reach synergy. In Beverly Hills Cop (1984), Axel Foley, Taggart, Rosewood and Bogomil finally begin working together to tackle Victor Maitland. 64 Leadership. The hero is changed. He becomes the leader. He claims the throne. All doubts are removed. In Alien (1979), Ripley and Parker initially antagonise each other. After their apotheosis (that the military wants the Alien, it cannot be destroyed and that they are expendable), Parker and Lambert quickly fall into line. Physical limitations are surpassed: In Alien (1979), Ripley realises that she has to nuke the Nostromo. In Carlito's Way (1983), Al Pacino realises that he must kill Kleinfeld (Sean Penn). Dark Mentors are tackled: In Raging Bull (1980), Jake beats up Joey and knocks out Vickie. Prize. Treasured gifts are received. In Romancing the Stone (1984), Jack and Joan retrieve the jewel. 65 Disgust

and Refusal (of the Return). Post the boon, the hero is disgusted at his pre-boon Old Self. He refuses to return to it. Practically, there is refusal on some level.

Refusal to leave something valuable behind: In Raging Bull (1980), Vickie attempts to leave but Jake refuses to let her go, indicating he wants to continue his journey (with her). Refusal to retreat: In Star Wars (1977), Luke does not want to retreat after Vader defeats Obi Wan but is warned by Ben to run Luke, run. Refusal to return to the World of the Ordeal: In Star Wars (1977), Han categorically states that he will not return to the Death Star. Forced not to partake in a Final Battle: In Mission Impossible 2 (2000), Tom Cruise must escape as quickly as he can in order to give his romantic interest the antidote. Refusal Feigned: In Get Carter (1971, the superior version with Michael Caine), Carter pretends he does not want to hurt Kinnear. Requiring Rescue. It is not unusual for the Hero, disgusted with him or herself, to engage in a period of intransigence or self destruction out of which he will need rescuing. In Walk the Line (2005), Johnny dives into booze and drugs.

Magic Flight.
Flee with the Treasure. The hero departs with the boon in hand. In Raiders of the Lost Ark (1981), Indy and Marion flee with the Ark. In The Shawshank Redemption (1994), Andy is able to flee with the wardens paperwork, identity and money. 66 Distance ones self from the Antagonism. The hero may attempt to distance himself from the antagonism. In Alien (1979), Ripley simply wants to get away. Pursued by the Antagonism. The antagonism will not simply allow the hero to leave. It will be snapping at the heros heels. In Dances with Wolves (1990), the US soldiers will not let John go. Obstacles to the Escape. The hero will not be able to rid the antagonism easily. In Star Wars (1977), Luke et al battle the Empires fighters. 67Return

to No-Mans Land. This is a place where the Hero may be allowed to rest temporarily. It is often a familiar place on some level. It is a no-mans land because the Hero has changed but his Journey / Transformation is not yet complete, as the Greater Antagonism is still out there.
New Self. Represented by New Clothing and symbolisms. Changed. When the Hero returns home, he is somehow different. Clothing, body language and stature are changed. Recognition. He may not be recognised, he may be ridiculed or he may be given elevated status. This is

the curse of the wizened one. Sponsors. On his return, many sponsors Kings and important people who have encouraged his venture, may greet him. Or they may disown him.

Rescue from Without. The Greater Antagonism comes for the Hero in one form or another. The
Battle with the Greater Antagonism is known as the Final Conflict. Resistance. Often there is resistance to the Final Confrontation. In Spiderman (2002) Peter is more worried about his aunt in hospital. Forced Back. If the hero has been captured by the antagonism, then he will be assisted or will though his own ingenuity somehow escape. In Dances with Wolves (1990), the Indians help rescue John. If the hero has escaped the antagonism, it will somehow draw him back. In Goldfinger (1964), Bond has to diffuse a nuclear bomb. Final Antagonism. Often, the antagonist will draw the hero back by means of a dastardly deed. In Spiderman (2002), the Green Goblin kidnaps Mary Jane. Time Pressure. The antagonism will initiate a time pressure to speed up the heros return. In Star Wars (1977), the Empire is tracking them and approaching. 68 Loss of Allies. Before crossing the Return Threshold, the hero will remember and mourn lost ones and their value. In Star Wars (1977), Luke remembers Ben. Powerful Allies will Absent Themselves. In Lord of the Rings: The Return of the King (2003), Frodo journeys up the mountain alone. In Star Wars (1977), Han Solo departs. Impossibility. The impossibility of the Final Conflict will be noted by Doves. In The Matrix (1999), even Neo doesnt like the idea of having to face Agent Smith. In The Gladiator (2000), Maximus is warned not to confront the Emperor. Encouragement. Allies will encourage the hero when he needs strength. He travels with their support. In Star Wars (1977), Leia encourages Luke. New Status. The heros new status will be referenced. In Star Wars (1977), Biggs confirms Luke as the best pilot in the outer territories. 69

Crossing of the Return Threshold.

Returning Home. If the meat of the battle has taken place in the Rescue from Without (the hero was caught when attempting the magic flight and managed to escape), then the hero will return to a rapturous welcome.

In Dances with Wolves (1990), John returns to the Indians. However, often the hero succeeds in the Magic Flight and Crossing the Return Threshold involves venturing to face the antagonist the hero is pulled back toward his or her challenges. Dangerous Place. The hero will venture to a dangerous place. In Spiderman (2002), the battle takes place high up above the water. From a Distance. The battle will be viewed from afar. Magnitude of the task. The overwhelming magnitude of the task will be noted. Strangely Confident. The hero may be strangely confident. After all, he has metamorphosed through the Ordeal. Physical Boundary. Some form of physical marker will signify the crossing into the Final Conflict.

Engagement.

At this point the Hero will not engage directly with the Greater Antagonism but with the general challenge. For example, the antagonist's armies. In Star Wars (1977), Luke engages with the Empire's fighter pilots. In Titanic (1997), Rose and Jack deal with the general submerging ship, not with the actually drop into the ocean.

Increased Intensity. The antagonist will up-the-ante. It will attack on some level. Perhaps destroy the heros minor allies, innocents or similar. Seeming Weak. The hero will seem weak compared to the antagonism; at this point it seems as if s/he will lose. 70 Antagonist Confident. The intensity of the antagonists attack and the seeming weakness of the hero gives the antagonist confidence. Impossible Dilemma. Before facing the antagonist, the hero may be given an impossible dilemma. In Spiderman (2002), Peter Parker has to save the people in the lift or Mary Jane he cannot do both simultaneously. Failed Hero. An alternative hero may attempt to tackle the antagonist and be mowed down, enhancing the magnitude of the challenge. Peer Brothers. Alternative heros take up the challenge but fail. The hero surpasses his peers. Time Pressure becomes acute. 71Hand-To

Hand Battle. At this point, the Antagonist or the Hero will gravitate toward each other and face each other. Ultimately, this is their war.

Similarly, it is not unusual for the Hero's Sidekick or Loyal Ally to meet the Antagonist's sidekick or Loyal Ally at this point. In Spiderman (2004), the Green Goblin and Peter eventually duel amongst themselves. In Superman 2 (1980), Superman and Zod face each other. In Gladiator (2000), Commodus forces allow the two to fight hand-to-hand.

Antagonist Stronger. At this point, the hand-to-hand battle, the antagonist is stronger than the Hero. Again, it does not look good for the hero.

Ultimate Antagonism. Here the antagonist commits an act that forces the Hero to reach inside himself and draw inner strength. This is where the Hero will transform into his now True New Self. Often, the Antagonist threatens a vile act or an emotional tie.
72 In Return of the Jedi (1983), Vader tells Luke that he will attempt to convert Leia. In Cinderella Man (2005), Jim Braddock thinks of his wife and kids and his previous poverty and begins to win. In The Matrix (1999), Neo can stop and play with the bullets.

Final Conflict / First Catharsis. Now the Hero and Antagonist battle but it is clear that the Hero
is stronger. Often the Antagonist is brought to his knees or almost finished off. In Return of the Jedi (1983), Luke brings Vader to his knees. 73 In The Matrix (1999), Neo finally defeats Smith easily. Instinct. It is not unusual for the Hero to rely on superior instincts at this stage. In Silence of the Lambs (1991), Clarice instinctively turns around to shoot Buffalo Bill. In Heat (1995), Vincent instinctively reacts to take out Neil.

Master of the Two Worlds / Second Catharsis. As his True New Self, the Hero is master
of both old and new worlds and can travel easily between them. He can simultaneously reach heights of goodness and equally match the evil and power of the antagonist. He can tap the spiritual and the physical world. 74 Recognised. This mastery is universally recognised. In The Matrix (1999), the other agents run from Neo after he defeats Smith. Second Catharsis. What were enemies, now disappear. In Lord of the Rings (2004), the enemy armies disappear in smoke.

Redemption. that the Antagonism is on his or her knees, the Hero offers a chance of Now
75 redemption. In Return of the Jedi (1983), Luke critically wounds Vader, he does not kill him. 76

Antagonist's True Nature Revealed.

reveal himself.

At this point, it is not unusual for the Antagonist to

Mirror Image. It often turns out that the Antagonist is known to the Hero; is a shadow or mirror of him or similar. In Spiderman (2002), the Green Goblin reveals himself to Peter Parker he is Harry's father. In the Bond Franchise, this is often where the villain reflects on his motivations. In Return of the Jedi (1983), Vader takes off his mask to reveal his true self to Luke.

In Scooby Doo, we always knew the Antagonist was amongst us.

Conquering the Greater Antagonism / Third Catharsis. Here, the Antagonism dies / is
vanquished. Kill Me. If the Antagonism is friend, a mercy killing is required. 77 In Return of the Jedi (1983), Vader wants to die. Else the Antagonist will engage in a deceitful act (show his True Nature) and force death upon himself. In Spiderman (2002), the Green Goblin deceives Peter and forces Peter to kill him.

Freedom to Live.

Now that all challenges are conquered, there is balance:

Physical expressions of joy and relaxation mark the end of the antagonism. In Alien (1979), Ripley relaxes and smiles with Jones the cat. There is appreciation for life: In Blade Runner (1982), Roy learns the value of life and allows the bird to live and fly free. In Elizabethtown (2005), Drew road-trips the US and really falls in love with and starts to appreciate Claire [incidentally, one of the best Freedom to Live sequences]. There is appreciation for love: 78 In Four Weddings and a Funeral (1994), everyone gets married or partnered off in a positive way. In Blade Runner (1982), Deckard elopes with Rachael they appreciate what time they have together. A ceremony celebrates the bravery of the heroes (Star Wars, Raging Bull). Medals are given (Silence of the Lambs, Star Wars). There is the symbolism of Graduation (Silence of the Lambs). The hero gains the throne (Conan the Barbarian). The hero (now the King) shows his good and benevolent nature (Lord of the Ring: The Return of the King).

Fourth Catharsis.
79 vanquished.

One of the Antagonist's Lieutenants may appear from nowhere and be quickly

In Die Hard (1988), Karl appears form under the sheet and takes the officers gun. 80 Afterlife Act New Self barely recognisable. The hero returns from his adventure a changed man. In El Cid (1961), people barely recognise Rodrigo. Misunderstood. The Curse of the Wizened One. In El Cid (1961), Rodrigo frees the Muslim enemy which is misunderstood by many of his allies.

Not Wanted. In El Cid (1961), Rodrigo is a threat to the Count. High Status Burial. In Out of Africa (1985), Denys is buried upon a hilltop. Legend. In Out of Africa (1985), Denys' legend lives on. Mysterious Death. Of the Hero's Death is a mysterious event. In Out of Africa (1985), no one knows exactly how Denys died. Mentoring the Next Generation. In The Star Wars Trilogy, Obi Wan goes on to mentor Luke. Medals. In Star Wars (1977), Luke et al are given medals and Knighted. Ceremony. In Lord of the Rings: Return of the King (20037), Frodo et al are Knighted during a ceremony. In the Lion, the Witch and the Wardrobe (2005), the children are knighted during a ceremony.

FADE OUT
81 Tail Off. Freedom to Live or The Afterlife Act simply tail off. Loop. The last sequence loops to the initial. In War of the Worlds (2005), we see the images of bacteria again.