2100+ Stage Hero’s Journey and Transformation through a New World, State [First ed.]

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1.0NST

SCREEN / STORY ESSENTIALS

by Kal Bashir and kalbashir.com / clickok.co.uk

2100+ Stage Hero’s Journey and Transformation through a New World, State

2100 Stage Hero’s Journey v 1.0 © All Rights Reserved Kal Bashir / www.kalbashir.com

INTRODUCTION........................................................................................5 How to Use this Template ...............................................................................10 SECTION I – INTRODUCTORY CONCEPTS..........................................12 Act 0 vs Act I, When There’s No Backstory .....................................................13 Act II, Beachhead, Mainland, Underworld .......................................................16 Act I vs Act II, Soft vs Hard Breaks..................................................................18 Ordinary and New Attachments, Attaching and Detaching..............................19 Ordinary And New World Romantic Challenges..............................................20 Everything Is Arc .............................................................................................23 Ordinary World Is Not Necessarily The Start Of The Journey .........................29 Understanding Metaphors and Universal Terminology....................................30 Types Of Metaphor And Symbolism................................................................32 Where’s The Midpoint? ...................................................................................39 Story, Plot, Structure, Plot vs Character, Genre ..............................................40 What Is Theme? ..............................................................................................42 Two Homes .....................................................................................................43 Hero vs Heroine (Gender Neutrality) ...............................................................44 Character vs Archetype, Multiple Protagonists................................................45 Goldilocks Principle / Metaphor .......................................................................46 The Many Worlds ............................................................................................49 Splitting The Major Worlds ..............................................................................51 Journey Through A New World .......................................................................52 Six Core Challenges........................................................................................58 Transformation and Transmogrification...........................................................62 General Steps To Incremental New Way Of Thinking, Arc Points...................71 Freudian Terminology (Superego, Id, Ego) .....................................................73 State of Perfection Loop (Eternal Cycle) .........................................................74 Old And New States of Perfection, Restoration...............................................76 Supernatural Aid Theory, Backstory................................................................77 Types of Magical Gifts.....................................................................................79 Who is The One? Proxy Heroes......................................................................81 Hero’s Superiority, The Hero As God ..............................................................83 Synchronized, Mirrored Progression and Change...........................................84 Anti-Hero and Other Hero Archetypes.............................................................85 Choosing Secondary Characters.....................................................................87 Archetype Function and Mask .........................................................................88 Major Linkages ................................................................................................89 The Great Cave...............................................................................................91 SECTION II ..............................................................................................92 ACT 0 (BACKSTORY) .............................................................................93 Original World And State Of Perfection (Garden Of Eden)..............................94 Original World And State Of Perfection (Archetypes)....................................100 Original World And State Of Perfection (Serpent’s World) ............................106 Loss Of The Original State Of Perfection ......................................................110 Edge Of The Original World ..........................................................................117

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End Of The Original World ............................................................................122 Baby’s World .................................................................................................130 Child’s World .................................................................................................136 Early Teenage Apprentice’s / Hero Guardian’s World ...................................143 ACT I ......................................................................................................150 State Of Imperfection (Unwholeness, Unreachable In/Tangibles) .................151 State Of Imperfection (Id, Top of the Arc)......................................................157 State Of Imperfection (Superego, Bottom of the Arc) ....................................160 State Of Imperfection (Cave Of Imperfection / Gaps)....................................162 Herald Journey (Peripheral World) ................................................................168 Ordinary State (Ordinary World)....................................................................172 Ordinary State (Ordinary Self) .......................................................................179 Ordinary State (Ordinary Attachments) .........................................................191 Ordinary State (Ordinary Rules) ....................................................................199 End Of The World Is Nigh .............................................................................201 Call To Adventure..........................................................................................203 Interdiction.....................................................................................................209 Punishments For Refusal ..............................................................................217 Forced Hero Departure .................................................................................218 Strict Path Within The Edge of the Ordinary World and Self .........................223 Edge of the Ordinary World / Self Battle (Meeting Goliath) ...........................229 Meeting The Extraordinary Supernatural Aid ................................................234 Extraordinary Supernatural Aid World and Functions....................................239 Attached To The Ordinary State....................................................................247 Death Of The Ordinary State And Liberty From Attachments .......................250 Un/Conscious Decision To The New World, Self, State ................................256 Journey To The New World Proper And Option To Return ...........................261 ACT II (PART ONE, SOFT or HARD BREAK) .......................................268 Entering The Beachhead Of The New World Proper (Physical) ....................269 Entering The Beachhead Of The New World Proper (Who He Is).................275 Entering The Beachhead Of The New World Proper (Emergence) ...............282 Entering And Locked Into The Castle............................................................284 Cave Pointer And Entering The Great Cave .................................................287 New World Of The Great Cave (Encourage Awakening, Peeling)................290 New World Of The Great Cave (Refusing Awakening, Peeling)...................292 New World Of The Great Cave (Agreeing Awakening, Peeling) ..................294 New World of the Outer Cave (Entering).......................................................296 New World of the Outer Cave (New World Challenges)................................300 New World of the Outer Cave (Right to Remain, Lock In) .............................304 New World of The Middle Cave (Detachment From Ordinary Self) ...............308 New World of The Middle Cave (Attachment To New Self)...........................315 First Threshold Separation ............................................................................320 New World of The Middle Cave Road of Trials (Change)..............................326 New World of the Inner Cave / Battle ...........................................................335 Major Threshold Guardian Battle Road Of Trials...........................................344 Major Threshold Guardian (MTG) Battle .......................................................346

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Physical Separation (Drivers) ........................................................................351 Physical Separation (Rupture).......................................................................354 ACT II (PART TWO, SOFT or HARD BREAK).......................................358 Pulling Away (Deeper New World) ................................................................359 Pulling Away (Potency Separation, Detachment, Hero) ................................361 Pulling Away (Potency Separation, Supernatural Aids).................................365 Pulling Away (Potency Separation, Antagonism) ..........................................367 Benchmarks (Deeper New World).................................................................369 Benchmarks (Devolved New Self).................................................................372 Encouraged Onto The Road Of Recovery (The Elixir) ..................................375 Road of Recovery (Interdictions) ...................................................................379 Forced Embarkation, Only Going Forward ....................................................382 Contained Within The Road of Recovery (Entry)...........................................384 Reversing / Recovering (Trust, Ending Exile / Outcast) ................................388 Reversing / Recovering (New Attachments, New Thinking) ..........................392 Reversing / Recovering (Repel Old, Equal To The New) ..............................398 Monsters Cave, Failed Trial, Not Ready, Disenchantment............................402 Exiting The Road Of Recovery (Reversal, Belief, Belonging)........................408 New World Begins To Dissolve .....................................................................415 Meeting the Oracle / Goddess.......................................................................417 Choice (Illegal Act, Taking Sides)..................................................................422 Seizing The Tangible Sword .........................................................................427 Seizing the Intangible Sword .........................................................................432 Bride Theft.....................................................................................................440 Joy of Infancy Regained / Joy of Rediscovery...............................................444 ACT II (PART THREE) ...........................................................................447 Going Home ..................................................................................................448 Unwilling Return To Old Self, To Who S/He Was..........................................450 Id / Superego Potency Rise (Evolution).........................................................451 Finding Who You Are / Your Place................................................................453 New World of Containment ...........................................................................456 New World of Containment (Belonging, Surpassing NW Peers) ...................462 New World of Containment (Near Death, Inner Demons) .............................465 New World of Containment (Rebirth).............................................................469 Rebirth (Waking Up, Believing) .....................................................................471 Rebirth (Reversal Of Thinking, Breaking With The Past) ..............................473 Rebirth (Learning The Lesson)......................................................................475 Rebirth (Liberation, Psychologically Ready, Convergence)...........................477 Uniting (Marrying) With The New World ........................................................479 Atonement (Limitations, Incompatibilities) .....................................................481 Psychological Apotheosis..............................................................................487 Physical Apotheosis (Expulsion From The New World Proper).....................491 Tangible (Physical) Boon, Last Supper .........................................................495 Intangible (Psychological) Boon, Full New Self, Resurrection .......................497 ACT III ....................................................................................................503 No Mans Land ...............................................................................................504

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The Gathering, Limitations / Immaturity Manifest ..........................................507 New Dawn / Order (Building A Mature Home)...............................................510 Dissolving Older Worlds and Selves, Changed Self Chasm .........................512 False Idols .....................................................................................................515 Value Recognised, Transcending Mature World Peers.................................517 Death Of The Old Way Limitation..................................................................519 Dastardly Deed..............................................................................................521 Smoking Gun (Acquiring The In/tangible)......................................................523 Merging the Old and New Selves, Emerging Mature Self .............................526 Pulled to the Dangerous Domain...................................................................528 Final Confrontation ........................................................................................531 Hand to Hand Battle ......................................................................................535 All Hope Is Lost .............................................................................................537 Letting Go, Transcending To The Mature Self ..............................................539 Id Containment, Multiple Catharsis................................................................543 New State of Perfection (Final Conflict).........................................................550 Journey Back.................................................................................................553 Contained Id Resurrection.............................................................................555 Return, Opposite Condition, Seventh Catharsis ............................................556 New State of Perfection (Enlightened Archetypes)........................................558 New State of Perfection (Enlightened Worlds) ..............................................564 New State of Perfection (Serpent’s World)....................................................566 Departure (Return To The Sleeping) .............................................................568 Afterlife Act: The Age Before Time Began.....................................................572 FURTHER, ADVANCED MATERIALS ...................................................577

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INTRODUCTION How do you turn an idea into a story? Formatting and creativity techniques aside, you need to understand story structure. Story structure is the architecture upon which you pin your idea and extrapolate it in order to create a story. There Is Only One Story This concept is hard to grasp if you have been brought up listening to the multitude of stories passed down by word of mouth, have spent countless hours reading fiction and have been fascinated by the very many excellent movies that our culture has produced. Yet all these stories, at their essence, simply use different characters and situations to guide you through the same process. If you write stories, you need to understand this process intimately. When you watch a variety of movies or read a variety of successful stories, you may think that they are different, but in reality they are simply alternative situations superimposed on the same (complex but not rocket science) structure. This is certainly true of movies and screenplays. Alien (1979), Gladiator (2000), Godfather (1972), American Beauty (1999), Annie Hall (1977) and many others appear to be different but are all constructed, almost sequence by sequence, in the same way. At the beginning of every story, a certain set of characters (collectively represented by the term “hero”) have a set of issues that require resolution (imperfect situations exist because of their deficiencies). The capacity to resolve these issues to satisfaction does not initially exist. These characters undergo a process through which they gain this capacity / resolve these deficiencies, confront the issues and a resolution is brought about. One Way Of Telling A Story This is an equally difficult concept to grasp or accept - just as there is only one story, so there is only one way of telling a story. At the classic beginning (the State of Perfection), characters didn’t have issues and deficiencies and imperfect situations didn’t exist. These issues and deficiencies then come about and a State of Imperfection arises. All of this is part and parcel of backstory and comes about through a distinct process represented by symbols, metaphors, concepts, motifs and terms (e.g. the Garden of Eden, the Parent Archetype, Pandora’s Box, Damage Done, Antitheme etc). Some or

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all of these symbols, metaphors, concepts, motifs and terms may be used to demonstrate the process at this stage. The main story starts when the hero / character is ready to repair the damage and right the wrong and bring us back to the State of Perfection. We lay out the character(s) condition in the Ordinary World, which links into many concepts that are used throughout the process (e.g. Who He Is, Unawakened etc) and which we use to demonstrate change / transformation as we go along. Again, we’re playing around with symbols, metaphors, concepts, motifs and terms to deliver the appropriate messages. We take the character(s) physically out of the Ordinary World and foreshadow / benchmark the coming challenges at the Edge of the Ordinary World, using the same and other symbols, metaphors, concepts, motifs and terms (e.g. Goliath). We take characters into the New World, where they arc to learn and change and awaken to the opposite side of the theme and repair the damage and conquer their deficiencies and lose the Old Way. They detach from their Ordinary Selves and everything that represents Who They Were. They reacquire that which they lost and leave the New World as different people, as New Selves. We play with symbols, metaphors, concepts, motifs and terms to transform the characters. Once repaired, we then bring them back to restore the State of Perfection. This involves letting go of all that they were and all that they’ve become and synthesising into a Mature Self. This involves reversals, demonstrated through the symbols, metaphors, concepts, motifs and terms which have already been established. This document will lay out this whole process in detail, with many, many examples from modern film. This is how you write stories. This is what a story is. Are All Stories Hero’s Journey? All stories (especially the type of story we mean when we say “movie” or “bestselling fiction”) involve a certain number of steps, processes and functions. The hero’s journey is simply a set of labels which identify some of these steps, processes and functions. This work contains many, many more steps, processes and functions than can be found in simple 17-step and 12-step versions of hero’s journey. Why Must The Hero Journey? The standard “journey” will have the hero moving between geographic locations. In stories set in one location, the hero will journey through situations, with functions being performed in each situation just as they would be in each geographic location.

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In other words, it is wrong to identify the hero’s journey as only applicable to the type of story where there is geographic movement. There are many reasons why the hero must journey, be it through geography or situations, and why each new geography / situation is a new world: a) The prophet is never accepted at home. b) In order to be shaped differently, the Self must become accustomed to being acted upon by a different set of forces, which are always found outside the normal sphere of existence. c) A story tends to be more effective when the psychological change is mirrored by a physical change. d) The adventure evokes a quality in the character that s/he didn't know s/he possessed. e) It is outside of the Ordinary that the character is able to learn to think another way. Transformation It’s really all about transformation, which is much more than people think it is. When you can’t see transformation, you need to look harder. Transformation is often very subtle, for example, it includes Letting Go (see the section on arc). It is the process of transformation that must be performed in a certain way (demonstrating the before and after stages, movement from one place to another, pushing through change and arc using the tools of detachment and attachment, reversal and so on). In Star Wars (1977), the Luke we meet in the beginning is not the same as the Luke we see at the end of the story. In The Godfather (1972), the Michael that tackles the Five Families and Carlo at the end of the story is not the same Michael that we met as he walked into Connie’s wedding at the beginning. In Scarface (1983), the Tony Montana that we met in the beginning is not the same Tony Montana we see at the end of the story. Templating When writers and directors don’t use hero’s journey right out of the book, they get to it (replicate it) through templating.

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For example, when writing Die Hard In The Whitehouse, they’ll examine Die Hard and note exactly to the page when the criminals arrive in the building, when they fire the first shot and so on. In this way, the theory, archetypes and concepts of original story is duplicated – new stories will automatically show movement into new worlds, change within those new worlds and so on. Rigid Structure Though the structure is rigid, that does not mean it is absolute. For example, the mentor can be met before or after the refusal etc. And various editing manipulations can give the illusion that the story does not have a linear structure. But do not take this to mean that you can subvert the structure at whim – there is a high degree of rigidity that you must conform to. For example, the Seizing of the Sword sequence will always follow the Road of Transformations process; the Rebirth through Major Death Experience always follows the Seizing the Sword process etc. Familiarity with this template and the worksheets at www.kalbashir.com will teach you which parts can be cut and pasted and which cannot. You are much better off constructing your story according to the linear timeline and then “being innovative” when you completely know and understand it. Outliers In statistics, outliers are the exceptions. These are the incidences that occur outside the normal range of results. Many people cannot get their head around the idea that every story they have seen, read or been exposed to is essentially a reworking of the same base. They rebel against it. They cannot see it. They don’t like having the magic trick explained to them. They don’t like the idea that their favourite stories, albeit structurally, are not completely “original.” They lack the benefit of experience and they have not sat through hundreds of successful stories and deconstructed them scene-by-scene and sequence-by-sequence. They are not writers – at least, they do not write frequently enough or successfully enough in order to have any deep insight. They have not attained the epiphany. You must not be one of these people. Not if you want to be commercially successfully. Often, these people refer to outliers (the exceptions) in order to justify their theory that not all stories conform to the same base. a) There are no outliers. Every successful story follows the pattern. Every successful Hollywood story and every successful Academy Award Winner / Nominee follows the pattern. There are lots of unsuccessful, bad and downright weird stories that few can bear to watch/read that do not follow the pattern (they will be sexed up with terms such as “experimental” or “art-house”).

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b) Many people are bad analysts (with a poor understanding of the story writing process) and incorrectly refer to stories (that follow the structure) as exceptions. c) The further a story veers away from this structure, the poorer and less successful it tends to be (another reason you should not worry about them). d) The myth of “art-house,” “experimental” and “independent” cinema suggests that some stories are different. In fact, these terms simply refer to an implied disassociation with the studio system and blockbuster marketing and distribution processes – the structure of successful stories in these genres is the same as the one I am about to make explicit. e) People who have no true idea how to construct an effective story create the outliers. That’s why they’re art-house or experimental – it is an attempt to assign value to ineffective work. Steven Spielberg uses this structural template. George Lucas uses this structural template. Francis Ford Coppola uses this structural template. Shakespeare used this structural template. The Bible, Koran and Torah use this template. All your favorite writers, directors and producers use this structural template. You should use this structural template. In summary, do not worry about the outliers. Master this structure first. Originality Emerges from Structure There is a pervasive myth that structure and rigidity detracts from originality. This is misleading (this is a creativity myth, rather than a story structure myth). The golden rule is that quality and originality emerge from structure. Successful stories are written simply by taking your hero through the process that this template makes explicit. Each step of the template is a source of idea generation. By writing sequences for each of the following macro stages, your story’s plot and characters will emerge; from then on the story will take on a life and form of its own. Further, your own writing style will add your personal signature to the form. Each and every Best Film Academy Award Winner in history follows this pattern. We analysed them all at http://www.kalbashir1.blogspot.co.uk/ Understanding this template is a priority for story or screenwriters. It is the universal story-structure template upon which situations are superimposed.

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How to Use this Template You need to understand this template on a very deep level. Read this whole document several times over several weeks. SECTION 1: INTRODUCTORY CONCEPTS. This section is a must read. These are a collection of concepts that will make the understanding of the story process easier and richer. These concepts will be referred to in Section 2 and throughout the Acts. If you skip this section, you will make incorrect assumptions. SECTION 2: THE STORY PROCESS. This section goes over Act 0, Act I, Act II Part 1, 2, 3 and Act III. This section traverses all the supermajor stages and within them are the substages. The sub stages tell you how to go about implementation. For example, in the Ordinary State, you may want to use Repression or Protection etc. You don’t have to use every sub-stage – they are a range of options. Some supermajor stages have multiple sections (for example, the Pulling Away). Consider them all in their entirety – there are lots of linkages between them. You can interpret the stages literally, metaphorically or symbolically. Simply superimpose your characters and situation over this template. By writing ideas for each stage, you will draw out your whole story and be able to decide which sequences and scenes are ultimately more important – for example, you may find that the Hero Guardian’s contribution may be critical to your story or simply cursory. Once you get used to the template, you will intuitively know which stages are more important than others. Most effective writers measure progress by sequence. That is, they will ensure they write X sequences a day rather than X number of pages a day. Series, Trilogies etc With the Harry Potter series, for example, each story has an antagonism, the process is undergone and that antagonism is finally repressed or destroyed. In the final episode, the most potent antagonism is confronted, repressed or destroyed. Each story follows the same process - you're just passing through the loop many times (which is the nature of all story: repression, liberty and back to repression or liberty, repression and back to liberty). Sitcoms and TV Shows With the Frasier sitcom / series, for example, each story follows the process. Here, functions are performed within a limited set of locations. The Ordinary

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State or Problem State or Journey Driver may be expressed in the cafe, New World functions performed in the apartment and kitchen, change demonstrated back at the cafe etc. Updates This file is regularly updated with significant insights and examples from the most recent, successful movies at www.kalbashir.com Details of new updates will be distributed in the daily tip of the day email – to receive them YOU MUST BE SIGNED ONTO THE TIP OF THE DAY MAILING LIST. Website For a number of very valid reasons, you should always keep an eye on the website - http://www.kalbashir.com Universal Applicability In order to demonstrate the universal applicability of the framework, I have had to include concepts in stories that range from the biblical to the modern Academy Award winner. And because this is written primarily for screenwriters, I have tended to focus on Western and Hollywood films (but generally, this pattern is even more pronounced in Bollywood (Indian cinema), Nollywood (Nigerian cinema) and Chollywood (Chinese cinema) etc). Whether you appreciate it or not, all of these concepts are embedded in your story. This template is trying to help you see that. I have tried to: a) Use a range of stories to demonstrate the universal applicability of the model. But at the same time, I have tended to apply examples to the most well known stories, so that you can follow. b) Include real world, gritty film examples to mirror the fairytale metaphors. Even the most gritty, down to earth film is, ultimately, a fairytale metaphor. Reinforce the more abstract or important or less easy to understand points with more examples. On the rare occasion where more example evidence is required, this will be added in future versions of this material – keep up to date with latest versions at www.kalbashir.com

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SECTION I – INTRODUCTORY CONCEPTS

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Act 0 vs Act I, When There’s No Backstory Act 0 is the backstory act. It is the sequence of processes, which happen before the journey itself begins. Act 0 is the classic beginning – the Original State of Perfection (the Garden of Eden, Paradise etc), which is lost. Even though Act 0 happens before the journey itself begins, it may be tagged in a minor or major way at the beginning of the story, which will make it look like classic storytelling. In Prometheus (2012), symbols of the Garden of Eden and its loss are shown at the start of the movie, which then skips forward to show the heroine (when she is ready to embark) discover the cave paintings and go on the interstellar voyage. In War Horse (2011), we see the Parent Death and Parent Separation when War Horse is born. Act 0 may also be tagged throughout the story in a block: In Casablanca (1942), we learn why Rick has lost his faith in women and love through the flashback scene in Paris. In Kill Bill Vol. 1 (2003), we learn of O-Ren Ishii’s backstory through the block flashback story of her childhood. Or in separate flashbacks: In Midnight Cowboy (1969), Joe’s childhood is told through a series of flashbacks. The process from Act 0 to Act 1 is the process of getting from the Original State of Perfection to the State of Imperfection. Some stories will extend the State of Perfection before moving to the State of Imperfection. In Ghost (1990), the initial State of Perfection is extended. Yet other stories will contract the process of getting from the Original State of Perfection to the State of Imperfection.

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In Rise of the Planet of the Apes (2011), Caesar’s mother is quickly pulled out of Eden (from her jungle home) into the laboratory. Thematically, the process from Act 0 to Act I (moving from the Original State of Perfection to the State of Imperfection) is the process of arriving at the initial thematic position. In Lone Ranger (2013), John Reid initially represents the Laws of Man. Throughout the story, it is referenced how he used to be more like his brother, who represents the Laws of Nature. The backstory is how and why John turned from representing the Laws of Man to representing the Laws of Nature. Commonly, stories will start at the State of Imperfection (Act I) and flashback or reference the backstory (Act 0). In The Shawshank Redemption (1994), Andy’s wife is already sleeping with someone else. In Rocky (1976), Rocky looks back at a picture of his young self in the mirror – a Period of Perfection - where all potential was not yet lost. Mickey berates Rocky for once having potential but then losing it. In Gran Torino (2000), the Original State of Perfection is lost when Walt goes to Korea. But we never see him in Korea – that stage is referenced. In Pretty Woman (1990), the Original State of Perfection is lost when Vivian starts work as a pro on the street. But we never see that loss, it is referenced. In The Wrestler (2008), we never see the Original State of Perfection, when the Ram fights the Ayatollah. That stage is referenced using stills. In The Lion, the Witch and the Wardrobe (2005), the story starts when then White Witch is in control and Narnia is in eternal winter. Aslan references the Age before the Dawn of Time. Generally, starting at the State of Imperfection (Act I), means starting at the top of the arc for the antagonist and at the bottom of the arc for the protagonist. This is the State of Imperfection of the Ordinary State. In The Apartment (1960), the story starts in the Ordinary State, where Baxter and Fran are at the bottom of their arcs.

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In Star Wars (1977), the story starts with Vader at the top of his arc and Luke starts at the bottom of his arc. Vader gradually loses everything whereas Luke gradually gains everything. When There’s No Backstory If you start at the very beginning at the State of Perfection and continue with each consecutive sequence, then there is no backstory. Time starts there. You’re starting at the Garden of Eden, watching it being destroyed, watching the child grow up and so on. Backstory is only relevant if you start later along the cycle. Or start at the beginning and skip sequences, which you may then want to flashback to. In that case, the backstory should be viewed as: a) The moment when the capacity to maintain the Original State of Perfection was lost and the events between then and the present day. b) The events that led to the starting thematic position. In The Last Time (2006), Ted’s problems began way back, when a woman left him, while he was still at the university. The resolution in this story is the overcoming of that issue and the returning to that Original State. In Vers Le Sud [Heading South] (2005), Brenda’s problem began before the story started, when she first had an orgasm with Legba.

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Act II, Beachhead, Mainland, Underworld The journey through Act II is defined as the New World Proper. Within Act II, the character will journey through many New Worlds, which are different from the New World Proper. A good example to demonstrate this is a house – the house is the New World Proper and each room is its own New World. In The Matrix (1999), Neo enters the Matrix, which is the New World Proper, but within that he goes to the Oracle’s World, which is a New World in its own right. Within Act II, there are three main sections. The first section is the Beachhead (also referred to as the First Threshold). After the Beachhead, in the second section, the character crosses past the Physical Separation into the Mainland (which is also referred to as the Deeper New World). After the Mainland, in the third section, the character crosses into the Underworld. Though all of these (Beachhead, Mainland, Underworld) are in the New World Proper, each is a distinctly different physical world. In Dances with Wolves (1990), John first enters the Beachhead of the New World (the fort) and then crosses Border Symbolism to venture deeper into the Mainland (across the prairie and into Indian territory). The Underworld is venturing back to the fort to get the guns and the battle with the Pawnee. In Star Wars (1977), Luke first enters the Beachhead of the New World (Mos Eisley) and then crosses Border Symbolism to venture deeper into the Mainland (breaking free from the planet and into space). The Underworld is the bowels of the Death Star. One function of the Beachhead is to detach from the Ordinary Self and attach to the New Self. In The Godfather (1972), Michael detaches from Kay (representing his Ordinary Self) and attaches to the Family, “I’m with you now, Pop.”

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One function of the Mainland is to reverse an Ordinary Self position. One function of the Underworld is to totally detach from the Ordinary Self. In Dances with Wolves (1990), John leaves the fort and soldiering behind and becomes a Sioux. In The Godfather (1972), Michael's Old Self starts to dissolve away once he is in Sicily. In Educating Rita (1983), Rita’s Old Self dissolves away under Dr. Bryant’s tutelage. In The Devil Wears Prada (2006), Andy’s Old Self dissolves away under Miranda and Nigel’s influence.

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Act I vs Act II, Soft vs Hard Breaks People tend to see act breaks in terms of hard breaks. They want to see a clear, delineated line that separates the acts. Commonly, they want to see something like a clear movement from one world to another. In The Wizard of Oz (1939), people tend to see Dorothy’s forced flight from Kansas to Oz as a hard act break. But that clear, delineated line is an externalization of the beginning of a process. In other words, the process may begin whether the character clearly delineates from one world to another or not. In other words, the act may begin whether there is clearly delineation or not. Technically, Act II starts upon entry into the New World Proper (when the character enters the Beachhead) and ends when the character exits the New World Proper (at the Physical Apotheosis). But because there may be a lack of a clear delineation, the act break may go unnoticed and not be seen as an act break at all – this is a soft break. Further, a later stage may be seen as an act break, simply because there is a clear delineation and movement into a new world (or something similar) when in reality this is just the movement into another section. The entry into the Beachhead is always the beginning of Act II (because it’s the start of a process) even though it seems, quite often, that the movement into the Mainland is the beginning of Act II. Good examples include: In The Godfather (1972), Act II begins when Michael arrives back at the house after his father’s assassination attempt. This is a soft break because it is almost seamless. However, most people assume Act II begins when Michael leaves for Sicily, which is actually a continuation of movement from the Beachhead into the Mainland. In Raiders of the Lost Ark (1981), Act II begins when Indy goes to Nepal. However, most people assume Act II begins when Indy goes to Egypt, which is actually a continuation of movement from the Beachhead into the Mainland. In conclusion, entry into the Beachhead or Mainland may be soft or hard breaks. Entry into the Beachhead is always the beginning of Act II (because it’s the start of a process), even though it may seem like Act II starts upon entry into the Mainland.

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Ordinary and New Attachments, Attaching and Detaching When Clark Kent takes off a jacket and puts on a cape, he transforms and arcs in a way that is commonly understood. What he is doing, in fact, is detaching from things that represent his Old Self and attaching to things that represent his New Self. He’s peeling off everything which represents who he was and layering on everything which represents who he is becoming. He is detaching from things which represent Who He Was and attaching to things which represent Who He Is Becoming. In other words, attachments represent Who You Are - the Self at any stage of transformation. As the character changes, s/he lets go of his Ordinary Self, which means letting go of those attachments which represent the Ordinary Self. As the character changes, s/he attaches to those things which represent the New Self. Finally, in Act III, the character becomes a Mature Self by letting go of all those attachments which represented the Old and New Selves and attaching to those representations which signify the Mature Self (the third act is a little more complicated as it involves integrating Old and New Self attachments). Attachments can be inanimate tangible – like clothing. Or they can be intangibles, like beliefs. Or they can be people, like allies and romantic challenges. This is the basis of the Ordinary World Romantic Challenge and the New World Romantic Challenge (see later section). In other words, attachments themselves are signals of transformation, change and arc.

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Ordinary And New World Romantic Challenges The Ordinary World Romantic Challenge and New World Romantic Challenge are separate and distinct archetypes. In Gorillas In The Mist (1988), Dian has her Ordinary World boyfriend, who she plans to marry (Ordinary World Romantic Challenge) and Bob Campbell (New World Romantic Challenge). Both of these are, in essence, attachments which represent the Ordinary and New Selves. When the hero is an Ordinary Self, s/he is attached to the Ordinary Self Romantic Challenge. As the hero becomes the New Self, so s/he detaches from the Ordinary Self Romantic Challenge and attaches to the New Self Romantic Challenge. In Gorillas In The Mist (1988), Dian loses the picture of her Ordinary World boyfriend, who is replaced by Bob Campbell (New World Romantic Challenge). Then later, as the hero has to lose both the Ordinary and New Selves to become a Mature Self, both those attachments disappear / die or similar. These archetypes can also play dual roles – meaning that they can perform other functions and represent other things. In Gorillas In The Mist (1988), Bob Campbell is also Dian’s connection to the normal, human world and when he leaves, so her connection to the normal, human world is severed. The Romantic Challenge is representative of the hero’s State, his or her stage of evolution. When the hero is devolved (Ordinary), s/he is unable to conquer the New World Romantic Challenge. When the hero is evolved (Not Ordinary, changed), s/he is able to conquer her (or her). That is, the hero must undergo the process of evolution and change (Journey, Gaining Capacities, Transformation, Adapting into the New Self) before he is able to win over the New World Romantic Challenge. From another point of view, the Ordinary and New World Romantic Challenges represent Who The Hero Is. When he is Ordinary, or doesn’t know Who He Is, then he is attached to the Ordinary World Romantic Challenge. As he changes and discovers Who He Is, so he discovers and attaches to the New World Romantic Challenge.

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Using the classic fairytale analogy: the prince battles the dragon and seizes the treasure and rescues the princess from the castle, after which she kisses him. The “Seizing of the Treasure” and the “Rescuing” symbolize evolution (“conquest”, “deserved of the prize”, “made it”, “become king like”, “become worthy of being a king”). It is only after this is done that the prince will receive the kiss. Until it is done, the kiss (representing the conquest of the Romantic Challenge) will not be forthcoming. Further, the “Seizing of the Treasure” and the “Rescuing” symbolize the fact that the hero has become a de facto member of the New World. This is one of the meanings behind the Sword (see later sections). Thus: When the Hero is established in the Ordinary World, he is often attached to an Ordinary World Romantic Challenge. The Ordinary World Romantic Challenge represents the Hero’s Ordinary Self. In Close Encounters of the Third Kind (1977), Roy is married to Ronnie. As the hero moves from the Ordinary World and into the New World, he detaches from the Ordinary World Romantic Challenge and gradually attaches to the New World Romantic Challenge. In Close Encounters of the Third Kind (1977), Roy and Ronnie begin to drift apart while Roy and Gillian get closer. In Educating Rita (1983), Rita and Denny drift apart while Rita and Bryant get closer. In The Fly (1986), Veronica leaves Stathis and attaches to Seth. When the hero successfully integrates into the New World, he conquers the New World Romantic Challenge. In Close Encounters of the Third Kind (1977), Roy kisses Gillian. When the Ordinary World Romantic Challenge is also the New World Romantic Challenge, then the Ordinary World Romantic Challenge journeys and transforms with the hero. Generally, they start off divided and get closer as they progress. In Raiders of the Lost Ark (1983), Marion journeys and transforms along with Indy. Initially she hates him, later she wants to sleep with him.

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Unawakened (Cannot See) Generally, the difference between the Ordinary and New World Romantic Challenges is that the Ordinary World Romantic Challenge “cannot see” whereas the New World Romantic Challenge “can see.” In Close Encounters of the Third Kind (1977), Ronnie does not see the aliens. Ordinary World Romantic Challenges become New World Romantic Challenges when they learn “to see.” What we are “seeing” is the opposite side of the theme. Old and New Allies Old and new allies function similar to the Romantic Challenges. Old allies represent the Ordinary Self and new allies represent the New Self. In The Devil Wears Prada (2006), Andy leaves behind Nate, Lily and Doug. And attaches to Emily et al. Antiheroes Antiheroes also function similar to the Romantic Challenge. The antihero will gain the Dark Queen (New World Romantic Challenge) as he develops the Dark Arts and leave the Ordinary World Romantic Challenge behind. In Scarface (1983), Tony attaches to Elvira.

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Everything Is Arc Arc is usually considered to be something like what happens to Neo in The Matrix (1999) or Daniel Laruso in The Karate Kid (1984). Where an incapable character is made capable. While this is arc, it is only a small fraction of what arc is [in this case, what we’re seeing is overt externalization of arc – what’s really happening is that the character is arcing away from who he was and arcing toward becoming someone else]. Arc is probably best described as something like “moving away from something and moving toward something else.” Plot is arc. Plot is always “moving away from something and moving toward something else.” One function of plot is to incrementally move the character forward (which is arc). Which is why the journey itself is arc. As characters progress along the journey, so they arc. As characters progress through each location, so they arc. Theme is arc, which is always “moving away from something and moving toward something else.” Each act is an arc, as the end of an act is further along than the beginning of an act. All successful stories have many arcs. Simply a boy meeting a girl and that relationship developing is arc – and that’ll only be part of the story. Foreshadows Arcs can be extensions of foreshadowing. If an event occurs and has only two points – a foreshadow and the event itself, then that’s a straightforward foreshadow. But as soon as you start to foreshadow an event more than once, then it starts to become an arc. Limitations Limitations tend to have more than two points. It is uncommon to show a limitation once and then have it conquered in the next appearance. Limitations tend to be expressed a few times, at least, before conquest – limitations themselves are arcs. Every hero will have some sort of limitation, vulnerability, shortcoming or similar (look at the problem). Even if they don’t, they will arc in the ways suggested below.

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In Goldfinger (1964), Bond admits his shortcomings to M. In Raiders of the Lost Ark (1981), Indy is vulnerable. There are many forms of arc, including: Readiness Characters start in various states of unreadiness and arc to become ready. This is one of the cornerstones of Act 2. When the character enters Act II, s/he is not ready to return. When the character leaves Act II, s/he is ready to return. One function of Act II is to turn the character from unready to ready. Readiness is an intangible form of Ultimate Boon. In Star Wars (1977), when Luke enters Mos Eisley, he’s not ready to attack the Death Star. Upon leaving the Death Star and engaging with its fighters and shooting some down, he is ready (save for the Smoking Gun, see later sections). Characters are not ready because they have limitations, which need to be overcome. Characters will always initially have limitations and will arc to gradually overcome those limitations. Readiness for the next stage is demonstrated by the easy overcoming of the current stage’s antagonism. In Spartacus (1960), Spartacus demonstrates readiness to move on by overcoming Marcellus. Wholeness Initially characters are not whole and arc through to become whole. In Dirty Dozen (1967), Major Reisman starts with limitations – he is not whole. He starts with hard skills and lacks soft skills, hence dialogue such as “be nice,” “the major feels Franco’s pain” etc. He learns soft skills to overcome this limitation and become a complete (whole) leader. Damage is a reflection of a lack of wholeness. Characters start off damaged and arc through to Repair themselves. In The King’s Speech (2010), Bertie has been damaged and Lionel helps him overcome that damage. Who You Are If not direct Identity Loss (Parent Separation in the early years, when the character is cut off from the root of his identity), characters start not knowing who

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they really are and arc to discover Who They Are. As the character rediscovers Who S/he Is, so s/he becomes more like the parent (an external sign of arcing). In Amazing Spiderman (2012), Peter has lost the link to his parents, hence his identity. We see him change as he becomes more like his father. Belief Characters start not believing the opposite way and arc to believing the opposite way. One function of the New World Proper is to push the character into an opposite world, where he will start not believing it’s norms and values and then finally, end up believing them. In Avatar (2009), Jake starts of opposed to the Na’vi world and then reverses to believe in it. Belief is related to theme – the opposite world and “other side” are all manifestations of the other side of the theme. In The Prophecy (1995), Dagget learns to believe in God again – find rediscovers his faith. Coming Home Characters start by not being allowed home and arc their way to finding their way back home (or being allowed back home). As the character arcs, so the home begins to appear / builds. Home is closely linked to Identity Loss and the recovery of it. In The Hobbit: An Unexpected Journey (2012), the dwarves are cast out of home and will eventually return to it in some form. In Inception (2010), Cobb is allowed back home. In The Place Beyond The Pines (2012), Romina doesn’t initially let Luke into her place. Then as he starts to earn and wants to become the father, she allows him in and the home and family begin to appear. Awakening Characters start off asleep and arc to being awake. When the character enters Act II, s/he is not awakened to the other side of the theme. When the character leaves Act II, s/he is awakened to the other side of the theme. One function of Act II is to awaken the character to the other side of the theme.

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They start not being able “too see” and in the end “can see.” In Thelma and Louise (1991), Thelma’s journey is literally one of awakening. Choice Characters start off with little choice and as they arc, so their choices grow. In The Shawshank Redemption (1994), Andy Dusfresne starts off trapped in Shawshank, then chooses not to leave, then chooses to leave. Hope Initially, all hope is lost or there is no hope (the hero is the Only Hope or the Last Hope), but as the journey progresses, hope appears and is finally realised. In The Shawshank Redemption (1994), Red starts off without any hope. Finally, he dares to hope. Attachments And Detachments As stated earlier, attachments and detaching from them are all part of arc. Leaving behind things that represent the Old Self and attach to things that represent the New Self. Even the most innocuous detachment and attachment has a subconscious impact (and is put there on purpose). In Django Unchained (2012), when Schultz first meets and frees him, Django drops his old slave rag and puts on the white mans coat. It is just one incremental step of the overall change of clothing, which represents Django’s change. Clothing Changing old clothes for new is a form of detachment and attachment and therefore transformation. In Goldfinger (1962), Bond changes clothes on the aircraft. Getting The Girl Described wholly in the section: Ordinary And New World Romantic Challenges. As the character arcs, so he increasingly gets closer to getting the girl. In Captain America: The First Avenger (2011), as Steve Rogers changes, so he gets closer to getting the girl.

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In Dances With Wolves (1990), as John changes, so he gets closer to the girl. Ticking Clocks Clocks benchmark arcs like awakening and the Race Against Time (which as it intensifies, is an arc. In Groundhog Day (1993), the morning clock benchmarks Phil’s initial sleep and gradual awakening. New Names As the character arcs, so he loses his old names and is given new ones. Again, this is a form of detachment and attachment and therefore transformation. In Amazing Spiderman (2012), the hero changes names from “Peter” to “Vigilante” to “Spiderman.” Goodbye / Goodnight As characters arc, so they say goodbye and goodnight to their older selves. Or attachments representing their older selves say goodbye to them. In Oblivion (2013), Victoria says “goodbye” to Jack. Becoming The Parent As the character rediscovers Who He Is, so he becomes more and more like the parent. And then eventually arcs past the parent. In Amazing Spiderman (2012), As Peter increasingly finds out who he is, so he increasingly begins to become like his father. And then surpasses his father. Arcing With Archetypes Commonly, with close-to-perfect heroes, the arc is accentuated by including other archetypes, often-innocent archetypes who go on to mature. In Cahill: US Marshal (1973), Cahill changes but so do his kids. In The Magificent Seven (1960), Chico accentuates the change. In 12 Angry Men (1957), Henry Fonda overcomes a limitation but the other characters show clearer arcs. These other characters are usually just as important as the main character (and understanding what the story is really about – they are a clue to theme).

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In Back To The Future (1985), George McFly’s arc is as important as Marty’s. Antagonist’s Arc It is common to hear that “everybody arcs except the antagonist.” But if you look carefully, even the antagonist arcs. This can be a function of the protagonist moving away from the antagonist, the antagonist rising in potency or any number of things. In Pretty Woman (1990), Stuckey arcs down. Separating Change From Arc It might sound strange, but it is easier to understand some progression if we separate change from arc. When there is change, there is always arc. But sometimes there is arc without corresponding change (in a sense). Sometimes, two characters will start aligned, in the same position. In Oblivion (2013), Jack and Victoria start aligned, they wake up in bed together, on the same side physically and psychologically, on the same side of the theme. This is represented by the dialogue, “are we an effective team.” As the hero (Jack) arcs and changes, even though Victoria has not moved (changed), she’s arcing away from Jack – the distance between them is increasing; their arcs are noticeable in relation to the earlier positions relative to each other. This is commonly noticeable with attachments - as the hero detaches from them, so they arc away, sometimes simply by remaining the same. This is important because it tells you how to write these characters – everything about these characters is based on where they originally were and end up, relative to the hero.

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Ordinary World Is Not Necessarily The Start Of The Journey It is commonly assumed that the Ordinary World is the start of the journey. Not necessarily. We can see from the cycle that the classic, technical beginning is the State of Perfection (Garden of Eden etc). But even when the story starts when the hero is ready to embark on the journey, the Ordinary World may not be the beginning. Commonly, the story journeys into the Ordinary World (usually through a New World), where the hero / character’s bottom end of the arc is demonstrated (Ordinary State). In The Shawshank Redemption (1994), we see Andy ready to shoot somebody, him being sentenced and entering Shawshank, passing the prisoners and guards and warden of his new world and watching the fat man beaten by Hadley etc…a lot happens before that first morning when Andy has breakfast with Red’s gang and Heywood calls him “new fish,” (which is the Ordinary World / State stage). In From Here To Eternity (1953), a lot happens before Angelo walks into the barracks (which is the Ordinary World / State stage). From another point of view, the story may start at the Ordinary World but not the hero’s Ordinary World. It can be argued that: In Star Wars (1977), the story starts in Vader’s / Leia’s Ordinary World, moves onto Artoo’s and Threepio’s Ordinary State and the into Luke’s Ordinary World / State. In each case, we start at the top or bottom end of the arc, depending on whether the journey will see the character arc up or down.

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Understanding Metaphors and Universal Terminology To truly understand and apply the process, you must understand that the terminology is metaphoric as well as, sometimes, literal. For example: From the fairytales you are aware of, you recognise that “a hero often battles a dragon before seizing a treasure.” In a literal sense, this would be responsible for stories such as Eragon (2006), where a hero literally battles a dragon. But in a metaphoric sense, the “dragon” is an obstacle to the “treasure,” which is something valuable. In When Harry met Sally (1989), Harry must help Sally get over her exboyfriend before he is able to kiss and bed her. Thus the expression: “what are your dragons?” Another example: From the fairytales you are aware of, you recognise that an “Oracle may be a source of wisdom that points the hero towards the treasure or princess.” In a literal sense, this can be responsible for stories such as The Matrix (1999), where a hero literally meets an Oracle. But in a metaphoric sense, the “Oracle” may simply be that entity or event or incident that points the hero towards something valuable. Thus, in Yojimbo (1963), the child’s story is responsible for the Samurai’s realization that he must rescue the boy’s mother. “Magical Spells” can literally be spells and enchantments, but metaphorically they can be any competencies or capabilities that the character requires. From a metaphoric point of view, a gun may be a Magical Spell or a Magical Gift if it performs a valuable function. Thus the following three examples are one and the same: The young apprentice waves his magical wand and the dragon disappears. Jake pointed the gun and Fred backed off.

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Sarah told Tom about her affair with Jake and so he decided not to go on the date. And so on. Universal Terminology Similarly, the process uses specific terminology, such as “Final Confrontation” and “Hand-to-Hand Battle” etc. Again, when taken literally, this misleadingly implies that it is fit for only specific story-types (Arthurian Legend, Damsel in Distress, Fantasy, etc). In fact, metaphorically, the terminology applies to every successful story or screenplay you may have come across: In Raging Bull (1980), the mafia Don is “the Magical Oracle.” In The Shawshank Redemption (1994), Red is a Supernatural Aid. 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 Vader battling it out at the end of Star Wars (1977); the same mano-a-mano confrontation between Riggs and Joshua in Lethal Weapon (1987), the same confrontation 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). Even More Layers When we take other concepts, such as theme and transformation into account, we find that the meanings go beyond even the metaphoric – the dragons represent the Old Self and anti-theme, getting past them means letting go of the Old Self and the wrong set so beliefs etc. In When Harry met Sally (1989), Harry must help Sally get over her exboyfriend before he is able to kiss and bed her. The ex-boyfriend is a dragon and an old attachment and represents the anti-theme.

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Types Of Metaphor And Symbolism There is far more symbolism in successful stories than is given credit – so much so that I would say stories are symbols. There are many types of metaphor and symbol, which you will meet often. Examples include: Armageddon Symbolism In essence, there is a Race Against Time and prevent the End of the World. This is the origin of dialogue such as “our most desperate hour.” Throughout the journey there is the rush to quickly move on and gain the required Capacities. Even in the Final Conflict, this is evident – there is a rush to let go of limitations and vanquish the opposition (commonly, the hero is victor at the very last moment as he is forced to let go). Time Pressure, which is the increasing lack of opportunity to return the Worlds to a State of Perfection. In Goldfinger (1964), Bond saves the world when only seven seconds remain. In The Ugly Truth (2009), Abby must increase ratings or the show will get cancelled. In Gran Torino (2008), Walt must defeat the gang before his sickness defeats him. Baptism Symbolism The role of water is ancient and works on the audience subconsciously; it signifies baptism, from dirt to cleanliness, washing away the old and emergence of the new self. In 50 First Dates, (2004), lovers part in the rain. In Green Mile (1999), protagonists are tortured with water. In War of the Worlds (2005), protagonists happen to be on vessels that sink. In Jaws (1977), are submerged underwater. Reflection Symbolism Mirrors of the Self most often signify dissatisfaction with it, the need to change. In The Hangover (2009), Stu looks at himself in the mirror. He’s not happy.

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In An Officer and a Gentleman (1983), Zach looks at himself in the mirror. He’s not happy. In Thelma and Louise (1991), Thelma looks at himself in the mirror. She’s not happy. Journey and Border Symbolism Movement across physical barriers or divisions (between spaces, representing worlds) are crossed. Border Symbolisms include tunnels, doors, bridges, gates, rivers, railroads, portals etc - all signify movement from one state to another. In The Lord of the Rings: The Fellowship of the Ring (2001), Arwen carries Frodo across the river. In Romancing the Stone (1984), Jack and Joan are forced across a ravine. Transmogrification Symbolism These signify the deformation and eventual reformation of the physical form and include red (signifying blood) and injury. In The Godfather (1972), Captain McCluskey punches Michael and deforms his face. In Gladiator (2000), Maximus is cut on the arm. In Silence of the Lambs (1991), Clarice enters the garage and cuts herself. Transformation Symbolism Commonly, archetypes take off outward symbols of the older self, such as clothing. In Dances With Wolves (1990), as John spends more time alone and with the Indians, he loses his officer attire. In The King’s Speech (2010), as the Duke spends more time with Lionel, he relaxes and loosens his clothes. And adopt symbols of the newer self, such as clothing. In Dances With Wolves (1990), as John spends more time with the Indians, he starts wearing their uniform.

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In The King’s Speech (2010), as the Duke becomes King, so his attire changes. Death, Burn Symbolism Where the literal or symbolic death indicates the death of the older state. In Gran Torino (2008), the story begins with Walt’s wife’s funeral. In Slumdog Millionaire (2008), the village is set on fire and their mother murdered, resulting in the boys’ new life. In Star Wars (1977), the farm is set on fire and uncle Owen and aunt Beru murdered, resulting in Luke’s new way of thinking and new direction. In Gladiator (2000), the farm is set on fire and Maximus’ wife and child are murdered, resulting in his new way of thinking and new direction. In Memento (2000), Leonard burns his old things. Birth Symbolism Where a newborn, commonly a metaphor for innocence, arrives into the relevant world. Else, a literal Innocent Archetype represents innocence. In Import/Export (2007), the story begins by Olga delivering a baby. In Le fabuleux destin d'Amélie Poulain (2001) / Amelie (2001), Amelie is born / comes into this World. Matrimony Symbolism Where crossing the threshold of marriage / engagement indicates a movement from one state to another, commonly youth (innocence) to maturity. It also indicates merging of two selves. In The Godfather (1972), the story begins with Connie’s wedding. In Raging Bull (1980), both Jake and Joey get married. In Monsters versus Aliens (2009), the story starts with Peter proposing to Zooey. In Ben Hur (1959), Esther is due to be married. Goodbye / Goodnight Symbolism A literal or symbolic goodbye and goodnight to the older state and self.

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In Dances With Wolves (1990), John waves goodbye to the Sioux as he enters the matrimonial tent. Sunset / Sunrise Symbolism Sunset is similar to Goodbye Symbolism - representing a goodbye to the older world / self. Sunrise is symbolic of the new self. In Dances With Wolves (1990), John stands in the sunset, which illustrates the sunset of his old, officer self. Awakening Symbolism The story process is a metaphor for waking up - learning “to see.” In Groundhog Day (1953), Phil always wakes to his alarm clock. In The Matrix (1999), Neo is told to wake up. Home Symbolism The story process is a metaphor for being able to access or create a home, which itself is a metaphor for the return to a State of Perfection. In Liar, Liar (1997), Fletcher is not initially allowed home. In The Ugly Truth (2009), Abby exits her empty home. In Blue Valentine (2010), the story starts with the Dean and Cindy at home. At the end Dean leaves the home. Family Metaphor Similar to Home Symbolism, once the evolution is complete, the capacity to make or complete a family is gained. These are also metaphors for the return to a State of Perfection. In Dances With Wolves (1990), once integrated, John tries for a baby with Stand With A Fist. In Liar, Liar (1997), once his journey is complete, Fletcher, Audrey and Max make a happy family. The New World is like a family next door. At first you dislike them. Finally, you would sacrifice everything for them. At first you don’t like them, then you like them more than your own. In Gran Torino (2008), Walt initially hates his new neighbours. Finally, he sacrifices everything for them.

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In Dances With Wolves (1990), John is initially wary of the Sioux. Finally, he likes them more than his own kind. Fertility Symbolism is part of this. In Oblivion (2013), the Earth and humans begin to bear children. Wholeness Symbolism The story process is a metaphor for being able to attain physical, psychological or spiritual wholeness. Again, a metaphor for the return to a State of Perfection. In Dororo (2007), the body is trying to become whole again. In Unforgiven (1992), Will Munny is trying to become spiritually whole again. Destiny Symbolism One motivation for the journey is to find the True Self, to find Who You Are, where you Belong, Your Place. In Spiderman (2002), in the beginning of the story, Peter Parker asks himself, “Who am I?” In Unknown (2011), Dr. Martin Harris has forgotten who he is – the journey causes him to rediscover that. Departure / Arrival Symbolism Similar to Journey and Border Symbolism, where the character arrives or departs into relevant worlds. This Signifies Benchmarks between stages. In Once Upon a Time in the West (1968), Harmonica simply arrives on the train. In Dead Poets Society (1989), the boys simply arrive at their new school. In Platoon (1986), Taylor simply arrives in Vietnam. In Terminator (1984), the Terminator and Reese simply appear from the future. In Yojimbo (1961), the Samurai is simply travelling and arrives. In Brokeback Mountain (2005), Ennis and Jack simply arrive at the mountain. In Lord of the Rings (2001), Gandalf arrives in the Shire.

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In Titanic (1997), Jack runs to the ship as it leaves. Exile Symbolism It is not unusual for the hero to have been exiled from the previous worlds. Commonly, the hero has outgrown them, some reaction has been the result and s/he has been banished from them. Else characters have been Ready To Awaken and it has simply been time to leave. In An Officer and a Gentleman (1983), Zach has finished college. In The Quiet Man (1952), Sean arrives back to the mother country for a reason. Outcast Symbolism Similar to Exile, but usually applying to New Worlds, which the hero is trying to enter. Usually, the hero is outcast until s/he changes. Thematically, exile and outcast is the result of not aligning thematically with the memes of the particular world (each world represents a side of the theme). This goes hand-in-hand with “not belonging.” In Dances With Wolves (1999), John is initially outcast from the Sioux village – until he changes. Castle Symbolism The Castle is a metaphor for an edifice, which mirrors the hero’s evolution. When first entered, it is unevolved. When the hero leaves it, it is evolved. In The King’s Speech (2010), when the Duke enters Lionel’s consultancy, it is poor and empty. As they both evolve, so it evolves. Growth Metaphor Some metaphor for this growth or learning will be made explicit – it will grow as the hero grows. In Crazy, Stupid, Love (2011), the metaphor for Cal’s relationship is the garden. As it grows, so Cal starts to tend his garden. When the growth is complete, the garden is in full blossom. Repair Metaphor Some in/tangible will repair and become whole as the hero does. In The King’s Speech (2010), as the Duke begins to talk about his personal life, he starts to repair the toy aircraft.

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In Bridesmaids (2011), Rhodes tells Annie to fix her taillight. Elixir Symbolism Something in/tangible valuable. When the hero first arrives, it is unreachable. After the learning, growth and evolution, it is effortlessly reachable. In Educating Rita (1983), Rita is initially unable to go to the dinner party. Later she laughs at the significance she once gave it. Containment Symbolism Containment within a space until the change (required within that particular space) is complete. In LA Confidential (1997), Jack Vincennes is stuck until he can close a case. In Elysium (2013), a no fly zone over LA. Liberty In/Tangible Something in/tangible which becomes available after the change, signifying that the change is complete and that containment is ended. In Six Days And Seven Nights (1998), Quinn and Robin find a way off the island.

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Where’s The Midpoint? Not every story hits exactly the same point of the cycle at the exact midpoint every time. Simply because movies vary in length, some contract some stages while others expand other stages. Not all movies start at the classic beginning (the State of Perfection) and go through all the steps in order (which, by the way, is the definition of an epic). Many start at an Ordinary World, while others journey into the Ordinary World etc. It’s better to speak of a Midpoint Range. The earliest midpoint we have seen is at the Physical Separation, the departure from the Beachhead into the Mainland (Deeper New World). A common midpoint is the End Of The Road Of Recovery / Trials, where the hero is shown to reverse or equal the Natural Inhabitants of the New World, to reverse to their thematic side. Another common midpoint is the Failed Trial, where the hero shows that s/he is Not Ready. Yet another common midpoint is Seizing The Tangible Sword. This is where the hero literally seizes a tangible, which represents many intangibles (see the section in the main body). Where the hero gets what he came to get and now is ready to leave. Yet another common midpoint is Seizing The Intangible Sword. This is where the intangibles of the Sword are shown - where the hero becomes “one of them” who inhabit “the other side,” where the Natural Inhabitants of the New World accept the hero. It’s halfway through adapting within the New World (again, see the section in the main body). In Dances with Wolves (1977), John’s hand feeding of Two Socks and his being given his own tent in the village symbolize his halfway adaptation and integration into the New World – the Sioux accept him. And yet another common midpoint is Bride Theft, where the hero captures the New World Princess, which is symbolic of change and belonging etc. In Lord of the Rings: Fellowship of the Ring (2001), the midpoint is when Aragorn and Arwen stand on the bridge, just before the Fellowship are about to leave for Mount Doom. The midpoint range is between the Physical Separation and the Bride Theft.

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Story, Plot, Structure, Plot vs Character, Genre What is Story? Story is what it’s about. The story isn’t so different from the logline. Titanic (1997), is about a couple who, against all odds, fall in love on a passenger liner, which hits an iceberg and sinks. People often say “plot” when they’re really describing story. What is Plot? Plot is the arrangement of incidents, which push your characters forward. Plot is the arrangement of pushes and pulls which impact / change your characters. Plot is the particular combination of detachments and attachments, which pull characters away from the ordinary, to the new and then to the mature. This is why plot vs character is the same question – the plot is pushing the character – they’re both sides of the same coin. What is Structure? Structure is the major and minor markers along the arc - the obstacles, pushes and pulls which drive the arc (and change) forward. The Ordinary World is structure because it demonstrates the characters at one end of their arc. The Beachhead is structure because it demonstrates the characters going into an opposite world, which represents the opposite side of the arc. The First Threshold Separation is structure because that’s when the hero overcomes a refusal and accepts a look at the other side. But it quickly becomes more intricate (which is why this work has ended up with so many stages). For example, the steps of getting into and out of the Ordinary World are also part of structure (the hero is blocked and passes a minor threshold guardian, a supernatural aid thrusts the hero out of the Ordinary World and so on). The chapter headings of this work are the major markers along the arc. The paragraph headings and terms in bold are the minor (more optional) elements of the markers along the arc.

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Genre Genre is most probably best described as the “type of world” which is inhabited. A story is a “western” because it’s set in 1750 USA. A story is a “period piece” because it’s set in 1750 England. A story is “sci-fi” because it’s set in 2350. All genres have the same structure, because of arc. For example, there will always be an Ordinary World or Ordinary State to describe the bottom end of the arc. For example, there will always be a Beachhead, which will take us into the New World, which will represent the opposite side of the arc. In Aliens (1986), a horror / sci-fi, we meet Ripley in an Ordinary World situation when she’s back on Earth. In Titanic (1997), a drama / romance, we meet Jack and Rose’s Ordinary Selves on the liner, the first sequences being the Ordinary World sets. There is an argument that genres are structurally different. For example, in romcoms like When Harry Met Sally (1989), one partner always breaks up with another and then changes his / her mind and runs back. If you look at these examples structurally, they’re the same as any other story. In the case of When Harry Met Sally (1989), one character is pushed into No Mans Land and then forced to the Final Confrontation. Which really is no different from, say, Spiderman 2 (2004), where Peter is debating what to do about Doc Ock and then is forced to the Final Confrontation when he kidnaps Aunt May.

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What Is Theme? Theme is a reflection of the arc. Theme is a reflection of Where The Character Is at the beginning of Act I, Where The Character Is at the end of Act II and Where The Character Is at the end of Act III. In Dirty Harry (1971), the theme is something around Scorpio’s dialogue “I have rights.” Scorpio is the most heinous of criminals and the theme is something around “not all citizens have equal rights in the eyes of the law.” Harry believes this but the City does not, which is why Harry ultimately arcs to letting go of the law, by throwing his badge in the sea at the end. Theme is a reflection of the Way Of Thinking at the beginning of Act I, the Way Of Thinking at the end of Act II and the Way Of Thinking at the end of Act III. In Crimes and Misdemeanors (1989), one theme is “the eyes of God are always upon us.” This is what Judah believes at the beginning but comes not to believe at the end. Theme is a reflection of philosophy at the beginning of Act I, philosophy at the end of Act II and philosophy at the end of Act III. Theme is a reflection of Who You Are at the beginning of Act I, Who You Are at the end of Act II and Who You Are at the end of Act III. In What’s Your Number (2011), Ally starts by doing what is expected of her and ends up doing what she wants. The theme is somewhere around “be yourself.” Theme helps create your worlds and characters. For example, the protagonist will initially think on one side of the theme and the antagonist the other side, each world will represent what they think and who they are (e.g. Ordinary Worlds reflect thematic positions in the beginning), the opposite / new world is just that because it represents the opposite side of the theme etc. This is what writers do when they write to theme. There is an advanced worksheet, which goes over how theme is used to create every character and world at http://www.kalbashir.com/THEME-Advanced-Worksheet.html When people don’t write to theme, they write to arc. The theme will be somewhere within that arc.

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Two Homes There is some confusion regarding a) the home which is not perfect, which represents the Ordinary World and b) the home which represents the State of Perfection at the classic beginning and classic end of the cycle. The State of Perfection is represented by home. You are cast out of the home and have to return to it, much like Adam and Eve were cast out of heaven. In The Hobbit (2012), the State of Perfection is lost when the dwarves lose their kingdom (lose their home, are cast out of their home). That's not the same as the Ordinary World, which is also represented by home. In The Hobbit (2012), we meet Bilbo at home in the Shire and the hobbit hole. During the Ordinary World stage, the home is a confining place, which the hero must escape from. Even if he is perfectly happy there, it is imperfect and defined by the hero’s limitations, though he may not be aware of them (an Unknowing Hero). In The Hobbit (2012), Bilbo must go on the journey if he's to lose his fears and regain his sense of adventure and "change." The hero must leave the imperfect Ordinary World (an imperfect home), go on the journey and then come back to the State of Perfection (a perfect home). The hero may end up at a State of Perfection, which is geographically different from the Ordinary World home, but it will still be referred to as “home” or “new home.” In The Godfather (1972), Michael ends up in Nevada, his new home. Or the hero may end up in the same geographic location as the Ordinary World home, only now it is a fuller, more perfect home (commonly because the Capacities to make it better have been gained through the journey). In Shrek (2001), Shrek returns back to his swamp, only now it is perfect because he’s got a princess and a friend, and he’s not alone.

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Hero vs Heroine (Gender Neutrality) It is a mistake to believe that the heroine’s journey is separate and distinct from the hero’s journey. The journey is about pulling the hero through a process of transformation, which is not gender specific. In Million Dollar Baby (Academy Award Winner Best Film, 2004) – though Maggie and Frankie both have their challenges, their process towards Apotheosis and beyond is the same. There are many, many examples where the hero is female. In The Fly (1986) Veronica is the hero. In Out Of Africa (1985), Karen is the hero. In Twilight (2008), Bella is the hero. And there are many examples where gender roles are reversed. In Erin Brockovich (1999), Erin is the hero and George is the Romantic Challenge. In Breakfast at Tiffany’s (1961), Holly is a hero and Paul is the Romantic Challenge. The gender of any character can be reversed and is close to unimportant – what is important is the function of each character. In Thelma and Louise (1991), the hero and mentor are both feminine and interchangeable. In Brokeback Mountain (2005), many of the characters are gender unimportant - this is a story about a gay couple. For the sake of simplicity, I have tended to stick to conventional gender labels (for example, the hero is a “he” and the “Romantic Challenge” is a “she”). Sometimes, I use combinations like “s/he” and “hero/ine” to indicate / remind that the roles are not gender specific.

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Character vs Archetype, Multiple Protagonists Often I will write, “archetypes do this or that…” or “characters do this and that” instead of “hero or heroine does this or that.” This is because these terms are interchangeable. Restricting the action to the hero/ine only would imply that only the hero/ine could execute or take part in the function. The hero/ine is simply a representation, a focal point with which to drag through the process – the functions can be performed by any character or archetype. In essence, there are just A Set Of Functions that need to be performed. In There Will Be Blood (2007), it is Baby Plainview’s father that dies, not Daniel’s (in other words, Baby Plainview experiences the Parent Death). In No Country for Old Men (2007), it is not Llewelyn that experiences the Freedom to Live, but the Sheriff. Ensemble Movies In ensemble movies, the characters will be split into various archetypes and each will perform some of the functions. In The Hangover (2009), each of the four boys performs some of the functions as and when are necessary. In Crash (2004), a variety of archetypes perform the many functions. Multiple Protagonists / Themes Multiple protagonists will proceed along the journey in a parallel way. If written to theme, each will have a thematic start-point and end-point and their worlds will resemble each point and change to move from one to the other. If not written to theme, the same applies, because there will be an arc to each protagonist. A good example of this is Crimes and Misdemeanors (1989). Passive / Unwilling Protagonists Characters may arc and turn from passive / unwilling to active / willing. It is not so much that the character has to actively pursue the quest, but that events push him (or her) onto the journey, where the object of the quest will be found. The object is related to many things - the tangible (for example, a treasure) simply represents one of the many intangibles.

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Goldilocks Principle / Metaphor The Goldilocks Principle is an easy metaphor used to explain the rise of Antagonism Potency as you progress through the story. As per the fairytale (Goldilocks and the Three Bears), you have Baby Bear, Mama Bear and Papa Bear. You must defeat an antagonism before you can escape the Beachhead and enter the Mainland (Deeper New World). The antagonism faced at this stage may be compared to Baby Bear – the least potent. This is also known as the Major Threshold Guardian (of this stage). In Star Wars (1977), Luke et al must escape the Stormtroopers before they can get off Tatooine. You must defeat an antagonism before you can escape the Mainland (Deeper New World) and enter the worlds of Act III. The antagonism faced at this stage may be compared to Mama Bear, who is more potent than Baby Bear. This antagonism is also known as the Inferior Antagonism. In Star Wars (1977), Luke et al must escape Vader and the Stormtroopers before they can get off the Death Star. You must defeat an antagonism at the end of Act III. The antagonism faced at this stage is the most potent, and may be compared to Papa Bear. This is also known as the Greater Antagonism. In Star Wars (1977), in the final act, Luke et al must defeat Vader, Stormtroopers (enemy fighters), Tarkin and the Death Star. In each Act, the Antagonism’s Potency Level rises and Baby, Mama and Papa Bear are labels for this. This is one way in which the antagonist arcs. In Casino (1995), in Act I Nicky is Sam’s friend, in Act II they become confrontational and in Act III Nicky considers killing Sam. In The Godfather (1972), Michael overcomes Sollozzo to leave the Beachhead. Then the Don makes peace with the Heads of the Five Families and Tattaglia at the end of Act II. And then the whole lot (Barzini, Tattaglia, Mo Green, Carlo et al) are overcome at the end of Act III. Puppet Master Commonly, Papa Bear is the power behind Mama Bear and Baby Bear.

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In The Godfather (1972), Barzini is pulling the strings, but we do not discover that until the end of Act II. Increasingly Potent Supernatural Aids The hero has to learn / change to overcome these increasingly potent antagonists and needs guidance at each stage (given by Supernatural Aid archetypes). Just as the Antagonism’s Potency rises, so do the Supernatural Aid’s Potencies to assist the hero. And so does the potency of the hero himself (who is stronger after having defeated the last antagonist). In each stage of the journey, the hero gains New Capacities, which ultimately accumulate to the hero having Greater Capacities than the Supernatural Aids who do the teaching at that time. Each preceding Supernatural Aid lacks the Capacities to guide the hero through the later, more progressive stages. Each successive Supernatural Aid endows the hero with Greater Capacities to deal with those stages. Thus, commonly, later mentors tend to be more powerful than preceding ones. As the hero progresses through the Acts, s/he becomes Ready and Awakened to deal with the Bears / Monsters therein. When the hero confronts Baby Bear, s/he is only capable of dealing with Baby Bear. When s/he confronts Mama Bear, s/he is only capable of dealing with Mama Bear. When s/he confronts Papa Bear, s/he is capable of dealing with Papa Bear. In Gran Torino (2000), Walt (a Supernatural Aid) is more powerful than Sue (a Supernatural Aid) and it is Walt that teaches Thao how to confront the gang. In Pretty Woman (1990), Edward (a Supernatural Aid) is more powerful than Kit (a Supernatural Aid), and it is Edward that gives Vivian the capacity to escape the street. In The Karate Kid (1984), Miyagi (a Supernatural Aid) is more powerful than Lucille (Mom, a Supernatural Aid) and it is Miyagi that teaches Daniel how to combat the gang. So the Supernatural Aid also arcs in this way. Comfort, Stretch, Stress When characters overcome the obstacles / bears / monsters of a particular stage, they demonstrate that the capacities to exit that stage and enter the next

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stage have been gained. In other words, they have grown enough to be able to move forward. In other words, characters move from a comfort zone into a stretch zone, where they face challenges. Once that stretch zone becomes a comfort zone, they are ready to move into the next stretch zone. Every successful story can be broken down into a series of stretches. Characters don’t immediately skip to the last step as they would stress and break. This is the function of increasingly potent antagonisms and supernatural aids – to assist incremental growth without breaking as and when characters are ready. It is through the process of incremental stretches that characters develop capacities which finally result in them being able to face and vanquish the Greater Antagonism (Papa Bear). In The Devil Wears Prada (2006), Andy is pushed from her comfortable apartment and boyfriend into the stretch zone of Runway and Miranda’s office. Once she’s acclimatized to that, she’s pushed out of it and forced to a new stretch zone – to engage in the runthrough. And so on. These are all ways in which the hero, antagonist and supernatural aid arc.

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The Many Worlds Every successful story involves the movement between Many Worlds. This is significant in scale and scope. In Stand by Me (1986), the boys journey from their small town into the World beyond the town. In When Harry met Sally (1989), Harry and Sally travel from Chicago to New York. In The Shawshank Redemption (1994), Andy Dusfresne is forced from his Ordinary World as banker to the World of Shawshank. In Gorillas in the Mist (1988), Dian travels from Ordinary World USA to the World of the gorillas in Africa. Where a story seems to unfold in a single location, the above criteria are met by a traversing through domains. In Annie Hall (1977), the story unfolds in New York but Annie moves from her apartment into Alvie’s apartment (the final act is played out in LA). In One Flew Over the Cuckoo’s Nest (1975), the story unfolds in a single city, but in and out of the institution. In Hard Candy (2005), the story unfolds in a single house but moves from room to room and outside. Or by some distinct change within that location: In When Harry Met Sally (1989), the major part of the story occurs in New York, but the Ordinary Selves of the couple are demonstrated when they are in a relationship, their New Selves are demonstrated when they are single and become friends etc. Further, the criteria are met by the arrival of New Characters into the Worlds. In Gosford Park (2001), Mary Maceachran and Robert Parks arrive from Another World and are new to this World. In Platoon (1986), Taylor arrives from Another World and is new to Vietnam.

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Worlds Represent States A “World” is interchangeably literal and metaphoric. It is most often, but not always, metaphoric for a “New State of Being.” What’s happening is that a new state is being expressed within a new space or in / through a new situation. In Close Encounters of the Third Kind (1977), the arrival of the lights heralds Roy’s new state of curiosity, anxiety and obsession. The arrival of the lights is the incident that separates the Ordinary World (state) of family and ordinary-ness and the New World (state) of curiosity, anxiety and obsession. In The Thing (1982), MacReady et al remain in the same physical place but the arrival of The Thing causes them to enter a new state of anxiety. In Kramer versus Kramer (1979), Ted and Billy remain in the same house but the departure of Joanne causes them to enter into a new state of cohabitation. In Annie Hall (1977), Annie and Alvie’s meeting causes them to enter into a new state of romance. Dissolving Worlds Worlds are physical externalizations (manifestations) of states. As a state dissolves away, so its externalization dissolves away. As a state is grown out of, so it disappears and its associated World disappears. As the story progresses between Worlds, each of the Worlds that have been passed through disappears. In other words, those Worlds are destroyed or just do not remain as they were. In the ancient fairytales, they simply vanish in a puff of smoke. This is especially true for the Ordinary World and the New World. When the hero departs from the Ordinary World, it disappears / changes somehow (it is not as it once was). And the hero cannot return to it. When the Hero leaves the Mainland (Deeper New World), it too disappears / changes somehow (it is not as it once was). And the hero cannot return to it. These are physical representations of the psychological state – once a psychological state has been surpassed, it cannot be returned to. Your hero can go back to the same geographical location, the same place, but it will have changed somehow. Thus a critical first stage of story development is deciding which Worlds your hero et al traverse and what they exactly represent.

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Splitting The Major Worlds Cycle of Major Worlds In its simplest form, there are three Major Worlds which form the basis of the loop. The Mature Worlds, which is lost and where the State of Imperfection comes into being (Act 0). And which is returned to after the journey through the New World and the State of Perfection is restored (Act III). The Ordinary Worlds, which represent the Ordinary States (Act I). The New Worlds, which represent the becoming of the New Self (Act II). Splitting the Major Worlds (Excluding Act 0, the backstory steps): Characters move from the Ordinary World (Act I Part A) to the Edge Of The Ordinary World (Act I Part B). Characters move from the Edge of the Ordinary World and enter the Beachhead Of The New World (Act II Part A). Characters move from the Beachhead into the Mainland Of The New World (Act II Part B). Characters move from the Mainland into the Underworld Of The New World (Act II Part C). Characters move from the Underworld into the Worlds of No Mans Land (Act III Part A). Characters move from No Mans Land into the Worlds Of Final Conflict And Restored Perfection (Act III Part B). Domains Each domain within these Worlds may be a New World in its own right. For example, within the Mainland, characters will need to Seize the Sword, which will occur in a World in its own right. For example, within the Underworld, characters will endure a Near Death Experience, which will occur in a World in its own right.

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Journey Through A New World “New” is relative. A New World may be new to someone who has never entered it before but old to a Natural Inhabitant of it. A New World may be somewhere we have never visited, as an audience. Further, even within the one geographical location, distinct New Worlds are made explicit: In Crocodile Dundee (1986), Dundee literally comes into the New World of New York, which to him is alien. In Lost In Translation (2003), Charlotte and Bob go to a party. Entering the party is literally entering a New World. In The Great Gatsby (2013), entering the party at Gatsby’s house is literally entering a New World. A common pattern is followed almost every time a character enters a New World. You will see these and other steps often: Journey and Border Symbolism (Arrival) There is physical movement across borders into it. This border could be any transitional intermediary between worlds - a meadow, a railway line, an aircraft, a wormhole, a magic carpet, a tunnel, walking through a living room to other rooms, a wardrobe etc. In Chinatown (1974), Gittes is constantly jumping fences, walking through doorways and across barriers. Minor Threshold Guardian This archetype must be passed or overcome. In Wall Street (1987), before Bud can get into the Gekko’s office, he must pass the secretary. Magical Creatures, Sights and Sounds These are simply inhabitants and sights of the New World that the character is unfamiliar with. While these can truly be magical elements, they can also be ordinary elements – they are simply magical and new from the perspective of whoever is entering an unfamiliar world. The city is seemingly full of odd and magical creatures and sights to someone who has always lived on a farm.

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The desert is seemingly full of odd and magical creatures and sights to someone who has always lived in the jungle. The 21st century is seemingly full of odd and magical creatures and sights to someone who has arrived here from the 10th century. The street outside is seemingly full of odd and magical creatures and sights to someone who has been confined in a prison for any length of time. In Australia (2008), kangaroos are magical to the English heroine, as she has never seen them before. In Trading Places (1983), the world of the bankers appears to be full of odd and magical creatures and sights to Valentine. Fish Out Of Water Characters will initially be a Fish out of Water and will find the new creatures, norms, values, attitudes and behaviours of the New World odd or alien. That is, the hero behaves inappropriately and is dressed oddly from the perspective of the Natural Inhabitants of the New World. The character Doesn’t Belong and is representationally Opposite To The Characters Who Do Belong. In Dead Poets Society (1989), the boys are initially Fishes out of Water in the school. They get their school uniforms. In Platoon (1986), Taylor is initially a Fish out of Water in Vietnam. He gets used to his new fatigues etc. In Terminator (1984), both the Terminator and Reese find 20th century clothing as soon as they arrive. In The Quiet Man (1952), Sean perceives the Irish welcome as charming. In Back to the Future (1985), Marty behaves inappropriately inside the soda bar. “What’s with the life preserver, kid?” Outcast Commonly, the character is outcast from the New World, again, because he doesn’t belong. In Dances With Wolves (1990), Wind In His Hair tells John to leave the village. Right To Remain Commonly, the character has to win the right to remain within the New World.

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In Star Wars (1977), Luke can stay in the bar after Ben slices the criminal’s arm off with a light-sabre. Ordinary Self Attachment The character will carry something representing his older self, which will be lost, thus representing the loss of that older self. In 48 Hrs (1982), Jack leaves his girlfriend’s apartment with a scarf. It disappears. Bull In A China Shop The character initially acts like a Bull in a China Shop. In Scarface (1983), Tony initially behaves like a Bull in a China Shop on the dance floor in the nightclub. Arrival Benchmark Some symbol, sometimes a confrontation with an Enemy Natural Inhabitant of the New World, will demonstrate that characters must change. In Spartacus (196), Spartacus cannot initially defeat Marcellus. He’s got to become a gladiator first. David vs Goliath Symbolism This symbolism is a measure of the extent of the problem, the magnitude of the challenge which must be confronted, the distance which must be travelled, the height of the mountain which must be climbed. It is an expression of the problem in its extreme. In Spartacus (196), initially Spartacus is David to Marcellus’ Goliath. Major Threshold Guardian The obstacle which must be overcome if the character is to leave the New World. In Spartacus (196), if Spartacus wants to break free from the training school, then he’ll have to get past Marcellus. Castle Symbolism The Castle is a metaphor for an edifice which mirrors the character’s evolution. When first entered (when the character enters the New World), it is unevolved. When the character leaves New World, it is evolved. In The King’s Speech (2010), when the Duke enters Lionel’s consultancy, it is poor and empty. As both characters evolve, so it evolves.

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New World Function The function of each New World is change. To incrementally arc forward. In Gran Torino (2008), Walt has to make friends with his neighbours and battle the gangs. In Jesus of Nazareth (1977), Jesus persuades others to change. In Back to the Future (1985), Marty persuades George to be more like him. Growth Metaphor Some metaphor for growth or learning will be made explicit – it will grow as the character grows. In Crazy, Stupid, Love (2011), the metaphor for Cal’s relationship is the garden. As it starts to grow, so Cal starts to tend his garden. When the growth is complete, the garden is in full blossom. Repair Metaphor Some in/tangible will repair and become whole as the character repairs the damage and becomes whole. In The King’s Speech (2010), as the Duke begins to talk about his personal life, he starts to repair the toy aircraft. In Bridesmaids (2011), Rhodes tells Annie to fix her tail-light. Road Symbolism The growth, learning curve, gaining capacities etc will be represented by Road Symbolism upon which trials and their conquest occur. Thus there are many acts in which a Road of Trials sequence is possible. Technically, it is better to call this a Road of Recovery, as each step is incremental recovery from the damaged state. In Withnail & I (1987), Marwood walks along the country roads in search of tangibles. In The Wizard of Oz (1939), Dorothy walks along the Yellow Brick Road. Elixir Symbolism When the character first arrives, some Elixir is unreachable. After the learning, growth and evolution, that Elixir is effortlessly reachable. The Elixir is a metaphor for the character’s change – s/he acquires it once s/he’s changed.

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In Educating Rita (1983), Rita is initially unable to go to the dinner party. Later she laughs at the significance she once gave it. Evolving Elixirs As the character progresses through New Worlds, so his (or her) goals progress. As Elixir’s are acquired, so new ones are sought. In Spartacus (1960), initially Spartacus wants to survive. Later, he wants freedom. Containment Symbolism The character is contained within the New World until s/he changes. In Spartacus (1960), once in the gladiator training school, Spartacus is implicitly seeking the liberty to escape the containment within it. In LA Confidential (1997), Jack Vincennes is stuck until he can close a case. Magical Gifts These are any sort of aid, which assists change and movement forward. In Slumdog Millionaire (2008), as the boys enter the World of the Taj Mahal, they find shoes, which trigger their transformation into guides. Transmogrification Symbolism At the beginning, the physical body is one form and at the end it is another form. Physical damage and repair all link into the search for wholeness and the becoming of the New Self. In Spartacus (1960), the slaves are initially branded. New World Allies, Supernatural Aids These assist and benchmark the hero’s change. In Spartacus (196), Marcellus helps Spartacus become a gladiator. In The 40 Year Old Virgin (2005), Andy has to befriend his girlfriend’s daughter. New Self Attachment The character will acquire something representing his New Self. These symbolize all s/he has gained in this New World. In The Shawshank Redemption (1994), Andy wears the warden’s shoes as he escapes Shawshank.

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In An Officer and a Gentleman (1982), Zach wears the officer’s uniform as he leaves the Academy. Transformation Symbolism Attachment and detachment is part and parcel of transformation, usually most clearly expressed through changes of clothing and other outward symbols. In Dances With Wolves (1990), John swaps his jacket for the Sioux chestpiece. Liberty In/Tangible The capacity to escape containment and leave this New World is gained, because the character has gotten what s/he came for (tangible) and changed (intangible). In Indiana Jones and the Raiders of the Lost Ark (1981), Indy exits the cave with an idol and the problem. In Up In The Air (2009), Natalie exits with the capacity to successfully fire people. Major Threshold Guardian Battle Winning the battle against all kinds of blocks to leaving the New World. Commonly, some confrontation with an Enemy Natural Inhabitant of the New World. In Spartacus (196), Spartacus defeats Marcellus and the way out is open. Goodbye / Goodnight / Sunset Symbolism Characters bid farewell to their Old Self after having incrementally changed to their New Self. In Dances With Wolves (1990), John bids farewell to the Indians as he enters the tent. Journey and Border Symbolism (Exit) There is physical movement across borders exiting the New World. In Back to the Future (1985), Marty exits the café.

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Six Core Challenges In every successful story, at least Six Core Challenges must be resolved: Greater Antagonism The most obvious is the Greater Antagonism (using the Goldilocks metaphor, Papa Bear). This is the most potent challenge that is the subject of the Final Confrontation in a classic third act. It is the confrontation with the force that prevents the New State of Perfection from coming about. In Star Wars (1977), Luke has to destroy Vader, the Death Star etc. In The Godfather (1977), Michael destroys Barzini and the rest of his enemies. Commonly, it involves overcoming a significant limitation, called a Smoking Gun. In Erin Brockovich (2000), Erin needs the paperwork to link PG&E to corporate. Deficiency / Inner Challenge The Deficiency is the Original Sin, it is the inability to resist the Id’s Temptation. In Lord of the Rings (2001/3), the Deficiency is the actual inability to resist the temptation of the Ring. In Despicable Me 2 (2013), the Deficiency is Gru’s fear of rejection from girls. In An Officer and a Gentleman (1983), Zach is selfish and a loner. In Man of Steel (2013), Clark doesn’t belong. The Inner Challenge is the process of overcoming the Deficiency. It is because the character has the Deficiency, that the Inner Challenge is born. In Lord of the Rings (2001/3), Aragorn’s inner challenge is to prove that he isn’t as weak as his predecessors and can resist the temptation of the Ring. In Despicable Me 2 (2013), the inner challenge is Gru’s challenge with girls – dating them and getting over his fear of rejection.

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In An Officer and a Gentleman (1983), Zach is selfish and a loner because be believes that no one loves him (because his mother left him / committed suicide). In Man of Steel (2013), Clark has to find out who he is to belong. The Deficiency and Inner Challenge are confronted and overcome at the stage of the Near Death Experience. But they are shown to be fully overcome at the Final Confrontation. In Despicable Me 2 (2013), Gru practices asking Lucy out at the stage of the Near Death Experience. But actually asks her out just before defeating El Macho in the Final Confrontation. Outer Challenge This is the outer manifestations of the State of Imperfection and the Inner Challenge. It is fully conquered when both have been overcome. In The Lion, The Witch and the Wardrobe (2005), once the White Witch is defeated, Narnia returns to summer. In Despicable Me 2 (2013), Gru’s ordinary life is a disaster because he’s playing both parental roles. Once he overcomes his inner challenge and finds the kids a mother, that will change. In Back to the Future (1985), originally George McFly never found the courage to overcome Biff [Inner Challenge] and thus Marty grows up in a family of failures [Outer Challenge]. Theme Generally, the character must decide which side of the theme s/he wants to fall on. In Man of Steel (2013), the theme is represented by Jor-El (free will and choice) vs Zod (predetermined fate and no choice). Clark takes his father’s side of the theme. Romantic Challenge The Romantic Challenge represents the integration into the New World. Conquering her signals change and going to “the other side.” In Dances With Wolves (1990), as John integrates, so he wins over Stands With A Fist. The character is always initially polarized from his or her New World Romantic Challenge until eventually they unite and merge.

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In Erin Brockovich (1999), Erin rejects George’s advances, but eventually they live together. In The Matrix (1999), Neo and Trinity are not initially together. In Raiders of the Lost Ark (1981), Indy and Marion initially are at loggerheads. In When Harry met Sally (1989), both Harry and Sally are both at loggerheads. If not Romantic Challenge exists, some other character will take this role. In The Shawshank Redemption (1994), integrating with Red and his gang performs this function. Letting Go The character must let go of all remnants of the Older Selves, in order to become the Mature Self. In Dances With Wolves (1990), John lets go of the Soldier World and the Sioux World. In The Godfather (1972), Michael moves the Family to Nevada. The old New York house is sold – all connection to the Older Selves is broken. Flaw I haven’t included flaw here, because it can be used to represent a) the Deficiency / Inner Challenge, b) the Outer Challenge or can be a standalone benchmark for change. Flaw is a reflection of the damage. Thematically, flaw is the reflection of the starting-point of the theme. In The King’s Speech (2010), Bertie is damaged and his stammer reflects this. In The Lone Ranger (2013), John Reid’s flaw is a reflection of his absolute belief in the Laws of Man. Order of Challenge Resolution First, the Deficiency and Inner Challenge are overcome. This occurs at the period of Near Death Experience and Rebirth. The survival is unexpected and is a result of having overcome the Deficiency and Inner Challenge. The resolution to the Inner Challenge is what is pulled out of the confrontation with the serpent at this stage. The character is tackling the serpent in order to

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overcome the Deficiency that the Hero Parent could not. This is why this is a stage of maturity. In Training Day (2001), Jake overcomes his innocence, achieves maturity and the inner resolve to defeat Alonzo after the near death experience in the bathtub. Second, the Romantic Challenge is won. As s/he is representative of integration with the New World Proper, this happens at the end of Act II and is represented by the Mystical Marriage. In Indiana Jones and the Raiders of the Lost Ark (1981), Indy has been gradually winning over Marion, once on the boat, she wants to sleep with him. In Dances With Wolves (1990), John marries Stands With A Fist. Third, the character fully awakens to the other side of the theme. As the New World Proper represents the opposite side, this happens at the end of Act II and is part of the Ultimate Boon. But further thematic events take place in the third act, where the sides of the theme are synthesised. Fourth, the character Lets Go. In Star Wars (1977), Ben tells Luke to “trust your feelings.” And he does and lets go and believes. In The Lion, the Witch and the Wardrobe (2005), the children have to let go of Narnia. Fifth, after the character lets go, the Greater Antagonism is defeated. In The Lion, The Witch and the Wardrobe (2005), the witch is defeated. Sixth, the Outer Challenge is overcome – all reflections of the damage and imperfection right themselves. In The Lion, The Witch and the Wardrobe (2005), Narnia turns to summer. In Back to the Future (1985), Marty returns home to a family of successes. In The Hunt for Red October (1990), Jack is finally able to sleep. In Legal Eagles (1986), Tom is finally able to sleep.

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Transformation and Transmogrification Transformation is intimately linked to arc. At the starting-point of the arc, the character is one self, at the end-point of the arc, the character is another self. The function of each stage of the journey is to incrementally take the character to the other side of the arc and beyond – to incrementally transform the character toward his / her Mature Self. Psychological Transformation (Psychological Capacities) Every hero goes on a physical journey, the function of which is to stimulate a psychological transformation. It is the undergoing of the journey that gives the hero the psychological capacity to conquer those challenges, which were previously unconquerable. In the beginning of the journey the hero is an ordinary psychological self and in the New World, s/he becomes a psychological New Self, which is demonstrated by a change in attitudes, norms, values, behaviour and Way of Thinking. For example, the hero will start believing in one way and end up believing another way (usually called the “opposite way”). In Dances With Wolves (1990), John Dunbar starts the story thinking like a soldier and ends it thinking like a Sioux. He starts the story thinking and believing in the “White Man’s Way.” He ends the story thinking and believing in the “Sioux Way.” Letting Go The New Way Of Thinking implies a change in world view, but it is quite often subtler than that. More often it can just involve letting go of “where you were” and the things that represent “where you were.” Ultimately, it is the same thing as transformation, because letting go of “where you were” involves letting go of the world and symbols which represents “where you were,” which ultimately represent “who you were.” In Dirty Harry (1971), Dirty Harry lets go of the law, represented by him throwing his police badge into the sea at the end. Overt Symbols Transformation is most easily seen when it is accompanied with overt symbols. Most people easily accept this as arc. In Avatar (2009), Jake overtly changes. Jake arcs.

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But transformation is most easily missed when it is not accompanied with overt symbols. Most people do not see this as arc, but it is – you’re just not overtly changing the character’s clothing etc. In Dirty Harry (1971), Dirty Harry arcs. He starts in one position (attached to the law, even though he disagrees with the City’s handling of Scorpio) and ends in another position by letting go of the law. Physical Transformation (Transmogrification, Physical Capacities) Every hero goes on a physical journey, the function of which is to stimulate a physical transformation. It is the undergoing of the journey that gives the hero the physical capacity to conquer those challenges that were previously unconquerable. In the beginning of the journey the hero is an ordinary physical Self and in the New World, s/he becomes a physical New Self, which is demonstrated by a change in clothing, outward symbols and a new physical form. The hero is physically different at the end of the movie. The outer physical change reflects the inner change. In The Godfather (1972), Capt. McCluskey punches Michael in the face, triggering the facial disfigurement and consequent physical change. The healing represents Michael’s transmogrification. Michael is physically a different person from the one we met at the beginning. In Raging Bull (1980), Jake gets married and gets fat - physically different to his lean, older self. In Dances With Wolves (1990), John Dunbar starts the story dressed as a soldier and ends it dressed as an Indian. New Self The psychological and physical changes combine to create a new person. Commonly, the person from the New World wouldn’t recognise the one from the Ordinary World and vice versa. Commonly, the person from the Ordinary World wouldn’t believe that s/he could become the person that exits the New World. In The Godfather (1972), the Michael that arrives back from Sicily wouldn’t recognise the Michael who first arrived at Connie’s wedding in the beginning of the film. In Educating Rita (1983), Rita starts off as a hairdresser and ends up as Susan, the student. Rita wouldn’t recognise Susan.

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In The Devil Wears Prada (2007), Andy is initially a fashion illiterate and ends up becoming a fashion victim. In The Shawshank Redemption (1994), Andy starts off as a banker and ends up a respected prisoner. Mature Self The New Self is simply another version of the Ordinary Self. In order to become a Mature Self, the hero/ine must leave behind the New World / Self just as s/he left behind the Ordinary World / Self. The Mature Self detaches from both the Ordinary and New Worlds / Selves but simultaneously incorporates elements from both. The Mature Self easily manages and synthesises both Ordinary and New. In The Godfather (1972), Michael’s Mature Self is a combination of his new, Sicilian / Mafia side and his ordinary, innocent side (represented by Kay). Detachment, Attachment, Liberation Every aspect of the hero’s Ordinary World is an attachment to the Older Self – from the other side, you construct the hero’s Ordinary World to represent who the hero is at that stage. Every aspect of the New World is an attachment to the New Self – from the other side, you construct the New World to represent who the hero is at that stage; in other words, what you want the hero to believe. The purpose of each stage of the journey is to incrementally detach the hero from the Ordinary World (detachment) and attach him / her to the New World (attachment) and then detach him / her from the New World and attach him / her to the Mature World (which is a unification of the Ordinary and New and letting go liberates the hero from the constraints of the Ordinary and New). In Raging Bull (1980), Joey is an Older World Attachment that must be disposed off before Jake can be reborn. Incremental Transformation and Transmogrification The hero starts off at a start-state and ends up a target-state and passes through lots of incremental change-states, which are demonstrated by incremental symbolisms. There is Incremental Detachment And Attachment Symbolism. In Kramer versus Kramer (1979), Ted detaches from the office and attaches to Billy.

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There is Incremental Transmogrification Symbolism. The change is symbolically represented by disfigurement, the appearance of blood, the colour red or similar. In Brokeback Mountain (2005), Jake and Ennis fight on the hilltop and both are bloodied. In Bonnie and Clyde (1967), Clyde is bloodied in a fight with the shopkeeper. Adaptation The hero ventures into the Newer World and adapts until s/he becomes an integral part of it and/or it becomes an integral part of the hero. Thematically, the New World represents the “other side,” and the hero reverses to accept the other side and then, ultimately, belongs to and represents the other side. 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 The Devil Wears Prada (2006), Andy becomes a fashionista. Restoring Wholeness Following the Loss of the State of Perfection, the Deficiencies come into being. The Deficiencies represent the Loss of Wholeness (damage) and the process of journey / story is the process to restore Wholeness. In Dororo (2007), Hyakkimaru undertakes the journey to restore the 48 body parts that have been stolen from him. He wants to be whole again. Down-to-earth expressions of the above will show the hero in a state of disarray due to the loss of some crucial element (commonly, but not necessarily, an attachment of some sort, often the Romantic Challenge). The regaining of the lost element will restore wholeness. In Legal Eagles (1986), Tom is initially in a state of disarray because his wife has died. His eventual union with Laura makes him whole again. Gaining Capacities As characters venture forth, they gain capacities. Each capacity reflects or triggers a change. It is the accumulation of these capacities and changes which allow the hero et al to ultimately conquer their challenges.

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In Gran Torino (2008), Thao gains the capacity to confront the gang and be a man. In Slumdog Millionaire (2008), Jamal gains the capacity to confront his older brother and win over Latika. In The Curious Case of Benjamin Button (2008), Benjamin gains the capacity to win over Daisy. Road of Rebirths As characters venture forth, they engage in a series of Rebirths, which is a term that is most often a substitute for a “New Way of Thinking” or “New Direction.” It is the accumulation of these which is responsible for the gap between the Ordinary and New Self. In The Godfather (1972), Michael progresses along a road of incremental rebirths. Who Changes? The hero (a focal point) is the Carrier of the Changing, who induces and is responsible for the change, both externally and internally. Commonly, everybody and everything changes. In Back to the Future (1985), George gains the capacity to defy Biff and Marty gains the capacity to return home; when Marty gets back home, the whole world has changed, siblings are successful and Biff is subdued etc. Sometimes the change of certain archetypes is more overt than others. It’s not one-way communication, it’s two-way: In Dances with Wolves (1990), John’s change is more pronounced, but the Sioux change as a responsive to him too – at the very least they learn English, about the white man, move camp etc. In The Fly (1986), Veronica’s arrival causes Seth to change, which in turn changes her. In Spartacus (1960), Spartacus changes Italy as a result of it changing him. New Names Within each World (which represents a State), the hero may be known by different names, which are representative of their Capacities / States / Selves within those Worlds.

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In Star Wars (1977), Obi Wan is the name in the Original World and Ben Kenobi is the name in the Ordinary World. In Gran Torino (2008), Walt has varying names as he transforms: Walt, Wally William etc. Three Acts And Three Macro Evolutions Often, three stages of evolution are most obvious: In Annie Hall (1977), Annie as an Ordinary Self is shy and embarrassed. As a New Self, she is living with Alvie and becomes confident and dependent on Alvie. But as the Mature Self, she decides to pursue a life without Alvie. The Many Selves Following are some major transformation stages throughout the cycle. The Unborn Self This is the time of the State of Perfection where the hero is either physically unborn or psychologically unborn (innocent). This is the Hero Parent’s time. In Superman (1977), Jor-El is in charge and Kal-El will soon be born. The Baby Self The period of abandonment and discovery by surrogate parents. In The Jungle Book (1967), Bagheera and the wolf-pack find the man-cub. The Child Self. The child grows up an orphan and doesn’t know Who He Is, but demonstrates Extraordinary Capacities (meaning that he is Not An Ordinary Man). In Star Wars: Episode I - The Phantom Menace (1999), Anakin is a child prodigy. The Teenage Self The child goes through an apprenticeship to eventually surpass the Hero Guardian / Surrogate Parent waits on the cusp of maturity. In Star Wars: Episode II - Attack of the Clones (2002), Anakin surpasses Obi-Wan. The Ordinary Self

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At the cusp of maturity within the Ordinary State, the call to adventure is received. The hero is aligned and representative of one side of the theme (the start-point of the theme). In The 40 Year Old Virgin (2005), Andy is anal-retentive, living alone. The Challenged Self This is the result of experiences at the Edge of the Ordinary World. The Goliaths which must be faced in the New World and the psychological difference of the New World that is the opposite side of the theme. In The 40 Year Old Virgin (2005), during the poker game, Andy has to admit that he’s a virgin. The Provoked Self The hero is provoked into changing within the Beachhead. In The Devil Wears Prada (2006), Emily, Nigel and Miranda provoke Andy to change. The Modified Self Upon exit from the Beachhead, a different creature has emerged. In The Devil Wears Prada (2006), after Transformation, Nate can hardly recognise Andy.

the

First

Threshold

In The Hangover (2009), when Stu exits the chapel, he can hardly recognise himself. Phil doesn’t know who he is. The Searching Self Within the Mainland, the hero is directionless. In Spartacus (1960), once out of the training school, Spartacus is at a loose end and is searching. The Focused Self Having found direction, the process of gaining the Capacities to achieve it, is undergone. In Spartacus (1960), Spartacus starts training and building an army. The Failed Self Initial attempts at the Elixir fail. This represents the hero’s Unreadiness, even though s/he may have changed much.

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In The Shawshank Redemption (1994), Brooks can’t survive outside, alone. The Sworded Self After retrieving the Sword, progress is made. It’s the accumulation of reversing, equalling, accepting, belonging etc to the other side. In The Shawshank Redemption (1994), Andy playing the record symbolises hope. The Elevated Self The Hero rises in status within the New World. In The Shawshank Redemption (1994), Andy becomes a well respected librarian within Shawshank and the warden’s accountant. The Resurrected Self The Inner Challenge / Deficiency has been overcome. The hero detaches from the Ordinary World and side of the theme. In The Shawshank Redemption (1994), Andy promises to start living. The Integrated Self The Hero becomes a complete, de jure member of the New World. The hero belongs. In Dances With Wolves (1990), John becomes a Sioux after marrying Stands With A Fist. The Apotheosed Self The New World and its limitations are left behind. In The Shawshank Redemption (1994), Andy breaks free from Shawshank. The Limited Self Where Ordinary and New World limitations block the hero’s liberation. In The Godfather (1972), Michael wants to make the movie to Nevada but Mo Green and Barzini block him. The Let Go Self Where limitations and constraints are been let go and liberty is achieved.

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In The Godfather (1972), Michael’s father dies, he’s free to break the peace, all enemies/obstacles are defeated/overcome and he makes the movie to Nevada. Set Design As the hero/ine undergoes his or her psychological transformation, so s/he passes through physical sets that match, mirror or predict the psychological state. That is why you will often see rain, thunder and cloud previous to and during the Rebirth through Near Death Experience, for example. [This is a clue to the atmosphere you need to create for each World as you write].

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General Steps To Incremental New Way Of Thinking, Arc Points There are commonly three, four or five steps to a transformation and New Way of Thinking. This helps you incrementally arc your sequences toward a goal, incrementally reverse: In Omen (1976), Robert Thorne is not convinced that Damien is the AntiChrist. 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 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. The general pattern follows the path of Resistance, Conscious Effort, Surprising Capacities, Minor Near Death Experience, and New Way of Thinking. Resistance First there is the general resistance to pull away from the Old Self. In Dances with Wolves (1990), Wind in his Hair doesn’t like nor wants to meet John. And John isn’t too keen to meet the Indians either. In Spartacus (1960), the men are a rabble and enjoying it. Conscious Effort Second, the hero makes a conscious effort, or is forced, to Think and Behave in a New Way. In An Officer and a Gentleman (1982), the boys in the bar want Zach to fight, which is what his Old Self would do. He tries to resist the temptation. In Dances with Wolves (1990), both John and Kicking Bird make a conscious effort to communicate with each other. In Spartacus (1960), Spartacus persuades the gladiators to become an army. Born For It After conscious effort, the hero discovers that within him / her lie Surprising, Untapped Capacities well suited to the Deep New World and New Self. In Romancing the Stone (1984), Joan drinks and smokes marijuana, something she wouldn’t normally do. This is representative of her future, looser, easy-going self.

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In Dances with Wolves (1990), Kicking Bird and John find that they soon relate and quite like each other. In Spartacus (1960), Spartacus finds that he is quite persuasive, a natural leader. Near Death Experience Some Near Death Experience precedes the Illumination. In Six Days and Seven Nights (1998), Quinn saves Robin from a deadly snake in the pool. In Spartacus (1960), Crixus resists Spartacus’ persuasions during the “lets be gladiators” sequence and counters with his sword held high. In Romancing the Stone (1984), Jack saves Joan from the deadly snake. She looks at him with bedroom eyes. New Way of Thinking You know that the Older Self has been pulled away from when the result is a New Way of Thinking (this is the Reward or Illumination). Commonly, this may be marked by some Magical Gift. In Romancing the Stone (1984), Joan stops thinking about Jesse and starts thinking about Jack.

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Freudian Terminology (Superego, Id, Ego) The concept of good and evil has been around since the dawn of mankind’s consciousness. The battle between good and evil is embedded in our consciousness, as is evident in all the religious texts. More recent terminology for good and evil is Freud’s Superego, Id and Ego. Classically, the Superego (hero and allied representatives) represent the highest, moral Self. The Id (antagonism) represents the lowest, basest, animalistic, immoral Self. The Ego (Shape Shifter) is midway between the two and is easily influenced by both forces – it easily drifts between being moral and immoral. An essence of story, and an essence of transformation in story, is the battle (or movement) between good and evil and vice versa or, using modern terminology, the battle (or movement) between the dominance of the Superego and Id and vice versa (this is the Yin and Yan in eternal battle for supremacy). In story, the archetypes represent these psychological states and others in between. In Star Wars (1977), Han is the Shape Shifter (ego) and is consequently self-centered and, true to the pattern of the ego maturing or devolving as the Superego and Id engage in their tussle, we don’t know until the end whose side Han is on. In Gladiator (Academy Award Winner Best Film, 2000), Lucilla is the Shape Shifter (ego) and is consequently self-centered and, true to the pattern of the ego maturing or devolving as the Superego and Id engage in their tussle, we don’t know until the end whose side she is on. The advantage of using these terms and Freudian terminology, as I do often, is that it does away with the confusions around the labels “hero” and “main character” and “protagonist”. It also relates to the true battles which are being fought – the battle of the hero’s own psyche (the Superego is the good side of the hero’s own psyche and the Id is the bad side of the hero’s own psyche and the Ego is the tug-of-war between the two). By using “Superego” we know that it’s the group of characters who will win and succeed. By using “Id” we know that it’s the group of characters who will lose and be defeated.

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State of Perfection Loop (Eternal Cycle) In the beginning, there is a State of Perfection which is maintained by Superego individuals with certain capacities, primarily the capacity to minimize and contain the Id. Both the Superego and Id are parts of consciousness and neither can ever be permanently destroyed without destroying the other side – without destroying consciousness itself; they are shadows of each other. Hence, during the State of Perfection, Containment Symbolism demonstrates the Id’s containment. In Pandora’s Box, the Id is contained in a box. In Hellraiser (1987), Pinhead is originally contained in a box. In Gremlins (1984), the bad gremlins are contained by following certain rules - do not allow Gizmo near water etc. Then, the Superego weakens or is tempted. A Deficiency arises in the Superego’s capacity to minimize and contain the Id, which begins to grow until it dominates. Now a State of Imperfection exists. The Id attempts to make permanent it’s reign by completely eliminating the Superego but is unable to. The inability of the Id to completely extinguish the Superego is its own Deficiency. In The Lion, the Witch and the Wardrobe (2005), the White Witch’s own Deficiency is her inability to eliminate all the Sons of Adam and the Daughters of Eve. Then the Superego goes about the process of rectifying the Deficiency, Regaining The Lost Capacity to minimize and contain the Id. In The Lion, the Witch and the Wardrobe (2005), the White Witch rules Narnia. The children arrive to restore order. Finally, once the lost capacity is regained, the Superego battles the Id for dominance, wins and the State of Perfection comes into being once again. Then the cycle starts over. In Star Wars (1977), the State of Perfection exists when the Jedi rule the galaxy and contain the Dark Side. Then, the Jedi become weak and the Dark Side takes control. During the stage of the State of Imperfection, Vader and the Emperor’s primary goal is to extinguish Luke and the Rebel Alliance. Luke undergoes the process whereby the capacity to contain the

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Dark Side is regained (mastery of the Force). Finally, he battles Vader and the Emperor to bring about the State of Perfection once again. In Annie Hall (1977), Annie initially lacks confidence and is dependent on Alvie (her State of Imperfection). She goes through the process of attaining confidence and independence until she no longer needs anyone (her State of Perfection). The process for the antihero (where the Id is the main character) is the same. Before the present State of Perfection existed (during the previous cycle), it was dominant and it now goes about the process of regaining capacities, which are metaphorically represented by the gaining of a kingdom. In Scarface (1983), Tony Montana goes about gaining capacities, which are represented by his conquering Frank’s empire. In Goodfellas (1990), Henry et al goes about gaining capacities, which are represented by his assimilation into the mafia. As in hero stories, in antihero stories, in Act III the Superego battles the Id for dominance, wins and the State of Perfection comes into being once again. Then the cycle starts over. In Scarface (1983), once Tony Montana has his Empire, forces set about destroying it and eventually order is restored. In Goodfellas (1990), once Henry et al have their Empire, forces set about destroying it and eventually order is restored. In essence what we have is a process whereby Paradise Is Lost And Then Regained. In Elysium (2013), the Earth is relegated to poverty and chaos (Paradise Lost) by Elysium. Max restores it. In Oblivion (2013), the Earth is a desert (Paradise Lost). Jack restores it to a Garden of Eden. The Id is simply the disruptor, the causer of imbalance – it hinders the State of Perfection from coming into being. The Superego is simply that force which attempts to restore balance and perfection – it fosters the State of Perfection. The Ego (Shape Shifter) drifts between causing balance and imbalance and, when it chooses sides, tends to help that side win. In Ben Hur (1959), Caesar joins Crassus who, with his aid, wins.

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Old And New States of Perfection, Restoration Restoration The journey and transformation are embarked upon, not to conquer a kingdom or to gain a capacity / illumination / power / balance etc….but to regain it. It’s all about Recovering What Has Been Lost. Old vs New State of Perfection While the State of Perfection will be regained (called the New State of Perfection), it will not be the same Original State of Perfection - the New State of Perfection will not allow the old Deficiency to weaken it; the Deficiency will have been mastered and Rules (an amended Book of Law) will be introduced to prevent it arising again. All the weaknesses of the previous generation will be corrected and the hero and his / her allies (who were the innocents of the Original State of Perfection) become the mature ones in the New State of Perfection. They grow from children to parents. The son becomes the father, the daughter the mother. Repeating Cycle The cycle will repeat again when the hero and his / her allies lose the Capacity to Maintain The State of Perfection and their progeny will go through the process of regaining it. Again, that New State of Perfection will be different from this one. In Harry Potter and the Deathly Hallows: Part 2 (2011), Harry, Ron, Hermione and their friends defeat Voldermort and restore the worlds to perfection (the New State of Perfection). They grow up to have kids. Eventually, another Voldermort will rise (another antagonism) and Harry et al will not have the ability to contain it. But their children will go through the same journey process as Harry et al did and eventually do what their parents could not. This must happen as eventually, Harry et al will die and the next generation must develop the Capacities to restore and maintain peace. Thus the cycle is ever repeating. With Eternal Heroes (those who never die), some Rule is broken and the children lose innocence and have to go about finding it again. In Thor (2011), there are eternals, but that doesn’t prevent Thor from having to attain maturity and Capacities through the journey.

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Supernatural Aid Theory, Backstory Supernatural Aid Theory This is the theory that all characters are Supernatural Aids. The hero himself is a Supernatural Aid, because s/he changes others and things, even if inadvertently. But the hero also has to change (or arc on some level) and all the other characters are designed to encourage that. In Aliens (1986), all the characters, even Burke and Newt assist Ripley in some way. These and other theories are presented on the custom services and advanced worksheets pages at http://www.kalbashir.com Extraordinary Supernatural Aid Backstory The Extraordinary Supernatural Aid was the Hero Parent’s Loyal Ally, the one that carried the Baby Hero to safety during the Edge of the Original World Battle (see Act 0). The Extraordinary Supernatural Aid’s core competence is that s/he has experience with the maintenance of the Original State of Perfection (s/he was there when it existed, s/he was there at the beginning). Thus this archetype’s core function is to assist the hero to bring about of the New State of Perfection. The Extraordinary Supernatural Aid waits at the Edge of the Ordinary World until the hero is Ready for the Deep Transformation and will allow the Major Supernatural Aid to perform his function. The Extraordinary Supernatural Aid has the ability to straddle both the Ordinary and New Worlds and watches the hero and monitors progress (a Magical Gift – the Looking Glass / Crystal Ball etc – is common). Thus when the Major Supernatural Aid meets hero, s/he knows all about him - his name, the interdictors etc… . In The Lion, the Witch and the Wardrobe (2005), Aslan knows all about Emily et al. In Raging Bull (1980), Vickie is able to straddle both Jake's world and the world of the mafia. In Gorillas in the Mist (1988), Sembagare speaks both languages. In Kramer vs. Kramer (1979), Margaret understands both Ted and Joanna.

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The Extraordinary Supernatural Aid may be more or less powerful than the Hero Parent or eventual hero. If more powerful, s/he will be limited on some level. In this instance, s/he is, commonly, already a God. In Jason and the Argonauts (1963), Hera is a Goddess who is able to do all of the above, but is limited by Zeus. In Ghost Rider (2007), the Caretaker mentors Johnny Blaze as he has been given supernatural abilities, but it is ultimately up to Johnny. Commonly, the Extraordinary Supernatural Aid is not a passive teacher, but has his own challenges to conquer. In Spiderman 2 (2004), Aunt May has severe money problems. In Silence of the Lambs (1991), Hannibal Lecter must escape his cell. In Ghost Rider (2007), the Caretaker must hide the souls he has stolen until they can be passed on to another. Commonly, the Extraordinary Supernatural Aid’s own challenge is related to his inability to prevent the Hero Parent’s Death and / or vanquish the antagonism during the Battle at the Edge of the Original World. In Top Gun (1986), Viper went on the mission in which Maverick’s father died. He feels guilty about Maverick’s father’s death and would like to engage with Russian MIGs again to resolve the past failure. In Harry Potter and the Half-Blood Prince (2009), Dumbledore was unable to prevent the rise of Voldermort. In Ghost Rider (2007), the Caretaker was unable to defeat the devil. The Extraordinary Supernatural Aid may have his own Mentor(s). In Crouching Tiger Hidden Dragon (2000), Li and Shu Lien have their own mentor in Sir Te.

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Types of Magical Gifts Finite Number Commonly, there are a finite number of magical gifts (often three or five). By the time these have been used or have expired, the hero must have evolved enough to be able to manage without them. Thus they are a form of stage-gating and time-clocking - the use of each one represents a benchmark of progression. They can even be used as border symbols to separate sections and acts. In Slumdog Millionaire (2008), Jamal has a certain set of questions, each answered by a particular experience (Magical Gift). Ultimately, the hero must prove that he has gained the capacities to conquer challenges without any assistance (Magical Gifts, Aids, Spells etc…). There are various types of Magical Gift, Aid or Spell. Tangible weapons In Stand by Me (1986), the gun helps the boys defeat the older gang. Transformation Aids In Annie Hall (1977), Alvie gives Annie books to read. In Superman (1977), Clark finds his father’s green crystal. Supernatural Aids In The Wizard of Oz (1939), Glinda guides Dorothy along the Yellow Brick Rd. In Jason and the Argonauts (1963), the Goddess guides Jason. In The Matrix (1999), Morpheus guides Neo. Liberty, Access Elixirs They can help to cross Thresholds, depart Worlds and enter New Worlds. In Dances with Wolves (1990), the officer gives John Dunbar a letter of transit. In Six Days Seven Nights (1998), Quinn finds an aircraft which he can fix.

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In Easy Rider (1969), the guys sell the dope for money, which pays for their trip. In Star Wars (1977), it is Ben’s control of the Force that gets him and Luke past the Stormtroopers. In The Wizard of Oz (1939), Dorothy receives the Ruby Slippers, which help her get home. In The Lion, the Witch and the Wardrobe (2005), the children return home through the cupboard. Capacities or Competencies In Spartacus (1960), Marcellus teaches Spartacus how to fight. Literal Magical Spells In Harry Potter (2001), Harry learns lots of Magical Spells in school. Survival Aids In The Lord of the Rings: The Fellowship of the Ring (2001), Bilbo gives Frodo the vest. In The Godfather (1972), Michael is given the gun to shoot Sollozzo. Limitation Aids They help overcome any sort of limitation. In Brokeback Mountain (2005), Ennis uses the gun to shoot the deer. Which helps him meet Ennis.

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Who is The One? Proxy Heroes In many stories, the hero is referred to as The One. In The Matrix (1999), Neo is referred to as The One. Alternative names for The One, include The Deliverer, The Messiah etc. In Jesus of Nazareth (1977), the Israelites are waiting for The Deliverer. But who or what is The One? Or The Deliverer. Or The Messiah? The One is s/he who has the capacity to return the Worlds to a New State of Perfection and then possibly maintain that State of Perfection. In The Matrix (1999), Neo is referred to as The One as he is believed to possess the capacity to defeat the Agents and ultimately the Matrix itself. In The Godfather (1972), Michael is The One as he is able to defeat the other Mafia Families and return the Corleone Family to its State of Perfection. Chosen Ones There is a distinction between The One and Chosen Ones. The Chosen Ones are those who maintain the New State of Perfection once it has been established. They keep the Id contained. The One may be one of the Chose Ones or may depart into another realm after handing the baton of maintenance to the Chosen Ones. In The Wizard of Oz (1939), Dorothy arrives, defeats the witch and then returns home. The power to maintain Oz is given to the Scarecrow, the Tin Man and The Lion (through their rewards of courage, a heart and a brain). In The Lord of the Rings: The Return of the King (2003), Frodo leaves with the immortals. Proxy Hero Archetypes While the hero is developing the Capacities to battle the Id and restore the Worlds to a New State of Perfection, proxies may reign. It is usual that these proxies demonstrate a lack of capacity to bring about or maintain a New State of Perfection.

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In The Godfather (1972), while Michael is in Sicily and the Don is in hospital, Sonny inadequately runs the Family and neither the Capos nor Tom have the ability to stop him. The proxies most commonly demonstrate a lack of capacity by not following or being able to follow the Rules laid out by the Hero Parent or Hero (or the Chosen Ones; the Maintainers of the State of Perfection). In essence, they are innocent and haven’t learned what the father has learned. In The Godfather (1972), Sonny talks business at the table, he doesn’t spend time with his family, he doesn’t perceive all action in terms of business and takes everything personally.

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Hero’s Superiority, The Hero As God In antiquity, leaders liked to claim that they were descended from the Gods (“I am special because I am descended from the Gods and therefore you should follow me…”). In ancient stories, this manifests itself literally: the hero is descended from the Gods. Imperial Rule is justified along these lines even today, “they are not able to govern their country.” But not every hero can be descended from the Gods – often it is the Gods themselves that create the State of Imperfection and must be taught a better way (this explains how the hero can join the Gods). In modern times we know that the relationship between heroism and Godliness is weak, but the concept still manifests itself. The above is assimilated thus in modern story: The hero is Descended From The Higher Castes. The hero is descended from a line that is powerful on some level: In Lawrence of Arabia (1962), Lawrence is asked if he is a Lord. In Harry Potter, Harry is descended from powerful wizards. In The Curious Case of Benjamin Button (2008), Benjamin’s father is a successful businessman, who endows him with wealth. The hero is able to perform miracles, has superior abilities on some level, he shows that he is Not An Ordinary Man. Commonly, the hero has “A Quality,” which again shows that he is Not An Ordinary Man. Commonly, he is a Natural Leader. In Ocean’s Eleven (2001), Rusty is able to eat without getting fat or drop sauce on his immaculate suit. In The Bucket List (2007), Morgan Freeman’s general knowledge is exceptional. In Spartacus (1963), Lentulus remarks that Spartacus “has a quality.” Commonly, the hero uses his or her extraordinariness to rise through the New World. In Gladiator (2000), Maximus’ gifts help him rise as a gladiator.

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Synchronized, Mirrored Progression and Change Subplot It is common for secondary characters to have their own challenges. It is these that form the basis of any subplot. Apart from the hero, the most common archetypes with challenges include the Loyal Ally, Shape Shifter, Supernatural Aid, New World Romantic Challenge and Antagonisms. In Gladiator (Academy Award Winner Best Film, 2000), Proximo and Lucilla both have their own demons to overcome. In Million Dollar Baby (2005), both Maggie and Frankie have their own challenges. Hierarchy of Characters The hero’s opposite is the Greater Antagonism. Just as the hero has a mentor, so the Greater Antagonism has a mentor. Just as the hero has a Loyal Ally, so the Greater Antagonism has a lieutenant. Just as the aero has allies, so the Greater Antagonism has allies. Just as the hero has a Romantic Challenge, so the Greater Antagonism has a Romantic Challenge (quite often, one and the same). Just as the hero’s alter ego is the Shape Shifter, so the Greater Antagonism has a Shape Shifter. All this is important in the Final Conflict, where status meets status (learn about all the Advanced Archetypes at http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html ). Synchronized Change The hero is the Bringer and Carrier of the Changing, in synch. In other words, all of these characters’ progressions are mirrored. When the hero crosses into the First Threshold, so that is also the point when the antagonist, the mentors, Shape Shifters and Romantic Challenges etc… all cross their First Thresholds. Similarly, when the hero enters the Road of Trials, so the other characters enter their Road of Trials. All evolutions and devolutions occur during the same stage of the journey, thus, in each stage of your story, each character’s contribution, impact and POV must be considered. Thus each stage of the journey usually has multiple scenes, each relevant to the characters traversing that stage. In Gladiator (2000), when Maximus’ challenge is conquered, so is Juba’s. He gets to go home. In Iron Man (2008), when Starks’ challenge is conquered, so is Miss Potts’.

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Anti-Hero and Other Hero Archetypes All hero archetypes and sub-archetypes progress through the story process in the same way. Hero vs Antihero Both hero and antihero follow the same path and process along the cycle. Both leave their Ordinary Worlds, go to the Beachhead (First Threshold), undergo the deeper change in the Deeper New World etc – in essence, they both arc, be it up or down. Classically, in Act III, the hero will arc up and come out victorious. In Man of Steel (2013), Superman takes the “good” side and comes out victorious. Classically, in Act III, the antihero will arc down and lose his Empire. In Scarface (1983), Tony Montana grows increasingly unpredictable, loses everything and dies. However, the process for both is the same. For example, both the hero and antihero lose transcendental aids. In Man of Steel (2013), Superman loses Jor-El etc. In Scarface (1983), Tony loses Manny. In Goodfellas (1990), Henry loses Jimmy and Tommy. The difference is how they are lost. The hero will not murder his own ally whereas the antihero may. The hero will not betray an ally, whereas the antihero and his allies may betray each other. Willing Archetypes These tend to be discontented in their Ordinary World and yearn for the change. Else some challenge remains unresolved and they feel the need to leave – usually some potential is unfulfilled; they have outgrown the Ordinary World; it is literally too small. In Star Wars (1977), Luke yearns to escape Tatooine. In Superman (1977), Clark must leave Smallville. In Elf (2003), the Elf World is literally too small for Buddy.

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In Harry Potter (2001), Harry Ordinary World is a cupboard, which is too small. In The Apartment (1960), Baxter yearns to get his apartment back and for Fran to like him. Unwilling Archetypes These tend to be content in their Ordinary World and are usually pushed out by some force else, again, some potential remains unfulfilled and there is encouragement out. In Lord of the Rings (2001), Frodo is unhappy in the Shire and is forced out of it by Gandalf. In Failure to Launch (2006), Tripp is forced out of home. Unknowing Archetypes In a sense, both of the above types are Unknowing in that they do not appreciate the extent of the transformation they will undergo (or appreciate the extent that they need to learn it). As above, some force or requirement pushes the Unknowing Hero out of the Ordinary World. Learn more about the Advanced Archetypes at http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html

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Choosing Secondary Characters Secondary characters are functional, that is, they most often exist to fulfill specific story functions, including: Represent sides of the theme. In The Lone Ranger (2013), John’s brother represents the Laws of Nature. Help the hero through the journey. In Lord of the Rings: Fellowship of the Ring (2001), Gandalf guides Frodo along the journey. Help the hero through the transformation. In Lord of the Rings: Fellowship of the Ring (2001), Aragorn teaches Frodo et al as they progress. Demonstrate Detachment and Attachment. In The Devil Wears Prada (2006), Andy loses her friends, which represent her older self. Benchmark and develop character context. In Star Wars (1977), Chewy enhances Han’s character. Once you have figured out what your hero’s journey, transformation, State of Imperfection and Perfection are etc…, then you can decide which secondary archetypes and characters will be most useful. In The Godfather (1972), it is Don Corleone’s shooting that pulls Michael into the arms of the Family and the death of Sonny and Apollonia that pulls him back to New York from Sicily – each character has a specific function that pushes Michael through his transformation and the restoration of the State of Perfection. A list of Advanced Archetypes can be found http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html

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Archetype Function and Mask The vast majority of successful screenplays use off-the shelf character functions called archetypes. In The Godfather, 1972), Tessio is a Shape Shifter. In Star Wars, 1977), Han is a Shape Shifter. In Harry Potter, the teachers are Supernatural Aids. In Lord of the Rings, Gandalf is a Supernatural Aid. That doesn’t mean that they’re one-dimensional, it is just that these are the core set of functions that will get your hero from point A to B. They’re very useful and you can easily subvert the classical clichés. For example, the Supernatural Aid does not have to be a decrepit old hermit, she can be a young beauty. In Raging Bull (1980), the trigger to a new stage is Vickie. In 500 Days of Summer (2009), Tom’s little sister is a Supernatural Aid. Once you know your characters function, you can choose a mask. See Advanced Archetypes at http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html

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Major Linkages Throughout the process / loop, certain stages, commonly but not necessarily, link to others. Cave Of Awakening And Seizing The Sword The Cave Of Awakening is where the Sword or Bride is initially stolen from. Commonly, the Cave of Awakening is returned to, in order to steal it back. In other words, in some way, shape or form, you go back to the location / situation / scenario where the Sword or Bride was stolen to get it back. In Star Wars (1977), Vader steals Leia and then Luke steals her back. The Magical Gift And The Atonement The Magical Gift (given by the Supernatural Aid) is designed to assist the hero restore the State of Perfection and this is most commonly first used during the Atonement Battle. In Up In The Air (2009), Alex is Ryan’s Magical Gift (as well as Supernatural Aid and Romantic Challenge) and she is useful when he goes to the World of the Atonement (his sister’s wedding). Edge Of The Ordinary World And Final Conflict The Edge of the Ordinary World is the first real encounter with Goliath. Commonly, Goliath is defeated during the Final Conflict. In other words, in some way, shape or form, you go back to the location / situation / scenario where the Goliath first won. In Spiderman (2002), the Green Goblin is first fully met during the arms test. And is then crushed at the end. In Liar, Liar (1997), Fletcher is unable to resist Miranda and sleeps with her (he puts his career before Max’s birthday party). During the Final Conflict, the attachment to the career is confronted and resisted / controlled (he puts Max before anything else). The Edge Of The Ordinary World And Atonement Similarly, because Goliath sometimes represents the New World, the hero goes back to defeat him at the Atonement Battle. In The Shawshank Redemption (1994), Andy first meets the warden upon entry into Shawshank and then defeats him at the Atonement Battle. Failed Trial and Final Confrontation

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During the Failed Trial, the hero confronts the Greater Antagonism (or a representative) and loses, thus showing he is not ready. Commonly, the hero returns to the same location to defeat the Greater Antagonism at the end. In 48 Hrs (1982), Jack and Reggie go to the girls apartment to see if Ganz is there, but don’t find them. They return there to find and battle them at the end. Loss of the State of Imperfection and Resurrection The serpent (cause of the Inner Challenge) cannot initially be defeated. At the stage of Near Death Experience, it is confronted again and overcome (Deficiency Overcome).

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The Great Cave The Great Cave is a metaphor for a series of domains or states within the Beachhead / First Threshold – the Outer, Middle and Inner Caves. Specific events take place in each Cave. It is within the Great Cave that the hero gains the Preparatory Capacities that allow him to venture into the Deeper New World, where the major, significant transformation takes place. It is within the Great Cave that the hero loses his Older Self and then goes on to venture into the Deeper New World, where the New Self is acquired. Generally, the hero is contained within the Great Cave until all the Preparatory Capacities have been gained and until the Older Self is dissolved away. When the hero enters the Great Cave, s/he is relatively devolved (a Devolved Self, Fish out of Water etc). When the hero leaves the Great Cave, s/he has evolved somewhat (Modified Self, Evolved Fish in Water etc). Thus, though the evolution in the Great Cave is not as significant as that which occurs in the Deeper New World, a transformation does occur. In Spartacus (1960), Spartacus is locked into the gladiator training school until he’s a gladiator and ready to move onto the next stage. Commonly, these stages are represented by a “cave-like,” “contained,” “protected” or “enclosed” atmosphere. The hero is contained until s/he has the Capacity to liberate; the hero is contained for protection, until s/he is Ready To Awaken for the next stage. In Spartacus (1960), the slave quarters are down underground and they are “cave-like.” In Scarface (1983), Frank takes Tony into the nightclub, which is “cavelike.” Commonly, the hero will literarily enter a Cave. In Iron Man (2008), Stark literally find himself in a cave with Yinsen. One demonstration of the evolution / change that the Great Cave provides, is the overcoming the Major Threshold Guardian (a Minor Antagonism). In Iron Man (2008), by the time Stark leaves Yinsen, he is a changed man.

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SECTION II

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ACT 0 (BACKSTORY)

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Original World And State Of Perfection (Garden Of Eden) The Original State of Perfection (SOP) is characterised by peace, harmony, balance and prosperity. It is a State of Perfection and Period of Tranquility where all potential is possible and where all Capacities are possessed. Its literal representation in biblical stories is Heaven and various names include Enlightenment and Shangri-La. It is the Garden of Eden. This is the state before Paradise Lost. This symbolism is often directly or indirectly, explicitly or implicitly referenced in movies: In Prometheus (2012), the story starts with Eden Symbolism; mankind is cast out. In Oblivion (2013), mankind has been exiled from Earth. Paradise has been lost. Apex Of The Cycle The State of Perfection is the result of the last cycle and before the onset of the new cycle. In Star Wars (1977), this was the time when the Jedi policed the Galaxy. When it is lost, this is what is being returned to. In The Hobbit: An Unexpected Journey (2012), the dwarves were originally prosperous, respected and at peace in their mountain home. After being cast out, this is what they wish to return to. In Fast & Furious 5 (2011), Dominic et al aim for the lush and tropical paradise beaches of Brazil. Paradise Symbolism Familiar symbolism indicates that a State of Perfection exists. It is characterised by: Proximity To Mother Earth The world is a garden - green, organic, lush and tropical (as opposed to when the SOP is lost, when the Earth becomes a lifeless desert – see Oblivion, 2013). In Gladiator (2000), Maximus takes time to feel the tall grass. In The Bounty (1984), the islanders are close to Mother Earth.

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In Inglourious Basterds (2009), the family is happy on their farm. Fertility (Man and Earth) Man and Earth are pregnant with abundance. In Oblivion (2013), Jack and Julia eventually return to an Earth (their Garden of Eden), which produces fruits and vegetables. Women are pregnant, babies and children appear. Eternal Youth and Health Inhabitants suffer no ill-health, biological degradation has been eliminated. In Thor (2011), the Asgardians are eternally young and healthy. In Cocoon (1985), the aliens are eternally young and healthy. Physical and Psychological Wholeness The Body is Whole. There is not yet any damage and therefore repair needed. In Dororo (2007), the body is physically whole. In The King’s Speech (2010), this was before Bertie became damaged. Adjacently, the World is Whole. In Superman (1978), this is the time before Krypton tore apart. Complete, Accessible Home The World consists of a happy, gregarious family and village life. In essence, we are at home and have not yet been exiled from it. In Liar, Liar (1997), Fletcher was happily married to Audrey and living with her and their child. In Lord of the Rings (2001), before Sauron wakes, the hobbits live an idyllic family and village life within the Shire. In The Hobbit: An Unexpected Journey (2012), the dwarves have not yet lost their home. Belonging Citizens feel part of the whole; they belong; they are not alienated. In Dances With Wolves (1990), everyone in the Sioux village feel part of the whole, feel they belong.

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Sharing The corollary to belonging and family is sharing. Greed is non-existent. This is important, as one catharsis at the end of the story is the return of sharing. One reward of the return is the sharing of the gifts which have been acquired. Acceptance There is psychological safety and freedom. Citizens are accepted for who they are. Know Who They Are The later problem of rediscovering the self does not exist. No Parent Separation / Death Citizens know who they are because there has not yet been a disconnection with parents, which symbolize identity, wholeness and home. Parent Death has yet to occur. In Amazing Spiderman (2012), the child Peter Parker is still with his parents and has not lost the connection to Who He Is. Advanced Civilization Citizens benefit from the most elevated of cultures and technologies. In Thor (2011), Asgard is supremely advanced. Citizens are literally no longer cavemen anymore. They have evolved to an apex. In The Croods (2013), at the end, the family are literally no longer cave people / dwellers. Hope Exists The civilization is a beacon of hope to all other realms. This is what other realms wish to become; hope has not been lost. This is an important concept, as stories often involve the loss and then re-emergence of hope. In The Shawshank Redemption (1994), Red has lost all hope, but then rediscovers it. Belief Exists Citizens believe, they have faith. They have not lost their faith and become cynics. This is an important concept, as stories often involve the loss and then reemergence of belief. In The Prophecy (1995), Thomas Dagget has lost his faith but then regains it.

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In Raiders of the Lost Ark (1981), Indy starts not believing and ends believing. Awakened Citizens are awakened; they have yet to be blinded, to lose sight. They are still able to see. They are enlightened. They are not clouded by ignorance. In Thor (2011), Odin is completely awake and enlightened, not fooled. Unbounded Liberty Characterised by limitless open spaces. You can see this most often at the end of movies, when it is regained. In Red Dragon (2002), Will is sailing the ocean on his boat. In 50 First Dates (2004), Henry and Lucy are sailing the ocean on their boat. Absence of Limitations All the rewards of this place stem from this. In The Croods (2013), when the family finally returns to a land of light, sunshine and ocean they no longer suffer from their original limitations (fear; darkness means death). Unbound Capacities Citizens are, in effect, supermen. In Wonder Woman (TV Series, 1975), Diana comes from a land of immortals who possess unrestricted capacities and abilities. In Superman (1978), Clark stems from a world of supermen. Tasks Are Effortlessly Completed It is a place where all Magical Gifts Effortlessly Acquired. In Wonder Woman (TV Series, 1975), the Amazons effortlessly complete all tasks and effortlessly acquire all manner of treasures. Elixirs Are Reachable In The Wrestler (2008), Randy once had it all. He effortlessly achieved. All Provocations Are Effortlessly Subdued

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This is a corollary to “All Tasks Are Effortlessly Completed.” In other words, all temptations, monsters and Id manifestations are easily contained and made harmless. In The Amazing Spiderman (2012), at the end, Spiderman effortlessly controls all demons, real or imagined. Omnipotence A further corollary is that the inhabitants of the Original State of Perfection are supremely potent and. They are, in fact, Gods. In Thor (2011), all the inhabitants of Asgard are, in fact, Gods. Absence of Inhibitions This is a corollary to “Absent from Limitations.” There are no restrictions (save for the Rules, see later sections). In Logan’s Run (1976), there are no sexual inhibitions. Democracy Some form of egalitarian, consensual decision-making mechanism or system is in place. A Round Table is common, which neutralizes status amongst participants. A Gender / Species Balance (equality and distribution) is common. The is no need for one party to dominate over another. In King Arthur (2004), the Knights sit around a Round Table. In The Matrix Reloaded (2003), the leaders of Zion consist of an equally balanced mix of males and females. In Planet of the Apes (1968), all the various species of ape are equal. An Extraordinary Love abounds. In Ghost (1990), Sam and Molly are extraordinarily in love. Eternal Summer The World is enveloped in light, which is also a metaphor for awakening. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), before the White Witch took control, Narnia was in eternal summer. In The Croods (2013), the family return to a world of light, leaving the world of the caves and darkness. Abundance of Resource

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Which is a benefit of fertility, advanced thinking, culture and civilization. In Gone with the Wind (1939), before the war, the Southerners are hugely wealthy. In Pretty Woman (1990), Edward is hugely wealthy. In Gosford Park (2001), the aristocracy is hugely wealthy. Celebration Glorification of this State of Perfection is common. In Kung Fu Panda 2 (2011), the State of Perfection is originally represented by celebration and fireworks. In The Lord of the Rings: The Fellowship of the Ring (2001), the Shire celebrates at every opportunity.

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Original World And State Of Perfection (Archetypes) Certain archetypes are common in the Garden of Eden Maintainer of the Original State of Perfection Utopia is maintained by a Protector Archetype – commonly, the Hero Parent (who in patriarchal societies is male and in matriarchal societies is female). In The Godfather (1972), the Don is the Hero Parent who maintains the State of Perfection (from the Family’s point-of-view). In Superman (1977), the Hero Parent is Jor-El. In Biblical Stories, the Hero Parent’s literal representation is God. In Lord of the Rings (2001), Gandalf is the Hero Parent, Father Figure archetype. It is not unusual for the Hero Parent to be aged (commonly several hundred years or eons old) and experienced beyond fathomability. The Hero Parent was “someone who was there in the beginning” – in other words, was present at the creation of the present State of Perfection (commonly, was responsible for it). In Thor (2011), Oden is the Hero Parent and was there in the beginning, responsible for the original containment of the Frost Giants. In The Empire Strikes Back (1980), Yoda was there in the beginning and maintained the State of Perfection as part of the Jedi. Commonly, the Hero Parent is deferred to, is someone who thinks altruistically, someone who makes all the right decisions and someone who can accurately gauge other people’s characters and motivations. These are the result of being awake (awakening). In Thor (2011), Oden has these characteristics. Classic iconography has this archetype dressed in white or red, with a white beard (Zeus, Father Christmas etc). Hero Parent Spouse The Hero Parent Spouse assists the Hero Parent maintain the State of Perfection. Often, the Hero Parent Spouse counsels the Hero Parent. Both the Hero Parent and the Hero Parent Spouse perform complementary roles. This is the synthesis of yin and yan, of matter and antimatter, of male and female energies that synergize to attain wholeness and complete the family.

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In The Godfather (1972), Don Corleone and his wife maintain the State of Perfection. In Gran Torino (2008), Walt and his wife maintained their State of Perfection, which was lost when she died. Originally, the Hero Parent and the Hero Parent Spouse were from opposite Worlds (their union is the union of Two Worlds; he was the original Hero and she the original New World Romantic Challenge). Classically, the Father was of higher status, a wealthy merchant or renowned scientist etc while the mother tended to be a slave or a washer-woman or similar; the father is an elder and the mother a young beauty etc. Synergy indicates that they have reached their enlightenment, their maturity (they have synthesized both Worlds and Selves; see later sections). In The Godfather (1972), Don Corleone and his wife maintain the State of Perfection. He takes care of business and she takes care of the family and house. In Spartacus (1960), Spartacus’ father was a wealthy landowner and his mother a slave. In Goodfellas (1990), Henry’s father is Irish and his mother is Sicilian. Circle of Elders The Circle of Elders are a collection of other archetypes that also help to maintain the State of Perfection. They are a collection of powerful, normally wise, complementary characters (but each is weaker and more flawed than the Hero Parent himself). The Circle of Elders are those who sit around the Round Table. In The Matrix (2002), Zion is led by a Circle of Elders. In The Godfather (1972), Sonny, Tom et al help the Don maintain the State of Perfection. In Star Wars: Episode II - Attack of the Clones (2002), the Circle of Jedi help maintain the Original State of Perfection. In Superman (1977), Krypton is led by a Circle of Elders. In Merlin (1998), the Knights of the Round Table maintain the State of Perfection. The Id / Monster has his own Circle of Elders (see next section – The Serpent’s World).

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In The Lord of the Rings: The Fellowship of the Ring (2001), the Nazgûl are a dark round-table of fallen kings. Leader of the Circle of Elders The Hero Parent may rule as a benevolent king. In Thor (2011), Oden rules as a benevolent king. The members of the Circle of Elders attained their positions by helping the State of Perfection come about. So they are Loyal Allies or similar archetypes of the last epoch (the previous traverse around the loop). Also commonly, they are a collection of Kings that would have lost their empires / souls to the Id (Antagonism) had it not been for the Hero Parent (heaven would have fractured had it not been for God). Hence, if the Hero Parent is not their leader, then s/he has very high status and influence. In Superman (1978), Jor-El is a powerful member of the Elders, all of whom maintain order on Krypton. Good People of the Township (Citizens) The Good People of the Township are the Natural Inhabitants / citizens of the Worlds of the Original State of Perfection (and generally the Good Inhabitants of All The Worlds). In Religious Stories, we were all originally Good People of the Township we were all angels and citizens of heaven. Hero Parent Loyal Ally This archetype will understand the Hero Parent’s drive to maintain a State of Perfection and will agree with it and assist. This archetype is less susceptible to the Id than other archetypes, second only to the Hero Parent himself. Commonly, the Hero Parent Loyal Ally will be charged with protecting the Hero Parent Progeny – s/he may go on to be the Major Supernatural Aid (see later sections). Commonly, s/he is a powerful wizard who is excellent at disguise – a chameleon of the highest calibre. In the classic construct, the Hero Parent and Hero Parent Loyal Ally have fought many battles together or one has trained the other. They came through the last cycle together – as hero and lieutenant. In Top Gun (1986), Viper knew Maverick’s father. They flew together. In Star Wars (1977), the young Obi Wan and the young Vader fought together.

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In Harry Potter (2009), Dumbledore trained Harry’s parents and Hagrid fought alongside them. Heir Apparent This archetype feels that s/he is owed the Right to Inherit leadership of the World of the Original State of Perfection. If this archetype has the capacity to maintain the State of Perfection as the Hero Parent does, then transition often flows smoothly. If not, then this archetype can become the Destroyer of the State of Perfection (in other words, the Shape Shifter or the Greater Antagonism / Id itself). Else this archetype becomes a proxy until the Hero himself is ready. The Heir Apparent may or may not be the Hero Parent’s biological progeny. In The Godfather (1972), Sonny is an heir apparent but he is a bad leader. In Gladiator (2000), Commodus is Marcus Aurelius’ heir and feels he deserves the right to be Emperor. But he is weak and a bad leader and thus Marcus Aurelius does not give him his inheritance. In El Cid (1961), the Princes and Princess are weak and bad leaders, hence another must be found. Circle of Elder Shape Shifter This archetype is prone to be seduced by the Id (Antagonism) and must be managed. His or her weakness is well known and thus s/he is never given the highest status within the Circle (which only causes more jealousy and envy and enhances his / her potential for Turning to the Dark Side). This archetype is the Ego to the Superego (Hero Parent). This archetype commonly assists in the demise of the Original State of Perfection. In The Godfather (1972), Tom is the Hero Parent Loyal Ally and Tessio is the Circle of Elder Shape Shifter. In Jesus of Nazareth (1977), Judas has the most potential to turn to the dark side. In Religious Texts, the Devil originally ruled alongside God until he was tempted and banished. The Devil’s story and Judas’ story mirror each other. In A Time to Kill (1996), the cop is a member of the KKK. Parents (Mature) Commonly, the Hero Parent’s generation are mature archetypes. They have at least witnessed the destructive Id (Antagonism) when it was liberated and know the value of the Rules used to contain it. This is the origin of the Parent and Experienced Archetype (also see the next section: Forbidden Zone). Parents have undergone an awakening and are Awake.

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Children (Innocents) On the other hand, the Hero Parent’s Progeny’s generation grew up under the protection of the Hero Parent and have only witnessed harmony. They do not fully appreciate the chaos the Id would cause, do not value the Rules and do not have the Capacity to defeat it if released. They have not learned the capacities to control the Id and are unaware of themselves and the methods needed to control the monster. This is the origin of the Child and Innocent Archetypes (also see the next section: Forbidden Zone). Innocents have not undergone an awakening and are Asleep. In The Godfather (1972), the Don and his Capos knew what it was like to be poor immigrants and live under tyranny. His sons do not – they have to relearn it. In Thor (2011), Odin knows what war with the Frost Giants means. Thor does not and has to relearn it. In Religious Epics (Genesis), Adam and Eve are innocent. In Logan’s Run (1976), the citizens are innocent. Commonly, the children / innocents are Unappreciative of the State of Perfection. Once they have undergone the journey and awakened, they will appreciate it. In The Wizard of Oz (1939), Dorothy doesn’t appreciate home, until after she returns. Hero is Not Yet Born Commonly, during this Period of Tranquility and the Reign of the Original State of Perfection, the Hero is not yet born. Either the Hero is Physically Not Born. In The Ten Commandments (1956), the Pharaoh’s initial evil is enacted before the birth of Moses. In Superman (1977), Jor-El’s baby was not born when he warned that Krypton’s sun was about to destroy their planet. Else the Hero is Psychologically Not Born. In this case, the Hero is initially an Innocent or Not Awakened. One function of the journey is to awaken these innocents, who cannot yet see. In The Godfather (1972), Michael is alive but innocent and naïve.

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In Thor (2011), Thor is alive but is “a boy”. Chosen One The eventual Hero will be chosen, according to the Capacities s/he demonstrates. In Gladiator (2000), Marcus Aurelius chooses Maximus over Commodus, because of the Capacities he demonstrates. Chosen Ones do not necessarily have to be the Hero Parent’s biological progeny. In Gran Torino (2008), Thoa is not Walt’s descendant, simply one who has demonstrated the appropriate capacities. In El Cid (1961), Rodrigo is not the previous King’s biological progeny. Commonly, Heir Apparents (Hero Parent’s biological progeny) may have to undergo the journey in order to demonstrate those Capacities. In Thor (2011), Thor has to go to Earth to demonstrate that he is Hero material. Tragedy Archetypes At this stage, these characters are supremely confident, high status and capable. As the State of Perfection is lost and limitations come into being / the monster grows and tasks no longer effortlessly acquired, they gradually lose their confidence, become fearful, low status and panicky – they descent on a downward arc. In Aliens (1986), Hudson is initially supremely confident. But soon falls apart. A complete list of Advanced Archetypes can be found http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html.

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Original World And State Of Perfection (Serpent’s World) Hero Parents’ Ordinary World At this time of the Original State of Perfection, this Original World (Eden) is the Hero Parents’ Ordinary World. The Hero Parent and Eden are the superego side of consciousness (perfection, good etc). The Hero Parents brought this world into being by conquering and containing the Id thus becoming “Heads of State,” in the same way that the next Hero will grow to [become the parent], restore the world to a State of Perfection when it is lost. In Superman (1977), Jor-El was a “father-figure” on Krypton and brought about peace and long life there. Superman loses his father and home when Krypton is destroyed, rediscovers a new home on Earth, becomes a “father-figure” there and brings about peace and long life. Greater Antagonism This archetype is the tangible manifestation of the Id. It is all evil, dangerous, the devil, the dark side etc and would like to revert the worlds to a state of bestiality (State of Imperfection). Commonly, this archetype is represented by Serpent Symbolism. In The Bible, the serpent represents the dark side. Greater Antagonism as Supernatural Aid The Greater Antagonism is, in fact, the most potent Supernatural Aid. If it weren’t for the Greater Antagonism, the Hero wouldn’t be forced to overcome his limitations, shortcomings or vulnerabilities. When the Hero vanquishes the Greater Antagonism, that is a benchmark indicating that the demons of the psyche no longer exist. In The Wizard of Oz (1939), the Wicked Witch, implicitly, forces Dorothy onto the Yellow Brick Road and beyond, where she learns to appreciate home. The Wicked Witch is a helper, she facilitates, she's an enabler. This is why the Greater Antagonism is contained and only released, gradually, as the Hero becomes incrementally ready. In 48 Hrs (1982), Ganz is released and then held back from getting the money until Cates is ready for him (changes to overcome his limitations).

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Forbidden Zone The Id cannot be destroyed without destroying the Superego (they’re both flip sides of the same consciousness). This is why the Id and Superego are constantly obsessed with each other, know each other, can predict each other’s actions etc. In The Ninth Gate (1999), Balkan (Id antagonism) has a soft spot for Corso (superego hero). Because the Id cannot be destroyed, it must be contained. The Forbidden Zone is the tangible manifestation of that place where the Id is contained. In Thor (2011), the Frost Giants inhabit a forbidden, separate planet. In Priest (2011), the vampires are locked away in the reservation. The Greater Antagonism is King of the Forbidden Zone, but has a whole hierarchy of dark Circle of Elders, lieutenants and citizens. In The Prophecy (1995), Lucifer is king of his own world. In The Lord of the Rings: The Fellowship of the Ring (2001), the Nazgûl are Sauron’s Circle of Elders. Containment Symbolism Magical Gifts contain the Id. When unlocked, they unlock the devil inside. In Pandora’s Box (2002), the box locks away the devil inside. In Hellraiser (1987), the box locks away the devil inside (Pinhead). In Thor (2011), the power of the Frost Giants is locked away inside the casket. In Aladdin and the King of Thieves (1995), the Geni was locked away inside the lamp because it caused mischief. Else come Cage Symbolism or similar keeps the Id contained. In Genghis Khan (1965), Timujin cages Subotei. In 48 Hrs. (1982), Ganz is imprisoned.

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As is implied, none are allowed into the Forbidden Zone. Some Walls and Punishments forbid entering it. In Logan’s Run (1976), venturing past the city walls is forbidden. Else, the Id is disguised and undetected in Sheep's Clothing. It is not uncommon for the Id to be a Shape Shifter and be part of the Circle of Elders. In Battlestar Galactica (2004), the evil Baltar is part of the human Counsel. In Star Wars: Episode III - Revenge of the Sith (2005), the Emperor has hidden himself well among the senate. Rules of the Original State of Perfection (Book of Law) And rules help to keep the Id at bay and prevent the Children of Eden from “Stirring the Serpent.” In Genesis, Adam and Eve are not allowed to eat from the Tree of Temptation. In Gremlins (1984), the evil Gremlins are locked away inside little Gizmo and are released when he is exposed to water, which is forbidden. The Hero Parent and Circle of Elders follow and enforce Rules that allow them to maintain the Original State of Perfection and keep the Id contained. It is when these Rules are broken that the Deficiency (see next sections) comes into being and Destructive Forces begin to grow. The Book of Law dictates how the Containment should be managed – if these Rules are not obeyed, the Id is released. In other words, if these Rules are not obeyed, then this World / State of Perfection (Eden) is at great risk of coming to an end. In Gremlins (1984), the Gizmo’s original owner warns not to drop water onto him. In Genesis, God warns Adam and Eve not to eat from the Tree of Temptation. In The Godfather (1972), the Don follows Rules like, “don’t talk business at the dinner table” or “a man should always spend time with his family” or “never take sides with anyone against the Family in public.” In Planet of the Apes (1968), the apes follow the rules as per the Law Giver’s guidance.

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Capacity To Contain The State of Perfection is maintained because the Hero Parent (Superego) has the Capacity to contain the Antagonism (Id). He is Awakened. In The Godfather (1972), Barzini is around but he is controlled when the Don is in command. In Thor (2011), Odin has the Capacity to keep the Frost Giants on their planet. The State of Imperfection comes about when this Capacity is lost. During the Reign of Evil (when the State of Perfection is lost) it is the reverse; it is the Superego that is restrained (see later sections). In Genghis Khan (1965), Subotei cages Timujin. In The Godfather (1972), when Tattaglia and Barzini are in control, it is the Don and Michael who are restrained. Children of Eden Are Not Ready The Forbidden Zone, Containment and the Rules are in place in order to prevent innocents from Stirring the Serpent because the children are not yet ready to tackle and contain the monster. They have yet to grow, hence the common references in dialogue such as, “boy.” They do not have the Capacities to Contain, which the father does. In Thor (2011), Odin visits the Frost Giants but Thor cannot. The Frost Giants call Thor “boy.” This is the essence of the story and the journey – the child’s journey to manhood, of which the conquest of the Id is a benchmark. This is why the journey is often encouraged. In Walkabout (1971), the Aborigines go walkabout in order to grow up. Id / Temptation Susceptibility The members of the Circle of Elders and other archetypes all have various susceptibility to Id Temptation. All are at various states of strength and weakness and some will succumb to the Id’s direction and help bring Eden down. In Gremlins (1984), the shop owner’s nephew succumbs and sells Gizmo. In The Godfather (1972), Carlo succumbs and betrays the Family.

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Loss Of The Original State Of Perfection Onset of Change The State of Perfection will soon be lost. Change is in the air. In Lord of the Rings (2001), Galadriel’s voiceover tells us that it is a time of change. Inevitable Change The change is unavoidable and magnetic. There is no choice. In The Crood’s (2013), Eep is magnetically drawn to the light and sound outside the cave. End of the Old Way and World The world as it is and the way of the old is about to come to an end. This is an arc – the world will gradually dissolve away and the new world will gradually appear. In The Crood’s (2013), Guy tells us that things are about to change; the old world is about to come to an end. Death Symbolism Death is a symbol of change – death of the old and onset of the new. In The Verdict (1982), Frank attends a funeral at the start of the story. Dialogue such as “you are going to die” signifies that the old way and old self is dying / dissolving away. It is a constant benchmark, throughout the story, of the constant change and arc. In The Call (2013), “kill me” is an indicator of the death of the old self and state. Beginning of Time In essence, the beginning of time is the Beginning of the Problem. In The Lion, The Witch And The Wardrobe (2005), Aslan says, “…before the dawn of time….there was peace and tranquility…and then…” In The Last Time (2006), Ted’s problems began way back, when a woman left him, while he was still at the university. In Vers Le Sud [Heading South] (2005), Brenda’s problem began before the story started, when she first had an orgasm with Legba.

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Contraction The movement from the State of Perfection to the State of Imperfection may be contracted under time constraints (for example, a 90 minute movie). In Inglourious Basterds (2009), the peace on the farm is lost simply by the appearance of Landa. In Rise of the Planet of the Apes (2011), Caesar’s mother was originally carefree roaming the lush jungle with her troupe. Until she is captured. But commonly, the process contains all or some of the following symbolism: Protection Denied The Hero Parents and their allies have been protectors and maintainers of the State of Perfection. Now this protection is removed (willingly, unwillingly or unknowingly). Period of Unavailability Commonly, the Hero Parents and their allies become unavailable. Physical / Psychological Departure Commonly, they disappear or journey to another land / realm / domain / world or are somehow simply psychologically removed – they take their “eyes off the ball.” In Gremlins (1984), the shopkeeper simply walks away. In The Ten Commandments (1956), Moses departs onto the mountain to speak to God and retrieve the Ten Commandments. In Thor (2011), Odin falls asleep. Prophets of Doom Supernatural Aids warn against the denial of protection, the Hero Parent’s unavailability – they know it marks the end of the world as we know it. Commonly, many protest and attempt to prevent the denial and departure. The Wise Ones know that it is the way it must be – that it is the cycle repeating itself; that we’re moving off the apex of the cycle; that it is time for innocents to learn what the parents know. Omen It is when it is clear that the Original State of Perfection is to end that an Omen appears.

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Auspicious Occasion The Denial or Period of Unavailability starts on an auspicious occasion - the anniversary of a past event or a birthday or on a day that has significance. Exile / Cast Out of Eden and Home Citizens are exiled, a forced departure from their home and world. They are shut out and barred from it. Just as the Id was caged in, now the Superego is caged out. In Schindler’s List (1993), the Jewish people are forced from their homes. Serpent Seduction With the Hero Parent away, the members of the Circle of Elders and the Good People of the Township demonstrate their weaker natures. The Serpent begins to tempt them to break the Rules that have been established to maintain the State of Perfection. In Genesis, the Serpent persuades Adam and Eve to bite the apple. And they are easily tempted. In The Ten Commandments (1956), while Moses has departed to retrieve the Ten Commandments, Dathan tempts the Israelites. They do not maintain the State of Perfection well. In The Godfather (1972), after the Don’s assassination, Tom can’t manage Sonny, the Capos defer to Sonny and Sonny is a bad Don. Barzini is pulling the strings. Loss of Awakening This is the Beginning of Sleep and the process of reawakening will have to, later, be undergone. In Snow White and the Seven Dwarves (1937), Snow White is persuaded to bite the poisoned apple whereupon she falls asleep (Snow White has that name because she was in a State of Perfection). The evil queen reigns. Original Sin This is Succumbing to Temptation and the Serpent’s Seduction. The Book of Law is contravened and havoc reigns / armageddon begins. The resulting weakness allows the antagonism liberty to conquer the kingdom. In Genghis Khan (1965), Jamuga conquers Timujin’s father’s kingdom.

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Philosophical Flaw Born (Theme / Inner Challenge) The theme can be regarded as the philosophical flaw, which is born here. The serpent deceives / persuades Adam and Eve (innocents) to eat the fruit of the forbidden tree by deceiving / persuading them to accept a flawed philosophy. The thematic journey then, normally, involves reversing that flawed philosophy. From the thematic point-of-view, the Loss of the State of Perfection is the loss of the correct philosophical point-of-view. In other words, the Serpent’s Seduction is the seduction of the character to the incorrect philosophical point of view, of which the tangible (forbidden fruit) is a physical representation. In What’s Your Number (2011), Ally has been seduced by the idea that she should please everyone else. Deficiency This is the beginning of the Deficiency - the capacity not to be tempted has been lost; the Capacity to Contain the Greater Antagonism has been lost. In Lord of the Rings (2001), Sauron reappears because of the failure of man to resist the temptation of the Ring and destroy it. And this deficiency must be confronted at the end. Outer Challenge These are the outer manifestations (physical externalizations) of the inability to resist temptation and the Deficiency. The Outer Challenge is a consequence of the Deficiency and Inner Challenge. In The Ten Commandments (1956), while Moses has departed to retrieve the Ten Commandments, the Israelites begin to worship false idols. In Back to the Future (1985), Marty’s family is poor and his siblings have inferiority complexes (Outer Challenges) because George was unable to confront and contain Biff (Inner Challenge). Serpent’s Fruit When Adam and Eve eat from the fruit of the tree in the midst of the garden, they accept a tangible which represents that they have accepted a flawed philosophy. Later, to show that they have overcome this flawed philosophy, they are able to resist the fruit. In other words, you create an initial benchmark scene where some limitation cannot be overcome and then later (usually at the rebirth after near death experience stage) re-introduce that limitation, where it is overcome.

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Paradise Lost The Antagonism grows and physically affects the worlds to create it in its own image. Plants begin to wither and children begin to get sick. Light turns to dark. The civilised become barbaric. This is a downward arc – Eden burns. In The Lion the Witch and the Wardrobe (2005), the White Witch turns Narnia into winter. In Oblivion (2013), the fertile Earth turns to desert. Armageddon Begins The Antagonism’s liberty brings about all the signs and signals of Armageddon. This is an upward arc – Hell builds. In 48 Hrs. (1982), Ganz’s liberty spells the beginning of a reign of death. Angels Divided The Good People of the Township split into two factions. Those who have less natural resistance against their own dark natures (their own Id) turn to the dark side (Fallen Angels; Dark Angels). In Warlock (1989), this is the essence of the battle between the two armies of angels. In The Wizard of Oz (1939), Oz is ruled by good and bad witches. Inheritance Battle As the Hero Parent has high status and generally is King of the Kingdom (God, The Don etc), there is a battle to replace him. Commonly, there is a battle between Hero Parent Progeny (siblings) or between Heir Apparents and Chosen Ones. In Gladiator (2000), Marcus Aurelius is the Emperor of Rome. Commodus wants the throne and will deceive and kill for it. In El Cid (1961), the princes and princess fight over the kingdom. Loss of Identity, Belief During this phase, Citizens forget Who They Are. They do not recognise themselves. In The Ten Commandments (1956), after Dathan tempts them, the Israelites forget who they are. Loss of Belief

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The Hero Parent is a surrogate God. When the Hero Parent disappears, in effect, God disappears. This is when citizens lose their belief – when the protector fails to appear during desperate times. In Dracula (1992), the non-appearance and non-assistance of God at a desperate time provokes Dracula to lose his faith. Loss of Hope Accompanied with the loss of belief is the loss of hope. When the protector disappears and all is lost, so is hope. The journey to recover hope, later, will have to be undergone. Loss of Sharing Individualism, greed and ownership takes shape. This is important, as one catharsis at the end of the story is the return of sharing. One reward of the return is the sharing of the gifts which have been acquired. Beginning of Damage When the protector disappears and all is lost, that’s when the damage is done. The journey to repair, later, will have to be undergone. Loss of Wholeness Physically the damage is loss of the body or some deformation of it. Psychologically, the damage is loss of identity and home. Transmogrification This is also really the beginning of the body arcing down to sickness and deformation and later having to repair itself. Detachment This is also really the beginning of the detachment from all those things representing the earlier Eden-like state. Being cast out of Eden is literally a detachment from a representation of the earlier state. Reverse Liberty Symbolism During this period, the Id is no longer contained and demonstrates the joy of freedom. In Priest (2011), the vampires escape the reservation. In Aladdin and the King of Thieves (1995), the Geni stretches joyously after being released from the confines of the lamp. Reverse Containment Symbolism

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Those that do not turn to the dark side are now the minority and now they are Contained Ones (Imprisoned Angels; White Angels). This is the reverse of the previous situation – now the Superego is restrained. Innocents Not Ready That they are easily subdued indicates that Innocents are not ready. They must undergo the journey to adulthood, become the parent (thereby overriding the need for the parent – a limitation) and vanquish the antagonism themselves.

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Edge Of The Original World The function of this next phases is to give birth to the Hero and lose the Hero Parent, which may occur in a very simple, direct way. In Genghis Khan (1965), Timujin is born and his father is murdered by Jamuga In essence, this is very much a dislocation from identity – not knowing who one is; the process of rediscovering and becoming the father is the process rediscovering ones identity. In Amazing Spiderman (2012), after he separates from his father, Peter doesn’t know who he is and the process of becoming the father is the process of rediscovering who he is. Commonly, the process contains all or some of the following symbolism: Hero Parent Returns The Hero Parent returns and can see from the change wrought that the Good People of the Township have committed the Original Sin, that the Antagonism is liberated and that Eden is on the verge of being lost. In The Ten Commandments (1956), Moses comes back down the mountain. In Halloween (1978), Dr Loomis and his nurse return from his trip to find that the inmates have been released from the asylum. Reunification Symbolism Commonly, the Hero Parent warns the Circle of Elders and relevant allies about the danger and imminent loss of the State of Perfection (Paradise Lost). He warns them that they are forgetting who they are, losing belief, hope, themselves, that they are losing sight (going to sleep, losing awakening, that they do not see), that they are losing sight of home, that they are worshipping false idols. In The Hobbit: An Unexpected Journey (2012), the dwarves begin to worship the false idol of the Arkenstone. In The Ten Commandments (1956), the Israelites have been worshipping false idols.

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Suspension of Consciousness But warnings are not heard. The Antagonism’s / Id’s / Serpent’s Seductions prevent clear vision. That the Hero Parent can see through this mirage demonstrates his greater powers of sight, clarity and capacities. In The Lion, The Witch And The Wardrobe (2005), Edmund is deceived by the temptations of the witch’s Turkish Delight. In Star Wars: Episode III - Revenge of the Sith (2005), the Senate do not realize that they are being led to dictatorship behind the scenes. In Spartacus (1960), the Senate does not realize what Crassus’ dictatorship will mean. In Superman (1978), Jor-El warns that Krypton is coming to an end but the Elders do not believe it. Hero Parent’s Limitations Limitations are imposed upon the Hero Parent and his allies. Commonly, they are Forbidden To Interfere, or are unable to. In Star Wars: Episode III - Revenge of the Sith (2005), the Senate do not see the danger, hence the Jedi are not authorized to confront the Chancellor and the secret army. In Spartacus (1960), the Senate hinders Graccus and allows Crassus to continue with his machinations behind the scenes, as they do not appreciate the danger. In Superman (1977), when Jor-El is forbidden to interfere, he knows that the planet will shortly come to an end. Pushed to the Edge of the Original World Commonly, the Hero Parent and his allies (usually, the Hero Parent Loyal Ally, Hero Parent Spouse [who is now a Pregnant Mother archetype] and the Remnants of the Good People of the Township) are pushed through Journey and Border Symbolism to the Edge of the Original World (Id repels Superego). Minor Threshold Guardians will have to be passed. In Jesus of Nazareth (1977), Herod pushes Mary and Joseph to leave for Bethlehem. Omen of the Return An omen signifies that the Hero (a Redeemer, a Messiah, a Deliverer, The One etc) who will restore the State of Perfection is coming. This is the Beginning of

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the Return To Eden, but it will be a long journey where the baton is passed onto the next generation. In Jesus of Nazareth (1977), there is the Star of Bethlehem. Auspicious Occasion Commonly, the omen occurs on an occasion of relevance or importance and is often accompanied by miracles, unusual events or strange happenings. In Jesus of Nazareth (1977), John’s mother, a 50-year-old woman who has always been infertile, becomes pregnant. Hero is Born At the border of the Edge of the Original World, the Hero is born. In Jesus of Nazareth (1977), Jesus is born. In Superman (1977), Kal-El is born. The Hero’s birth occurs in a place that is Representative of the People that s/he will eventually save. In Jesus of Nazareth (1977), Jesus is born in a barn, which is representative of the common, poor and dispossessed. Outshines Ordinary Men The hero is also born and will live the early years amongst Ordinary Men so that he will easily outshine them. He will be special amongst them. In Superman (1977), Kal-El is born and brought up amongst humans, amongst who he easily shines. Innocence Reborn That the hero is just a newborn now is significant. It is the physical manifestation of the most devolved psychological state (pure innocence). If your hero/ine starts as an adult, then s/he will show signs of devolution at this stage. In Lawnmower Man (1992), Jobe is a fully-grown male but he is innocent as a child. In The Godfather (1972), when we first meet Michael, he is an Innocent. Symbol (Mark of The One) Commonly, the Hero (a Redeemer, a Messiah, a Deliverer, The One etc) will be recognized by a symbol.

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In Jason and the Argonauts (1963), King Aeetes is looking out for someone wearing only one slipper. In Ben Hur (1959), Balthasar will know him when he sees him. Touched By The Gods Commonly, the Symbol signifies that the hero is endowed with Capacities that will set him or her apart and uniquely equip him or her to restore the State of Perfection. Further, that the Gods (supernatural aids) are watching the child’s progress. This is clearly visible in modern story. In Ocean's Eleven (2001), Rusty is always eating and never gets fat. Prophecy Even before the Id was released from containment, the Prophecy has begun to form. It dictated that the Id will one day escape containment, destroy the World and then eventually be contained once more. This is no great wisdom, simply the recognition that this is the pattern of the eternal cycle. In essence, it links back to psychology and the development of weaknesses and strengths – inevitably weaknesses emerge and inevitably the strengths to overcome them are eventually gained. Eventually the child must surpass / replace the parent. The arrival of a Hero (a Redeemer, a Messiah, a Deliverer, The One etc) is Foretold and perpetuated amongst the Remnants of the Good People of the Township, Led by Supernatural Aids. In Jesus of Nazareth (1977), the Messiah’s coming is foretold. The Prophecy may be written and perpetuated by Id (Antagonism) forces as a warning that one day their existence will be in danger. In Planet of the Apes (1968), the Law Giver writes that Man may one day arise and conquer the Apes. In Jason and the Argonauts (1963), King Aeetes keeps a keen eye on signs of the Prophecy, knowing that it spells his doom. Magical Gifts A special few Wise Men (Supernatural Aids) know the value of the Hero’s birth, which is celebrated. In Jesus of Nazareth (1977), the three wise men know the significance of the birth.

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Commonly, Supernatural Aids provide Magical Gifts which will help fulfill the Prophecy. Commonly, the Magical Gifts are weapons that have been used to contain the Id in the Original State of Perfection and will become useful to the Hero in due course. In Jesus of Nazareth (1977), the Wise Men give presents. In Superman (1977), Jor-El equips Superman with the devices needed to survive and conquer the coming challenges. In Star Wars (1977), Obi Wan will keep Luke’s father’s light-sabre and hand it to him when he is grown. Light-sabres are used by Jedi Knights to maintain order.

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End Of The Original World Destruction of Rivals Having brought down the State of Perfection and created a State of Imperfection, the Antagonist seeks to cement its position by vanquishing and repressing all who could oppose it – in essence, it seeks out the Remnants of the Good People of the Township and, specifically, the Hero Parent, who could unite all those forces. In The Lion, The Witch And The Wardrobe (2005), the White Witch is hell bent on cementing her power and repressing opposition. Commonly, the Antagonism and Hero Parent are natural foes and are aware of each other – the Hero Parent has been responsible for the Antagonism’s containment (consciousness gives rise to the Id and Superego, both of which eternally battle to contain the other). In Superman (1977), Zod vows to personally destroy Jor-El and his heirs. Further, the Antagonism may be aware of the Prophecy (which specifically foretells the Antagonist’s doom) and be determined to put an end to it. In Jesus of Nazareth (1977), Herod is determined to extinguish talk of the Prophecy. In The Lion, The Witch And The Wardrobe (2005), the White Witch is determined to extinguish talk of the Prophecy. Antagonist’s Pursuit There is Journey and Border Symbolism into this domain. Commonly, the Antagonism pursues the Hero Parent to the Edge of the Original World. Minor Threshold Guardians will have to be passed. Edge of the Original World Battle A battle between Id and Superego forces occurs – the second mightiest of all, only surpassed by the later, final battle between the Hero (when he has grown) and the Antagonism. Again, status matches status. The Antagonist’s Lieutenants battle the Hero Parent’s Lieutenants and the Antagonist battles the Hero Parent. Mighty Magical Gifts Those Mighty Magical Gifts, which the Hero Parent used to contain the Id are used again. The greatest spells and swords of the last cycle are used.

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Loss of Mighty Magical Gifts Through some machination, it is common that the Hero Parent’s Mighty Magical Gift is somehow lost or mislaid. Usually, the new hero will have to grow and recover it before he can tackle and defeat the antagonism. This will be a tangible representing an intangible limitation. Hero Parent Death Here, the Hero Parent is vanquished. In Star Trek (2009), Kirk’s father dies. In Genghis Khan (1965), Jamuga conquers Temujin’s father’s kingdom. In Gangs of New York (2002), The Butcher kills The Priest. In There Will Be Blood (2007), Baby Plainview’s father dies. Nobody remains to prevent the Antagonism conquering his kingdom (the World of the Original State of Perfection). Eden is exposed and soon will be no more. That which was ceases to exist. The death represents a break and detachment from the earlier state. This is where identity and home is finally lost, in other words, there is no return to it. The end of the Original World may be literal destruction or disappearance: In Superman (1977), Krypton is destroyed. Or it may be changed on some level, never to be the same again (even when the New State of Perfection is restored, it will not return to exactly the same version, but a new version): In Midnight Cowboy (1969), the rape marks the end of the Original State. In The Lion, the Witch and the Wardrobe (2005), Narnia becomes winter. Loss of a Capacities triggers change: In The Last Time (2006), Ted problems affect everyone and the company. Additionally, it may be demonstrated through the Loss of a Kingdom / Home (the Kingdom is a metaphor for the Original World and State of Perfection): In Gangs of New York (2002), the Butcher kills Amsterdam’s father and takes over.

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In Genghis Khan (1965), Timujin’s father is viciously murdered by Subotei and his father’s kingdom stolen. In Lord of the Rings (2001), Sauron creates the rings specifically to rule the Worlds in darkness – the Kingdom of Middle Earth is lost. Else, Death Symbolism illustrates the end. This is irreversible change. This is where the damage sets in, where belief, hope, wholeness, family, home etc – all is lost. In The Shawshank Redemption (1994), Andy’s Original World is destroyed when he finds his wife having an affair. In An Officer and a Gentleman (1982), Zack’s mother committed suicide when he was a baby, thus causing the loss of balance of his Original World. In Gran Torino (2008), the story begins with the burial of Walt’s wife. In Dances with Wolves (1990), the story begins with John close to death. Hero Parent’s Sacrifice The Hero Parent often dies, not as a result of inability to defeat the Antagonism directly, but as a result of a distraction – often the Hero Parent is saving an Innocent’s life. The Hero Parent’s Deficiency is that s/he cannot manage both events. In Star Trek (2009), Kirk’s father dies saving lives. Hero Parent’s Deficiency The Hero (next generation) will face the same problem and have to solve it. This will indicate that the child has surpassed the parent. This Impossible Dilemma will re-occur in Act III of the story. In The Lord of the Rings: The Fellowship of the Ring (2001), Aragorn’s ancestors succumb to the Ring. He has to show that he will not. Else, the Hero Parent simply loses the capacity to contain the Antagonism because of the loss of the Might Magical Gift. Else, the Hero Parent simply loses the capacity to contain the Antagonism (which has grown beyond appreciable strength due to the Breaking of Original World Rules). In Gremlins (1984), the shopkeeper loses his pet because his nephew breaks the rules.

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Commonly, but not necessarily, the Hero Parent is forced into hiding where s/he may live to fight another day or encourage New Heroes to grow and fulfill the role. In Star Wars: Episode III - Revenge of the Sith (2005), Yoda fails in his task to defeat the Emperor and escapes to train the new generation of Jedi. Baby Hero Survives Though the Hero Parent(s) have been vanquished, the Baby Hero survives. Commonly, the Hero Parent’s Sacrifice allows the Baby Hero to escape. In The Godfather Part II (1974), Vito’s mother sacrifices her life to give the boy time to escape. Parent Separation This is the moment when the infant separates from the father and identity is lost (the connection to Who He Is, is lost). In Silence of the Lambs (1991), Clarice’s story really begins with the death of her father. In Midnight Cowboy (1969), Joe Buck’s problems began when he was handed over to grandma. In An Officer and a Gentleman (1983), Zach’s story begins when his mother commits suicide. Supernatural Aids (commonly, but not necessarily, the Hero Parent Loyal Ally) protect the Baby Hero. In Genghis Khan (1965), the boy’s father’s Loyal Ally protects the infant. In Jason and the Argonauts (1963), Hera protects Jason. Disappeared Mighty Magical Gifts Mighty Magical Gifts disappear and will have to be recovered later. In The Lord of the Rings (2001), Gollum disappears with the One Ring. Else, these Mighty Magical Gifts are taken and held by Supernatural Aids until the child is ready for them. In Star Wars (1977), Obi Wan will keep Luke’s father’s light-sabre and hand it to him when he is grown.

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Hidden Identity Few know the Hero’s Identity. It is common for the Hero himself not to know it until s/he is ready or undergone a process of awakening. In The Matrix (1999), Neo doesn’t know he is The One. In Omen (1976), Damien doesn’t know he is The One. In The Ten Commandments (1956), Moses does not know until he is awakened. Unknowing Antagonism Commonly, the Antagonism is unaware of the Baby Hero’s birth. Prophecies may exist in undetectable forms. In Star Wars: Episode III - Revenge of the Sith (2005), neither Vader nor the Emperor are aware of the baby’ birth. In Gangs of New York (2002), Amsterdam runs and disappears and the Butcher is unaware of his growing up. The Butcher would kill him if he knew he was The Priest’s son. Seeking His Identity Commonly, the Id has been advised by Supernatural Aids that the cycle (the Prophecy) will unfold if it escapes containment and conquers the kingdom. In The Lion, The Witch And The Wardrobe (2005), the White Witch knows that the Prophecy foretells the coming of the Sons of Adam and Daughters of Eve. In Jason and the Argonauts (1963), King Aeetes’ Oracle tells him that he will claim victory today but lose it tomorrow. But the Antagonism will be unaware of the Hero’s exact identity and will spend his life searching for The One. Ironically, both the antagonism and hero will spend their lives seeking the hero’s identity (the antagonism to know who to destroy and the hero to know Who He Is). In Jason and the Argonauts (1963), King Aeetes is only looking out for a man wearing one slipper. Protected Infant If the Antagonism does know who the child is, then Magical Spells protect the infant.

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In Jason and the Argonauts (1963), King Aeetes cannot kill Jason when he appears because it will bring doom. In Clash of the Titans (1981), Hera disguises Perseus. In Genghis Khan (1965), Jamuga will not kill Temujin because it is prophesized that harming the boy will bring bad luck. Antagonism’s Deficiency Just as the Hero Parent has a Deficiency, so the Antagonism has one too and this is it – that he is Unable To Destroy The Hero Parent Progeny; that it was unable to completely destroy the Superego; this will come back to haunt it. The root is this: the Id and Superego are made of the same substance. They are opposites of the same consciousness. The Id cannot destroy the Superego without destroying itself. In Harry Potter and the Deathly Hallows: Part 2 (2011), Voldermort cannot destroy Harry without killing himself. There is Journey and Border Symbolism exiting this domain. Commonly, Supernatural Aids take the infant across a river, road or similar into a separate and distinct physical landscape or worlds leaving the Edge of the Original World behind. Border Differentiation The Hero Parent dies on the side of the border that is the Edge of the Original World and the infant crosses and escapes to the other side and disappears. In Star Wars: Episode III - Revenge of the Sith (2005), the infant and remaining Jedi escape to far off worlds, which are now inhabited by enemy combatants. Magic Carpet Commonly, Magical Gifts facilitate the journey. In The Ten Commandments (1956), the baby Moses floats down the river in a basket of weeds. In Superman (1977), Jor-El creates a spaceship. Hope In/Tangible This is the intangible that is pulled out from this phase. The physical infant is a metaphor for the intangible hope of a return to a State of Perfection. He is The Only Hope. He is Hope.

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In Star Wars: Episode III - Revenge of the Sith (2005), the young Obi-Wan takes the infant Luke into hiding, who represents The Only Hope. Loss of Original World Attachments The Parent(s) Death represents a Loss of Original World Attachments. This is a Separation that will affect the Hero as s/he grows and contributes to what s/he will eventually become (see Orphan Issues later). In Harry Potter (2001), Harry is affected by what happened to his parents. In Star Wars (1977), Luke is affected by what happens to his parents. Antagonism’s Growth With the Hero Parent’s demise and the child not yet grown, the Greater Antagonism’s (Id’s) growth increases unhindered and conquest of the Kingdom (Original World) continues. Eden burns, paradise is lost and the lush garden that was the Earth turns to desert. In The Terminator (1984), the machines begin to take over the Earth. In Oblivion (2013), the Earth has turned into a desert. In Planet of the Apes (1968), the Forbidden Zone is a radioactive desert. Illumination and Regret As the Original World is further conquered and the imbalance is accentuated, the Good People of the Township immeasurably suffer. As the Original World is being destroyed and the suffering grows, so the Circle of Elders and the Good People of the Township realize the value of their previous State of Perfection, the value of the lost Hero Parent and the value of the Rules s/he enforced and their own folly. In The Terminator (1984), humans realize their mistake once the Machines have attained consciousness and begun taking over. Unmarked Grave Commonly, the Hero Parent disappears. If alive, few if any know where. If dead, he is buried in an unmarked grave (commonly, the antagonism does not wish to make a martyr of the Hero Parent). Believers, Zion and the Rebel Alliance Some of those who believe the Prophecy will come true, may know of the Hero Parents whereabouts and / or visit the grave and contribute to the outposts that

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become the Remnants of the Good People of the Township, which will eventually form Zion or The Rebel Alliance. Antagonism’s Obsession As the years pass by and the Greater Antagonism grows ever stronger and darker, one thing keeps it awake at night: The Prophecy grows and the never-ending tales of a Redeemer persist. The Antagonism does all it can to prevent such a Prophecy from coming true. In Jesus of Nazareth (1977), Herod tries to ensure that the Saviour does not arrive by killing all first-born males. In Jason and the Argonauts (1963), King Aeetes is wary of the wearer of only one slipper. In Return of the Jedi (1983), the Emperor knows that Luke is a threat. He has foreseen this. In The Lion, the Witch and the Wardrobe (2005), the White Witch is obsessed with destroying and Sons of Adam and Daughters of Eve.

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Baby’s World New World Journey and Border Symbolism is crossed into a New World, which is full of its own New Creatures, Sights and Sounds. This is the arrival of the baby alone… In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), the baby enters the new world of the jungle and the apes. In The Jungle Book (1967), the man cub floats into the jungle. Or accompanied and / or protected by supernatural aids or some kind of spell… In Troy (2004), the baby is protected by overseeing Gods. In Jason and the Argonauts (1963), Jason is protected by overseeing Gods. Removal of Identity Commonly, all traces of the baby’s identity are removed, to prevent the antagonism or its allies identifying it. Commonly, these are clothing, the removal of which also represents detachment from the older self. In The Ten Commandments (1956), all traces of the baby Moses’ true identity is removed. Detachment Commonly, some supernatural aid or attachment from the older world (what’s left of the Garden of Eden), sends the baby away (lets it go) and says “goodbye.” This thus also symbolises a detachment from the older state. Magic Carpet Commonly, the baby’s arrival is on some form of magical transport. In The Ten Commandments (1956), the baby Moses floats down the river on a basket of weaves. Far From Where He Belongs The infant is a Fish Out of Water, not somewhere he belongs.

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In The Jungle Book (1967), Bagheera says of the man cub, “a sound I’d never heard before,” and “far from where he belongs.” Safe Haven This New World is untouchable and anonymous in some shape or form. Commonly, it is in the Last Place To Look, at the furthest, least interesting part of any kingdom. In Harry Potter and the Philosopher's Stone (2001), the baby arrives in the most boring part of suburbia. In Star Wars: Episode III - Revenge of the Sith (2005), the baby is taken to the most boring planet on the outer rim on the galaxy. The antagonism is not here, cannot reach here nor would think to look here. Else, for some reason the antagonism is artificially prevented from being here, for now at least. This gives the baby time to grow and acquire the necessary capacities. In The Jungle Book (1967), Shere Khan is away, so the man cub is safe. In The Ten Commandments (1956), the Pharoah would not think to look in his own house. Wolves Clothing Commonly, the baby is disguised to prevent detection / keep it safe. In The Ten Commandments (1956), the baby Moses is safe in the Pharoah’s house as he is disguised as an Egyptian. Symbol of Destiny At this very early stage, some archetypes will be aware of the baby’s destiny, commonly identified by a symbol. In The Ten Commandments (1956), the Princess and her maid know who Moses is because he is wrapped in Hebrew clothing. In The Jungle Book (1967), Bagheera knows that the man cub has to eventually go back to the man village. In Jesus of Nazareth (1977), the wise men know that the baby Jesus has a destiny. In Harry Potter and the Philosopher's Stone (2001), the lightning scar reveals who Harry is and his destiny.

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Period of Disappearance Some do know the infant’s real identity and are, willingly or unwillingly, forced to keep silent (Secrecy Symbolism). In The Ten Commandments (1956), Moses’ origin is kept secret from the Pharaoh. Natural Enemy Inhabitants Though the baby is safe from the antagonism, natural dangers of this world exist. In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), the baby’s presence antagonizes the alpha ape. Period of Vulnerability Commonly, there is a period where the infant is exposed to untold danger, at which point it demonstrates an Extraordinary Capacity To Survive. In The Jungle Book (1967), the man cub survives until Bagheera finds it. In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), Tarzan survives even though his mother is not lactating. Commonly, Magical Spells may help protect during this period. The Gods are charmed by the infant or protect it for a variety of reasons. In Superman (1977), baby Kal-El is protected within the spacecraft. Accumulating Capacities Even at this young age, these trials help the baby accumulate capacities that will one day assist it. In Superman (1978), the holographic images of Jor-El teach the baby boy about the powers he will have on Earth. Supernatural Aids If the baby arrives into this world alone or abandoned, then New Supernatural Aids will rescue it from the Period of Vulnerability. In The Jungle Book (1967), Bagheera finds the man cub. Barren Mother Commonly, this is an archetype who has not given birth to her own offspring or whose offspring have died or been killed (commonly, by the Antagonism / Id Representative).

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In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), Tarzan’s ape mother’s original baby died at the hands of the alpha male. Else, she has a brood and does not mind caring for another. In The Jungle Book (1967), the wolf mother doesn’t mind caring for Mowgli. In which case the infant will grow up around less-endowed siblings. Harry Potter grows up around the less-endowed Dudley. Surrogate Mother The Supernatural Aid will leave the baby in the care of the barren / surrogate mother, who has specific caring capacities. In The Jungle Book (1967), Bagheera leaves the man-cub in the care of the wolf pack. Else, some form of Maternal Entity takes up the role. In Gangs of New York (2002), after the Butcher kills the Priest, Amsterdam is protected in the church and by the priest. Minor Threshold Guardian If there is an obstacle to the adoption, it is overcome. Usually, the obstacle is to do with the child arousing suspicion and danger. In The Jungle Book (1967), the surrogate father temporarily objects to the adoption, for fear of the potential danger. Ordinary Parents The adopted parents are Ordinary – not possessed with the infant’s potential or destiny. In Superman (1978), Clark grows up around ordinary, human, surrogate parents. Harry Potter grows up around ordinary, human, surrogate parents. Temporary Home Once objections are overcome, the infant finds a de facto temporary home and usually grows up oblivious and happy. In The Jungle Book (1967), Mowgli grows up happy and oblivious.

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Ready To Depart When the infant reaches a certain age (early childhood) and becomes conscious of his/her identity, then the Exile Event will occur. Exile Event Some event will force the infant from it’s temporary home. In The Jungle Book (1967), Shere Khan has returned and he won’t let the man-cub grow to be a threat. Commonly, the departure is a result of Increasing Threat. The Antagonism won’t allow the infant to grow up to be a man (a metaphor for maturity); won’t allow the infant to grow up to be a threat. Commonly, the citizens of the Baby’s World will, willingly or unwillingly, exile the child. In The Jungle Book (1967), the wolfpack decide it is time for Mowgli to leave. Belonging Symbolism When the infant first arrived, he was a Fish Out of Water and didn’t belong. But now he is no longer a Fish Out of Water and belongs. Nobody wants him to go. Loss of Protection In this case, the surrogate parent is unable to continue the protector role. The surrogate parent may die (a death sequence). Forced Surrogate Parent Separation Commonly, the separation from the surrogate is forced and unwilling. Commonly, the child is sold into slavery or some type of forced labour. There is detachment from the surrogate parent to a new one. This is not all bad in the great scheme of things (detachment is symbolic for growth – the loss of one state and the progression into another). In Oliver (1968), Oliver is forced into servitude. It is not uncommon for change to mean that both surrogate parents and children are forced into servitude. In The Phantom Menace (1999), the young Anakin and his mother have been forced into slavery. Major Threshold Guardian

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Archetypes which block the movement out of this world are overcome. The forward journey is a good thing and archetypes which block it, even with the best of intentions, are hindering. In The Jungle Book (1967), the man-cub’s wolf-father doesn’t want to see him go but the wolf-council overrule him. There is Journey and Border Symbolism exiting the Baby’s World. Standard “goodbye “symbolism indicates a goodbye to the older self. In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), the baby is taken out of the tree-house.

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Child’s World The baby infant has now become a young boy or girl and we enter its world at this life-stage. Simply the growing is a metaphor for the path to maturity and an arc. New World Journey and Border Symbolism is crossed into a New World, which is full of its own New Creatures, Sights and Sounds. World of Schooling Commonly, like it or not, this is a world where crucial capacities are gained. World of Slavery Commonly, this is a world of servitude or hardship. In The Phantom Menace (1999), the young Anakin is a slave. Father’s World The child is repeating the father’s cycle and learning to become the father. He or she may therefore retread the exact same steps or pass through the exact same worlds and sets of trials that the father did. In Star Wars (1978), Anakin and Luke Skywalker both grew up on Tatooine. No Return Commonly, the child yearns to go back to the happier time with earlier surrogate parents, but there is no going back. The Only Choice Is Forward. In The Jungle Book (1967), Mowgli wants to go back to his surrogate family. Enemy Natural Inhabitants Commonly, this world is full of dangerous creatures. In The Jungle Book (1967), Kaa is a threat. Enemy Ordinary Children Commonly, a threat is from other Ordinary Children who, at this stage, surpass the hero. In An Officer and a Gentleman (1982), Zach is bullied by the local boys in the Philippines.

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In Oliver (1968), the older kids in servitude bully the smaller Oliver. Enemy Parent Figures Commonly, the danger may be from the parent figure. In Chronicle (2012), Andrew’s father is a threat. Who, in essence, may be the Slave Master. In The Phantom Menace (1999), Watto is the young Anakin’s slave master. What we have here is the conflict between an Special Child and an Ordinary Parent. In Harry Potter (2001), Harry’s home life is a conflict between his special magical self and the ordinary Dursleys. Enemy Peer Brothers It is not unusual for the hero to be schooled in proximity to the Greater Antagonism’s own offspring. Hence a natural antagonism between the Superego and Id’s children is expected. In Harry Potter (2001), Harry attends school with the children of evil wizards. Child Romantic Challenge It is not unusual for the hero to meet his future Romantic Challenge here. Commonly, one recognises the other as a future partner. In It’s A Wonderful Life (1946), Mary is besotted with George instantly. In Forrest Gump (1994), Forrest meets Jenny when he is young. Child Loyal Ally It is not unusual for the hero to meet those persons, who will become Loyal Allies and later the most important Supernatural Aids. In Harry Potter and the Philosopher's Stone (2001), Harry meets Ron and Hermione. Peer Brother Benchmarks These archetypes are not antagonistic, like Enemy Peer Brothers, simply peers who may surpass the hero at this point, but who will later be surpassed. In Harry Potter (2001-11), Harry eventually surpasses the Phelps brothers.

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Orphan Issues During this stage, the child is aware that he is dislocated from his biological parents and often suffers because of it. In Terminator 2: Judgment Day (1991), the young John Conner is aware that his father died and his mother is locked up in an insane asylum. Encouraged Back To Sleep That the child is now aware of the dislocation from his biological parents is an awakening of his identity. Id forces encourage the suppression of this awakening, in other words they encourage the child go back to sleep. In The Jungle Book (1967), Kaa wants Mowgli to go “back to sleep.” True Character The hardship faced at this stage tends to bring out the child hero’s true character. It may also reveal the deficiency / flaw / inner challenge, which the later journey will rectify. In Once Upon a Time in America (1984), the boys become crooks. In An Officer and a Gentleman (1982), Zach becomes self-centered. Extraordinary Capacities The hardship faced at this stage tends to bring out the child hero’s extraordinary capacities (and his / her extraordinary capacities to survive). In effect, this is the demonstration that this child is not like Ordinary Children. In Jesus of Nazareth (1977), Jesus starts teaching in the temple. In Forrest Gump (1994), Forrest learns to run fast because he is pursued. In The Phantom Menace (1999), the young Anakin is already a great pilot, good at building things, creates C3PO, makes a racer, has Jedi reflexes, races the pod. Overcoming Adversity The child’s extraordinary capacities will help him overcome adversity at this stage. In An Officer and a Gentleman (1982), Zach learns martial arts and beats off the bullies. In The Jungle Book (1967), Mowgli throws Kaa off the tree.

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Sense of Destiny Commonly, the child hero’s extraordinary capacities will reveal a destiny. In Jesus of Nazareth (1977), Jesus starts teaching in the temple as a young child, revealing his later destiny. Deficiencies Recognized (Inner Arc) While the child hero has extraordinary capacities, it is also recognized that he has deficiencies. This is partly simply due to childhood and s/he will grow out of them as s/he grows up - but they will also be linked to the inner arc: the deficiencies and limitations which prevented the father from defeating the antagonist will be there. The child will eventually overcome these deficiencies and limitations (the father’s deficiencies and limitations) to surpass the father and vanquish the antagonism. Guardian Angel Commonly, the Hero Parent Loyal Ally (or some Supernatural Aid), will shadow the child and may miraculously appear in times of need. Hence the child may have a sense of growing up with a Guardian Angel or a sense of being watched or a sense of confidence above others or similar. In The Jungle Book (1967), Bagheera always keeps an eye on Mowgli. In Star Wars (1977), Obi Wan tracks Luke’s progress as a child. Favoured One Commonly, the child has become a favourite to at least someone. In The Jungle Book (1967), Mowgli grows up to be a favourite. Rule Breaker Commonly, the child hero breaks rules. These are, in fact, the breaking of limitations, which is a capacity that will be needed later. Commonly, ordinary men do not understand this and may incorrectly label the child a troublemaker, nonconformist, truant or similar. In Back to the Future (1985), Marty is always in trouble at school. In Spartacus (1960), Lentulus is made aware of the extraordinarily troublesome Spartacus. New Name (Rule Breaker) Commonly, the Rule Breaking trait will be the source of the child hero’s name at this stage. In Top Gun (1986), the hero is name, “Maverick.”

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Coming of a Hero Guardian This archetype will assist the child grow to young manhood and become ready to embark on the greater journey. This archetype will take the child to the Cusp of Readiness and the Cusp of Maturity and maybe beyond. In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon Jinn can help Anakin realise his potential. Commonly, the Hero Guardian Journeys and crosses Border Symbolism into the Child’s World. Commonly, it is chance which brings the Hero Guardian to this world, as it is the furthest, least interesting part of any kingdom (which is why the infant / child has remained safe and anonymous for so long); but then again, there are no coincidences – the child was destined to be discovered somewhere, somehow. In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon arrives on Tatooine. Contained Hero Guardian Commonly, the Hero Guardian is trapped on this world and the child hero will, once discovered, help him escape containment (amounting to the same thing, the Hero Guardian will not be able to leave unless some task is completed). In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon is stuck on Tatooine. Child Hero and Hero Guardian Meeting During the course of attempting to escape containment, the Hero Guardian will encounter the Child Hero. In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon runs into young Anakin while looking for parts. Natural, Immediate Affinity Commonly, there is immediate affinity between Hero Guardian and Child Hero – this is normal, as both are superego (though there are cases where the affinity is negative and the child is unwillingly adopted into the magical arts). In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon immediately recognises the young Anakin as special.

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Extraordinary Acquisition It is also common that the Child Hero engages in a trial or contest and demonstrates extraordinary abilities through the acquisition of certain valued tangibles, whereupon s/he is noticed. In Brave (2012), the young heroine demonstrates extraordinary abilities in the contest. Realizing Potential The child will demonstrate enough potential for the Hero Guardian to want to help him realize it, for whatever reason. In Blades of Glory (2007), Jimmy demonstrates such potential that MacElroy helps him realize it, even though it is for his own selfish ends. Liberty Tangible (Child Hero) A Dangerous, Fearful Trial is engaged in where an in/tangible must be retrieved. This enables the Hero Guardian to survive and / or escape containment. The function of the fear is to overcome some internal limitation. In Star Wars: Episode I - The Phantom Menace (1999), Anakin has to win the race, which helps Qui-Gon escape entrapment. Liberty Tangible (Hero Guardian) A Dangerous, Fearful Trial is engaged in where an in/tangible must be retrieved. This enables the Child Hero to escape slavery and journey into the Hero Guardian’s world, where he will learn the magical arts. The function of the fear is to overcome some internal limitation. In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon negotiates Anakin’s freedom. Major / Minor Threshold Guardian Battles The journey into the Hero’s Guardian World will be blocked by some force, which will be overcome. In Star Wars: Episode I - The Phantom Menace (1999), Darth Maul blocks exit. And Anakin’s mother has to give her permission. Departure The child hero will, willingly or unwillingly, leave this world behind for the next.

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In Star Wars: Episode I - The Phantom Menace (1999), Anakin chooses to go with Qui-Gon. Detachment From Attachments (“Goodbye”) The child hero will pull away / say goodbye to the attachments of this world, in effect saying goodbye to his old self. This is separation and incremental arc away from imperfection / loss of identity / home towards the rediscovery of perfection / identity / home. In Star Wars: Episode I - The Phantom Menace (1999), Anakin says goodbye to his mother. Attachment to the Older Self The child hero will take with him an attachment from this world, which represents this present self. As he grows and arcs, so he will lose that attachment, indicating the loss of the older self.

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Early Teenage Apprentice’s / Hero Guardian’s World New Name (Young Apprentice) During this stage, the child becomes a young teen and is commonly referred to as the Young Apprentice or similar. New World Journey and Border Symbolism is crossed into this World. As in all New Worlds, it is full of New Creatures, Sights and Sounds. In Jesus of Nazareth (1977), the boy Jesus starts attending “his father’s house” and debating. A new environment full of new sights and sounds. World of Wizards This is a world of the most supreme Supernatural Aids, where the young teen grows to become one of them. Crucially, even the most powerful wizard here is no match for the Greater Antagonist. The only such comparison to the Greater Antagonist was the young teen’s father. In Harry Potter (2001-11), the only near rival to Voldermort was Harry’s father. Magical World Being a world of wizards, this is a magical world, usually of advanced nature or repressed advanced nature. In Star Wars: Episode I - The Phantom Menace (1999), Anakin arrives with Qui-Gon to a high-civilization world, through which they speak to Yoda and the Jedi council. In The Matrix (1999), Neo arrives on the Nebuchadnezzar and into the construct, where he learns his magical gifts – both hidden and repressed from the Agents. Magical Capacities Upon entry into this magical new world, the young teen finds it to be a place where lots of Magical, Unknown Capacities can be gained. Usually these are so alluring (and the young teen so gifted with regard to them), that he tends to be keen. In Jesus of Nazareth (1977), after the boy Jesus starts attending “his father’s house,” he realises that he can grow here. That there are lots of things to be learned and that this is somewhere he excels.

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It’s like encountering advanced alien civilizations and wanting to learn all their technology. In Close Encounters of the Third Kind (1977), Roy is fascinated by alien technology and what they know, which is why he can’t resist going with them. There are instances where the young teen is not so keen. These tend to be situations where a dual or death ritual is the final event and death a great likelihood. In The Hunger Games (2012), some of the children are not keen to learn – they’ll likely die during the games. Fish Out of Water Initially, the young teen is a Fish out of Water here. He’s physically not well adapted to this new world. In Star Wars: Episode I - The Phantom Menace (1999), Anakin arrives with Qui-Gon to a high-civilization world, through which they speak to Yoda and the Jedi council. He’s cold here, he’s used to the warmer climes of his home planet. Magical Peer Brothers (Allies and Antagonists) This Magical World is full of other Potential Heroes who also have been noticed and have gifts which are superior to Ordinary Men. The Great Wizards of this world are not sure which of them, if any, will turn out to be The One. Some will be antagonistic toward the young hero, others will become friendly allies. Peer Brothers are also benchmarks. When the child arrives into this world, some will be older and more powerful, but by the time he is ready to leave this world, he will have surpassed most of them. In Jesus of Nazareth (1977), Jesus surpasses his fellow students. Others will be met along the further journey and surpassed then. In Star Wars (1977), Luke surpasses Biggs later. Attachment / Gravity Archetype(s) This archetype will hold the young hero back and prevent detachment when he is ready to embark when he is older (the Ordinary World stage). This is some limitation, responsibility or similar. It may be a sickly mother, who the young hero cannot leave.

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In Chronicle (2012), Andrew cannot leave his sick mother. It may be someone in need, who cannot do without the young man. In Star Wars (1977), Uncle Owen says he can’t manage without Luke on the farm. It may be dependent family and children. Some responsibility the hero feels. In Close Encounters of the Third Kind (1977), Roy’s real obstacle to investigating the aliens is his wife and kids. Hero Guardian Peers These archetypes are the Hero Guardian’s peers and superiors. They are adult wizards, other powerful Supernatural Aids. In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon’s peers / superiors are Yoda and the Jedi council. Inhibitor Archetypes These are forms of Id, consciously or not encouraging the character back to sleep. These will block the Young Apprentice’s growth and final exit from this World. Defeating these Inhibitor Archetypes will be a measure of growth within this World. The initial defeat against these archetypes will open a Benchmark Loop. The later victory over these archetypes will close the loop and demonstrate that the Young Apprentice has surpassed them. In Jesus of Nazareth (1977), the rabbis tell Jesus not to blaspheme. Eventually, he declares that he is The Deliverer, which is the ultimate blasphemy and demonstrates his transcendence past them. Wizardry Threshold Guardians In order to begin the training / learning, the young hero will have to pass tests to be allowed to learn the magical arts. It is not uncommon for the young hero to excel at these tests yet not be allowed to engage in the training. In Star Wars: Episode I - The Phantom Menace (1999), the young Anakin has to be allowed to learn the Force. But the council denies this. Rule Breaker Commonly, overcoming obstacles to learning involves breaking rules. In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon disobeys the council’s orders and trains the young Anakin.

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In Star Trek II The Wrath of Khan (1982), Kirk recalls how he broke rules at the Academy. Influencer Already at this early stage, the young hero is influencing and changing those and the world around him. In Star Wars: Episode I - The Phantom Menace (1999), the young Anakin’s needs force Qui-Gon to disobey the council. And force the council to agree to Qui-Gon’s demands. Mastering the Magical Arts (Road of Trials) Under the guidance of the Hero Guardian and other Supernatural Aids (rarely under his / her own volition), the young hero learns the Magical Arts (a metaphor for some of the Capacities that will later assist restoration of the State of Perfection). In The Jungle Book (1967), Baloo teaches the young Mowgli how to survive alone in the jungle. In Harry Potter and the Philosopher's Stone (2001), Harry’s magical skills are refined at Hogwarts. Constant Call For A Hero As the young teen grows, s/he is constantly exposed to the Prophecy, the malevolence of the Antagonism and the Call for a Hero. In Jesus of Nazareth (1977), the boy Jesus is constantly aware that Romans hassle the Israelites and their call for a Messiah. Period of Obscurity The young hero grows in obscurity. In Scarface (1983), Tony was away from the family for years. In Million Dollar Baby (2004), Maggie was a nobody for a long time - she was born into White Trash. Commonly, there may be encounters with antagonistic forces, who are unaware who the child is. In Jesus of Nazareth (1977), Roman leaders are looking for the Messiah, who everyone is predicting will come. Yet the soldiers whom Jesus’ village always clash with, are unaware who he is.

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Unusual, Innovative, Other Dimensional Capacities As the young hero learns, so he demonstrates extraordinary and yet also unusual capacities. These are demonstrations that the young child will soon easily surpass mentors; that there is another, greater untapped dimension to him. Commonly, these are skills, competencies or solutions that mentors do not or would not possess / think of. In Star Trek II: The Wrath of Khan (1982), Kirk’s solution to the Kobiyashi Maru test is innovative. Outgrowing The Hero Guardian The Hero Guardian is a powerful Supernatural Aid but as the young teen grows and learns, it becomes evident that s/he is surpassing this mentor. In Jesus of Nazareth (1977), the boy Jesus wins arguments against the older rabbis. Replacing Peers As time progresses, the young teen becomes the focus of attention, replacing earlier mentors and peers. This is a measure of evolution. One of the hero’s function is also to speed up others’ change, graduation and evolution. In Star Wars: Episode I - The Phantom Menace (1999), the young Anakin replaces Obi-Wan to become Qui-Gon’s new padawan. Hero Guardian’s Armageddon Commonly during this phase, the Hero Guardian’s world is threatened and the young teen helps mitigate that threat – in other words, the young teen saves the Hero Guardian’s world. As the other mentors, supernatural aids and even the Hero Guardian could not accomplish this, it is a de facto example of the young child surpassing them even though he may still require training, he has achieved where they could not. in Star Wars: Episode I - The Phantom Menace (1999), the young Anakin destroys the mothership. Awareness of The One Saving the Hero Guardian’s world is the beginning of awakening to the concept that this child may indeed be The One. It is a signal that the young teen is surpassing peers. In Star Wars: Episode I - The Phantom Menace (1999), Qui-Gon thinks the young Anakin is The One.

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Dangerously, this may also be where the Greater Antagonism is awakened to the talents (and therefore potential identity) of this young teen. In Star Wars: Episode I - The Phantom Menace (1999), Senator Palpatine notices and mentions that he’ll keep a keen eye on the young Anakin’s career. This may be where the sparring starts. In Jesus of Nazareth (1977), both Jesus and the Devil play tennis with similar concepts. Separating From Guardian Separation As the young child grows and more obviously begins surpassing the Hero Guardian, so the young child repeatedly goes missing and is often found in those places where his potential / destiny will most likely be realized. In effect, there is increasing separation between the Young Apprentice and the Hero Guardian. In Jesus of Nazareth (1977), Jesus spends less and less time at home and more and more time preaching in the Temple. Acquiring Capacities In essence, the Young Apprentice is acquiring capacities, which will enable him to surpass all in this world and will be useful later. In Star Wars (1977), Luke learned to “blast swamp rats in his T-16,” which will come in useful later. In Terminator 2: Judgment Day (1991), the young John Conner’s tech skills come in useful later. In An Officer and a Gentleman (1982), Zach’s martial arts skills come in useful later. Fish In Water This is the opposite of Fish Out of Water. The young teen is no longer a Fish Out of Water or physically mal-adapted to this world. In fact, s/he belongs and is at home. This is a measure of evolution during this stage. Magical Peer Brothers (Allies and Antagonists) Evolution The young teen is not the only one who evolves during this phase.

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If the Greater Antagonist’s Progeny is also present during this phase, so s/he will become more like her/his father – side with evil. Those who will become the young teen’s allies later, will begin to demonstrate that here. The romantic challenge will more clearly begin to define itself. Thus we have the beginning of separation between the next generation of Superego and Id forces, who will battle it out in the Final Conflict in Act III. In Harry Potter (2001-11), Malfoy, Ron, Hermione et al all begin to divide and take sides.

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ACT I

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State Of Imperfection (Unwholeness, Unreachable In/Tangibles) The State of Imperfection is represented by an in/tangible symbol of Unwholeness or Unreachability. What was complete is now incomplete. What was reachable is now unreachable. Another good word for this is Gaps. These are the underbelly of your story. These are the things you are really trying to resolve through the journey. This is the basis of your inner arc and the basis of the outer manifestations, the outer arc. In Thor (2011), the journey is really about turning Thor from a boy to a man. Lessons To Be Learned The State of Imperfection is a demonstration of the lessons which have to be learned. In Star Trek Into Darkness (2013), the opening sequence shows us that Kirk has no humility, no respect for the chair or the rules and no sense of responsibility. These are the lessons he will learn. In contrast, Spock adheres to the rules rigidly and doesn’t understand that sometimes they ought to be broken. Bottom of Thematic Arc Thematically, the movement from the State of Perfection to the State of Imperfection is the arrival from an earlier top of the theme position to the bottom of the theme position. In other words, somewhere, the correct philosophical point of view was lost. The State of Imperfection is a demonstration of this incorrect point of view. In What’s Your Number (2011), somewhere in the past, Ally lost the idea that she should please herself and was seduced by the idea that she should please everyone else. The story then goes about reversing this philosophical point of view. The story’s first sequence begins by showing Ally and her world, which is a result of her incorrect philosophical point of view. Damage Symbolism Characters start damaged. The journey is about repairing that damage. In Iron Man 3 (2013), Stark starts damaged and journeys to repair it.

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Broken Home Symbolism The Home is a metaphor for the State of Perfection. To demonstrate the State of Imperfection, it is torn apart or inaccessible or similar. In Chinatown (1974), Curly is shown pictures of his wife’s infidelities. In The Shawshank Redemption (1994), Andy’s wife is unfaithful, thus breaking the home. Archetypes Exit The Home. In The Ugly Truth (2009), the first time we meet Abby, she exits her home. Archetypes are Denied Access to the home. In Liar Liar (1997), Audrey waits for Fletcher outside her home; she does not let him in. In The Apartment (1960), Baxter can’t get into his own apartment. In An Officer and a Gentleman (1982), Zach has no home. Archetypes are Exiled from home. In Field of Dreams (1989), Ray and Annie risk losing their home. Archetypes live in Chaotic homes (balance has been lost). In Raging Bull (1980), both Jake and Joey live in chaotic homes. Archetypes are trying to Return home. In The Wizard of Oz (1939), Dorothy is trying to return home. Archetypes are trying to Establish or Recreate home. In The Karate Kid (1984), Daniel and his mother are trying to start a new home in California. Some in/tangible that completes the home is lost (Family / Friends Are Lost): In Blue Valentine (2010), the family dog is lost. In The Hangover (2009), Doug (friend and husband-to-be) has gone missing.

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In Cocoon (1985), the aliens are trying to take their friends back home. Loss Symbolism In/tangibles representing a State of Perfection or Wholeness are lost / the State of Perfection or Wholeness has been lost. In The Wrestler (2008), Randy once held the title, but no longer. Lost Innocence Commonly, the lost in/tangible represents lost innocence. Usually, what we’re trying to do is return to the innocent state, or recapture it, or prevent it being lost once more. During the State of Perfection, it is innocence which is lost – we are trying to prevent that happening again. In Aliens (1986), the monsters have kidnapped Newt, who is a metaphor for innocence. In Iron Man 3 (2013), Maya loses and then rediscovers her innocence. Lost Reality Archetypes believe that they are in a State of Perfection, but are far from it. In The Hustler (1961), Fast Eddie believes he’s the best, but he’s not. In Up In The Air (2009), Ryan believes that he’s living the perfect life, but he soon realises he’s not. Missing Symbolism In/tangibles representing a State of Perfection / Wholeness are missing. In Romancing the Stone (1984), Joan visualises an ideal boyfriend like Jack, who would complete her. In The Apartment (1960), when Baxter can get into his own apartment, he’s alone. He doesn’t have a girl. Death Symbolism Death represents a death of the older state; it represents change. Commonly, a member of the family / home dies, thus creating imperfection, unwholeness and a gap. In Gran Torino (2008), Walt’s wife dies. Gap Symbolism The death of a family member or lost / missing in/tangible opens a gap, which must be filled.

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In Sleepless In Seattle (1993), Sam’s wife dies. Annie must be found in order to fill Mommy’s gap. Broken Symbolism Tangibles representing the State of Perfection / Wholeness are broken. In The Green Hornet (2011), Britt’s doll is broken. Stolen Symbolism Tangibles representing the State of Perfection / Wholeness are stolen. In Raiders of the Lost Ark (1981), Indy retrieves the Idol but Belloq takes it away from him. In Star Wars (1977), Leia is kidnapped. In The Lord of the Rings: The Fellowship of the Ring (2001), the Ring is stolen. Dismemberment Symbolism Similar to the Broken Tangible, the physical body or spiritual soul is dismembered and the State of Perfection / Wholeness can only be reached by putting the pieces back together. In Dances With Wolves (1990), John Dunbar wakes to find his leg bloodied and ready for amputation. In Dororo (2007), the child’s body parts are lost and a State of Perfection (“wholeness”) can only be attained when they are all found, hence the journey. Unreachable Elixir The State of Perfection is out of reach. Those elixir’s which represent wholeness are unreachable. In The Hangover (2009), Tracy can’t “reach” Doug. In The Devil Wears Prada (2006), Andy is unable to get a job as a serious journalist. In American Pie (1999), the boys can’t get laid. Commonly, the Elixir is a home, which archetypes are trying to create. In Out of Africa (1985), Karen is trying to create a home.

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In The Sound of Music (1965), Maria is trying to create a home. Unreachable Liberty In essence, there is Inhibition, Containment and Repression. In Silence of the Lambs (1991), Lecter is caged. Clarice is shy and inhibited. In Romancing the Stone (1984), Joan is shy and inhibited. In Titanic (1997), Rose can’t escape her mother and Cal. Unreachable Monster The monster, the cause of havoc is unreachable or cannot be contained. In Halloween (1978), the Doc can’t find and contain Myers. In Alien (1979), the alien cannot be found. In Goodfellas (1990), the mafia can’t be contained. In Casino (1995), the mafia can’t be contained. In Apocalypse Now (1979), Kurtz is uncontrollable and can’t be contained. Unreachable Acceptance and Belonging Acceptance and belonging are unreachable. In Spiderman (2002), Peter yearns to be noticed and accepted by MJ. In The King’s Speech (2010), the Duke is not accepted as a great leader and king. In The Godfather (1972), Michael is not accepted by legitimate society. Aloneness / Ally Arc Characters are alone. The journey will result in them gaining allies and not being alone, in other words, belonging. In Hangover (2009), initially, Alan forms a lone wolfpack. He is friendless, alone and does not belong. At the end he does. Loss of Belief / Faith / Hope Characters do not believe, in some way, shape or form. They have turned to the dark side. Rediscovering that belief / faith / hope is a rediscovery of wholeness.

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In Casablanca (1942), Rick has lost his belief, he starts a cynic. In Raiders of the Lost Ark (1981), Indy doesn’t believe in the supernatural. In The Prophecy (1995), Thomas has lost his faith. In The Shawshank Redemption (1994), Red has lost his hope. Loss of Sight (Unawakened) Characters do not see. This is a substitute for ignorance. Through the journey, characters learn to see, to awaken. In Thelma and Louise (1991), Thelma starts asleep and blind. As she journeys, so she awakens.

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State Of Imperfection (Id, Top of the Arc) The antagonism (Id) is a physical manifestation of the character’s deficiency. The deficiency is that limitation, which caused the loss of the State of Perfection in the first place. The monster (classically, the serpent) will have brought out that deficiency and the monster’s conquest demonstrates that the deficiency has been overcome. The monster IS the deficiency. The monster is a representation of the character’s psyche. Potent Monster (Top of the Arc) At this stage, the antagonism (Id) has conquered All The Worlds, covered them in darkness and has legitimized its dominance for quite some time. The residents of All The Worlds tend to live in fear. The antagonism is at the top of the arc and the point of the story is to reverse this situation – to reverse Hell-On-Earth back to Eden. In other words, the limitation is subduing the character and the point of the story is to reverse this situation. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), the White Witch has created an eternal winter and legitimized her leadership. People live in fear or her and her secret police. Antagonist’s Ordinary World From one point of view, we’re starting in the antagonist’s Ordinary World. From another point of view, within the Ordinary World, the antagonist is at the top of his arc. In Oblivion (2013), the machines (Sally) is in control. We start in her Ordinary World – the world of imperfection. Impossible Gap At this stage, the distance to the State of Perfection seems unreachable. Commonly, the antagonism is too overarchingly powerful. In Oblivion (2013), the distance between Sally’s World and the return to an Edenlike Earth is large, physically demonstrated by the distance between Jack’s artificial home in the sky and Earth way down below.

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Antagonism In Waiting One function of the antagonism / limitation is to wait until the hero is ready to subdue it. The antagonism’s / limitation’s destiny is to be subdued by it’s creator – the character’s psyche. In Star Trek (2009), all the while Kirk is growing up, Nero has been waiting. Antagonism As Supernatural Aid The antagonism is, actually, a form of supernatural aid – without it there would be no provocation to overcome limitations. In Iron Man 3 (2013), without the Mandarin or Aldrich Killian, Stark would have had no motivation to exit his cocoon. Antagonism As Theme (Bottom of the Thematic Arc) Commonly, the antagonist represents that entity which will cause the theme to resolve itself. At the beginning, the antagonist is at the bottom of the thematic arc. In Dirty Harry (1971), the top end of the thematic arc could be that “not everyone has rights in the eyes of the law.” The City starts by believing that everyone has rights in the eyes of the law, but then arcs round to the opposite way of thinking. The antagonist’s freedom in the beginning is a measure of the bottom end of this thematic arc. Armageddon Symbolism A manifestation of the monster’s potency at this stage is armageddon. We are approaching a time where the monster will become invincible and darkness will reign unstoppably forever. Else some entity representing fatal destruction must be stopped. In Thor (2011), the Frost Giants “threaten to plunge the mortal world into another ice age.” In Armageddon (1998), the meteor will arrive and destroy the Earth. In The Neverending Story (1984), the Nothing is about to swallow Everything. Antagonist’s Limitation Commonly, the antagonist has a limitation, preventing Armageddon. It’s motivation is to overcome this limitation.

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In Thor (2011), the Frost Giants’ limitation is that the source of their power (blue energy) has been taken from them. They’re driven to try to retrieve it. Superego’s Elixir Else, the antagonism is concerned with preventing the hero’s side from overcoming its limitation to succession. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), the White Witch is intent on preventing the Prophecy from being fulfilled, which will signal her demise. Secret Police Commonly, the antagonism enforces it’s dark society with the help of a secret police (lieutenants), whose job is to sniff out and “correct” any who may bring down the State of Imperfection. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), the White Witch has Fenris Ulf.

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State Of Imperfection (Superego, Bottom of the Arc) Contained, Repressed Superego In time of the State of Perfection, the Id was contained and repressed within the Superego’s kingdom. Now, in the time of the State of Imperfection, it is the reverse. The Superego is contained and repressed within the Id’s kingdom. In Battlestar Galactica (1978), originally, humans were dominant and machines were sidelined. Now machines are dominant and humans are sidelined. In Star Wars (1977), originally the Jedi were dominant and the Sith contained. Now the Sith is dominant and the Jedi in hiding. Impotent Superego (Bottom of the Arc) At this stage, the Superego is at the bottom end of its arc. It starts repressed and ends with liberty. In other words, the point of the story is to reverse this situation. In The Matrix Revolutions (2003), Zion starts repressed but will end liberated. Repressed / Reversed Elixirs All the elements described in the State Of Imperfection (Unwholeness, Unreachable In/Tangibles) section are represented by the Superego and it’s world. In other words, there is no hope, no belief, no home, no belonging, no wholeness, no readiness, no repair, no awakening etc. In Casablanca (1942), Rick is the epitome of cynicism (lack of hope, belief etc). Beacon of Hope But at the same time, the Superego and it’s world represent the possibility of hope, belief etc). In Casablanca (1942), Rick’s café is a beacon of hope. A doorway to America. Superego As Theme (Top of the Thematic Arc) But the Superego is at the top end of the thematic arc. In other words, it represents that state which all will come around to.

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In Atlas Shrugged Part I (2011), the theme is around the concept of “work and industry being good,” which is represented by the hero and heroine. The antithesis is represented by the antagonists. Remnants of the Good People of the Township The small band of rebels who resist the antagonism and their prophecy represent the Contained Superego. Outpost The Remnants of the Good People of the Township are represented by an Outpost. In Battlestar Galactica (1978), small, human outposts remain after the Cylon victory. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), the Beaver house is a safe haven for rebels. In The Matrix (1999), Zion is the rebel outpost. In Star Wars (1977), the rebel planet is the outpost. Our Most Desperate Hour Commonly, the antagonist is imminently about to overcome its limitations and thus bring about armageddon. This is the source of the dialogue, “our most desperate hour.” In Star Wars (1977), the Emperor has dissolved the Senate and the Death Star is about to become operational. It is during these last moments, when all is nearly lost, that the need for the Superego to resurface becomes paramount. This is when the shouts for the Prophecy to be fulfilled are heard loudest. In Jesus of Nazareth (1977), the subjugated beg for the Prophecy to be fulfilled. When? When? When will it come about!!? How long must we wait.

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State Of Imperfection (Cave Of Imperfection / Gaps) To demonstrate our State of Imperfection, we enter a “cave” and pull out the intangible State of Imperfection, often represented by a tangible. In Captain America: The First Avenger (2011), the story opens as we enter into the cave in which Captain America is buried. In effect, we enter the “cave” to pull out the gaps, which will eventually be filled. New World Journey Symbolism is engaged in and Border Symbolism crossed into a New World. As in entry into all New Worlds, New Creatures, Sights and Sounds are made explicit. In The King’s Speech (2010), the Duke enters the New World of the microphone and public broadcast and encounters all the presenters and technicians involved, as well as audiences. “Remember sir, three flashes and steady red means you’re live.” In Star Wars (1977), the planet comes into view and we enter the New World of Leia’s ship. The doors are blasted open and the guards overcome. In The Terminator (1984), both The Terminator and Reese cross over from another time. In Unknown (2011), Dr. Martin Harris and his wife fly into Berlin. Minor Threshold Guardians are overcome entering the New World / Cave. In Gremlins (1984), Randall Peltzer goes into the new world of the Chinese shop, bypasses the kid and the grandparent and pulls out Gizmo. Cave of Awakening At the end of the last cycle (epoch), Supernatural Aids departed (see the section in Act III: Departure, Return to the Sleeping). As this cycle opens, we enter the cave in which those Supernatural Aids sleep / are dead in order to awaken them and their Magical Gifts. In Aliens (1986), the salvage team find and rescue Ripley from her cavelike cocoon. In Dracula (1931), Dracula wakes from his tomb.

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Pandora’s Box In effect, we are opening Pandora’s Box. In other words, the cave may contain the antagonism (Id), which we awaken and release by entering it, from where it will go about wreaking havoc / armageddon. In The Vampire Chronicles (1994), the vampires wake from their long slumber and exit their burial chambers. In Avengers (2012), we awaken the Tesseract and Loki. In Iron Man 3 (2013), Stark recalls the conference where the demons were created. Similarly, we enter the “cave” to free the Id from its containment. In Halloween (1978), the Doc enters the insane asylum and loses Myers. In 48 Hrs (1982), Billy walks up to the chain gang and frees Ganz. Goliath’s Cave One function of the entry into this New World is to demonstrate the sheer magnitude and potency of the opposition, the height of the mountain, which must be climbed. We Meet The Monster. In The King’s Speech (2010), the Duke must make his inaugural broadcast, which is poor and terrible when compared to the perfection of the BBC presenter. In Star Wars (1977), we meet the intimidating Vader. In Avengers (2012), we meet Loki. The monster may be represented by archetypes who we have yet to match and surpass. In The King’s Speech (2010), when the Duke must make his inaugural broadcast, we hear about his successful older brother. Cave of Alignment One form of imperfection or gap to be rectified is alignment with the monster. Which means that the story will involve the hero arcing away from this alignment from the monster. In Oblivion (2013), Jack starts believing he’s doing the right thing, he’s been misled by the monster.

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Cave of Gaps In essence, we enter a “cave” and pull out all the gaps and communicate all or some of the messages mentioned in the last three sections [State Of Imperfection (Unwholeness, Unreachable In/Tangibles), State Of Imperfection (Id, Top of the Arc), State Of Imperfection (Superego, Bottom of the Arc)]. In essence, we enter and pull out the challenges and problems. In The King’s Speech (2010), the Duke enters the stadium and pulls out the tangible stammer, the lack of respect, lowering of dignity etc. But also, potentially, those magical gifts which will help us later. In Iron Man 3 (2013), we first meet Stark when he is stuck in his “cave” / cocoon. But the shell iron-man-suits he’s playing with will help him in the Final Conflict. Cave of Death Death is symbolic for a) death of the old state, b) death of the old self through death of old self attachments and c) in general, change. Commonly, we enter a world of funerals and death and pull out the gap which remains, which needs to be filled. In Witness (1985), the story starts with Samuel’s father’s death. In Skyfall (2012), Bond is looking for the list and is shot and presumed dead. In Star Wars (1977), Vader kills a lieutenant. These are all part-and-parcel of change – the death of the old and beginning of the new. In Skyfall (2012), M is being retired. Cave of the Inner Arc One gap we pull out is the inner arc. In Skyfall (2012), M authorises the initial shot, which leads to Bond believing that she doesn’t care for him. The confrontation with Goliath demonstrates Inner and Outer Challenges, which must be conquered before Goliath is defeated.

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In other words, what’s really lost by opening Pandora’s Box and having the Id escape, the Princess kidnapped etc, is the Capacity to Contain and Maintain – the original Deficiency. Cave of Damage Commonly, we pull out a contraction of the Loss of the State of Perfection, which is, in short, the damage. In Iron Man 3 (2013), Stark recalls the conference where the demons were created, where innocence was lost. Cave of Theft From another point of view, we enter the cave to create a gap – to create imperfection and unwholeness by stealing or breaking that which represents it. Commonly, wholeness and perfection is represented by the romantic challenge / princess / bride. In Star Wars (1977), Vader enters Leia’s ship and kidnaps her. In The Matrix (1999), the Agents try and capture Trinity. Else, we’re entering the cave to steal that tangible, which will retain perfection and wholeness. In Skyfall (2012), M doesn’t want the list falling into the wrong hands. In Avengers (2012), Nick Fury tries to keep the Tesseract and Loki tries to steal it. Cave of Innocence The journey is a metaphor from losing innocence and growing up. The character enters the cave in his / her most innocent form / as an Innocent Archetype. This is a gap. In Training Day (2001), when Jake first meets Alonzo in the café, he is his most innocent self. In The Godfather (1972), when Michael first arrives at the house, he is his most innocent Self. Cave of Heinous Acts In essence some heinous act is performed within the world / cave, which will lead to the need for resolution (and heroes).

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In The Magnificent Seven (1960), Calvera robs the village, leading to the need to hire gunfighters. Time Pressure There is limited time to retrieve what is within the cave (or to stop its release). In The King’s Speech (2010), the Duke is rushed, “You’re live in two minutes your Royal Highness.” Foreboding Symbolism is evident. There are warnings not to cross, warnings against moving forward, warnings against departure and the journey. In Raiders of the Lost Ark (1981), Indy’s assistants are scared off by the warnings signs, as he enters the cave to retrieve the idol. Larger World This Cave / New World may be a foreshadow of the much bigger and larger place that will be entered into, which allows archetypes to become much bigger and larger Selves. Liberty Symbolism is commonly used to demonstrate this. In The King’s Speech (2010), we enter the large rooms of the BBC and look out into the open space of the stadium. Commonly, new entrants are Fishes Out of Water in the Cave / New World. In The King’s Speech (2010), the Duke is a Fish Out of Water in the New World of broadcasting. In The Terminator (1984), both The Terminator and Reese are fishes out of water in 1980s America. Detachment Symbolism Before the Hero pulls out the Unwholeness, Unreachable In/Tangibles, s/he leaves an Ordinary Self Attachment behind. The Hero is going into the Cave to lose a part of himself, which the detachment represents. In Indiana Jones and the Raiders of the Lost Ark (1981), Indy gradually loses his incompetent and disloyal guides. Goodbye Symbolism This is made explicit as we enter the “cave,” which indicates a goodbye to the Older Self. Again, part-and-parcel of death. In The King’s Speech (2010), Elizabeth kisses her husband and wishes him good luck.

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Deficient Supernatural Aids Commonly, Ordinary Self Attachments who are incapable of assisting or Restoring a State of Perfection accompany the Hero. This is in itself a gap - a hero is needed. In The King’s Speech (2010), the Duke is encouraged to broadcast by incompetent aids, such as the Archbishop and other advisors, “Let the microphone do the work, sir.” Minor Threshold Guardians are overcome to exit the Cave. In Avengers (2012), in the first scene, Nick Fury et al try to stop Loki from escaping with the Tesseract. In 48 Hrs (1982), the cops try to stop Billy and Ganz escaping the chain gang. Inciting Incident It is commonly thought that the Inciting Incident is on page 10 or 11. In these instances, something like this is happening: The first ten pages will involve entering and going about the events of the Cave Of Imperfection / Gaps (or a New World) and the push to leave it will occur around page 9, the refusal to leave it will occur on page 10 and then the refusal will be overcome on page 11. In other words, this definition of the Inciting Incident has the characters provoked to leaving one world for the next.

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Herald Journey (Peripheral World) There is Journey and Border Symbolism into the New World of the Superego / Outpost, which has its own New Creatures, Sights and Sounds. Heralds’ World This may or may not be a subset of the Superego World in general. In The Magnificent Seven (1960), we meet the village and farmers, after Calvera steals everything. Herald Archetypes / Function These are important archetypes within the Superego’s World. Their function will be to discover the hero and deliver the Call to Adventure. At minimum, to encourage the hero out of the Ordinary World. In The Magnificent Seven (1960), the two farmers who leave and eventually find Chris and Vin are heralds. In Armageddon (1998), NASA sends the special agents to bring back Bruce Willis. Herald Bridge The heralds are a bridge between the antagonist’s and hero’s worlds. They carry the theme and change until is it passed to the hero (and will still continue to represent it, if it is part of the journey). In Star Wars (1977), C3PO and R2 bridge the gap between Vader’s world and Luke’s world. Herald Limitations Heralds will have their own limitations, which they’ll arc through as the journey progresses. In The Shawshank Redemption (1994), Red is initially contained within Shawshank and has no hope of release. Herald Magical Gift The heralds will partly fulfill their function by delivering a tangible (a Magical Gift), which will eventually encourage the Hero into the adventure. This Magical Gift is essentially saying, “follow the road I lead you along and you will change and end up with whatever you want.”

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In Romancing the Stone (1984), Mrs Irwin gives Joan an envelope. It contains a treasure map. As Joan follows it, so she begins to change and get what she wants. Herald Supernatural Aid Commonly, the heralds are given the Herald Magical Gift by a Supernatural Aid. In The Magnificent Seven (1960), the old man gives the two farmers a watch to sell. Our Most Desperate Hour The herald’s journey is prompted by the heinous acts / gaps made explicit in the earlier scene (Cave Of Imperfection / Gaps). In other words, this is their Last Chance, they have No Choice, their Only Hope of Preventing Armageddon is to seek out a helper. In The Magnificent Seven (1960), after Calvera’s theft, this is the village’s most desperate hour. Time Pressure Commonly, there is Time Pressure to deliver the Magical Gift to the Hero and present the Call to Adventure. In Armageddon (1998), there is only so much time before the meteor strikes. Forbidden Journey Commonly, the Herald’s Journey is forbidden. It may involve leaving the safety and confines of the Superego’s World, it may involve passing through the Antagonist’s World etc. Interdictor Battles / Minor Threshold Guardians Commonly, Hawk (pro the journey) and Dove (against the journey) archetypes battle. Some may be keen to embark on the journey while others may not. It’s a dangerous journey with huge negative consequences – commonly, it has been tried before with those exact same consequences. In The Magnificent Seven (1960), some of the farmers think it is too dangerous to search for help – if Calvera finds out, they’re toast. Commonly, the Herald’s Journey occurs in circumstances of Stealth and Deceit, usually undercover of darkness. In other words, resistance to embarkation is overcome.

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In Star Wars (1977), the droids aren’t allowed to escape from Vader’s clutches. Forced Embarkation Commonly, the Herald’s Journey is forced. In other words, neither Hawks nor Doves may win, but circumstance forces the exit. There is Journey Symbolism and the crossing of Border Symbolism exiting their world. In Star Wars (1977), Artoo forces Threepio to leave the ship on the escape pod. Destiny, Chance and Transcendental Aids Commonly, destiny and chance facilitate the overcoming of Minor Threshold Guardians and the journey and encounter with the hero. In The Magnificent Seven (1960), the two villagers luckily come across Chris and Vin. Liberation Symbolism The embarkation is a form of minor liberation from the, usually repressive, earlier world. You’re leaving an older, contained repressed state and entering a New World where things look different. In Avatar (2009), just departing from the home planet and his situation there is a minor liberation. Antagonism’s Journey Just as the journey begins with the heralds, so it also begins for other archetypes. In Star Wars (1977), the droids are followed by storm troopers. Peripheral World The Herald crosses from his world into a Peripheral World, a world which is just exterior to the Hero Guardian’s World or Hero’s Ordinary World. In Romancing the Stone (1984), Joan meets Mrs Irwin outside her apartment. Peripheral World Battle Commonly, Heralds battle with Enemy Natural Inhabitants of the Peripheral World. These are directly or indirectly Id forces, who attempt to keep the archetypes in the older state, asleep.

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Limitations Battle The function of all battles, is to introduce a little bit of change – the underlayer. The battle will draw out the limitations. In Star Wars (1977), C3PO doesn’t care is R2 goes the other way, when they arrive on Tatooine – he doesn’t care about him. Near Death Experience This is the rebirth scene, where the limitation will be overcome. In Star Wars (1977), C3PO is gladly reunited with R2, after both are captured by Jawas – he’s beginning to care. Transformation Symbolism This shows that change really starts at the beginning. Commonly, through the detachment of old attachments and the attachment of new attachments. In Django Unchained (2012), as soon as he starts, Django drops his old rag blanket and puts on the white man’s coat.

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Ordinary State (Ordinary World) [This section is part and parcel of the next four sections: Ordinary State (Ordinary World) Ordinary State (Ordinary Self) Ordinary State (Ordinary Attachments) Ordinary State (Ordinary Rules) which have been separated for clarity; you should consider them all as one whole]. The Ordinary World is the bottom of the hero’s physical arc. It is the bottom of the hero’s outer arc. As we can see from the earlier sections, this is not the start of the journey or cycle. New World Commonly, there is Journey and Border Symbolism into the Ordinary World from the Peripheral World or some other world. In The Hangover (2009), the wedding planners exit the van with flowers and enter the house through the gates. In The Hobbit (2012), we enter Bilbo’s hobbit house through the round doors. From the point-of-view (POV) of new arrivals (anyone who hasn’t been here before), this is a New World in it’s own right, with it’s own New Creatures, Sights and Sounds. In The King’s Speech (2010), Lionel is driven home by his son. The King enters his children’s playroom. In Gosford Park (2001), Robert Parks arrives at the house, which from his POV is a new world. Minor Threshold Guardians These archetypes must be passed to enter the Ordinary World. In Star Wars (1977), the droids have to get past Uncle Owen to meet Luke.

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Meeting The Hero This is a Merging of Locations – the hero has arrived here from his journey and the heralds have arrived here from theirs. So you’ll track both the hero’s and heralds’ arrival to this nexus. Commonly, the heralds enter the hero’s Ordinary World and Destiny And Chance facilitate the meeting between them. But it is also common for the hero to arrive into the heralds’ world, where the Ordinary World functions are performed. In The Magnificent Seven (1960), the farmers luckily run into Chris and Vin. Physical Manifestation of Theme The Ordinary World is the physical product of the bottom end of the thematic arc. In Dirty Harry (1971), the City starts by believing that everyone has rights in the eyes of the law and the world we find ourselves in is a product of this – the criminals are running riot. Home Symbolism The most common physical manifestation of the Ordinary World is home. But the Ordinary World can be anywhere where the Ordinary Self, Ordinary Rules and Ordinary Attachment functions are performed. In other words, the functions are location independent. In other words, the Ordinary World doesn’t have to be a home. In The Hangover (2009), Stu is henpecked by Melissa at home. In The Hobbit: An Unexpected Journey (2012), Bilbo is at home when the dwarves knock. In Shrek (2001), Shrek is at home when the magical creatures knock at his door. Idyllic Ordinary Worlds This is a function of creating an Unwilling Hero. Unwilling Heroes often live in idyllic Worlds until an imbalance occurs and forces them on their Journey. In other words, Unwilling Heroes experience a State of Perfection, which is interrupted. In The Squid and the Whale (2006), both Bernard and Joan live together until infidelity and divorce separates them.

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Imperfect Ordinary Worlds Willing Heroes often live in repressive, small, parochial Worlds that limit their capabilities or potential. In other words, Willing Heroes have not experienced a State of Perfection and go in search for it. In Kes (1969), the small town is just too parochial for Kes. In Billy Elliot (2000), the small town is just too small for Billy. In The Wizard of Oz (1939), Dorothy does not know that life on the farm is a State of Perfection – she ventures on the journey to discover that. Unwholeness / Broken Symbolism The Ordinary World is not-whole, it is broken and incomplete in some way, shape or form. The journey will help to rectify / repair it. All or some of the manifestations of the State of Imperfection and gaps we have talked about (in the earlier section: State Of Imperfection (Unwholeness, Unreachable In/Tangibles)) are visible. These can all be grouped into Outer Imperfections. The outer physical manifestations of the Inner Challenge are made explicit. These are a product or consequence of the Inner Challenge. The inner psychological issues create the outer physical world. The Professional World is broken: In Legal Eagles (1986), Tom’s challenges are made explicit at the office. The Domestic World is broken: In American Beauty (1999), Lester Burnham’s marriage is on the rocks. In Kramer versus Kramer (1979), issues are made explicit at home and the office. In Iron Man 3 (2013), Stark is taking Pepper Potts for granted, eating alone even though it’s date-night. The Social World is broken: In The Deer Hunter (1978), everyone congregates sadly after the funeral in the bar / restaurant. The Private World is broken. This is a sub-domain of the Domestic World that is particular to each archetype. This is a special place where the hero spends much

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time alone, where s/he feels safe and at home. As with the Ordinary World in general, the Private World is a physical representation of the hero’s psychological state. In essence, this is a Cocoon, which links into the repression and protection functions (see later). “Cocoon” is clearly symbolic - we want to pull the baby larvae from its cocoon and help it grow into a beautiful butterfly. In Iron Man 3 (2013), Stark spends much time in his “man-cave,” which is a cocoon. The journey pulls him out of his cocoon. Castle Symbolism The Castle is a tangible metaphor (commonly, an edifice) for evolution. It is an initial, physical benchmark. When first encountered, it is devolved. In The King’s Speech (2010), Lionel’s home is initially poor, empty and bare. In The Fly (1986), Veronica’s apartment is initially plain. As the hero evolves, so does the Castle, whether s/he returns to it or not. In other words, the Physical World (the physical manifestation of the Inner Challenge) will respond to the conquest of the Inner Challenge and restore itself to a State of Perfection. In The King’s Speech (2010), Lionel’s home is initially poor, empty and bare. As he and the King evolve, so his home becomes richer, warmer and fuller. In The Fly (1986), Veronica’s initially plain apartment becomes richer, warmer and fuller. It is part of an Environment Arc or World Arc. In The Lion, the Witch and the Wardrobe (2005), Mr. Tumnus’ house is seen at the beginning and the end – in the beginning it is devolved, in the end it is evolved. Narnia returns to summer. In Back to the Future (1985), Marty returns home after the journey, now his father and siblings are successful and Biff is under control (contained). Graduation Symbolism The journey is a metaphor for growing up. So the Ordinary World / Castle often represents a school or some similar edifice from which characters will graduate. There will be indicators that it is “time to graduate,” “time to grow up” etc. Commonly, class will end.

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In Indiana Jones and the Raiders of the Lost Ark (1981), when Marcus arrives, class ends. In The Hangover (2009), when the boys are ready to leave, Phil’s class ends. In Silence of the Lambs (1991), Clarice will eventually graduate from the FBI Academy, where she starts the story. Physical Evolution Benchmarking The Castle Arc, Environment Arc, World Arc etc are all part of physical evolution benchmarking. In other words, when we have a lack of wholeness, we benchmark it with a tangible (broken, imperfect function). Then, as we evolve, so we continually benchmark the tangible with improvements (repair) until we are complete. In The King’s Speech (2010), initially Lionel tells his son that the car is running, “a bit rough.” Later, his son will drive his father effortlessly and smoothly. In Educating Rita (1983), Bryant has unkempt hair. Later he gets a haircut. The door handle is broken. Later it is fixed. In In The Heat of the Night (1967), the police station door is broken. Later it is fixed. In Bridesmaids (2011), Annie’s tail-light is broken, later it is fixed. Size Symbolism At this time, the hero has outgrown this world (see the next section: Ordinary State (Ordinary Self)), and this is literally demonstrated by the physical world being too small for the hero. This is also linked to repression symbolism (see the next section). In Harry Potter and the Philosopher’s Stone (2001), Harry lives in the small cupboard under the stairs, which is far too small for him. In Elf (2003), as Buddy grows, he becomes bigger and bigger until he is just too big for the Elf World. Protection Symbolism The Ordinary World is a place of protection. Protection is part of the hierarchy of needs, yet it can limit the movement out of the comfort zone and hence growth.

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In Meek’s Cutoff (2010), Meek urges everyone to stay amongst the rocks, where there is shelter and protection. Leaving this is dangerous. In Bridesmaids (2011), Annie leaves her mother’s house, which is a place of protection, to go to the engagement party. Containment Symbolism The Ordinary World is a contained state. Commonly, represented by entrapment in small, restrictive physical environments. Or walls and barriers etc. Or with rules and punishments (see the later Ordinary State (Ordinary Rules) section). Or through the actions of attachments (see the later Ordinary State (Ordinary Attachments) section)). In Priest (2011), the priests are all walled in. In accordance with the gravitational nature of the Ordinary World and it’s attachments (see later), characters have been stuck here forever, or seemingly forever. In The Croods (2013), Eep says, “we’ve been here (in the cave and darkness) forever.” In Star Wars (1977), Luke says he’ll “never get out of this place.” Physical Elixirs These represent how we want to change, what we want to become, all that would exist in an ideal world if limitations did not exist. In Back to the Future (1985), Marty wants a 4x4: “someday Jennifer, someday…” In Spiderman (2002), Peter must win over Mary Jane. In Wall Street (1987), Bud Fox wants to be on the other side of the line: “someday…someday…” Unattainable Physical Elixirs Within the Ordinary World these elixirs are unattainable. As we progress on the journey, so these elixirs begin to appear. In Iron Man 3 (2013), Stark starts by trying to make the automated suits smoothly for for him, but they don’t. Unattainable Outer Challenges These are challenges (and foreshadows of challenges) that cannot yet be conquered.

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In The King’s Speech (2010), as the Duke and Elizabeth walk out down the corridor, they talk about what to do about Edward and Simpson. In Amazing Spiderman (2012), Flash beats Peter up. Archetype Polarity, Differentiation During this early stage, archetypes are polarized, divided and differentiated. This is a measure of Lack of Wholeness. Later they will grow closer and merge. In The Hangover (2009), both Doug and Alan are very different characters. Doug initially thinks Alan is strange. But at the end, all become good buddies and accepting of each other’s foibles. In The King’s Speech (2010), Lionel’s children would rather not spend time with him. His wife quickly becomes irate, “why bring it up if you can’t talk about it.”

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Ordinary State (Ordinary Self) The Ordinary Self is the bottom of the hero’s psychological arc. It is the bottom of the hero’s inner arc. The Ordinary Self is the psychological aspect of the Ordinary State. What we are doing at this stage is establishing who the hero is at the bottom of the arc. Cusp of Readiness By the time we meet the hero in the Ordinary World, s/he is on the cusp of readiness – in other words, s/he is ready to acquire what the journey is supposed to give him or her. In The Matrix (1999), Neo is ready to find the Matrix. He’s subconsciously searching for it. This is expressed in many ways: Cusp of Maturity Commonly, the hero is ready to grow from a boy to a man. In Star Wars (1977), Luke is ready to grow from a boy to a man. At this stage, archetypes are children. In Pulp Fiction (1994), Jules enters the Ordinary World and calls the boys, "kids." Cusp of Embarkation Commonly, the hero is about to leave on a journey. In Hangover (2009), the boys are about to leave for Vegas. Time to Leave Commonly, there are indicators that it is time to leave the Ordinary World and Self. In Superman (1977), Clarke knows it is time for him to leave his Earth mother and father and go to Metropolis. In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), little John knows it is time to leave the jungle.

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Repelled By The Ordinary World The Ordinary World and its representations are the opposite to what the hero will become. At this stage the hero is repelled by the Ordinary World – it can literally make him physically ill. In The Hangover (2009), Phil wants to get away from the nerds at school. In Star Wars (1977), Luke wants to get away from the boring old planet and seek adventure off-world. In Sleepless In Seattle (1993), Harold is allergic and Walter is allergic. Irene defends Harold and Annie defends Walter just like Irene. Ready To Change Omens indicating the coming of change. Characters are ready to change. In The Descendants (2011), Matt King is ready to change. Commonly, they are given Permission To Change. In Hangover (2009), the tailor gives the characters permission to change. Ready To Meet Destiny The word “destiny” will be referenced visually or through dialogue. Characters are ready to head down their destined path. In Lincoln (2012), Lincoln sees visions of himself on a boat heading to a distant shore. He is ready to get to that shore and knows exactly what it is. In Halloween (1978), the teacher repeatedly uses the word “destiny” when Laurie is in class. Ascension, Liberty Omens Omens that we are about to ascend to a higher state are made explicit. Omens that we are about to escape the ordinary, repressed, contained state is made explicit. In The King’s Speech (2010), the Duke tells his children a story about birds changing into their full-potential form and flying away free. Everyday Occupation Commonly, the hero is engaged in an everyday, common occupation. In The Greatest Story Ever Told (1965), Jesus was a Carpenter. Aligned With Ordinary Men

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In essence, the everyday occupation aligns the hero with Ordinary Men, which is the beginning of the arc away from Ordinary Men. In The Matrix (1999), Neo is a software programmer, like everyone else in the office. Father’s Occupation Commonly, the hero is engaged in his Surrogate Parent’s occupation (an Ordinary Man). In Jesus of Nazareth (1977), Jesus is a carpenter, his surrogate father’s occupation. Time To Replace The Father Commonly, the hero will be ready to take the father’s place. It will be time to do so. In The King’s Speech (2010), it is time the Duke took his father’s place on the throne. In Thor (2011), Thor is ready to replace Odin as king. Mimicking The Real Father Commonly, the hero will begin mimicking his real father. And the journey will continue this until the hero replaces his real father. In Amazing Spiderman (2012), Peter increasingly becomes a scientist, at home with his father’s formulas. Commonly, the Hero spends much time in those places that are most likely to assist him fulfill his further potential. These places will likely have been familiar to the real father. In Star Wars (1977), Luke is the polar opposite of his aunt and uncle. He spends most of his time at the Academy learning to fly jets. In Jesus of Nazareth (1977), Jesus is distinctly different from Joseph. He spends most of his time in church arguing with priests. Separation From Ordinary Parents What we have here is the beginning of a separation away from the Hero Guardian, who is an Ordinary Man Surrogate Father and toward the path of the Real Father. In Jesus of Nazareth (1977), Jesus spends time away from his Earth parents and sets about doing his father’s work.

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In Harry Potter (2001), Harry is the polar opposite of his aunt and uncle and cousin – and begins to separate from them. Benchmarking Who You Are In essence, moving toward the father is the beginning of finding his True Self, finding Who He Is. This is not quite the beginning of the Return To The Parent, but we are ready to get going. In Amazing Spiderman (2012), as Peter increasingly discovers who his father is, so he discovers not just his own identity, but who he really is. What we are doing at this stage is establishing who the hero is at the bottom of the arc. In Star Wars (1977), Luke is not initially a leader, but he becomes one later when he leads Han and Chewy to rescue Leia. In Dances with Wolves (1990), John Dunbar is not initially a leader of the Sioux, but he becomes one. In Spartacus (1960), Spartacus does not initially lead. But he takes that position later. An Ordinary Self Name marks archetypes at this stage. In The Hangover (2009), both Phil and Melissa call Stu, “Dr Faggot.” Commonly, the hero will have Lost The Connection to Who He Is (often represented by a connection to the father or Mother Earth / the Garden of Eden). The hero will be separated from the Earth. In Oblivion (2013), Jack is separated from the Earth, high up in an artificial environment. Symbols of the Traversed Worlds By the time the hero is met in the Ordinary World, s/he carries Magical Gifts that symbolise the Worlds that have already been traversed and Capacities that have already been gained. These symbols may be physical, signifying the transmogrification from the earlier stages. In An Officer and a Gentleman (1982), Zack has tattoos that symbolise his experiences in the Philippine Islands. In The Godfather (1972), Michael is wearing an army uniform. He is a decorated war hero.

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In Terminator (1984), Reese carries scars from his battles with the Terminators in the future. Commonly, these symbols confirm the Hero’s / an archetype’s Extraordinary Capacity For Survival. In Jaws (1975), Quint, Hooper and Brody all have scars that demonstrate their extraordinary survival of previous catastrophes. Extraordinary Qualities / Capacities The hero possesses Capacities (Magical Gifts; gained via traversing the earlier worlds or innate) that mark him or her out as exceptional (commonly, these will be needed to restore the State of Perfection). These are the modern day equivalents of the Gods of Olden Days who possessed magical powers. In Ocean’s Eleven (2001), Rusty eats and never gets fat. In War of the Worlds (2005), Ray Ferrier is excellent at his job. In Gladiator (2000), Maximus is an excellent leader. In Trading Places (1983), Valentine is a likeable, loveable smooth-talking rogue. In Gran Torino (2008), Walt is man’s man. In Forrest Gump (1994), Forrest just runs and runs and runs. Of note is the common, but not necessary, Capacity To Inspire Loyalty, demonstrated through the acquisition of Loyal Allies. In Gladiator (2000), Maximus’ dog follows him in battle. In Raging Bull (1980), Joey hangs out with his older brother. In Casino (1995), Nicky takes care of Sam. Of note is the common, but not necessary, Capacity To Persuade relevant archetypes. In Annie Hall (1977), Alvie is not a classic leader but he influences Annie. Not Like Ordinary Men The hero and heralds may not recognise each other, but one party will see something in the other. Usually, the hero demonstrates that he possesses Extraordinary Qualities / Capacities.

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These are an expression of the Capacities that mark the hero out as having the potential to be The One. In The Magnificent Seven (1960), the farmers are impressed by Chris and Vin as they ride the body up to boot hill and threaten their antagonists. Surpassed His Guardians Whilst growing up in the Hero Guardian’s world, the hero has acquired such extraordinary capacities, that he has outgrown surrogate carers. In Star Trek (2009), the young Kirk is easily able to outwit the pursuing police officer. In Superman (1978), Clark literally shows his superhuman skills as he runs alongside the train. In Terminator 2: Judgment Day (1991), the young John Conner has outgrown his foster parents. Repression Symbolism Commonly, the Extraordinary Hero is repressed by Ordinary Men in an Ordinary World. In Harry Potter and the Philosopher's Stone (2001), Harry is repressed by his aunt and uncle. In Hall Pass (2011), Rick and Fred are repressed husbands and Maggie and Grace are repressed wives. All initially wear clothing that demonstrates that repression. In The Hangover (2009), Stu’s initial clothing demonstrates his repression. Transformation Symbolism At this stage, symbolism indicates the willingness or not to change. Looking in a mirror, washing the face or body (Baptism Symbolism), disrobing etc are all common. In The Hangover (2009), Stu looks in the mirror and shakes his head. Deep down he knows he’s not happy and something’s got to change. Hide True Capacities Commonly, the hero has to hide his true potential and abilities. He is Encouraged Not To Differentiate Himself From Ordinary Men. Which, really, is an encouragement to fit in and not be special.

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Commonly, the hero is Not Ready to display them. In Superman (1977), Clarke’s Earth father encourages him not to show off. In Percy Jackson & the Olympians: The Lightning Thief (2010), Percy knows the answers in school but he keeps them to himself. In Harry Potter and the Philosopher's Stone (2001), Harry is told not to play with magic, which he obviously has a knack for. Too Big For The Ordinary World Literally, the hero is too big for this smaller world now (part of the earlier Size Symbolism). In Elf (2003), Buddy is literally too big for Lapland. The Elf World is too small for him. In Harry Potter and the Sorcerer’s Stone (2001), Harry is too big to be sleeping in the cupboard under the stairs. Philosophical Flaw (Theme) While the hero has extraordinary capacities, he still has the Inner Challenge (Philosophical Flaw) and Deficiency (the Philosophical Flaw’s Physical Externalization) to overcome. The Philosophical Flaw is the theme and the thematic arc is reversing the Philosophical Flaw, in other words, learning to believe the Opposite Way. This is the reason we are embarking on the journey and going into an Opposite World. The thematic arc is a statement of the journey to the Opposite Way of Thinking and Believing. At the stage of the Ordinary Self, the character is at the bottom of the thematic arc. The hero starts believing one way and then goes into the Opposite World to learn to believe the Opposite Way and as he does so, so the flaws resolve themselves. In other words, the theme states the philosophical point-of-view, which has to be reversed, before the repair completes. Usually, the father or the parent generation will have succumbed to the Inner Challenge and Deficiency and it will be up to the progeny (the next generation) to overcome it or prove that they will not be equally tempted / deceived / persuaded. In Lord of the Rings (2001-2003), Aragorn must prove that he will not succumb to the ring’s temptation, like his fathers did.

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Once the character learns to believe the Opposite Way (accepts the Opposite Philosophy), so the Inner Challenge and Deficiency are overcome. In 48 Hrs (1982), Cates goes into Reggie’s opposite, criminal world. As he learns to believe the opposite way, so the flaws resolve themselves. Else the world believes one way and the hero’s job is to implicitly persuade the world to believe the Opposite Way. In Dirty Harry (1971), the City believes that all men have equal rights under the law – the journey persuades them otherwise. Physical Flaw The physical flaw is the physical demonstration of the inner challenge (philosophical flaw). As the inner challenge (philosophical flaw) resolves itself, so the physical flaw disappears. In Dark Knight Rises (2012), Bruce Wayne starts with a limp and a walking stick. In The King’s Speech (2010), the Duke tries to tell his children a story, but his stammer makes this difficult. It is a physical expression of his inner, psychological problem. In The Truman Show (1998), we quickly learn that Truman is afraid of water. In Sleepless In Seattle (1993), with his wife gone, Sam’s friends tell him how to microwave food / he doesn’t know how to cook. Psychological Flaw The psychological flaw is the psychological demonstration of the inner challenge (philosophical flaw). In War of the Worlds (2005), Ray walks away from other workmen as they ask him favours – illustrating selfishness. In An Officer and a Gentleman (1982), Zach is initially selfish. As the inner challenge (philosophical flaw) resolves itself, so the flaw disappears. The psychological flaw is separate and distinct from philosophical flaw. In Casablanca (1942), Rick has lost his faith in people (philosophical flaw), which makes him a cynic (psychological flaw). Benchmarking Flaws

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This is where flaws etc are repeatedly referenced and improved upon, which benchmarks the evolution. The Ordinary Self is a place to start this benchmarking. In The Godfather (1972), Michael cannot speak fluent Italian. Later he can. Devolved Self This is a way of referencing the hero at the low end of his arc. He is devolved – he is not evolved, he is in an Ordinary State. In Groundhog Day (1984), Phil starts selfish and doesn’t possess the capacities or character to get the girl. In An Officer and a Gentleman (1983), Zach is selfish and doesn’t possess the character to be an officer. Devolution Symbolism The Devolved Self will be demonstrated through outer symbols, such as drab clothing and repressed behaviour. In The Fly (1986), Veronica’s Devolved Self is expressed through her plain clothing. In Gorillas in the Mist (1988), Dian’s Devolved Self is expressed through her plain clothing. Devolved Name This is the Hero’s “before” name and will be used to benchmark progression against the “after” name. Again, this signifies the Deficient and Devolved Self. In Gladiator (2000), Maximus is initially called “general”. Only later does he become “gladiator.” In Dances with Wolves (1990), the Hero’s before name is “John Dunbar” and his after name is “Dances with Wolves.” In Bull Durham (1988), Crash gives Nuke the Devolved Name of “Meat.” In An Officer and a Gentleman (1983), Foley gives Zach the Devolved Name of “Mayo(nnaise).” In The Dirty Dozen (1967), the men are referred to by their criminal names before Reisman collectively calls them the Dirty Dozen.

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In City Slickers (1991), the boys are initially “City Slickers.” After, they are “cowboys.” Ally / Alone Arc At the Ordinary Self stage, the hero is alone. In Hangover (2009), Alan is the lone man in his wolfpack. As he progresses, he gathers friends within it. In Spiderman (2002), Peter starts alone – nobody wants to know him as he walks onto the bus. As he progresses, he will acquire allies, which in itself is a form of arc. In Forrest Gump (1994), Forrest starts alone, but later people follow him from coast to coast. Status Symbolism Commonly, a low status in the Ordinary World is a metaphor for the Devolved Self and a measure of the evolution to come. 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. The Hero may have high status in the Ordinary World but low status in the New World when s/he gets there. In Beverly Hills Cop (1984), in Detroit, other officers try to interact with Axel Foley – they follow him around and ask his advice. But in Beverly Hills, he’s nobody initially. Innocent Archetype In the Ordinary State, the Hero is at his / her most innocent. In The Godfather (1972), Michael is at his most innocent. In LA Confidential (1997), Exley arrives an innocent - he wouldn’t do anything without due process. Reflection Symbolism where the image of oneself symbolises dissatisfaction with the Ordinary Self. Commonly, the hero will see a reflection of himself in a shop window or bathroom or similar and doesn’t like what he sees. In An Officer and a Gentleman (1982), Zach looks at himself in the mirror and washes his face.

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In Bull Durham (1988), Crash looks at himself in the shop window. In Trainspotting (1996), Renton looks at himself in the mirror. Id Alignment / Proximity A manifestation of the Devolved Self is proximity and alignment with the Id / Antagonism. As characters awaken (see Call to Adventure later), so they gradually push away from the Id. In The Help (2011), Skeeter is initially in Hilly’s gang – the bridge club. In Oblivion (2013), Jack is aligned with Victoria, Sally and the machines. Journey to Resolve Inner Challenge Characters engage in the journey, willingly or not, to resolve the initial Inner Challenge and Deficiency (reverse the philosophical point-of-view). In The Terminator (1984), Reese explains why he made the journey to the 20th century. New Self Symbolism Consciously or subconsciously, the hero is searching for a New Self. In Goodfellas (1990), the first sequences explain what Henry wants to become – a gangster. In Educating Rita (1983), Rita just wants to be one of those people who have a choice. Characters want to return to the earlier State of Perfection. In American Beauty (1999), Lester Burnham wants to feel good about himself again. Commonly, characters are searching for the Capacities to resolve challenges as their Ideal Self would - to Become the Ideal, Mature Self. This is the psychological side of the physical elixir (the physical elixirs of the New World will represent the attainment of the New Self). In Sleepless In Seattle (1993), Annie wants a perfect life with a magical partner, not to have to settle for someone with whom there is no magic. Commonly, Transformation Symbolism demonstrates this.

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In The Hangover (2009), Doug and Alan are trying on their new clothes / tuxedos, which represent their Mature Selves after the journey. As does Baptism Symbolism - where water illustrates the washing away the Older Self. Commonly, the Hero will wash himself or will ask for a drink of water, or will be shaving or swimming or similar. In Yojimbo (1961), the Samurai asks for a drink of water. Detachment Symbolism such as Disrobing - stripping away symbols, which represent the older Self. In The Hangover (2009), Doug and Alan take off their clothes. Story Goal This is usually indicated as a part of Who He Is. At the end of the story, the hero will be someone else. In Jurassic Park (1993), Grant doesn't initially like/ or want kids. At the end, he does. In Die Hard (1988) - McClane doesn't want to move to LA (come home). At the end, his going home with Holly, suggests he does (want to go home).

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Ordinary State (Ordinary Attachments) Generally, Ordinary Attachments are possessions (including people), which act as gravitational black holes and keep the character in the Ordinary World and as an Ordinary Self. They represent the character’s Ordinary Self. In Get Carter (1971), Jack Carter’s Ordinary Self is represented by the company he keeps - his criminal associates and Britt Ekland. In Gorillas in the Mist (1988), Dian’s Ordinary Self is expressed through her attachment to her finance. In Tsotsi (2005), Tsotsi is part of a gang. In Romancing the Stone (1984), Joan’s Ordinary World Attachment is her cat. In The Terminator (1984), Sarah Conner’s Ordinary World Attachment is her pet iguana at home. And her two room-mates. In The Lawnmower Man (1992), Jobe’s early friend and Ordinary World Attachment is the little boy. In essence, the hero has outgrown Ordinary World Attachments and has to let them go. In The Fly (1986), Veronica has outgrown Stathis. In The Karate Kid (1984), Daniel has outgrown his mother. As he escapes them, so he escapes his Ordinary Self and becomes a New Self until the final Letting Go, when he completely breaks from them (and therefore his Ordinary Self). In The Godfather (1972), Michael’s father’s house is an Ordinary Self attachment. At the end, he leaves it, indicating that he’s finally leaving his Ordinary Self. In Skyfall (2012), Bond’s old home is called Skyfall – as it burns in the end, so burns Bond’s Old Self.

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Refusal To Let Go Initially, the hero is so attached to Ordinary World Attachments (and therefore his Ordinary Self), that he finds it impossible even to talk about letting them go. In Skyfall (2012), Bond is analysed by the therapist and ends the conversation when Skyfall is mentioned. Impossible To Let Go Not only do characters refuse to let go of Ordinary World Attachments, it is impossible to let go of them – they are specifically constructed so that they are hard to let go of. In Close Encounters of the Third Kind (1977), Roy's Ordinary World Attachments include his wife and kids – no man is easily able to let them go. Ordinary (Old) Attitudes, Values and Beliefs Ordinary World Attachments represent attitudes, values and beliefs, which are difficult to let go of. As the hero lets go of these attitudes, values and beliefs, so he lets go of his Old Self. In The Shawshank Redemption (1994), Andy Dusfresne cannot get over that his wife betrayed him. In Dances with Wolves (1990), the driver who takes John Dunbar to the fort thinks that all Indians are “thieves and beggars.” The driver is an Ordinary World Attachment representing this Ordinary Self belief. Golden Handcuffs Commonly, temptations make letting go of Ordinary World Attachments very difficult. In Titanic (1997), Rose is intent on marrying the unsuitable Cal – because he’s fabulously wealthy. Gravitational Pull Back Ordinary World Attachments are always trying to pull characters back to their Ordinary State. In The Fly (1986), Veronica finds an unwelcome Stathis in her apartment. He’s always trying to pull her back – he wants to go back to the way it was. Common Ordinary World Attachments include:

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Hero Guardian This is an Ordinary World Attachment and an Ordinary World Supernatural Aid. If not the direct parent, then this will be a Surrogate Parent who has helped the Hero become who s/he is. These are Maintainers of the Ordinary World. In Star Wars (1977), Luke lives with his aunt and uncle. In Harry Potter (2001), Harry lives with his aunt, uncle and cousin. In Spiderman (2002), Peter lives with his aunt and uncle. Peer Brother The Peer Brother is a benchmark archetype that allows comparison between stages of the Self. In the Ordinary World, the Peer Brother is someone who the Hero wants to emulate, someone whose achievements surpass the Hero’s. . In Star Wars (1977), Luke wants to be like Biggs and his other pals, all of who have already gone to the academy. In the classic story, the Peer Brother is a Hero Relative. In Jesus of Nazareth (1977), John is Jesus’ cousin. In the alternate classic story, the Hero is the Hero Parent’s progeny and the Peer Brother is the Antagonist’s progeny (both parents are spawned from the same source - the Id and Superego are born of the same substance (consciousness) thus they are cousins). The parents lose the Original State of Perfection and the children compete to restore it or not. In Harry Potter and the Philosopher's Stone (2001), Harry is his father’s son and Malfoy is the enemy’s son. Ordinary World Romantic Challenge This is an important, specific type of Ordinary World Attachment. The Ordinary World is the Ordinary World Romantic Challenge’s Domain; the Ordinary World Romantic Challenge is always met in (or associated with) the Ordinary World. In Close Encounters of the Third Kind (1977), Ronnie is always at home and when she is forced to go visit the UFOs (step outside her Ordinary World), she doesn’t like it. This person will not travel with the Hero and change and consequently will be left behind. S/he is a measure of the Ordinary Self.

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In Educating Rita (1983), Rita leaves Denny behind. In Close Encounters of the Third Kind (1977), Roy leaves Ronnie behind. The Hero will become increasingly polarised from the Ordinary World Romantic Challenge until the break is made, but until then the hero fritters back and forth. The detachment from the Ordinary World Romantic Challenge will not be easy as Ordinary World Attachments are meant to be hard to break free from – s/he usually has power over the Hero – be a wife and mother to his children, for instance. In The Godfather (1972), Michael and Kay are initially close but their relationship devolves as Michael becomes darker. He has to detach from her, which is not easy as it means turning to the Dark Side. In Close Encounters of the Third Kind (1977), Roy will have to leave his wife and kids behind. This archetype is generally a journey inhibitor (Dove Archetype). In American Beauty (1999), Lester’s wife warns that she will “sue the fuck out of him.” Contrary to the New World Romantic Challenge (see below), this archetype does not “see” what the Hero sees. The Ordinary World Romantic Challenge does not want to wake up (awaken). In Educating Rita (1983), Rita leaves Denny behind. Denny doesn’t see the point of going to university. In Close Encounters of the Third Kind (1977), Roy leaves Ronnie behind. Ronnie is not interested in UFOs. New World Romantic Challenge The New World Romantic Challenge will journey, grow and change with the Hero and be conquered at the stage of Seizing the Sword, the Bride Theft and Mystical Marriage etc. In Scarface (1983), Tony doesn’t begin to win over Elvira until he becomes a successful dealer in his own right. There may or may not be a high degree of polarization between them at first but they will converge. In Raiders of the Lost Ark (1981), Marion argues with Indy outside her bar.

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In The Deer Hunter (1978), Michael is a world away from Linda. In The English Patient (1996), Laszlo and Katharine have the problem of her husband. In Scarface (1983), Elvira initially thinks Tony is a peasant, banana-boat, small-time, liquor store hood. The New World is the New World Romantic Challenge’s Domain. The New World Romantic Challenge is representative of the Hero’s adoption and acceptance in the New World. In Dances with Wolves (1990), the Sioux village is Stands with a Fist’s World. There is a tendency for them not to meet in the Ordinary World but as the Hero crosses into the New World. This archetype is generally a journey enabler (Hawk Archetype). In Dances with Wolves (1990), John Dunbar meets Stands with a Fist as he crosses into the Deeper New World. In Raiders of the Lost Ark (1981), Indy meets Marion as he enters the First Threshold of the New World. If s/he is met in the Ordinary World, s/he is often portrayed as having arrived from the New World or is representative of the New World (and New Self). From another point of view, the New World Romantic Challenge has the ability to traverse all the Worlds. In Casino (1995), Ginger is representative of what Ace wants to be, where he wants to go. In Spiderman 2 (2004), MJ is representative of what Peter wants to be. In Scarface (1983), Elvira is already a doper’s girl. In Gladiator (2000), Lucilla is already a member of the Royal household. In Legal Eagles (1986), Laura is representative of what Tom will become. In Dances with Wolves (1990), Stands with a Fist is representative of what John Dunbar will become.

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As someone who will accompany the Hero on the Journey and Transformation, the New World Romantic Challenge has his / her Own Capacities (which may compliment the Hero’s) and Challenges. In Atlas Shrugged Part I (2001), both Henry and Dagne are capable. The New World Romantic Challenge will have her own arc. In Raiders of the Lost Ark (1981), Marion starts out male (drinking with the Nepalese men, a tough girl who can handle herself) and gradually arcs to female (puts on the dress) and then wife (walking off with Indy in the sunset). In Spiderman 2 (2004), MJ wants to become and does become an actress. Innocent Archetype If the Hero is not innocent, then an Innocent Archetype is picked up along the way. The function of the Innocent Archetype is to demonstrate the change in an accentuated manner. In Unforgiven (1992), neither Bill Munny nor Ned Logan is innocent, but they pick up The Schofield Kid along the way, who is very innocent. In Beverly Hills Cop (1984), Axel is not an innocent but maturity is expressed through Rosewood. Ordinary World Allies These Ordinary World Attachments will not travel with the Hero and change and consequently will be left behind. There will be a high degree of polarisation between this archetype and the Hero, if not initially, then eventually (they will diverge). Contrary to the New World Ally (see below), this archetype does not “see” what the Hero sees. This archetype is generally a journey inhibitor. In Harry Potter (2001), when Harry sees the magical owls, his family misses it. They do not have the capacity to see what he sees. They think magic and all that is weird. New World Allies These archetypes will grow and change with the Hero in the New World and beyond. There will be a high degree of polarization between them at first but they will converge - normally synergy is expressed around the time of the Ultimate Boon. This archetype is generally a journey enabler. In Back to the Future (1985), Marty and George are initially polarised but converge at the end.

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In Alien (1979), Parker and Brett and Ripley initially only agree because they have to, and then keep complaining about their share. They start to work together at the stage of the Ultimate Boon. Loyal Ally Other Attachments, such as the Loyal Ally, may always be aligned with the Hero. This archetype will accompany the Hero and have his or her challenges resolved as a result of the journey. In Lord of the Rings (2001), Sam is Frodo’s Ordinary World Loyal Ally. In Gladiator (2000), Juba is Maximus’ Loyal Ally. Developing A Willingness To See / Awaken Ordinary World Attachments become New World Attachments if they transform also. This requires that they have certain Capacities, primarily the capacity to perceive as the Hero does and a willingness (conscious or not) to awaken. A consequence of possessing that Capacity is synergy – they may be close or distant in the beginning but will grow even closer as the journey and transformation progresses. This archetype is generally a journey enabler. In The Lion, the With and the Wardrobe (2005), Lucy sees Narnia yet the others do not. They chastise her and are polarised from her. When the others develop the capacity, they synergize with her. In Lord of the Rings (2001), Frodo has Sam and Pippin et al start off as friends but become really good friends. The classic hero role is to make others see / awaken. In Jesus of Nazareth (1977), Jesus’ role is to make others see. Commonly, the hero cannot return until he has made other see / awaken. In Goldfinger (1964), Bond can’t return (go into Act 3) until he has turned Pussy (caused her to awaken). Hawks and Doves Ordinary World Attachments fall into two groups – Hawks encourage the journey and Doves hinder it. Doves want the Hero to stay as an Ordinary Self within the Ordinary World and State (maintain the status quo) whereas Hawks do not. In The Hangover (2009), Tracy’s mother wants the boys back from Vegas pronto whereas the father knows what goes on in Vegas.

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In Titanic (1997), Rose’s mother wants her to remain loyal, married to Cal and conform. In Alien (1979), the ship’s computer is called “Mother” and she is in on the conspiracy. The Mature Self can only be attained once the Ordinary Self has completely been let go of (which happens in Act 3). In Legal Eagles (1986), Tom’s conquest of his challenges are made explicit by a return to his apartment, by which time his daughter has moved away and Kelly has moved in (an Ordinary Self representation has left and a Mature Self representation has moved in). Archetype Polarity Generally, at this stage, archetypes who will go on the journey are divided. Along the journey, they will merge to become a synergized group. Their increasing synergy reflects their increasing transformation. Generally, the good guys (Superego archetypes) will arc toward each other and the bad guys (Id archetypes) will arc toward each other. In The Hangover (2009), Phil sees Alan in the car and doesn’t know he is. Later they become friends. See other Advanced Archetypes http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html

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Ordinary State (Ordinary Rules) Ordinary Rules are forms of attachments too. The Ordinary Rules keep the character confined within the Ordinary World and as an Ordinary Self. These must be abided by in order to remain accepted within the Ordinary World and as an Ordinary Self. In other words, Ordinary Rules benchmark the Ordinary Self. Ordinary Rule / Law Giver Commonly, the Ordinary Rules are given by Ordinary Self Attachments. In The Devil Wears Prada (2006), Andy’s Ordinary Friends (Nate, Lily and Doug) tell her how to behave at Runway, how to survive it. Ordinary Rule / Law Enforcer When Ordinary Rules are broken, the enforcer is always trying to make characters keep to them. In Iron Man 3 (2013), Happy Hogan is always reminding people in the lobby to show their badges. Wall Symbolism Some form of protection barrier or similar prevents exterior value systems from infiltrating the Ordinary State and helps maintain the Ordinary World and Self. In The Hangover (2009), Sid is constantly saying, “whatever happens in Vegas stays in Vegas.” In The Devil Wears Prada (2006), Andy’s Ordinary Friends have a rationalization system which prevents them being tempted by expensive fashion items. Ordinary Rules Metaphor Some Ordinary Self Tangible is associated with the Ordinary Rules. The value of the Ordinary Self Tangible indicates the value of the Ordinary Rules. The Ordinary Self Tangible represents the love for and perfection of the Ordinary World and Self. From the point of view of Ordinary World Attachments, it is perfect and representative of the perceived balance, harmony and protection of the Ordinary State.

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In The Hangover (2009), Sid lets Doug drive his Mercedes. Doug says, “You love this car.” In Ferris Bueller’s Day Off (1986), the Porsche represents the Ordinary State. In Beverly Hills Cop II (1987), the Ferrari represents the Ordinary State. Maintenance of the Metaphor Commonly, the Ordinary Self Metaphor is precious and must be maintained. Great care must be taken care of it. This indicates that the Ordinary Rules are being abided by and thus the Ordinary Self is maintained. In The Hangover (2009), Sid lets Doug drive his car but attaches all sorts of rules…don’t let Alan or Doug drive etc. Conscious Acceptance and Alignment Archetypes must agree to the Maintenance of the Metaphor before departure with it (commonly, it is a Magical Gift which will facilitate the journey). Implicitly, archetypes are agreeing to remain as an Ordinary Self. In The Hangover (2009), Doug tells Sid, “I will be the only one to drive this car.” Incremental Destruction As archetypes progress, evolve and detach from the Ordinary Self, the Ordinary Self Metaphor is incrementally damaged and eventually destroyed, symbolising the incremental loss and eventual detachment from the Ordinary Self (and the rules and limitations, which represent it). In The Hangover (2009), the Mercedes is destroyed. In Ferris Bueller’s Day Off (1986), the Porsche is destroyed. In Beverly Hills Cop II (1987), the Ferrari is destroyed.

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End Of The World Is Nigh Antagonism Awakens It is when the hero is ready to embark that the antagonism awakens and threatens armageddon. The antagonism is a supernatural aid, whose job is to provoke the hero onto the journey and change. It is when the hero/ine is ready, that the antagonism (Id) subconsciously calls the hero/ine (Superego) into battle In Star Trek (2009), Nero is ready to finally stop waiting and do battle. In Romancing the Stone (1984), Zolo kidnaps Elaine when she is ready to journey, change and meet Jack etc. Armageddon Symbolism The function of armageddon is to a) provoke the hero onto the journey and change and b) to force the hero to begin the detachment from Ordinary World Attachments. Armageddon initiates the destruction of the Ordinary World and therefore the Ordinary Self. Death Symbolism is common – the Ordinary World / Self is soon to die (in other words, begin the change process). In The Neverending Story (1984), the Nothing has swallowed most other things, and is soon coming to the Hero’s Ordinary World. A Most Desperate Hour Commonly, the Call To Adventure (see next section) will occur when No Hope Remains, when the End Of The World Is Nigh. Literally, the end of the world as we know it is imminent. More generally, some indication that the state of affairs as they presently exist is coming to an end. In The Ugly Truth (2009), Stu tells Abby that unless ratings go up, he’s going to have to kill the show. In The Hangover (2009), Stu is about to propose to Melissa, which really will be the end for him.

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Commonly, the Hero who is about to be called is the Only Hope. He is a New Hope or represents the Return of Hope. In The Magnificent Seven (1960), Chris, Vin and the others are the farmers’ only hope. Time Pressure Commonly, there is urgency to accept the Call and embark on the journey. In The Hangover (2009), Phil wants Doug to get going. Saving The World Commonly, there is a rush to return from the journey with gifts in order to Prevent Armageddon. Put another way, to bring about world peace. The State of Perfection must be restored within a set period of time. Conversely, if the State of Perfection is not restored within the set period of time then there will be no chance to ever do so – darkness, the end of the Worlds, war, chaos etc will reign eternally. In Percy Jackson & the Olympians: The Lightning Thief (2010), if Zeus’ lightning is not returned within a set time, there will be war. In Indiana Jones and the Raiders of the Lost Ark (1981), Indy has to find the Ark before Hitler does. In Independence Day (1996), the boys must save the world before the aliens annihilate it.

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Call To Adventure This Is Your Mission In its simplest form, the Call to Adventure is the "this is your mission" scene. In Raiders of the Lost Ark (1981), the government agents give Indy his mission. In Argo (2012), the CIA men give Tony his mission. Private World Journey and Border Symbolism indicates movement into a New World, with its own New Creatures, Sights and Sounds. Commonly, this is the hero’s private domain. All creatures that will be exposed to the Call enter this World and all creatures that will give the Call (Heralds) enter it too. In Star Wars (1977), the droids and Luke enter his private quarters. In Alien (1979), Ash tells Dallas that Mother has a message for him. In The King of Comedy (1983), Pupkin pushes his way into the car. In Blade Runner (1982), Deckard is pulled into the police captain’s office. Pulled Out The Home Commonly, the characters are pulled slightly outside of their home or Ordinary Environment, in order to receive the Call to Adventure. This indicates that there is already departure from the Ordinary State (note: this is just a location within the Ordinary World; we are not yet at the Edge of the Ordinary World – see later sections). In The Bourne Legacy (2012), Byer gets his Call as he’s arriving back from a jog, outside his home. Encouragement Out of the Ordinary World The core function of the Call to Adventure is to encourage the hero out of the Ordinary World. Devolved Private World As per the Extraordinary Supernatural Aid’s Private World later, the Hero’s Private World is devolved – everything within it represents the unevolved state, the bottom end of the arc. Size Symbolism (Diminutive) is common. In Chinatown (1974), Gittes works in a small office working smalltime infidelity cases with small time clients for small time pay.

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Sacred Meeting Commonly, a meeting between heroes and heralds occurs. In Chinatown (1974), Gittes meets the fake Mrs Mulwray. In Alien (1979), Mother tells Dallas to investigate the signal. Herald Magical Gift The Herald presents a Magical Gift. Else a Magical Gift appears. In The Hangover (2009), Phil collects money from his class. In Romancing the Stone (1984), Mrs Irwin gives Joan the package. In No Country for Old Men (2007), the drug dealer asks Llewellyn for a drink of water. It is the water that later persuades Llewelyn to go back to the shootout site. Call To Adventure The Hero or relevant archetypes are encouraged to leave the Ordinary World and State and venture into a Larger World and State. In Star Wars (1977), Luke is encouraged to find Obi Wan, which involves leaving the farm. Commonly, the Herald Magical Gift is the source of this encouragement. In Romancing the Stone (1984), the package will force Joan to go to Columbia. Follow The Signs Commonly, there is encouragement to follows the signs, which lead to destiny, magic and the Ideal, Self-Actualized, True Self. In Sleepless In Seattle (1993), Grandma encourages Annie to follow the signs. In The Matrix (1999), Neo is told to follow the rabbit. An Elixir To Live And Fight And Die For Commonly, the hero will be encouraged to leave the Ordinary World in search of some Elixir, which will be something to live and fight and die for. In Gone With The Wind (1939), Tara is something to live and fight and die for.

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In The Hobbit An Unexpected Journey (2012), the dwarf mountain (home) is something to live and fight and die for. In Argo (2012), Tony has to rescue hostages. Seeking An In/Tangible If not something to live and fight and die for, then an excuse to get the characters out of the Ordinary World. Commonly, this is a Trivial Task (see later) which is completed at the Edge of the Ordinary World (see later). In Chinatown (1974), the fake Mrs Mulwray asks Gittes to go get photos of her husband’s infidelities. In Star Wars (1977), Artoo’s hologram tells Luke to go find Obi Wan Kenobi. In What’s Your Number (2011), Ally starts figuring out her number. Call To Change In essence, the Call to Adventure is encouragement to leave the Ordinary World, State and Self and venture into a Larger (New) World, State and become a New Self. In The Hobbit An Unexpected Journey (2012), Bilbo is encouraged onto the journey, where he will become a burglar. In Educating Rita (1983), Rita becomes Susan. Call To Resolve The Theme Commonly, the Call to Adventure is encouragement to resolve the thematic question. In Crimes and Misdemeanors (1989), Judah’s journey leads to the resolution of the question, “are God’s eyes on us?” Implicitly, the Call To Adventure is a Call To Awaken, to open ones eyes, to see reality from illusion. In The Matrix (1999), Trinity urges Neo to wake up and see reality instead of illusion. In Fight Club (1999), “If you wake up at a different time, in a different place, could you wake up as a different person?”

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In American Beauty (1999), Lester feels as though he's been asleep. When he sees Angela, he feels like he’s waking up. Implicitly, the Call To Adventure is a Call To Mature, to enter adulthood, to grow from boy to man. In Thor (2011), Thor must grow from boy to man. This is why the Call often involves Graduation Symbolism (or will occur in a World of Graduation), indicating that it is time to grow up – to leave the small, Ordinary Self and seek the larger, New Self. In Indiana Jones and the Raiders of the Lost Ark (1981), once Marcus arrives, the class is over. Implicitly, the Call To Adventure is a Call to Confront Challenges. The Call To Face Your Fears (Innermost Fears). In Titanic (1997), Rose meets Jack and she must confront her Inner and Outer Challenges. In Despicable Me 2 (2013), Gillian wants Gru to date her friend, which is his innermost fear. Implicitly, the Call To Adventure is a Call To Enlightenment. In The Shawshank Redemption (1994), Andy Dusfresne’s enlightenment will involve realizing that it’s either time to start living or time to start dying. Implicitly, the Call To Adventure is a Call To Meet One’s Destiny. In Back to the Future (1985), George must go to the ball because “it is his destiny”. In Slumdog Millionaire (2008), Jamal always refers to his destiny, which is to be with Latika. In The King’s Speech (2010), it is the Duke’s destiny to become King and represent the Empire through broadcast. Implicitly, the Call To Adventure is a Call To Learn Lessons (which links to theme). In Home Alone (1990), Kevin gets the Call because doesn’t appreciate his family.

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In The Wizard Of Oz (1939), Dorothy gets the Call because she doesn’t appreciate home. In Crimes and Misdemeanors (1989), Judah learns that crime does pay. Cliff learns that rich, successful, shallow men trump poor, intelligent and sensitive men. Implicitly, the Call To Adventure is a Call To Become The Ideal Self or the Call To Create The Ideal World. Implicitly, the Call To Adventure is a Call To Be Selfish – to do what is good for you. In Sleepless In Seattle (1993), Annie wants a perfect life with a magical partner, not to have to settle for someone with whom there is no magic. Commonly, the Call involves Breaking Ordinary World / Self Rules (which is associated with fear). In The Hangover (2009), Alan is nervous because Doug has parked so close to a school. Commonly, the Call involves Breaking Free From Ordinary World / Self Attachments. In Casablanca (1942), early on Ferrari offers Rick the chance to sell his bar and everything else, including Sam. Implicitly, the Call To Adventure is a Call To Break from Limitations. In Sleepless In Seattle (1993), Harold is allergic and Walter is allergic. Irene defends Harold and Annie defends Walter just like Irene. Annie’s True Self is the polar opposite – she needs to break away from these limitations. Commonly, the Call involves Omens of the Extraordinary Supernatural Aid, who will be able to assist the character’s journey through the new world and help him become the new self. In Jason and the Argonauts (1963), Jason hears about Hercules. In Star Wars (1977), Luke hears about Obi Wan. Separation From The Brother Implicitly, the Call To Adventure is a Call To Progress along the arc, and therefore separate from the attachments which represent the earlier state. From

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hereon, the hero increases (evolves) and the Peer Brother decreases (devolves) or remains stagnant, allowing the hero to eventually surpass him. In Jesus of Nazareth (1977), when Jesus appears, John knows that his time is coming to an end. No Choice But To Leave If the hero is Willing, then he usually has an unstoppable yearning to leave. He has no choice. In The Karate Kid (1984), Daniel is too big to stay at home. “I gotta get outta here.” In Superman (1977), Clarke has to get out of Smallville. If the hero is Unwilling, then he usually also has no choice to leave, under threat of some punishment. In Blade Runner (1982), the cop boss threatens Deckard to take the job. This lack of choice sets up the tension within the Ordinary World until the hero can overcome interdictions and actually leave (see next sections). Journey and Border Symbolism marks exit from the World of the Call To Adventure. In Blade Runner (1982), Deckard leaves the police station.

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Interdiction These are forms of Refusal of the Call. Now begins the tirade of resistance to the journey. Significant Hindering Forces gather to prevent forward movement. In essence, these forces prevent detaching from the Ordinary World and Self. There are Two Types of Refusal of the Call: a) Refusing The Physical Call To Leave The Ordinary World. b) Refusing the Psychological Call To Confront Innermost Fears (leave the Ordinary Self / State). Commonly, both are made explicit. In Despicable Me 2 (2013), Gillian wants Gru to go on a date (confront his innermost fear) and Lucy takes him to meet Silas (out of the Ordinary World). Further, there are many refusals. For example, in Act I: a) The refusal to leave the Ordinary World. b) The refusal to enter the New World. New World Of Interdiction Journey and Border Symbolism indicate movement into a New World of Interdiction, with its own New Creatures, Sights and Sounds. In The Hangover (2009), we see the exterior of Stu’s house and then go inside, where Melissa will berate him. In The Matrix (1999), Neo’s visits his boss’ office. In Star Wars (1977), Luke goes to eat with his aunt and uncle. Lock In In essence, some barrier to leaving the Ordinary World exists, causing characters to be locked into it. Unless / Until Combinations Commonly, lock-in persists until or unless some task is achieved. In Kill Bill Vol. 1 (2003), the Bride cannot leave “home” (Vernita Green’s home) until Green is killed.

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In Ferris Bueller’s Day Off (1986), Ferris can’t leave until Cameron agrees to come. Minor Threshold Guardians In essence, this world consists of archetypes who block exit. They can be subdivided into the following: Doves and Hawk Battles In essence, this new world consists of Dove and Hawk archetypes. The movement out of the Ordinary World and Self will be encouraged (by Hawks) and discouraged (by Doves). This stage is a battle between these opposing forces. Doves argue, “Beware the dragons at the Edge of the World, prevention is better than being swallowed by them.” Hawks attempt to rally forces to venture out of the Ordinary World (let the danger be faced and ultimately be resolved; let the young man or woman go out there and grow; this is the path to maturity). In Alien (1979), Lambert does not want to go but Kane is keen. In Priest (2011), the Priest wants to leave the citadel and take forces with him but the higher ranking priests argue the opposite. In terms of the Constitution (see below), there are those that easily break it (Hawks) and those that resist breaking it (Doves). In The Hangover (2009), Phil jumps into the car instead of opening the door and walking in. He doesn’t value Sid or Doug’s preciousness about it. He easily breaks the Ordinary World rules. Conformist Archetypes These are types of Doves. They encourage conformity by requiring the Hero to remain an Ordinary Self. In The King’s Speech (2010), Lionel auditions but the judges simply won’t give him the part. Here, Dove and Hawk Polarity is manifest. It is usual for those who resist the journey to dislike (be polar opposites to) those who encourage the journey. Similarly, it is common for Ordinary World Attachments to be polarised from New World Attachments.

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In The Hangover (2009), Melissa and Phil do not like each other. Commonly, the Supernatural Aids of the New World are opposites from the Supernatural Aids of the Ordinary World. In Star Wars (1977), Uncle Owen warns Luke to forget about Obi Wan. Neither like each other much. Interdictor Archetypes These are different from Doves in that they will prevent the movement forward using implicit and explicit threats, warnings, punishments or bribery. Generally, Interdictor Archetypes simply won’t let the Hero or various archetypes become their Mature Selves. They cannot see the Hero or various archetypes as anything other than their Ordinary Self. They cannot see the Hero or various archetypes as having the capacities to ascend. In The Matrix (1999), Neo’s boss berates him under threat of punishment. In Star Wars (1977), Uncle Owen emotionally bribes Luke to stay. Interdictor As Benchmark Commonly, the Interdictor represents a challenge, which will be Confronted Upon Return to the Ordinary World (when the Capacities to do so have been acquired). In this sense, the interdictor is a benchmark. In The Hangover (2009), Melissa henpecks Stu. Upon his return, he breaks up with her. Unwilling Heroes Commonly, Unwilling Heroes Refuse To Depart: In Ferris Bueller’s Day Off (1986), Cameron refuses to get out of bed and go. Implicitly, departing means changing – there is Refusal To Change: In The King’s Speech (2010), the Duke doesn’t want to talk about speech therapists, “out of the question…I’m not having this conversation again.” But Elizabeth ignores him. Or show Hesitancy To Depart: In The Hangover (2009), Alan asks if Doug wants to go without him. Ordinary World / Self Attachments will hold characters back.

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In The Godfather (1972), Kay represents Michael’s ordinary, innocent self and she doesn’t want him to change. Characters may be reluctant to let go of Ordinary Attachments. In Casablanca (1942), Sam doesn’t want to sell his bar nor Sam to Ferrari. Attachments / interdictors include Parent Archetypes (Hero Guardians, Repressive Mother etc). The Parent is a Supernatural Aid that has assisted the Hero’s development up until this point (probably has been responsible for the Hero’s survival up until this point) and is reluctant to let him / her now face perceived danger outside the Ordinary World. In Kung Fu Panda 2 (2011), father attempts to prevent Po from leaving the village. In Titanic (1997), Rose’s mother encourages her to marry Cal because that way she’ll be rich and safe. In Alien (1979), Mother the computer holds Ripley back. In An Officer and a Gentleman (1983), Zach’s father doesn’t want him to become an officer. Commonly, parents have a hard time letting go of their charges. In The Karate Kid (1984), Danny ‘s mother has a hard time letting her son go. Attachments / interdictors include Spouse Archetypes (Ordinary World Romantic Challenge). In Close Encounters of the Third Kind (1977), Ronnie doesn’t want Roy to go investigate the UFOs. Attachments / interdictors include Authority Archetypes. In The Matrix (1999), Neo’s boss at work warns him not to step out of line. In The Incredibles (2004), Mr. Incredible’s boss forces him to conform. Attachments / interdictors include Protector Archetypes. These are wary of the outside and want to hold the Hero back for his / her own protection. They do not want the Hero harmed.

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In Star Wars (1977), Uncle Owen prevents Luke’s journey because he knows what happened to his father. Commonly, protection involves Staying Home, within the comfort zone. In Alien (1979), no one except Kane wants to embark on the adventure, they just want to get home. Willing Heroes Willing Heroes will be Blocked From Departing: In Star Wars (1977), Uncle Owen stops Luke leaving. In The Hangover (2009), Phil’s pupil tries to talk to him, thus blocking him for leaving. The Constitution Willing or Unwilling, the Constitution (a Book of Law, a set of Rules) will deter citizens from departing. These fortify any existing reluctance. In other words, it is Illegal To Depart: In The Help (2011), Aibileen is afraid to start talking and the state laws demonstrate the dangers of doing so. In Logan’s Run (1967), it is illegal to leave the City. Ordinary State laws and value systems do not mesh with those outside the realm and interdictor archetypes are strict enforcers of these laws. In The Help (2011), Hilly knows the state laws inhibit Aibileen and takes every opportunity to enforce them. In stories with a combination of Willing and Unwilling archetypes, both of the above methods will be visible. In LA Confidential (1997), Exley is Willing whereas White is not. A common interdiction is Trepidation and Foreboding Symbolism. What is to be found outside the Ordinary World is Veritably Dangerous. Some sort of terrible fate will result should the Hero depart. In Raging Bull (1980), Jake resists getting involved with the Mafia. In Dances with Wolves (1990), John is warned not to go to the Frontier alone, as there are dangerous Indians there.

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In Raiders of the Lost Ark (1981), Marcus warns Indy about the dangers of the Ark. In The Help (2011), Aibileen fears to talk; she is more scared of talking than Jim Crow. Interdictors warn of the New World Supernatural Aids. In Star Wars (1977), Uncle Owen warns Luke to forget about Obi Wan – “he’s just a crazy old man.” Various Dissuasion Rationalizations are used: The sheer Impossibility and magnitude of the task. In Raging Bull (1980), Joey tells Jake that Vicky is unattainable. In Priest (2011), the higher ranked priests believe it impossible that the vampires have returned. The Ignorance, Innocence and Invisibility of the other side or the enemy. Ordinary World archetypes cannot see the value of the New World and its archetypes. Tangibles of the New World and State may seem fabulous to the Hero but worthless or invisible to Ordinary Self Attachments. In Never Ending Story (1984), Bastian doesn’t believe the book is special. In Close Encounters of the Third Kind (1977), Ronnie just doesn’t see the UFOs and doesn’t get what Roy is so curious about. One method of propaganda espoused by Ordinary World Attachments is that the Ordinary World and Self is already mature (False Maturity); that there is no where else to go and nothing to grow into. In The Hangover (2009), Melissa wishes Stu’s friends were as mature as he was. There is no reason to go, as other, Alternative Heroes are engaging. In A Fistful of Dynamite (1971), Juan’s fellow bandits tell him there is no need for Juan. Others can do it. You (the Hero) will Never Be Accepted in the New World. In An Officer and a Gentleman (1983), Zach’s father tells him that, “You’ll never fit it.”

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The Creatures of the New World are not like us, in other words, Polarity Symbolism. In An Officer and a Gentleman (1983), Zach’s father tells him that Officers are uptight assholes. Warnings that Great Sacrifices will be required. In An Officer and a Gentleman (1983), Zach’s father says, “Why put yourself through that.” The New World and the creatures within it will be Disparaged and Derided. In The King’s Speech (2010), the Duke doesn’t think highly of Lionel’s offices or that he is an outsider (Australian etc). In An Officer and a Gentleman (1983), Zach’s father says, “…I hate those people…I hate that place….” In The Hangover (2009), Melissa does not like strip clubs. She doesn’t see the value of places like Vegas. She thinks they’re disgusting. The Hero will enter the New World Disadvantaged. In An Officer and a Gentleman (1983), Zach has to hide his tattoos. Containment Symbolism The sum of the interdictions, the prevention from exit from the Ordinary State is containment. Archetypes are stuck and going nowhere. In Star Wars (1977), Luke says, “It looks like I’m going nowhere.” Repression Symbolism The sum of the interdictions, the prevention from exit from the Ordinary State is repression. In Harry Potter and the Philosopher's Stone (2001), Harry’s aunt and uncle forbid him to get involved with wizards and any such thing. The result is repression under the small cupboard under the stairs. Forced Alignment In order to survive the Ordinary World, characters have to align themselves (willingly or not) with the Ordinary Constitution (and thus, commonly, the antagonist).

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In The Hangover (2009), Stu is forced to agree with Melissa, in order to placate her. In Oblivion (2013), Jack has to placate Sally. See more Advanced Archetypes http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html

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Punishments For Refusal Refusing to follow one’s destiny, refusing to listen to the inner voice results in schizophrenia and psychosomatic illness. Aggravated Flaws The flaws represent the Ordinary Self. As the Ordinary Self dissolves away through the journey, so the flaws dissolve away. But here, the Ordinary Self is blocked from dissolving away and the opposite occurs - flaws increase in severity. Sickness Symbolism Bad health, subconscious self-destruction and poor maintenance of the Self and World. In The Incredibles (2004), Mr. Incredible is depressed. The car is crashed, again. In The Verdict (1982), Frank is an alcoholic who repeatedly trashes his office. Punishment Symbolism Usually, there is a negative consequence of not exiting the Ordinary State. In Spiderman 2 (2004), MJ leaves Peter behind. Period of Desolation The hero has refused Dharma - s/he is cursed to wander the wasteland aimlessly, cursed not to live up to ones potential, cursed to regret, forever living a slow death. In The Incredibles (2004), Mr. Incredible is lost when not allowed to be a superhero. Period of Expectation There is expectation in the air. Does the hero have the Capacities to break out of the restricted state and do what must be done / move on? In The Incredibles (2004), the little boy wonders when “something will happen.” In Terms of Endearment (1983), the girls expected a hero, not a washed up astronaut.

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Forced Hero Departure Ready To Go Characters will be ready to go. In The Hangover (2009), Phil gets payment from the school kids and says, “Good to Go.” Time Pressure Commonly, it will be urgent to exit the Ordinary State. In An Officer and a Gentleman (1982), Lynette tells Paula to “hurry up!” Death Symbolism Commonly, the death of an interdictor overcomes the limitation to exit. In Superman (1977), the young Clarke Kent’s surrogate father dies, which motivates him to leave the farm. Change Symbolism Death is symbolic of change. In other words, some change now allows the previous limitations to be overcome. Armageddon Symbolism Some fatal event will occur, forcing characters to depart immediately. In Romancing the Stone (1984), Joan gets the call that her sister will die unless she comes to Colombia immediately. In Raiders of the Lost Ark (1981), Indiana must find the Ark before Hitler does. Punishment Symbolism Some punishment will now occur if the hero doesn’t depart. In Star Wars (1977), Artoo goes missing and Luke is forced to search for him. Reward Symbolism Some reward for acquiring a tangible (Magical Gift) outside the Ordinary World will be gained. In Chinatown (1974), Gittes must get photos of an unfaithful Hollis.

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Task Given Exit will be granted after some task is performed. In Scarface (1983), Tony will get out of the detention center after he kills Rebenga. No Choice In essence, the hero is left with no choice but to leave the Ordinary World and embark on the journey. In other words, the hero has no choice but to accept the Call. In Blade Runner (1982), Deckard has no choice but to take the job. Breaking Attachments Commonly, the hero will break from restricting attachments. In Bridesmaids (2011), Annie’s mother asks her whether she wants to move back home – which she politely refuses. Refusals Overcome Resistances are ignored. In The King’s Speech (2010), the Duke doesn’t want to talk about speech therapists, “out of the question…I’m not having this conversation again.” But Elizabeth ignores him. Permission Granted Commonly, some form of permission is granted to proceed. In The Hangover (2009), the tailor tells Doug and Alan, “you can change now.” Permission Magical Gift Commonly, some license giving authority to depart is acquired. In The Hangover (2009), Phil tells his class that he needs their permission slips. In Dances With Wolves (1990), John needs a letter to be able to go to the Frontier. New Way of Thinking Some enlightenment may change the Way of Thinking and allow agreement to exit.

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In Little Miss Sunshine (2006), Richard has a change of heart and the trip to the pageant is agreed to. Supernatural Aid Assistance Supernatural Aids may help characters overcome resistance and interdictions. In The Hangover (2009), Phil and the boys call Stu form the car and drag him away from Melissa. Liberation Magical Gift Commonly, Supernatural Aids help characters overcome resistance and interdictions by providing Magical Gifts. In Easy Rider (1969), the boys sell some dope to get the money to leave. Deception Commonly, some form of deception and stealth hides the departure from Interdictors, especially if the Hero is Willing. In The Hangover (2009), Stu has to lie to Melissa - he tells her he’s going to the Napa Valley. Rebellion Symbolism Commonly, archetypes rebel against Interdictors. In The Incredibles (2004), Mr. Incredible rebels against and deceives his wife; “ I got cabin fever; need to get outta here…” Trivial Task The Hero is given or comes across a Trivial Task (a form of Magical Gift) that needs completion (it may even be inadvertently set by Interdictors), which pushes him / her on the path out of the Ordinary World. The Trivial Task is well known in our fairytales. In Red Riding Hood, “Go take these cakes to Grandma.” Incremental Step Commonly, the exit is allowed or agreed to as it is deemed a very small, nonthreatening step out of the normal pattern, an incremental, almost nondetectable and insignificant event. In Terminator (1984), when Sarah’s date cancels, she goes out for a drink. Commonly, this step is already known and may have been completed many times before. This step poses no threat to anybody.

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In Jack and the Beanstalk, the pigs have been sold at market many times before. Limitations Overcome In sum, whatever limitation prevented departure, is now overcome. Departure Symbolism Journey and Border Symbolism out of the Ordinary World is crossed. In The King’s Speech (2010), Elizabeth tells the children, “come on girls, time for bed.” And then walk out down the corridor. In The Hangover (2009), the boys leave LA. In The Lion, the Witch and the Wardrobe (2005), Lucy steps out of the house into the wardrobe. Commonly, Minor Threshold Guardians (angels, ghosts and spirits of the border) block the way and must be passed. In The Lion, the Witch and the Wardrobe (2005), as Lucy walks through the wardrobe, she must navigate past all the fur coats. Commonly, a Magical Gift is required in order to pass Minor Threshold Guardians. In The Lord of the Rings: The Fellowship of the Ring (2001), the boatman asks for payment to be ferried across the river. Detachment Symbolism When archetypes exit, they leave some representation / attachment of the Ordinary World and Self behind. In Bridesmaids (2011), Annie’s mother doesn’t want to go to the engagement party and so Annie leaves her behind. In Sleepless In Seattle (1993), Annie leaves the presents behind. Separation from Ordinary Self Attachments Commonly, what is detached from is an Ordinary Self Attachment. In Sleepless In Seattle (1993), Annie wonders if Walter ever had another name. She wants Walter to go on ahead. In Witness (1985), Rachel and Samuel leave Daniel behind at the train station.

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It is not uncommon for the Hero to leave the Ordinary World completely alone, indicating complete detachment. In Priest (2011), the Priest leaves the city alone. Goodbye Symbolism Goodbye references a goodbye to the Present or Older Self. In The Hangover (2009), Stu kisses Melissa goodbye. Ordinary World / Self Begins To Dissolve Away Upon exiting the Ordinary World, archetypes believe that they will easily return to the Ordinary World and that upon their return, neither they nor the Ordinary World will have changed (there is easy return to the Ordinary Self). As the Hero leaves the Ordinary World, s/he is unaware that it will cease to exist. If it is not physically destroyed, then it will change on some level, never to be the same again. S/he will never return to that which was; nothing will be as it was before; the Hero will have changed if there is ever a return to the Ordinary World and that in itself will impact it. In Terminator (1984), once Sarah leaves her apartment, she never returns to it. In Close Encounters of the Third Kind (1977), Roy does return home, but he is changed and that in itself changes his home life. In Iron Man (2008), Tony Stark is intent on returning home unchanged after demonstrating his new weapon to the military. In Pretty Woman (1990), Vivian is intent on selling sex to Edward for money and then returning to the street. As soon as the exit begins, some element of the Ordinary World and Self ceases to exist (the change continues / begins). As soon as the exit begins, some element of the Ordinary World and Self begins to disappear and become unrecognisable. In The Hangover (2009), Phil tells his pupil – I do not know you, you do not exist.

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Strict Path Within The Edge of the Ordinary World and Self Journey and Border Symbolism demonstrates movement across barriers into the Edge of the Ordinary World. The crossing could be as simple as stepping into a meadow or going through a door. In The Lion, the Witch and the Wardrobe (2005), Lucy steps out of the wardrobe into Narnia. In The Wizard of Oz (1939), the physical border is the fence off the farm. In Stand by Me (1986), it is the walking onto the road. In Gran Torino (2008), it is Walt’s lawn. Border of the Self Commonly, characters stop at the physical border before crossing into the Edge of the Ordinary World. Physically, this will have been the furthest they have travelled away from the Ordinary World and psychologically will have been the furthest they have travelled away from the Ordinary Self (the most extreme act they have ever performed). In The Lord of the Rings: The Fellowship of the Ring (2001), Sam stops at the border of the Shire and tells Frodo that this is the furthest he has ever been from the Shire. Edge of the Ordinary World Task Commonly, the hero is Racing Against Time to perform some task. In Star Wars (1977), Luke leaves the farm to get Artoo back. Else the task is represented by the acquisition of some tangible. In The Little Mermaid (1989), Ariel finds the fork. In Chinatown (1974), Gittes leaves his office to try and get photos of a cheating Mr. Mulwray. Commonly, characters think they will be returning to the Ordinary World and therefore the Ordinary Self, but it is completely or incrementally left behind. In Star Wars (1977), Luke thinks he’ll find Artoo and go back to the farm. Magic Carpets Commonly, some form of Ordinary World transport carries characters.

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In The King’s Speech (2010), Elizabeth rides out of the royal domain in her carriage. In Witness (1985), the train carries Samuel and Rachel out of Amish territory and into the city. New World The Edge of the Ordinary World is a New World in its own right, with its own New Creatures, Sights and Sounds. In Educating Rita (1983), it is the professor’s office – not the school itself. To Rita, Bryant’s office is a New World. In The King’s Speech (2010), Elizabeth rides out through fog to strange, lower class parts of London to meet Lionel. In Witness (1985), Samuel looks out the window and sees the balloon; the water tap in the station – it’s all new to him. Minor Threshold Guardians These archetypes are passed to exit the Ordinary World and / or enter the Edge of the Ordinary World. Obstacles and resistance is encountered. In Diamonds Are Forever (1971), Bond exits past immigration. In The Croods (2013), Eep has to get past the walls and beasts outside. In Alien (1979), the Nostromo has a bumpy ride while landing on the planet. Containment Symbolism Commonly, characters will be locked into the Edge of the Ordinary World (until what needs to be done is done, until the Edge of the Ordinary World Task is completed). In Witness (1985), the ticket inspector tells Rachel that the train is delayed three hours. They’re stuck at the station. This is also a form of refusal to depart. In Alien (1979), after landing, the Nostromo can’t take off just yet. And Parker and Brett are refusing to speed things up.

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Foreboding Symbolism The Edge of the Ordinary World is outside the protected zone of the Ordinary World – it is where dragons and danger lie. To innocents, it is Unknown thus Fear, Warning Symbolism etc is common. Tentative Steps are taken entering it. In Stand by Me (1986), the sign on the gate read: “Keep Out.” The kids are wary of the guard dogs. Fish Out of Water As with all New Worlds, new arrivals are Fishes Out of Water in the New World. They seem strange to the natural inhabitants of the Edge of the Ordinary World. In Witness (1985), the young girl looks at Samuel as though he’s a freak. Characters are Exposed and Vulnerable. In Iron Man (2008), Stark is exposed in the attack on the convoy in the desert. In Star Wars (1977), Luke is exposed and vulnerable when he leaves the farm. Differentiation Symbolism As with all New Worlds, the Natural Inhabitants of the New World tend to be cautious of the odd new arrivals. They are initially polar, extreme opposites, enemies even. As the new arrivals change, so they will align and the very same enemy will become less fearsome and even an ally. In The King’s Speech (2010), Elizabeth knows that the Duke will consider Lionel the enemy. Unrecognisable Symbolism Ordinary World creatures are not recognised here. When characters think they recognise something, it turns out to be an illusion. In Witness (1985), Samuel thinks the Rabbi is Amish. Outcast Symbolism As with all New Worlds, it is not uncommon for the Natural Inhabitants of the New World to want to exile the odd, new arrivals. This is a function of being different. In The Hangover (2009), the girl in the car looks at Alan as though he’s strange and gives him the finger.

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From another point of view, this is a function of being thematically different. Ordinary World and New World characters have opposing philosophies and it is this opposition which repels. Opposition minimises when the characters begin to merge thematically (their philosophies become similar as the result of one of the characters changing). In What’s Your Number (2011), Daisy and Colin represent opposite philosophies and ends of the theme. Daisy wants to impress others whereas Colin doesn’t care. That’s why they repel. Liberty Symbolism At the same time, the Ordinary World has been a repressive or somehow limiting place and there is a feeling of liberty, release and freedom upon leaving it. There is relief at escaping its gravity. There is a sense of Entering A Bigger, Larger, Wider World. In The Hangover (2009), Alan stands up in his seat and screams, “road trip!” He bangs on the car doors. In The Deer Hunter (1978), the boys celebrate leaving town. Health Flaw The Edge of the Ordinary World is outside the protected zone of the Ordinary World – characters haven’t learned to survive within it. One manifestation of this is sickness. As characters acclimatize to the New World, so these health flaws will dissolve away. In The Fly (1986), Seth coughs and is sickly. In Gorillas in the Mist (1988), Dian is sickly and unfit when she arrives. Broken World Flaw Upon entry into the Edge of the Ordinary World, it is made explicit that it is broken somehow – a metaphor representing this breakage will manifest itself. Once the character’s healing is complete, so the flaw will dissolve away. In Educating Rita (1983), Rita can’t get through the professor’s door because it is stuck. She tells him to fix it. As both archetypes evolve, it will be fixed.

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Ordinary World Repression / Deficiencies Some expression of the dissatisfaction, repression, unresolved challenges that are part of the Ordinary World are made explicit. This is an expression of the Devolved Self. These will be result through the journey or on the return. In The Hangover (2009), Phil tells that he hates his life. Unwillingness to the Return With Willing Heroes, expressions of resistance to the return to the Ordinary World, Self and State are made explicit. In The Hangover (2009), Phil tells that he hates his life so much, he may never go back. Willingness to the Return With Unwilling Heroes, there may be expressions that there is a desire / hope of a return to the Ordinary World, Self and State. In Casablanca (1942), when Sam plays “As Time Goes By,” Rick wants him to stop. It’s triggered by Ilsa’s arrival and the entrance into the new state / situation. In Kramer versus Kramer (1979), Ted and his boss hope / think that Joanna will come back. Commonly, Ordinary Self Attachments will pull the hero back. Else some gravitational force attempts to pull the hero back. In What’s Your Number (2011), Daisy tries to put down Ally’s quest to seek out her ex-boyfriends. Commonly, in this case, that Ordinary State represents a State of Perfection or Innocence, which we want to return to. In The Godfather (1972), Michael wants to return to the Ordinary World, Self and State – in which he could do as he pleased, was innocent and not involved with his mafia Family. Detachment Symbolism Some expression of detachment from the Ordinary World / Self / State. Attachments representing the Ordinary Self are left behind. In The Hangover (2009), Phil tells that he left his wife and kid at home. Attachment Symbolism Some expression of attachment to the New World / Self / State.

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In The Little Mermaid (1989), Ariel collects objects from the New World, which represents her coming self. Death Symbolism (Death Arc) Expressions of the coming incremental deaths of the Ordinary Self as we move to the New Self are made explicit. As are expressions that a lack of change will lead to death. In The Hangover (2009), Phil warns that come Sunday, he’s going to start dying just a little bit everyday. Strict Path Characters will be aware that outside the Ordinary, protected state, dragons lie. In others words, there is danger there. Characters will be told that, in order to avoid this danger, they should stick to a Strict Path. Physically, the Strict Path will be a distinct pathway from which characters should not veer off. If they veer off it, they enter distinctly different physical territory, in which the monster / danger lies. In An American Werewolf in London (1981), the boys are told to stay on the road and not go onto the moors. Ordinary World Rules Psychologically, the Strict Path is a set of rules, which should be conformed to. Behaving according to these rules means that the character remains within the bounds of the Ordinary World, even though s/he may be physically outside of it. They mean that the character remains the same and continues to align with the Ordinary World. In Witness (1985), Rachel tells Samuel “not to go far.” In Oblivion (2013), it’s OK for Jack to wander away, as long as he continues to be part of an effective team. Ordinary World Metaphor Commonly, an Ordinary World Tangible will be a metaphor for the maintenance and strict adherence to the Ordinary World Rules. In The Hangover (2009), Doug is told not to let anyone else drive the Mercedes.

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Edge of the Ordinary World / Self Battle (Meeting Goliath) Strict Path Within the Edge of the Ordinary World, archetypes will continue on the Strict Path and abide by the Ordinary World Rules. In The Hangover (2009), Doug conservatively drives the Mercedes and won’t let anyone else drive, just like Sid asked. Legend of the Woodsman The Woodsman is a metaphor for the dangers that await should one veer off the Strict Path. The Woodsman is a dangerous, irresistible temptation that is encountered along the Strict Path and causes characters to veer off the Strict Path. “Beware the wolf dressed as an old woman hiding in the woods.” “Beware the colourful mushrooms that will make you fall asleep for a hundred years.” “Beware the candy that leads to the witch’s house.” “Don’t take candy from strangers.” Allure (Call) of the Woodsman The Allure (Call) of the Woodsman is the encouragement to veer off the Strict Path. Psychologically, to break Ordinary World Rules. In effect, this is encouragement to venture into New Self territory. In The Hangover (2009), Phil urges Doug to speed up but Doug won’t. Phil is drinking and wants to drive, but Doug won’t let him. Dove and Hawk Archetypes Doves (Discouragement Archetypes) and Hawks (Encouragement Archetypes) battle for direction. Doves want to abide by the rules whereas Hawks do not. Initially, Doves win this battle. In The Hangover (2009), Alan sides with Doug and keeps him in line. They won’t let Phil (who is drinking) drive. They won’t disobey Sid. Doug stays in the same lane. Doves act as Same Self Protectors here. Doves keep the characters as the Ordinary Self whereas Hawks push the character to the New Self.

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In Iron Man (2008), Stark is guarded and in a convoy as he goes to demonstrate his weapons in the desert. In The Godfather (1972), Sonny sends guards with Michael when he has to return to the City to see Kay. Veering off the Strict Path means veering from the Ordinary Self – a beginning of change. The task may be too big for the character at this stage, hence the reluctance. In Forrest Gump (1994), Forrest is not ready to sleep with Jenny in college. Forced Off The Strict Path In some way, shape or form, characters are forced off the Strict Path. Restrictive forces (Doves) are overcome. Else, the Allure (Call) of the Woodsman is succumbed to. In The Hangover (2009), Doug tries switching lanes. Journey and Border Symbolism is crossed into the most dangerous domain within the Edge of the Ordinary World. In An American Werewolf in London (1981), the boys get lost on the moors. They have been warned to stay off the moors. Ordinary World Metaphor Dissolving As Ordinary World Rules are broken and evolution progresses, this tangible metaphor begins to disappear. In Back to the Future (1985), the photograph begins to disappear. Liberation Symbolism However, some reward, commonly liberty, results from breaking the Ordinary Rules. In The Hangover (2009), the boys laugh at the almost crashing into a truck. New World This part of the Edge of the Ordinary World is a New World in its own right and with its own Natural Inhabitants / Creatures, Sights and Sounds. As is normal, the Hero et al are polarised and Fishes Out of Water and attract attention. In The King’s Speech (2010), Elizabeth is just as much out of place in Lionel’s office as he is in her company.

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Meeting Goliath Having left the Ordinary World and its rules behind, the characters are free to meet and Battle The Monster. In An American Werewolf in London (1981), the werewolf attacks the boys. In Iron Man (2008), the convoy is attacked. Thematically, The Hero And Goliath Are Extremes Opposites, each representing opposite philosophies. The opposite philosophy is the real monster. In Training Day (2001), Alonzo is Jake’s extreme opposite and enemy. In What’s Your Number (2011), initially, Ally and Colin are extreme opposites. Thematically, the battle against Goliath demonstrates the Inefficiency Of The Theme. In Lone Ranger (2013), John Reid arrests Tonto and lets Cavendish go demonstrating his position’s flaw (of being a representative of the Laws of Man). Edge of the Ordinary World Task One function of the monster is to prevent the hero completing the Edge of the Ordinary World Task. Commonly, it appears or awakens when the hero attempts to complete the Edge of the Ordinary World Task. In The Little Mermaid (1989), the shark almost prevents Ariel from escaping the shipwreck with the fork. David versus Goliath Symbolism This symbolism is a measure of the extent of the problem, the magnitude of the challenge, which must be confronted, the distance, which must be travelled, the height of the mountain, which must be climbed. It is an expression of the problem in its extreme. In The 40 Year Old Virgin (2005), it comes out at the poker game that Andy is a virgin. It is in this part of the Edge of the Ordinary World where the problem is manifest in its extreme. And it is in this part of the Edge of the Ordinary World where the Hero demonstrates just how unlikely s/he is to overcome the Monster.

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This is a measure of the Hero’s present Devolved Self. Metaphorically, a boy meets a man - to defeat that man, the boy must grow to be a man too. In The Ugly Truth (2009), when Abby goes on her first date, the reason why she is single becomes clear – she has very high expectations and a well defined checklist. She’s got a huge mountain to climb. In Star Wars (1977), the Sandpeople knock Luke out. What chance has he against the Empire? Meeting Limitations The purpose of the monster is to draw out the character’s limitations, which will eventually be overcome. Goliath / Monsters are metaphors for the challenges the Hero et al will face in the New World. Meeting Goliath means coming face to face with your challenges. In On The Waterfront (1954), Terry doesn't want to talk to the crime commission. In 48 Hrs (1982), Cates shows his limitations during the hotel shootout sequence. In The Hangover (2009), Phil asks Stu whether it’s weird that he’s been in a relationship for three years and still has to lie about going to Vegas. He can’t go to Vegas but she can fuck a bell-hop on a cruise line. Limitations come in many forms. For example, Innocence. And the need to Awaken. In Midnight Cowboy (1969), when Rizzo and O’Daniels rip off Buck, he starts to awaken from his innocence. Limitations come in many forms. For example, Not Knowing The New World. Another words, Not Knowing the New Self. In The Little Mermaid (1989), Ariel's limitations are not knowing what a fork is - what humans are. Meeting the Inner Challenge Limitations can sometimes be described as an Inner Challenge. In Man of Steel (2013), Clark’s inner challenge is that a) he doesn’t belong and b) he doesn’t know who he is. Inner Challenge is different from theme:

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In Man of Steel (2013), the theme is represented by Jor-El (free will and choice) vs Zod (predetermined fate and no choice). This is different from Clark not belonging and not knowing who he is. Interdictions Commonly, warnings against gaining the Capacities to confront Goliath / The Monster begin to emerge. There are warnings not to proceed beyond this point either literally (against the literal monster) or psychologically (against the activities which will change you into a new person, to find out Who You Are). This is a measure of the impossibility of confronting and vanquishing Goliath, which truly would separate the hero from Ordinary Men. In Point Break (1991), Pappas tells Johnny to forget about the expresidents - these guys are ghosts. The task is just too difficult. Detachment Symbolism The Ordinary Self begins to strip away. Commonly, characters lose symbols of the Ordinary World and Self, often clothing. In Gorillas in the Mist (1988), Dian takes off her jacket. Beginning of Acquiring In/Tangibles In/tangibles begin to be acquired. Commonly, they represent layers of the New Self. In the form of Capacities and Magical Gifts, these will assist the forward movement and the eventual conquest of Goliath / The Monster. In The King’s Speech (2010), Elizabeth learns how to work the lift the first time she enters Lionel’s building. They allow the Edge of the Ordinary World Task to be completed. In The Hangover (2009), Stu buys water. Beginning of Convergence It is in this part of the Edge of the Ordinary World that the Hero et al (the group of archetypes) who were polarised begin to converge. In The Hangover (2009), Phil begins to think that Alan is funny and Doug thinks he’s alright.

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Meeting The Extraordinary Supernatural Aid The general function of the Extraordinary Supernatural Aid is to encourage the hero to the New World and the becoming of the New Self. The Supernatural Aid here is referred to as the “Extraordinary Supernatural Aid,” in order to separate this major Supernatural Aid from other archetypes who also can perform Supernatural Aid functions. In Star Wars (1977), whereas other characters can be described as acting as Supernatural Aids, Ben Kenobi is the overarching Supernatural Aid. Armageddon Symbolism Commonly, the Extraordinary Supernatural Aid is met when all is almost lost, when the End of the World is Nigh, when All Hope Is Lost. In The King’s Speech (2010), Elizabeth appears before Lionel, because she fears that the Duke has all but given up. In An American Werewolf in London (1981), after the werewolf attack, against all odds, the boys wake up in a hospital in London. In Iron Man (2008), Stark is hit with bullets when the convoy is attacked and passes out. Miraculously, he wakes up in Yinsen’s care. Minor Near Death Experience Going off the Strict Path, breaking Ordinary Rules or the Battle With Goliath, forces a Minor Near Death Experience. Death Symbolism represents change - the death of the older state. In The Hangover (2009), Doug tries switching lanes and almost crashes. In Iron Man (2008), the convoy is attacked and Stark passes out. In The Little Mermaid (1989), Ariel's battles the shark. Magical Appearance At The Last Moment, commonly, when the Hero is undergoing the Minor Near Death Experience, the Extraordinary Supernatural Aid magically appears. This is the original Puff of Smoke, “…and then a puff of smoke and the wizard appeared …” In Iron Man (2008), Yinsen suddenly appears.

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In Star Wars (1977), Obi Wan suddenly appears. In The Big Lebowski (1998), the Stranger magically appears. In The Karate Kid (1984), Mr. Miyagi suddenly appears to save Danny. Journey and Border Symbolism Commonly, the Extraordinary Supernatural Aid will journey and cross Border Symbolism into the domain of the Battle With the Monster / Goliath. Else, the Extraordinary Supernatural Aid will somehow pull the hero out of the domain of the Edge of the Ordinary World and / or rescue him / her from the Near Death Experience within it. In The Terminator (1984), the cops tell Sarah to wait and they’ll come and get her. Member of the New World Because the Extraordinary Supernatural Aid’s job is to help the hero journey through the new world and become the new self, s/he is commonly part of that new world or traverses both worlds. In The Croods (2013), Eep is a member of the world of darkness whereas Guy is a member of the world of light. In The Little Mermaid (1989), Scuttle traverses both worlds. Opposite Self Commonly, the Extraordinary Supernatural Aid is the opposite of the hero, representing the opposite New World. In 48 Hours (1983), Cates is the opposite of Reggie. In The Croods (2013), Guy is the opposite of Eep and Grug. Opposite Supernatural Aid / Thematic Representation Membership of the opposite, new world indicates membership of the opposite thematic POV. The Extraordinary Supernatural Aid believes the opposite of Ordinary World creatures and it is partly his job to make the hero come round to his way of thinking. In Star Wars (1977), Obi Wan believes in the force and he brings Luke round to that way of thinking too.

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In The Croods (2013), whereas Eep’s family loves the dark and is afraid of anything new, Guy loves the light and embraces the new. Potent Supernatural Aid Generally, the Extraordinary Supernatural Aid is more potent than previous Supernatural Aids and this helps pull the hero away from them and into the New World. In Behind The Candelabra (2013), Liberace is so much richer than Scott’s normal foster parents, that he has no problem pulling Scott into his world. However, commonly, something extra needs to start breaking the attachment to the Ordinary World. Something else helps the hero begin to let go of the Ordinary World (see later attachment sections). In Star Wars (1977), aunt Beru and uncle Owen have to die before Luke is able to leave with Ben Kenobi. Knows His Name The hero may be surprised to meet the Extraordinary Supernatural Aid but s/he is, usually, not surprised to meet the hero. Commonly, the Extraordinary Supernatural Aid has been watching the hero or has been keeping an eye on his (or her) progress. Commonly, the Extraordinary Supernatural Aid knows the hero’s potential. In The Big Lebowski (1998), The Stranger seems to know all about the Big Lebowski. Commonly, the Extraordinary Supernatural Aid is the one who gave the baby to the Surrogate Parents all those years ago and was the Hero Parent’s Loyal Ally. In Star Wars (1977), Obi Wan gave baby Luke to Uncle Owen and Aunt Beru all those years ago. Obi Wan knows that Luke is the only hope. Needing Help It is clear that the hero needs help, which the Extraordinary Supernatural Aid provides. This need for help is a measure of the hero’s limitations with respect to the monsters of the New World. In Ghost (1990), Sam asks for help. In The Little Mermaid (1989), Scuttle helps Ariel understand the human world.

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Suppressing Edge of the Ordinary World Monsters The Extraordinary Supernatural Aid helps the hero by suppressing and vanquishing the monsters found at the Edge of the Ordinary World. The monsters here tend to be the most impotent of antagonists. In Star Wars (1977), the sand people are the least of worries in the bigger, wider world. That the Extraordinary Supernatural Aid does this demonstrates that he is, presently, more powerful than the hero. Later, the hero will suppress and vanquish an antagonism that the Extraordinary Supernatural Aid cannot deal with, which will indicate the hero arcing past the Extraordinary Supernatural Aid. Magic Potion Revival Commonly, the Extraordinary Supernatural Aid administers a Magic Potion (a magical gift from the new world) and saves the Hero from the Minor Near Death Experience. That this is possible, demonstrates his / her Significant Capacities. Thematically, the Magical Potion is a tangible metaphor for, and product of, the New World Way of Thinking. The potion is a product of ideas. In Iron Man (2008), Yinsen replaces Stark’s heart. His old cold heart is being replaced by a more human heart. Or he is being given a heart. Minor Rebirth Following receipt of the Magic Potion, the Hero wakes up and exhibits new behaviour, attitudes and beliefs - s/he undergoes a Minor Rebirth, there is a Minor New Way of Thinking, s/he is a little closer to his / her Truer Self, there is an incremental movement to the Newer Self, an incremental transformation. This is a Minor Awakening and a Minor Arcing to the New Self. From the thematic point of view, it’s exposure to the opposite way of thinking. In Immortals (2011), Theseus thinks the enemy will win because they have reason to kill. Sleeping is also common here – the Old Self begins to go to sleep. Time Pressure Commonly, there is Time Pressure to escape Goliath at the Edge of the Ordinary World. The hero is not ready for him or any new world antagonism yet. In Star Wars (1977), Ben and Luke need to hurry, the Sandpeople are easily startled but they will return soon in greater numbers.

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Detachment, Transformation Symbolism This refers to the incremental loss of the Older Self through the physical loss of tangibles that represent that version of the Self. In other words, something is left behind, which represents leaving behind a part of the older self. In Forbidden Planet (1956), the Captain tells Morpheus’ daughter to get rid of the inappropriate clothes. Task Completion Commonly, finding the Extraordinary Supernatural Aid and suppressing or bypassing the antagonism’s here, completes the Edge of the Ordinary World Task and we are now ready to move onto the next stage. In Star Wars (1977), once Luke’s found Ben, he’s ready for Ben to instruct him.

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Extraordinary Supernatural Aid World and Functions Edge Of The Edge Of The Ordinary World Journey Symbolism is engaged in where characters accompany the Extraordinary Supernatural Aid to his Ordinary World, which lies still further from the Ordinary World and closer to the Beachhead of the New World. Extraordinary Supernatural Aid’s Ordinary World Border Symbolism is crossed and Minor Threshold Guardians passed as we enter the Extraordinary Supernatural Aid’s Ordinary World / Private World. New Creatures, Sights and Sounds are apparent. In Wall Street (1987), Bud goes to see Carl and meets all his airline pals. In Bridesmaids (2011), Rhodes meets Annie when he pulls her over – he is in his natural habitat while working. Safe Haven The Extraordinary Supernatural Aid’s Ordinary World is a safe house / harbour from Goliath / the Dangerous Inhabitants / Monsters of the Edge of the Ordinary World. In The Karate Kid (1984), Danny’s enemies won’t attack him in Mr. Miyagi’s apartment. In Ghost Rider (2007), the Caretaker hides away safely in the church. Illusion of Harmlessness The Extraordinary Supernatural Aid seems impotent, benign, and gentle but behind the façade exists real power. In the classic construct, this archetype is almost as powerful as the Hero Parent, and on occasion more powerful. As someone who helped maintain the Original State of Perfection, this archetype is usually very old, often decrepit. But s/he comes in many shapes and forms (what’s important is the functions s/he performs). 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.

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In The Shawshank Redemption (1994), it is the older, longer serving Red. In The Big Lebowski (1998), it is Sam Elliott as The Stranger. In The Lion, the Witch and the Wardrobe (2005), Aslan is a big softie but frighteningly powerful. Surrogate Father Commonly, the Extraordinary Supernatural Aid will replace all previous father figures and it will be this force that is confronted at the Atonement (where the hero will match or transcend the father). In Scarface (1983), Frank becomes Tony’s father figure. In Wall Street (1987), Gekko becomes Bud’s father figure. Two Fathers What we have here is a second father. The old father figure was a member of the Ordinary World / Self and this new father is a member of the New World / Self, each representing opposite beliefs / sides of the theme. In Star Wars (1977), Uncle Owen is the old father and Obi Wan is the new father. Eventually, the hero will choose between the two fathers, in other words, choose between the two beliefs, take a side of the theme. In Wall Street (1987), Bud Fox has two fathers, his real old world father (Carl Fox) and his new father (Gordon Gekko). Eventually, Bud chooses to side with Carl. This is why the two fathers rarely get on. In Wall Street (1987), Carl Fox and Gordon Gekko do not see eye-to-eye. Archaic World The Extraordinary Supernatural Aid’s Ordinary World is an archaic representation, and contains all the symbols, of the Original World and the Original State of Perfection. The Hero finds it to be a bewildering, wonderful place, full of magical sights and sounds never experienced before. In The Karate Kid (1984), Mr. Miyagi’s apartment contains lots of symbols of the Original World. In The Gremlins (1984), the shop is full of all sorts of otherworldly treasures.

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In Dragon Wars (2007), the shop is full of all sorts of otherworldly treasures. In Superman (1977), Jor-El’s natural habitat is now the ice-house, where he appears as a hologram. It represents the State of Perfection and the loss of it – the once great Krypton which is now long gone. Devolved World The Extraordinary Supernatural Aid’s Ordinary World is devolved and stunted. This is a reflection of the Extraordinary Supernatural Aid’s own devolved and stunted growth. Rather like The Castle, it will evolve as s/he does. In The King’s Speech (2010), Lionel’s office is poor, bare and empty. Extraordinary Supernatural Aid’s Opposite World Commonly, the Extraordinary Supernatural Aid’s Ordinary World is opposite in some respect, which is a result of the opposite belief / end of the theme. In What’s Your Number (2011), Colin’s apartment is messy, because he doesn’t worry what other people think. Sacred Meeting Commonly, the Extraordinary Supernatural Aid takes the hero into a Sacred Meeting. In Wall Street (1987), Carl takes Bud aside in the cafe. In The Incredibles (2004), Mr. Incredible and Edna talk alone in her design studio. Which occurs on a Auspicious Occasion. In Gran Torino (2008), Sue invites Walt into her house on his birthday. In Ghost Rider (2007), the devil returns on Johnny’s father’s death’s anniversary. From this Sacred Meeting, Others Absent Themselves. In Wall Street (1987), when Carl takes Bud aside, his friends leave them alone. In Star Wars (1977), Threepio deactivates himself.

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Series Of Revelations During the Sacred Meeting, the Hero is exposed to a Series of Enlightenments. These are Further Awakenings: The Hero is Told About The Original World And Original State Of Perfection and how it was Broken By The Antagonist and Needs To Be Repaired. The Hero is told how Home and Hope and Belief Was Lost and how all this must be Rediscovered. The Loss of the Perfect State and World is recounted. In Bridesmaids (2011), Annie tells Rhodes that she used to have a bakery and run it with her ex-boyfriend. But that’s all over now. In The Bible, Eden was lost due to the serpent’s seduction. That the kingdom was once his father’s and was wrongfully taken. The s/he is The Rightful Heir. In Jason and the Argonauts (1963), Jason is told that the kingdom is rightfully his. The Hero is told that His Parents (The Hero Parents) Were Powerful And Helped Maintain The Original State Of Perfection. And that they were Destroyed (Or Separated) By The Antagonism or its representatives during the Battle at the Edge of the Original World. In Star Wars (1977), Luke’s father was a Jedi, who helped maintain the State of Perfection but was eventually vanquished. In The Ten Commandments (1956), Moses was separated from his real parents because of the Pharaoh’s edicts. In El Cid (1961), Rodrigo is the son of the king’s ex-champion. Here, the Hero finally learns the truth, confirming suspicions that s/he had been alerted to or secrets that had been withheld. Commonly, that his parents were not real and that s/he is from somewhere else. In essence, the Hero learns that he is not really who he thinks he is but somebody else – he Must Rediscover And Awaken To Who He Is. In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), Tarzan looks in the mirror and realises he’s not an ape.

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Broken Tangible Commonly, a Broken Tangible represents the imperfect state. In Bridesmaids (2011), Annie’s broken tail-light represents her broken self. Encouraged To The New World / Self / Elixir The Extraordinary Supernatural Aid encourages the Hero to venture to the New World, where s/he can Become The New Self (change) and eventually Bring Back The State Of Perfection. The Hero is told that s/he is Endowed With Unimagined Capacities that can help restore the State of Perfection. In Harry Potter (2001), Hagrid tells Harry that he is special, famous, the other wizards speak about him in hushed tones. Great things are expected of him. In Star Wars (1977), Luke must come to Alderran and become a Jedi. The Hero is encouraged to Learn To Think And Believe The Opposite Way, the Way Of The New World. In What’s Your Number (2011), Ally’s journey will teach her to learn and think the opposite way. The Hero is told that it is his / her destiny to restore the Worlds to a State of Perfection – That S/He Is The One. In Harry Potter and the Sorcerer's Stone (2001), Hagrid tells Harry that his parents were powerful wizards, that he has unimagined capacities and that his destiny is to meet and battle Voldermort. In The Matrix (1999), Neo is told that it is his destiny to bring down the Matrix. Encouraged to Fulfill his Destiny The Extraordinary Supernatural Aid encourages the Hero to fulfill his destiny. This is encouragement to willingly follow the True Path, to take up the True Calling, to fulfill Ones Utmost Potential. Fulfilling your destiny is also very much linked to rediscovering Who You Are. In The Matrix (1999), Trinity encourages Neo to free himself. In Sleepless in Seattle (1993), Dr Marcia Fieldstone encourages Sam to fall in love again and fill the gap. Implicitly, Annie is encouraged too.

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New World Elixir The Hero is told that s/he Must Seize The Sword (which is a Restorative Power) to have any chance of returning the Worlds to a State of Perfection and fulfilling his destiny. The Elixir is that in/tangible which will represent all this. In The Matrix Reloaded (2003), Neo is told to seek the Key Maker. In The Ugly Truth (2009), Mike encourages Abby and shows her how to get Colin. In Spartacus (1960), Lentulus encourages the men to become gladiators and earn their freedom. Commonly, some alluring symbol of the Elixir, which leads to the New World, is present. In The Departed (2006), the golden dome allures Colin. Provoked To The New World All information provided by the Extraordinary Supernatural Aid is designed to provoke the hero to journeying through the New World and becoming the New Self. Commonly, the Hero is unknowledgeable about his parents – who they were, where they were from, what they did, the cause of their death etc. Everything has been kept secret for a long time, usually for reasons of protection. The Hero is provoked when s/he learns the truth. Provoked that parents have been lost, provoked that all has been kept secret, provoked that his / her birthright has been lost, provoked that the past has created a twisted present, provoked that so much must be done to Right the Wrong (restore the State of Perfection) but failed. Punishments For Refusal There are also warnings of the dangers of not going to the New World, of the Dangers of Diversion from the True Path (do not live life set adrift in the desert of emptiness etc). Common phrase include, “You will be punished by ancestors, “Your father would be disappointed if he were alive” or “Do it for your father…” etc. In other words, if you don’t change, you will never be truly free. If you don’t start thinking the opposite way (theme), you will die. Extraordinary Magical Gift The Extraordinary Supernatural Aid is himself a Magical Gift, but also provides Magical Gifts. Else Magical Gifts are acquired.

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In The Hangover (2009), Alan reads his blackjack book. Which helps him win later. Commonly, the Magical Gift will help Restore / Maintain a New State of Perfection. In Crash (2004), the blank bullets and the necklace save everyone’s life. Commonly, the Magical Gift will help repair the Broken Tangible, which is a metaphor for the State of Imperfection. In Bridesmaids (2011), Rhodes gives Annie the number of a mechanic who will repair her tail-light. Commonly, this Magical Gift is the same weapon that was used to maintain the Original State of Perfection by the Hero Parent. In Star Wars (1977), Obi Wan gives Luke a light-sabre, which the Jedi used to maintain the State of Perfection. Commonly, the Magical Gift will help discover the New World. In The Little Mermaid (1989), Ariel wants to know what the fork is. Commonly, the Magical Gift will help cross into the New World. In The Matrix (1999), Morpheus gives Neo the pill. Commonly, the Magical Gift will help match Ordinary World peer brothers. Commonly, the Magical Gift is dusty and rusty from non-use and dug out from amongst the surrounding archaic artefacts, which indicates that even the Extraordinary Supernatural Aid cannot put it to good use. In Star Wars (1977), Obi Wan has a light sabre in a chest at home. Stage-Gating With The Magical Gift Commonly, there are warnings against using the Magical Gift until ready. This is a method of benchmarking change as we go along. As we use Magical Gifts, so the character changes. In The Hangover (2009), Doug says that they shouldn’t let Alan gamble. He’s like a Gremlin – comes with instructions. Once they’ve changed and are ready to return, they loosen that restriction. In general then,

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Help Through The New World and Self The hero needs help to journey through the New World and becoming the New Self. In The Hobbit (2012), Bilbo needs Gandalf to push him out and change. In Iron Man (2008), Stark is happy in his world; he needs to meet Yinsen to see a better way. Return Home The journey is not about discovery but rediscovery. Home and Who You Are represent this. The Extraordinary Supernatural Aid helps the hero find his way back home and rediscover Who He Is. Commonly, the Extraordinary Supernatural Aid will journey with the Hero through the New World to help him change. In The Little Mermaid (1989), Sebastian says, I’ll take you home.” In Rebecca (1940), Max tells the Rebecca, "come on, I'll take you home." Attach To The New World One function of the Extraordinary Supernatural Aid is to help the hero attach to the New World and therefore become the New Self. In Dances With Wolves (1990), Kicking Bird’s function is to help John Dunbar become a Sioux. This is the opposite of interdictors, whose job is to keep the hero attached to the Ordinary World and Ordinary Self. In Star Wars (1977), Ben tells Luke, “that’s your uncle talking.” Therefore, one function of the Extraordinary Supernatural Aid at this stage is to help the hero Break The Attachment To The Ordinary World And Self. In The King’s Speech (2010), Elizabeth and the Duke won’t leave the palace – Lionel has to come to them; but he insists and they are forced to venture away from their Ordinary World.

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Attached To The Ordinary State One function of the Extraordinary Supernatural Aid at this stage is to help the hero break the attachment to the Ordinary World And Self so that s/he can venture to the New World and become the New Self. In The Hobbit (2012), Gandalf tries to pull Bilbo away from the Shire. Ordinary World Attachments Commonly, no matter how potent the Extraordinary Supernatural Aid and his enticements or how urgent the journey, Ordinary World Attachments hold the hero back, they Pull The Hero Back To The Ordinary World And Self. In Star Wars (1977), Luke is desperate to leave but won’t disobey Uncle Owen. These will bind the hero to the Ordinary State and Are Intentionally Difficult To Let Go Of. In Close Encounters of the Third Kind (1977), Roy’s attachment to the Ordinary World and Ordinary Self are represented by his wife and children. Often, the Hero will have been specifically trying to construct Ordinary World Attachments and an Ordinary Self, again making it difficult to let go. In Domestic Disturbance (2001), Rick is a criminal who is attempting to get away from his past and wants to establish a new, ordinary life. Golden Handcuffs These are enticements and seductions designed to keep the hero within the Ordinary World. In The Little Mermaid (1989), Sebastian extol the benefits of staying under the sea. Unwilling Refusal In the case of Unwilling Heroes or an Unnatural Journey, the hero himself holds back. In Behind The Candelabra (2013), Liberace urges Scott to come live with him, but Scott hesitates attaching himself to this old man. In The Hobbit (2012), Bilbo himself refuses to go.

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Forced New World Separation When Ordinary World Attachments pull the hero back, they force a separation between Hero and Extraordinary Supernatural Aid. In Star Wars (1977), when Luke initially refuses to go with Ben, he physically moves away from him. Ordinary World / Self Rules and Limitations Commonly, the Ordinary World forbids the journey to the New World. In The Little Mermaid (1989), it is against the rules to go to the surface. Contact between the undersea world and human world is forbidden. Ariel is warned not to go there. The Ordinary World / State / Self will be represented by Rules and Limitations, which are also attachments that bind the hero to it. In The King’s Speech (2010), Elizabeth insists that, “we don’t ever talk about our private lives.” Interdictions and Excommunication Commonly, the Ordinary World punishes those who break the rules. In The Little Mermaid (1989), Ariel going to the surface means never seeing her father again. Containment and Repression Soft and hard rules, resistances and discouragements inhibit characters. These are forms of Containment and Repression. In The Hangover (2009), the boys try to dissuade Alan from gambling. Counting cards is frowned upon. Dovish Extraordinary Supernatural Aid If the Hero is Willing, the Extraordinary Supernatural Aid may be Unwilling. In The Karate Kid (1984), Mr. Miyagi resists initially training Daniel. In The Empire Strikes Back (1980), Yoda resists training Luke. Not Ready Symbolism Commonly, the Hero is simply not ready to follow the Extraordinary Supernatural Aid’s advice and symbolism indicates this. In Sleepless In Seattle (1993), Annie’s wedding dress rips. It’s a sign that she’s not ready to get married, at least not to Walter.

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Impossibility Commonly, the sheer magnitude of the task within the New World will make it seem unfeasible. This is also an expression of the Hero’s incomprehension of his/her own potential. In The Hangover (2009), Doug tells Alan that you have to be super-smart to count cards. The boys laugh at Alan. In The Lord of the Rings: The Fellowship of the Ring (2001), the sheer magnitude of the task of taking the Ring to Mount Doom seems unfeasible to small Frodo. Inner Confidence Simultaneously, there is some deep recognition that it can be done. This confidence stems from the Hero’s own destiny and the experiences that s/he has managed to survive in previous Worlds. This references the fact that the New Self / Mature Self is not out of reach. In The Hangover (2009), Alan doesn’t think it’s impossible to count cards and outsmart the casinos.

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Death Of The Ordinary State And Liberty From Attachments Liberty From Ordinary World Attachments In essence, those attachments and limitations which held the character back are broken. In Star Wars (1977), once Luke’s aunt and uncle dies, there is nothing holding him back. Forced Detachment Commonly, the character is simply thrust out of the Ordinary World, forced to break away from those things which held him (or her) back. In Slumdog Millionaire (2009), the boys are forced out of the village as it is burnt down and their mother murdered. Rule Breaking Commonly, the character disobeys some rule in order to break free. In Oblivion (2013), Jack breaks the rules to go back down to the surface. End Of The World As We Knew It Attachments and limitations are broken away from because the world as we knew it ends. In The Godfather (1972), once the Don is shot, there is really no return to the way things were. In dialogue, some reference to the “End Of The World As We Knew It” is common. In The Hangover (2000), Alan abhors 9/11 and how it changed things. “Everyone is so sensitive now.” Destruction Symbolism We “End The World As We Knew It” by destroying it. Commonly, Burn Symbolism shows it disappearing in flames. In Star Wars (1977), Stormtroopers burn the farm. In Gladiator (2000), Maximus’ farm is burned down. In Oblivion (2013), a nuclear explosion rocks the water conversion tower.

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In Gangster Squad (2013), Mickey burns down the whorehouse. Importantly, this is not the absolute end of the Ordinary World, which represents the Ordinary Self and is incrementally further lost as we progress. In The Godfather (1972), Michael’s father’s house is completely left behind at the end of the movie. Death Symbolism We “End The World As We Knew It” by creating death, which is symbolic for change. Something dies. In Gangster Squad (2013), Mickey kills the guys who ran the whorehouse. Commonly, Maintainers of the State of Perfection, parents, emotional attachments or some representation of the Ordinary World dies. In The King’s Speech (2010), the King is about to die. In Epic (2013), the Queen dies. In Gladiator (2000), Marcus Aurelius dies. In The Terminator (1984), Sarah’s flat-mate and her boyfriend are murdered. The death triggers the departure. In Superman (1977), after Clark’s foster father dies, he has to leave the farm. Kill Me Dialogue like, “Kill Me” references the death. Commonly, it also references the death of the Old Self. “You are going to die” means the Old Self is going to die. In The Call (2013), the victim says, “kill me.” Just as the “End Of The World As We Knew It” applies to the hero, so it is for the Antagonism. In The Lord of the Rings: The Fellowship of the Ring (2001), the demon armies are born. In Star Wars (1977), Tarkin tells that the senate has been dissolved.

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Home Is Lost We “End The World As We Knew It” by destroying and breaking away from home. That in which characters were protected and felt safe is lost. There is nowhere to return to. The comfort zone disappears. In Slumdog Millionaire (2008), the boys’ village goes up in flames. They have nowhere to return to. Commonly, some representation of Mother Earth is lost or destroyed. In The Lord of the Rings: The Fellowship of the Ring (2001), they start tearing down the trees. Departure Symbolism We “End The World As We Knew It” by leaving somebody behind, departing or losing somebody that was part of the “World As We Knew It.” In Legal Eagles (1986), Tom’s daughter leaves. In An Officer and a Gentleman (1982), Zach’s father doesn’t turn up. In Spiderman 2 (2004), MJ is moving on. She wants to become an actress. When she leaves, it’s not the same. Transformation and Transmogrification We “End The World As We Knew It” by changing the hero when he is at the Edge of the Ordinary World, so that when he returns, it is his change which causes the “End Of The World As We Knew It.” The Ordinary World changes as a reaction to the hero’s change. Else some character changes. In these cases, the character’s / hero’s change is marked by the physical transmogrification and the psychological new way of thinking. The character becomes a Fish Out of Water in the Ordinary World. In Close Encounters of the Third Kind (1977), Roy himself is different when he returns home. His face is burnt from the lights. Divergent Characters We “End The World As We Knew It” by arcing the characters away from each other. In Close Encounters of the Third Kind (1977), Roy himself is different when he returns home. This helps begin to separate Roy from his family.

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Disappearance Symbolism If characters are able to return to the same geographic location that was the Ordinary World, then It Is Not As It Once Was. We “End The World As We Knew It” by changing it or disappearing it. In Gorillas in the Mist (1988), Dian returns to the town but the civil war means that everyone is leaving. It is literally disappearing in front of her eyes. Time Pressure This forces the detachment from the Ordinary World, Self and State. In Spiderman 2 (2004), MJ is moving on, which encourages Peter to follow. Antagonism As Supernatural Aid Commonly, the Antagonism causes the end of the Ordinary World, Self and State. Here it is actually acting as a Supernatural Aid, as the forced journey will eventually lead to growth and change. In The Godfather (1972), Sollozzo’s men shoot the Don. Commonly, Omens of the detachment from the Ordinary World, Self and State have long been predicted. In essence, this is just the Prophecy Being Fulfilled. In The Never Ending Story (1984), the Nothing’s arrival has long been foretold. Extraordinary Capacity to Survive The hero’s survival at this stage demonstrates, once again, an Extraordinary Capacity To Survive. Outside The Ordinary World Commonly, the hero is at the Edge of the Ordinary World, when it disappears. In other words, the hero is not allowed back. In The Godfather (1972), Michael is with Kay in a hotel in the city when the Don is shot. In Star Wars (1977), Luke is with Ben when the Stormtroopers attack the farm. Bringing The Ordinary World Back Commonly, the hero attempts to save the Ordinary World.

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Commonly, the hero attempts to Rush to the Rescue in vain. In Gladiator (2000), Maximus knows his family is threatened and rushes back to save them, but is too late. In Star Wars (1977), Luke knows that Stormtroopers are headed towards the farm and Uncle Owen and Aunt Beru, but is too late to save them. Psychologically, this is a form of resisting letting go. The hero attempts to Reattach To Attachments that are being lost. In Happy Gilmore (1996), Gilmore tries to makeup with his girlfriend. In Close Encounters of the Third Kind (1977), Roy tries to makeup with his wife. Letting Go Ordinary World Supernatural Aids do not have the capacity to help the hero in the new world, they have no potency there. Thus they, willingly or unwillingly, let go of the hero and pass him / her into the care of the New World Supernatural Aid. This is a form of detachment. In The Karate Kid (1984), Daniel’s Mom is happy for Daniel to keep Mr. Miyagi’s company. In The Fly (1986), Stathis reluctantly gives way to Seth. In Twisted (2004), John Mills gives way to Mike Delmarco. Goodbye Symbolism Some form of goodbye is common here - symbolic for a goodbye to the Ordinary Self. In The Fly (1986), Veronica returns to Stathis and says goodbye. He reluctantly agrees. Carrying Ordinary World / Self Representations Identity is usually lost incrementally; rarely is there a complete break from it even in traumatic scenarios, representations (associations, attachments etc) hold on. In Robocop (1987), the injury leaves Murphy with memory loss, but his old partner still remembers his Old Self.

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In Close Encounters of the Third Kind (1977), Roy’s detachment from his family is a gradual thing. He keeps returning to his family until the break comes. Though the Ordinary World is not as it was, many representations of it still exist. In other words, the Ordinary Self still exists. The coming gradual disassociation from these representations will benchmark the hero’s detachment away from the Ordinary Self and toward the New Self. In Gorillas in the Mist (1988), Dian gradually detaches from her old boyfriend. She keeps photos of him until she doesn’t need to any longer.

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Un/Conscious Decision To The New World, Self, State After breaking away from attachments and limitations which hold the character to the Ordinary World, Self and State, the next step is overcoming obstacles to the movement into the New World, Self and State. These are two separate processes. Characters are stuck between the Ordinary World (or what’s left of it) and the New World. Now an Un/Conscious Decision is made to venture forth into the New World. Willing Heroes Commonly, the New World is a natural, magnetic attraction for the Willing Hero. The character wants to go there, to become what s/he can become there, to acquire what can be acquired there. In The Little Mermaid (1989), Ariel is magnetically attracted to the lights and boats and world above the surface. These archetypes need little motivation to go forward. They may, however, need some assistance getting there. In other words, a Magical Gift is given. In The Little Mermaid (1989), Ariel is magnetically attracted to the lights and boats and world above the surface. But she still needs the SeaWitch’s spell to get her there. Only Way Is Forward Commonly, the only decision the hero can make is to go forward. In Superman (1977), the young Clarke Kent has to leave the farm. The only way is forward because there is No Going Back. The character looks back at the Ordinary World and finds nothing waiting for him there. No growth, no excitement etc and plenty of stagnation. In sum, there is Nothing To Return To and No Good Reason To Stay. In Star Wars (1977), Luke says, “I’m never coming back here again.” Unwilling / Unknowing Heroes Commonly, these archetypes are led or forced to the New World. The Conscious Decision comes from other archetypes.

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In Gladiator (1999), Maximus encounters Juba’s caravan and is led to the gladiator training school. Juba helps heal Maximus and makes statements such as, “this will be good for you.” Unbearable Provocation Commonly, an Unbearable Provocation motivates the hero to want to go forward and defeat the antagonism. In Gladiator (1999), once Maximus’ wife and child have died, he is motivated to pursue the culprit, Commodus. Conscious Agreement Commonly, the hero makes a Conscious Decision to go to the New World and become the New Self. Some sort of Explicit Statement or Declaration of Intent. In Star Wars (1977), Luke agrees to go with Ben to Alderran and learn the ways of the Force. In The Sting (1973), Gondor agrees to go after Lonnegan. Become The Father Commonly, the hero makes a Conscious Decision to go to the New World and become like the father. In Star Wars (1977), Luke tells Ben that he wants “to go to Alderran and become a Jedi like his father.” The New World may itself have a father figure, and this decision may involve separating from one father and becoming like another father. In Wall Street (1987), Bud Fox separates from his Ordinary World father (Carl Fox) and consciously decides to become like his New World father (Gordon Gekko). Doing What The Father Could Not Commonly, the hero makes a Conscious Decision to go to the New World and solve the problem which the father could not. What the antagonism did to the father, it is now doing to the son. The son has to overcome the Deficiency which the father could not. In Star Trek (2009), Nero attacked Kirk’s father just as he attacks Kirk. Kirk will have to solve the problem that his father could not. The son comes to know what the father always knew.

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In Gladiator (1999), Marcus Aurelius knew that Commodus was not fit to be Emperor and now Maximus comes to that conclusion too. Agreeing To Learn and Grow Un/Consciously, the hero is agreeing to learn and grow. In Star Wars (1977), Luke agrees to go with Ben to Alderran and learn the ways of the Force. Agreeing To Believe Un/Consciously, the hero is agreeing to learn to believe (in the opposite way, in the opposite world). In Star Wars (1977), Luke implicitly agrees to begin to believe in the Force. Agreeing To Hope Un/Consciously, the hero is agreeing to rediscover hope. In The Shawshank Redemption (1994), Andy rediscovers hope. Agreeing To Rediscover What Has Been Lost Un/Consciously, the hero is agreeing to rediscover that which has been lost. In The Professionals (1966), the men rediscover their idealism. Agreeing To Awaken Un/Consciously, the hero is agreeing to awaken to a bigger, wider world. The hero is agreeing to learn to see. In Star Wars (1977), Ben says, “you’ve taken your first steps into a larger world.” Agreeing To Repair and Become Whole Un/Consciously, the hero is agreeing to repair and become whole again. In The King’s Speech (2010), Bertie is agreeing to get better. Agreeing To Grow Up Un/Consciously, the hero is agreeing to lose innocence and mature. In Thor (2011), Thor grows up. Agreeing To Overcome Limitations

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The antagonism represents the problem. The problem represents a limitation. Un/Consciously, the hero is agreeing to overcome limitations to problem resolution. Agreeing To Resolve Theme Un/Consciously, the hero is agreeing to resolve the thematic question. In Crimes and Misdemeanors (1989), Judah answers the question, “The Eyes Of God Are On Us.” In What’s Your Number (2011), Ally learns to not be busy being what others want her to be. Irresistible Pull Forward No matter the obstacles, the Mystical Allure / an irresistible force pulls (from the front end) or pushes (from the back end) the hero et al forward. In Planet of the Apes (1968), Taylor et al must find food and water if they are to survive. They must escape the desert. In Dances with Wolves (1990), John is desperate to get away from this Ordinary Self, represented by his foul guide. As has been mentioned, many drivers motivate characters. Others include, The need to Find or Acquire One’s Destiny. In Clash of the Titans (1981), when Perseus first sees Andromeda, he knows that she is his destiny. Saving her will drive him forward. The need to Acquire Supernatural Aids for the movement into the Deeper New World (Mainland). In Jason and the Argonauts (1963), Jason collects Hercules et al before he sets off in search of the fleece. In Aliens (1986), Ripley joins the marines before arriving on the planet again. The need to Acquire Evolution Tangibles, which benchmark change within the New World. In Avatar (2009), Jake and Neytiri romantic journey benchmarks Jake’s change. In Up In The Air (2009), Natalie’s journey benchmarks change.

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The need to Acquire Preparatory Capacities for the movement into the Deeper New World (Mainland). In Spartacus (1960), Spartacus learns to become a gladiator. In The Matrix (1999), Neo learns martial arts. The need to Match or Evolve Past Peers (which represent the present, limited state). In Bridesmaids (2011), Annie is playing catch-up to Lillian who is getting married. In Star Wars (1977), Luke is playing catch-up to Biggs, who is already a pilot. Resurrection Symbolism After the death of the Ordinary World, State and Self, the Hero gets up back on his (or her) feet and moves onwards. In The Ugly Truth (2009), Abby makes the best of Mike’s hit show replacing hers. Sacrificing The Ordinary Self Whether the Hero realises it or not, the decision to move forward means sacrificing the Ordinary Self. In The Godfather (1972), Michael consciously sacrifices his Old Self (“I don’t know when I’ll be back Kay…”) and consciously accepts the Transformation to the New Self (“I’m with you now Pop, I’m with you…”). In Star Wars (1977), Luke consciously lets go of his Old Self (“there’s nothing for me here; I’m never coming back here again…”) and accepts the Transformation to his New Self (“I want to become a Jedi like my father…”).

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Journey To The New World Proper And Option To Return Journey to the Beachhead (First Threshold) of the New World Now that the decision to move to the New World (and sometimes consciously to become the New Self) is made, the journey to it begins. The journey itself involves crossing many unknown landscapes and can be defined as a New World in its own right. In The King’s Speech (2010), the Duke and Duchess go to Lionel’s office. In Dances With Wolves (1990), John Dunbar travels to the fort. Border Symbolism exiting the Edge of the Ordinary World is crossed. In The Godfather (1972), Michael leaves the City and heads for his father’s house. He leaves what was his future with Kay behind. Not Ready Symbolism There is a reason characters are going to the New World – to get ready, to become somebody else etc (discussed in the Act II sections). Here, some expression of the need to get ready, the need to change etc is made explicit. One common expression is containment. Characters are contained and limited and not able to liberate themselves. As they change within the New World Proper, so they gradually free themselves from containment. In Django Unchained (2012), at this stage, Django still acts like a slave, he does as Schultz says, he still considers himself to be Schultz’s property. Later, that is lost as he increasingly becomes his own man. In Spartacus (1960), Spartacus arrives at the gladiator training school chained and contained to the horse and cart. Later, these things do not contain him. Detachment Attachments representing the Older Self are left behind / let go, demonstrating an incremental pull away from that Older Self. In Meek’s Cutoff (2010), Emily throws things out of the caravan. In The Godfather (1972), when Michael leaves the City and heads for his father’s house, he also leaves what was his planned future and Kay behind.

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In Epic (2013), Mary Katherine (M.K.) walks out of her father’s house. Unfit for the New World As the Hero approaches the Beachhead, it becomes increasingly clear that s/he is not fit for this New World. Commonly, a sickness, a weakness or similar manifests itself. The hero’s recovery from this later will demonstrate evolution, increasing fitness and belonging within the New World. In Gorillas in the Mist (1988), Dian is out of breath and tired as she climbs into Gorilla territory. In Platoon (1986), Taylor suffers from heat exhaustion as he enters the deep jungle. In Annie Hall (1977), Alvie is uncomfortable as he rides in Annie's car. In The Fly (1986), Seth coughs outside his lab. Foreboding Symbolism The New World represents that place where the hero physically and psychologically fears to tread. It is the place of Innermost Fear. Obstacles, Warnings And Resistances are device designed to persuade characters to turn back. Doves will easily succumb to these push-backs whereas Hawks will more easily overcome them (see Advanced Archetypes at http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html ). In Lawrence of Arabia (1962), Omar Sheriff warns Peter O’Toole of the dangers of the “suns anvil.” Foreboding Walls and Gates with WARNING: NO ENTRY signs are common. In Stand by Me (1986), the boys are confronted by a big gate with the sign “Keep Out. Guard Dogs.” Death Symbolism indicating dangerous territory but also symbolising the death of the Old Self is common. In Planet of the Apes (1968), Taylor et al are confronted by big, territory marking, scarecrows. In Dances with Wolves (1990), John encounters the Indian arrows and the skeletons.

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Darkness, Thunder, Lightning, Dusk or similar foreboding mechanisms are common. In Platoon (1986), Taylor et al prepare to meet Charlie as thunder and lightning begin. Conflict is easily triggered here. The dangers involved in venturing into the New World cause tension and create Divided, Warring Factions, especially amongst Dove (discouraging) and Hawk (encouraging) archetypes. In Platoon (1986), the boys complain about O’Neill’s head up Barnes’ ass. Ignorance Symbolism Ignorance of the New World and what is to be encountered there is common. This is symbolic for ignorance of the Self. In The Texas Chainsaw Massacre (1974), the kids are simply spring break high with no idea of what awaits them. In Dances with Wolves (1990), John’s guide thinks that all Indians are thieves and beggars. Curiosity Symbolism Curiosity of the New World and what is to be encountered there is common. In Chinatown (1974), curiosity is one of Gittes’ drives forward. Claude warns him that curiosity killed the cat. In Close Encounters of the Third Kind (1977), Roy’s curiosity just keeps him investigating the strange lights. Innocence Symbolism Part and parcel with ignorance, characters are innocents of the ways of the New World and Self. In Dances with Wolves (1990), John is innocent of the ways of the Sioux. Minor Threshold Guardians These are tangible blocks that prevent movements and crossings forward. Commonly, Magical Gifts / Capacities gained as a result of passage through the Edge of the Ordinary World help overcome these. In other words, the journey to complete the Edge of the Ordinary World Task has enabled characters to overcome these.

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In The King’s Speech (2010), the Duchess knows how to work Lionel’s lift because she’s been there before. Unwilling Heroes These will hesitatingly, cynically, disparagingly journey forward. In The King’s Speech (2010), the Duke disparagingly asks Elizabeth who this physician is. Willing Heroes Usually, these have long ago been convinced to journey forward. The resistance or “conflict” tends to be the barriers, obstacles, attachments and rules which prevent forward movement. In The Little Mermaid (1989), Ariel has long since wanted to go to the surface. Mystical Allure The New World has a magical or mystical allure or nature. Commonly, it is represented by some (often unreachable) symbol in the distance (where the Elixir may be found). In The Wizard of Oz (1939), Dorothy journeys to the mystical Emerald City. In The Hangover (2009), as the boys approach Vegas, it looks like the Emerald City. In Departed (2006), Sullivan is attracted to the Golden Dome. Gap Symbolism The gap between the creatures of the Ordinary and New Worlds will be made explicit. In The King’s Speech (2010), Elizabeth found Lionel in the classifieds, next to a French model in Shepherds Market – the complete opposite from the Royal world the Duke and Duchess inhabit. Ordinary World Attachments These represent the Ordinary Self and are kept close at hand. As the hero’s Ordinary Self dissolves away, so they will dissolve away. In Gorillas in the Mist (1988), Dian still keeps photos of her boyfriend near. In Platoon (1986), Taylor still writes to Grandma.

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In Wall Street (1987), Bud and Marvin are still talking. In Avengers (2012), Nick Fury is still listening to The Council. View from High Ground It is common for the hero et al to stop a distance away from the New World, usually on high ground, to view it. The physical border into the New World is often visible. Implicitly, characters know that something significant will happen there. The New World is a Bigger, Wider World and as such, evokes an Emotional Reaction. In Red River (1948), they stop before crossing the river. In Lawrence of Arabia (1962), Lawrence et al stop before and overlook the desert. Option to Return Given Commonly, one last chance to turn back is offered. In The Matrix (1999), Neo has the option to choose the blue pill and wake up not remembering anything. Once the decision is made, there is No Return and No Going Back. In some way or other, All Return Doors Close. In some form or other, the Hero Cannot Unring The Bell. From the psychological point-of-view, once enlightenments are gained, you cannot return to ignorance. Once a sin is committed, you cannot return to innocence. Once knowledge is gained, you cannot then not know. Once is reality is known, you cannot go back to illusion. In The Matrix (1999), once Neo chooses the red pill and crosses, he cannot unring that bell. Sacrificing the Old Self means that there is No Return to it. In The Godfather (1972), once Michael finds out the Don has been shot and he leaves Kay in the hotel, he never really (psychologically) returns. Eventually what happens (in Act III) is an integration. In The Godfather (1972), Michael does return to Kay (who represents his Ordinary Self) but integrates her / that part of him into his New Self in order to eventually become the Mature Self.

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Option to Return Denied Even if the Option To Return is accepted, it is somehow denied (there would be no story; this would make the character unwilling and force a push forward). In The Dirty Dozen (1967), the men want to go back but Reisman won’t allow it. In sum, the net effect is that there is No Way But Forward. In The Matrix (1999), Neo chooses the red pill. Magical Gift Commonly, some tangible represents the crossing into the New World. In The Matrix (1999), Neo chooses the red pill. In No Country for Old men (2007), Anton finds the transponder. Preparation Symbolism Commonly, Supernatural Aids assist the hero to prepare for the New World, as they approach and cross the border. In Platoon (1986), Elias tells Taylor what to carry in his pack. In Gladiator (2000), Juba takes care of Maximus as he is taken to the New World. Omens of the Smoking Gun The Smoking Gun is a capacity or limitation, which will later be gained or overcome, and used to defeat the antagonism and restore the Worlds to a State of Perfection. It may be encountered here but the hero does not recognise it or is unable to presently utilise it. This is a signal of ignorance and innocence. This is a loop / arc that opens at this stage and closes at the end, when the hero does learn to recognise and use it. In Everybody’s Fine (2009), on the train to visit his son, Frank reveals that he used to be a telephone wire repairman – this links to his dead son’s painting at the end, allowing him the capacity to Let Go. The Smoking Gun may be an Ordinary World Attachment, which the hero rushes back at the end to retrieve (because it’s needed in the Final Conflict). This, once again, indicates that both the Ordinary and New Worlds are valuable, that

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something of both worlds and selves is needed, that something old and something new is needed, to defeat the antagonism (repress the Id). In Epic (2013), Mary Katherine (M.K.) rushes back home at the end to get her father. See the later “Smoking Gun” section.

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ACT II (PART ONE, SOFT or HARD BREAK)

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Entering The Beachhead Of The New World Proper (Physical) You take an ordinary person and put him or her in extraordinary circumstances. In general, the New World Proper is the extraordinary circumstances. The New World Proper is also known as the Opposite World or Special World or similar. In general, Act II is the New World Proper – we enter it here and leave it at the Physical Apotheosis (see later section at the end of Act II). We go into the New World Proper through two major gateways. The first is here, when we enter the Beachhead (which is called the Act II Soft Break). The second is later, where we enter the Mainland (which is called the Act II Hard Break; see later sections). In Raiders of the Lost Ark (1981), Indy first goes to Nepal and then later to Egypt. In The Godfather (1972), Michael first goes back home, after the Don has been shot and then to Sicily. The breaks are called “soft” and “hard” because we start the job softly and then hit it hard. Within the “soft” section, certain things are done and then within the “hard section” other things are done. In Argo (2012), when we enter the beachhead stage, Tony goes to California. Then later, when he goes to Turkey, he starts to get on with the meat of the job. Journey and Border Symbolism marks the entry into the New World Proper. Commonly, characters pass the physical borders that they viewed on high ground earlier. In The Hangover (2009), the boys drive past the signs into Vegas. In Man of Steel (2013), Lois and Kal-El arrive in the arctic. Minor Threshold Guardians are overcome. Commonly, this is a guard, secretary or similar obstacle. This is a point of conflict and resistance. Something blocks the way. In The King’s Speech (2010), the Duke and Duchess have to get past the small boy and Lionel, before the Duke enters his office.

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In Wall Street (1987), Bud must charm the secretary before he can get to Gekko. In Stand by Me (1986), the boys are afraid of the dog. In Goodfellas (1990), the young Henry Hill gets arrested and must face the judge. Unwilling Heroes These characters resist the entry, which may be its own minor threshold guardian. Commonly characters want to go home. This is symbolic for return to the Ordinary Self, so it’s a return to the way things were. But it’s also symbolic for the return to a State of Perfection (a complete home), and the only way towards that is forward. In The Shawshank Redemption (1994), the fat new arrival cries, “I want to go home.” In The King’s Speech (2010), the Duke asks his wife, “please, no more. Can we go home.” New World Supernatural Aids Commonly, but not necessarily, Supernatural Aids familiar with the New World Proper help pass these guardians. In Star Wars (1977), Obi Wan uses his mind powers against the Stormtrooper guards. In Jason and the Argonauts (1963), the Goddess uses one of her spells. Magical Gifts Commonly, Magical Gifts (literally or metaphoric for a capacity) are used to overcome Minor Threshold Guardians. In Wall Street (1987), Bud gives the secretary a present. Losing Physical Attachments Physical attachments representing the Ordinary World and Self are left behind, indicating that it is being lost. This is Detachment Symbolism. In An Officer and a Gentleman (1982), Zach leaves his bike behind.

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In Percy Jackson & the Olympians: The Lightning Thief (2010), Percy’s mother cannot go through the invisible wall with him. Return Pathways Blocked Beyond this place, there will be No Going Back to the Ordinary World / Self. If the Hero does return, s/he has failed and there is no story. Commonly, return is one of the punishments for failing the change that is the function of the New World. In An Officer and a Gentleman (1982), once Zach enters the officer training school, he won’t physically leave until he becomes an officer. No matter how hard Foley tries to DOR (Drop On Request) him. Time Limit (Beachhead) Commonly, there is a time limit within the beachhead. At the most basic level, the beachhead is where the motivation and the capacities to move forward (into the Deeper New World / Mainland) are gained. In other words, there is only so much time with which to complete the Beachhead Task. In Star Wars (1977), Obi Wan leads Luke to Mos Isley so that they can find a fighter pilot. In The Godfather (1972), Michael must take out Sollozzo before his men can get to the Don and finish the job. In Spartacus (1959), Spartacus becomes a gladiator, which helps him lead the army later. Time Limit (New World Proper) Commonly, there is a time limit within the New World Proper. In other words, the change must be completed before time is up, thus, this is pressure to change. In 48 Hours (1982), Cates has Reggie for 48 hours only. Commonly, the time limit dictates when the Atonement will occur. Else, the time limit dictates when Armageddon is to occur and the character must be ready to prevent it by then. In Casablanca (1942), Rick must change before Strasser gets Laszlo. Commonly, there is a time limit to return home, which is also a metaphor for the return to the State of Perfection. Entering the New World Proper is the beginning of returning home.

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In The Lost Weekend (1945), Don tells the coat clerk, "I just want to go home." Bigger, Wider World Upon entry , the New World Proper is a bigger, wider world, which represents the onset of the character’s bigger, wider self. In Bridesmaids (2011), the size of the house Annie enters when she goes to the engagement party and the opulent world within it represent a bigger, wider world than the one Annie comes from. Literal manifestations of this include, In Oz the Great and Powerful (2013), Oz arrives in Oz, the screen widens from narrow - indicating. bigger, wider world. Size Symbolism (Small) The bigger, wider world is tangible representation of the magnitude of the challenge, which must be confronted in this place. The bigger, wider world represents Goliath. In Bridesmaids (2011), the size of the house Annie enters when she goes to the engagement party is a tangible representation of the challenge she is about to face. Within the bigger, wider world and at this stage, the character is small and feels small. This represents the character at the bottom end of his growth arc. In Bridesmaids (2011), when Annie enters the engagement party, she feels small. In Elf (2003), when Buddy enters the human world, he literally is small. Physical Differentiation And Tangible Contrast Commonly, but not necessarily, there is a physical differentiation and tangible contrast between the Ordinary and this New World Proper. In The Wizard of Oz (1939), Dorothy arrives from a world of black and white into a world of color. In The Hunger Games (2012), Katniss’s Ordinary World is poor, grey, people are poor and live in shacks, it’s pre-industrial. In contrast, the New World Proper is a highly advanced, post-industrial society, the people are wealthy and dress colorfully etc.

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In The Artist (2011), Valentin goes from a world of silence into a world of sound. New Creatures, Sights and Sounds are visible. In The Hangover (2009), compared to LA, Vegas has its own unique sights, sounds and creatures. In The Artist (2011), when Valentin first starts to hear sound, the dancing chorus girls he sees seem strange to him. Polar Opposite World Commonly, the character goes into the New World Proper to acquire something which cannot be found in the Ordinary World, which helps the character overcome limitations (if there is a problem, then there must be a limitation). Commonly, this new thing tends to have an “opposite” nature and the New World Proper represents that “opposite-ness.” In Jaws (1975), Brody goes with Quint (on his boat, at sea) to acquire something he cannot find at home, with his wife, on shore (this relates to theme). The character goes into an opposite world to become an opposite self – or at least to acquire a new, opposite type thing which helps form the new self. In Thor (2012), Earth is an opposite world compared to Asgard. In The Matrix (1999), Neo wakes up in a pod in the human farm. Nothing could have been more different from the world from which he has just come. In Goodfellas (1990), the World of the gangsters is the polar opposite of both Henry’s and Karen’s parents’ World. In Dances with Wolves (1990), Fort Hayes is quiet and uninhabited. John Dunbar has just come from fighting in the civil war. In The Last King of Scotland (2006), Uganda and Ugandans are totally new to Nicholas. New Terminology Commonly, new language represents “newness” and the new unfamiliar creatures, people, behaviours, colours, sights, norms, values etc. Simply their oddity may make them seem magical.

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In The Godfather (1972), Michael returns to the house after learning of his father’s assassination and encounters unfamiliar mourners and “button men” everywhere. Major Threshold Guardian This new character, monster or event will block escape from the Beachhead to the Mainland (from the “soft” part of the New World Proper to the “hard” part; see later section). In Spartacus (1960), Spartacus meets Marcellus. Goodbye / Goodnight Symbolism Some symbolism represents the cut from the old to the new. A “goodbye” and “goodnight” to the old. In The Twilight Sage: Breaking Dawn - Part I (2011), Bella turns off the light.

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Entering The Beachhead Of The New World Proper (Who He Is) The general purpose of the Beachhead is to strip away the character’s Old Self. We begin by demonstrating Who The Character Is in relation to the Ordinary World. This is different from the Outer Cave section, where we demonstrate Who The Character Is in relation to the New World. Some interlinking between the two is common, after all, we are in the new world to change. In Spartacus (1960), the new arrivals are told that if they adopt well to their new world (being trained as gladiators), then they will survive. Benchmarking the Ordinary Self The whole point of the New World Proper is change. As we enter the New World proper, therefore, we benchmark Who The Hero Is at this stage. We then take these benchmarks and evolve them so that by the time the hero leaves the New World Proper, we see that s/he has changed. This is the basis of some of your arcs. The creature that enters the beachhead of the New World Proper (in general, the Ordinary Self) is not the same creature that leaves it at the end of Act II (New Self). Further, the creature that exits Act III (Mature Self) is not the same creature that leaves at the end of Act II. Commonly, upon entry into the New World Proper, the hero represents Ordinary Men. In Man of Steel (2013), when Clark arrives to find the alien ship, he is hitch-hiking and dressed as an Ordinary Man. Polarity Symbolism Characters will be the extreme opposite from the Creatures of this New World. The difference between the creatures within this world and that of the Hero’s Ordinary World are made explicit. In Avatar (2009), the marines notice Jake because he’s in a wheelchair. Later, from Neytiri’s point-of-view, Jake’s behaviour is initially incomprehensible. In 48 Hrs. (1982), Cates goes into Reggie’s opposite, criminal world to change.

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One manifestation of polarity is the New Rules of the New World (contrasted against the Ordinary Rules of the Ordinary World). In The King’s Speech (2010), Lionel tells Bertie, “my castle, my rules.” Fish Out Of Water Characters will initially be out of place in the Beachhead. It is not unusual for heads to turn and look at them. Their behaviour, dress etc is strange and incomprehensible to the Natural Inhabitants of the New World. In turn, the Hero et al will look at these new creatures. In Avatar (2009), the marines notice and look at Jake when he arrives. In Bridesmaids (2011), Annie is a Fish out of Water when she arrives at the engagement party. Representative of the New Self These new creatures, sights and sounds may seem odd, but as characteristics of the New World Proper they are in some way representative of what the character will eventually become or align with or conquer. In Spartacus (1960), the gladiators represent what Spartacus will become. In Dances with Wolves (1990), the Sioux represent what John will become and the Pawnee represent the enemy that will have to be defeated (to become the New Self). In Oblivion (2013), Jack will eventually align with the inhabitants of Earth. Not Ready The purpose of the new world is to encourage / force / provoke the character to change. Readiness is a form of change. A form of change begins in the new world proper (change can begin earlier, but the new world proper will mark the start of some form of change which is distinguishable from earlier change). In One Flew Over The Cuckoos Nest (1975), McMurphy begins talking about change once in the First Threshold. Upon entry into the beachhead of the New World Proper, the hero (or a character) is not ready. Upon exiting the New World Proper at the end of Act II, the hero (or a character) is ready. This is a core function of Act II – to get the character ready to return (the return itself is Act III). Commonly, you’ll hear the word “ready” somewhere in the dialogue.

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In Taken 2 (2012), Lenore says she is not ready. Unawakened Linked to Not Ready is the concept that the hero is Unawakened, that s/he Cannot See. In The Hangover (2009), Phil encourages Stu to “wake up!” with regard to Melissa. Choice Arc One manifestation of not being ready is that the character will not be ready to choose. Commonly, the character will have to choose between the sides of the theme and the two worlds or two fathers or two selves which represent the theme. In Man of Steel (2013), Clarke is not initially ready to take the human side against the krypton side. Commonly, the character will make the wring choice initially. In Wall Street (1987), Bud initially drops his real dad for his surrogate dad, Gordon Gekko. Unknown Upon entry into the beachhead of the New World Proper the hero is, in essence, unknown. S/he is Invisible, Unrecognised, Unmemorable. You can equate this with the low-status. In American Beauty (1999), nobody ever remembers who Lester is. In Chicago (2002), nobody remembers Amos. The hero is unknown in the New World even though s/he may have been recognised on some level in the Ordinary World (where s/he may have demonstrated extraordinary capacities). Commonly, s/he may also be unknown in the Ordinary World. As s/he progresses, so s/he will become known. Commonly, by the time the hero leaves the New World, everyone will know Who S/He Is. S/he will become memorable. This is an arc.

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In Man of Steel (2013), Lois and Kal-El arrive in the arctic. Lois doesn’t know who Kal-El is. Nobody knows who he is at this stage. Later, he becomes world famous. It is made explicit that the hero is a creature of the Ordinary World, an Ordinary Self. The starkness between this and later versions of the Self will demonstrate the hero’s evolution. This is a demonstration of the raw stone that will eventually become a sculpture. In Spartacus (1960), before entering the gladiator training school, Spartacus looks like he has been working in the mines for a lifetime. Ally Arc Part and parcel of being unknown is being friendless. Upon entry into the beachhead of the New World Proper the hero is friendless and will have no allies. If an ensemble, then the group will have no friends or allies. As s/he progresses through the new world, so s/he will gain friends and allies. In Man of Steel (2013), when Clark arrives to find the alien ship, he is all alone. Belief Arc Part and parcel of being unknown and ally-less is that nobody believes in the hero at this stage. As s/he progresses through the new world, so others will start to believe in him or her. In Man of Steel (2013), Lois is the first to believe in Clark, which he thanks her for. Transmogrification Arc Upon entry into the beachhead of the New World Proper, the physical form is injured, damaged or marked or some sort of physical change is set in motion. This will eventually set into a new form and represent the New Self. The character physically changes from one form to another. In other words, as the new self emerges, so the damage dissolves away. As the inner change progresses, so outer physical change will progress. In Silence of the Lambs (1991), Clarice is cut as she enters the garage. In Gladiator (2000), the soldier cuts Maximus’ upper arm with a sword. Physical marks representing the physical change are given or appear. In Spartacus (1960), Spartacus and the other slaves are branded.

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Commonly, Transmogrification Symbolism (the color red, blood etc) replaces or enhances physical damage. In Gladiator (2000), when Maximus enters the New World, the clothes are colored blood red. Healing / Repair Arc This physical or psychological wound is representative of the damage, which was initially done. In The King’s Speech (2010), Bertie is a product of the damage done to him. Or it benchmarks the change that the character will undergo. In The Godfather (1972), Captain McCluskey punches Michael, a wound which heals as Michael changes. In Gladiator (2000), Maximus heals as he evolves within the New World. As the character becomes the new self within the new world, so the healing and repair occurs, so the damage dissolves away. Wholeness Arc Wholeness is very much related to healing and repair – the body becomes whole again. But it is also related to many other arcs, for example home – the home becomes whole again. Upon entry into the beachhead of the New World Proper, the lack of wholeness is made explicit. In The Place Beyond The Pines (2012), we initially see that Luke and Romina are a family / home torn apart. Rediscovering What Has Been Lost One purpose of the journey through the New World Proper is to rediscover that which has been lost. In Man of Steel (2013), Clark journeys to rediscover who he is and where he belongs.

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Commonly, the character rediscovers, reconnects or re-establishes a connection to Mother Earth, which was lost when cast out of Eden (Loss of the State of Perfection). In Dances with Wolves (1990), John takes time to feel the tall grass. In Oblivion (2013), Jack re-establishes a connection to Mother Earth through the garden. Innocent (Maturity Arc) Upon entry into the beachhead of the New World Proper, the hero is an innocent. The journey through it will force him to lose innocence – to grow up. In Thor (2011), the Frost Giant king says, "you're just a boy trying to prove you're a man." If the hero is already mature, innocence is expressed through the attachment of an Innocent Archetype. In The Magnificent Seven (1960), Chico is an innocent boy. Innocent Archetypes tend to arrive into the New World from Other Worlds, which explains their Fish Out of Water behaviour in the New World. In The Help (2011), Celia is considered white trash and out of place in “civil society.” From another point of view, the character is Innocent To The Ways Of The New World. In The Help (2011), Minnie enters Celia’s house – Celia is truly an innocent; she’s never even had a maid before. New Name When the hero enters the New World Proper, he is a boy with a corresponding New Name. When he leaves the New World Proper, he will becomes a man and his name will changed accordingly. In Chariots of Fire (1981), when entering Cambridge, the new arrivals are called “laddie” and “boys.” Commonly, this new name is given by some form of Major Threshold Guardian or antagonism – when that antagonism is overcome, this demonstrates that the character has progressed from that earlier immature state.

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From another point of view, the new name is a demonstration of the characters fish out of water status. When the new name is lost, so the fish out of water state is lost. In Spartacus (1960), Marcellus keeps calling Spartacus “slave.” When Spartacus defeats Marcellus, he breaks out of the slave state. Identity Arc Part of the change which occurs in the new world proper is learning Who You Are. Upon entering the new world proper, it is made explicit that the character doesn’t know Who He Is. Commonly, this is referenced through direct dialogue such as “who are you?” or a new name. In Man of Steel (2013), Clarke starts not knowing Who He Is. Rule Breaking One manifestation of being a Fish Out of Water is that the rules of the New World are not known and thus easily broken. In The Help (2011), Celia doesn’t know how to treat a black maid and thus just treats her like a friend.

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Entering The Beachhead Of The New World Proper (Emergence) End of the Old Way / Self / Life Upon entry into the beachhead of the New World Proper represents the end of the Old World, Self, Life. It is never coming back. This is also a form of no return. In Man on a Ledge (2012), the hero is told that his old life is over. In Kramer versus Kramer (1979), Ted realises that Joanna will never come back. All hope of return to the Ordinary World / Life evaporates. In American Beauty (1999), Lester confronts his wife and surprises himself. His old self is evaporating. Detachment Upon entry into the beachhead of the New World Proper, the hero leaves behind Symbols of Worlds Traversed, which represent his Older Selves. Initially, these mark the hero as a Fish Out of Water. Commonly, these are hidden, forgotten or temporarily ignored. But they will come in useful later, when the Ordinary Self begins to merge with the New Self to become the Mature Self. In An Officer and a Gentleman (1982), Zach covers up his PI tattoos. Losing Psychological Attachments The hero is also encouraged to leave behind psychological attachments, which represent the Ordinary Self (indicating that it is being left behind). In The King’s Speech (2010), the Duchess asks the Duke to leave his preconceptions behind. Liberation Symbolism The new world is a Bigger, Wider World and entry into it is liberating. Upon entry into the beachhead of the New World Proper, the Old World Repression is left behind, allowing and causing a change of behaviour. A sense of the new self or a sense of the possibilities yet to be encountered and fulfilled provide a sense of liberation. In Scarface (1983), Tony is ready for what America can make him. In WALL-E (2008), Eve feels a sense of liberation when the spacecraft leaves and lets him alone.

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In Stand by Me (1986), the boys feel a sense of liberation after they climb the gate. There is a break from previous limitations and constraints. In The Matrix (1999), Neo breaks out of the confines of the pod. Self-Actualization Symbolism There is movement toward symbols such as light (away from darkness). In The Matrix (1999), Neo is lifted out of the water towards the light. Baptism Symbolism Archetypes are bathed in water, which symbolises the emergence of the New Self. In The Matrix (1999), Neo falls out of the pod into water. Emergence of the New Self It is as we enter the beachhead of the New World Proper that the New Self begins to emerge. In The Help (2011), once Aibileen decides to talk and Skeeter is at her house (the first time a white person has been in her house), Aibileen wants to write her thoughts down and read them out – the beginning of the emergence of her New Self as a writer. Awakening Symbolism Characters are beginning to awake, sometimes for the first time. In The Matrix (1999), Neo wakes up before he breaks out of the confines of the pod. He’s never used his eyes before. New World Repression Simultaneously, there are New Rules for the New World, provided by New Supernatural Aids. These are new forms of repression, which the character will eventually transcend. In The Shawshank Redemption (1994), the warden and Hadley enforce the Shawshank rules, as do the prisoners with their own rules.

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Entering And Locked Into The Castle Beachhead Castle The Beachhead Castle is that tangible, usually, but not necessarily, an edifice which symbolises evolution within the beachhead. When initially encountered, the Beachhead Castle is devolved, uprooted, empty, dysfunctional and bare on some level. As the hero progresses and evolves within the beachhead, so the Beachhead Castle evolves too – it becomes fuller, warmer, homelier, busier etc. The Beachhead Castle therefore represents the hero’s present Devolved Self and eventual New(er) Self. If the Beachhead is a foothold in the New World where the hero is led in order to gain Preparatory Capacities, then the Castle is where that will happen. In Argo (2012), Tony prepares in Hollywood before he embarks on the main job in Iran. The Beachhead Castle may extend to cover evolution all the way to the end of the story. In Gorillas in the Mist (1988), the camp that Dian initially enters is threadbare. Eventually, she makes it her home. Its evolution mirrors hers. In Yojimbo (1961), the bar is initially threadbare. As the Samurai progresses, it becomes busier. In Six Days and Seven Nights (1998), the aircraft is the Castle – initially it is broken and unable to fly. It’s development mirrors the couple’s development on the island. The Beachhead Castle may more obviously be entered into when the characters have passed the Physical Separation and are onto the mainland of the New World. In Scarface (1983), whilst working the burger stand, Tony and Manny longingly look at the nightclub where all the drug-lords go in with their expensive cars and women. They enter this place themselves later. Mystical Allure Just as the New World Proper is mystically alluring, so is the Beachhead Castle where the various Elixirs can be acquired. In The Hangover (2009), arriving at the casino/hotel is like arriving at the Emerald City.

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In Scarface (1983), Tony and Manny longingly look at the nightclub where all the drug-lords go in with their expensive cars and women. Journey and Border Symbolism marks the entry into the Beachhead Castle. In The Hangover (2009), the boys enter the casino/hotel doors. Minor Threshold Guardians are crossed upon entry into the Beachhead Castle. In Argo (2012), Tony gets into Hollywood through John Chambers. In The Hangover (2009), the boys have to get past the valet into the Casino. In The King’s Speech (2010), Lionel’s little boy client welcomes the Duke and Duchess. Time Pressure There is little time to attain what is required in the Beachhead and leave or move onward into the Mainland (Deeper New World) (complete the Beachhead Task). In Argo (2012), Tony doesn’t have much time to set up the fake studio. In Priest (2011), the Priest warns that there is little time to get out of the reservation. Containment Symbolism (Locked In) Commonly, characters are contained within the Castle until the Beachhead Task is complete. Commonly, size represents the containment. In Argo (2012), Tony tells John Chambers what he has to do inside the small trailer. In Man of Steel (2013), Lois is going to spend a lot of time in the bunker until she gets her story on the alien craft. Devolution Symbolism The Castle is that is that tangible, usually, but not necessarily, an edifice which symbolises evolution. In The King’s Speech (2010), when the Duke enters Lionel’s office, it is bare, cold and poor. Later it will become fuller, warmer and richer.

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Polar Opposite The Castle is itself a New World that is a polar opposite to anything the Hero has thus far experienced, with its own Magical Creatures, Sights and Sounds. In The King’s Speech (2010), Lionel’s office is the polar opposite to anything a royal would have ever experienced. Detachment Ordinary World Attachments are left behind upon entry into the Castle. These symbolise incremental letting go of the Older Self. In The Hangover (2009), the boys give their car to the valet. In The King’s Speech (2010), Lionel’s little boy client asks the Duchess to wait outside the consultation room.

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Cave Pointer And Entering The Great Cave If the Beachhead is a foothold in the New World where the hero is led in order to gain Preparatory Capacities / complete the Beachhead Task and the Castle is where that will happen, then the Great Cave is the set of locations where it all happens. Commonly, the set of locations is literally a Cave. In Man of Steel (2013), Clarke leads Lois into a literal cave, where the alien spaceship is buried. In Spartacus (1960), the trainees live inside literal underground, cave-like cells while training to become gladiators. In Iron Man (2008), Stark is held prisoner in a cave. In The Matrix (1999), Neo wakes up and arrives in the beachhead of the world of reality, then enters the castle of Morpheus’ ship and then enters the Great Cave of the simulations, where he will learn kung fu etc. Cave Searcher Commonly, characters set about searching for the in/tangibles, which represent the Beachhead Task. In Man of Steel (2013), Lois sets about taking photographs, which will help her build her story about the alien spacecraft. Cave Pointer This archetype or function points characters to the Great Cave. In essence, the Cave Pointer tells the character that what s/he wants lies in the Great Cave, which is over there. In Man of Steel (2013), Lois sees Clark leave the main housing area and walk across the ice, burn through the ice with his eyes, into the cave where the ancient spaceship is resting. In Legal Eagles (1988), Robert Redford and Debra Winger are told that the painting has been sold to the gallery. Cave Guardian This is a Minor Threshold Guardian that guards the Great Cave and which must be passed. In The Hangover (2009), the boys have to get past the Casino’s receptionist.

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Border Symbolism Commonly, Border Symbolism marks the passage into the Great Cave, which is just behind the Cave Guardian. In The Hangover (2009), the boys have to get past the Casino’s receptionist and into their hotel room. Border of the Ordinary Self At this border, it is made explicit that a New Self is desired but that the Ordinary Self with Ordinary Capacities exists. Implicitly, there is encouragement to attain the New Self and New Capacities. In The Hangover (2009), Stu wants to be seen as a doctor (Dr Price), but is reminded that he’s a dentist. “If someone should have a heart attack, you should still call 911.” Dysfunctional Ordinary World Magical Gifts Ordinary World Magical Gifts do not function beyond this border. Everything ordinary is left outside. In The Hangover (2009), Alan’s beeper isn’t getting a signal within the Casino. Character Alignment The different character alignments are made explicit. Characters who will later part are shown to be close here. Characters who will later get closer are shown to be divided and opposite here. In The Hangover (2009), the boys still think Alan is weird for asking whether Ceasar lives at the casino. Small Self Behaviour The New World Proper is a larger world where characters will become larger selves. At this point of entry, they are shown to be their smaller selves. Encouragement To The New, Larger World And Self There is encouragement to grow, mature, evolve, become whole or complete on some level or to broaden horizons or enter a larger, bigger world and version of the self. To not be restricted to limitations or Ordinary World Rules. In The Hangover (2009), Phil wants a villa - he doesn’t want to share bunk beds. They’re not 12 anymore. “Guys, grow up.”

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Resisting The New, Larger World And Self Resisting the larger world / maturity involves a number of possibilities – resistance to growth, resistance to letting go of Ordinary Self Attachments, Ways of Thinking etc. Resistance to breaking Ordinary World Rules. In The Hangover (2009), Stu doesn’t want to hand over his credit card because Melissa checks his statements. In The King’s Speech (2010), the Duke doesn’t want Lionel to refer to him as Bertie. Foreboding, Ignorance Symbolism Commonly, the New World is a fearful place. The Ordinary World Way of Thinking has created fear of “the other.” Ordinary World creatures are ignorant of the New World. In Dances With Wolves (1990), John jumps at the slightest sound when he first arrives at Fort Sedgewick. Access To The Great Cave Eventually, the Cave Guardian is passed and resistances and interdictions overcome. Journey and Border Symbolism into it is crossed. Key To The Great Cave Commonly, the key to passing the Cave Guardian is to accept the loss of some Ordinary World symbol, it is Some From Of Detachment from the Ordinary Self. It is to Accept The New, Larger World And Self. In The Hangover (2009), Stu hands over his credit card. In The King’s Speech (2010), the Duke begins to follow Lionel’s lead in a small way.

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New World Of The Great Cave (Encourage Awakening, Peeling) Journey and Border Symbolism is crossed into the Great Cave. In The Hangover (2009), the boys enter their villa. Bigger, Larger World There is entry into a physically larger world with larger open spaces – all of which represent the possibilities of a psychologically larger self. In The Hangover (2009), the boys enter the villa and “Holy Shit!” Phil spreads his arms. Liberation Symbolism The entry into the Bigger, Larger World inspires increased liberation from the obviously repressive, smaller, contained earlier state. In The Hangover (2009), when the boys enter the villa, Doug thanks Stu. The alternative was sharing bunk beds in a smaller room. Time Pressure There is urgency to transform and experience this Bigger, Larger World and become the Bigger, Larger Self. In The Hangover (2009), Phil tells everyone to pick a room and be ready in 30 minutes. In The Matrix (1999), Neo wants to know what’s happened to him. Morpheus tells him to be patient. New World Supernatural Aids Commonly, there is Time Pressure to find or meet with New World Supernatural Aids, who will assist with the journey, awakening and change within the New World Proper. In Argo (2012), Tony is encouraged to meet with Lester Siegel. In The Matrix (1999), Neo meets all the crew. Character Misalignment This is a stage where character division, polarity and inequality is demonstrated. As we progress, characters will arc toward or away from each other. In The King’s Speech (2010), the Duke makes a point of telling Lionel that they’re not equals. Later, they will become friends.

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Limitations Made Explicit The general limitations to a State of Perfection are made explicit. Commonly, Goliath – that which seems impossible to overcome - is referenced. In The Hangover (2009), Phil is embarrassed by Stu’s conversation with Melissa. He tries to tell him that she’s is a nightmare. Encouraged To Confront Limitations There is encouragement to confront limitations. To begin to address the damage done. In The King’s Speech (2010), Lionel asks the Duke to recall his earliest memory. Encouraged to Awaken There is encouragement to awaken, to begin to see clearly. In The Hangover (2009), Phil encourages Stu to open his eyes with regard to Melissa. In Man of Steel (2013), Lois wants to know about the ship under the ice. Encouraged to Heal There is encouragement to heal, to fix what has been broken. In Bridesmaids (2011), Annie is encouraged to fix her taillight (a metaphor for her broken self).

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New World Of The Great Cave (Refusing Awakening, Peeling) Supernatural Aid Refusal Those archetypes which may assist on some level, refuse to do so. In Argo (2012), Lester Siegel refuses to help, “suicide missions during the war had more chance.” New World Attachment Refusal Attachments which represent the newer self refuse to attach. In Spartacus (1960), Draba resists being anyone’s friend. Refusal To Confront Limitations There is resistance and refusal to confront limitations. There is Resistances To Change And Detachment. In The King’s Speech (2010), when Bertie arrives in Lionel’s office at first, he resists Lionel’s instruction. Appeasement Symbolism At this stage, some archetypes appease antagonisms. They are not ready to engage more potently. We see Denial Symbolism and Confrontation Aversion (measures of Unwillingness). Some rationalisation that the Id / State of Imperfection is to be accepted and not corrected. In The Godfather (1972), Tom Hagen urges Sonny to accept Sollozzo’s offer, in order to avoid a war, which is bad for business. Sonny won’t do it. What we have here is a Passive Hero. This is an Evolution Benchmark, as eventually s/he will become much more proactive. In The Godfather (1972), Michael initially sits passively in the office while Sonny et al talk. In The Hangover (2009), Stu passively accepts Melissa’s tyranny. Denial Tangible Commonly, those who appease will offer a gift of subservience (a tangible Magical Gift) to their new, imperfect master. In The Hangover (2009), Stu wants to appease her with a wedding ring. Delusion Symbolism

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This indicates that placating the Antagonism and accepting the State of Imperfection will be an incorrect decision, a delusion, the Greatest Mistake. In The Hangover (2009), Stu is prepared to marry Melissa, while Phil knows it is a bad idea. Attachment to the Ordinary Self There is attachment to the Ordinary World, Self and Rules. In The Hangover (2009), Stu thinks that appeasement and getting married is what you do. In The Godfather (1972), Michael wants to remain innocent, “you really gonna kill all those people.” Ordinary Names represent the Ordinary Self. In The King’s Speech (2010), the Duke doesn’t want Lionel to call him “Bertie.” Benchmark / Evolution Tangibles This will mark evolution as we progress. In The King’s Speech (2010), Lionel bets Bertie a bob that he can help him improve. Upon maturity, the Lionel gets the money.

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New World Of The Great Cave (Agreeing Awakening, Peeling) Transformation Symbolism New clothing, baptism in water etc all symbolise transformation and change. The old self is incrementally peeled away. There is a loss / stripping away / letting go of the symbols / attachments of the older self and the adornment / attachment of the symbols of the Newer Self. In The Hangover (2009), all the boys shower and take off their old clothes and put on new ones. Encouraged to Pull Away from the Ordinary Self There is the push to lose the Ordinary Self through disassociation with its norms, values and behaviours. In The King’s Speech (2010), Lionel ask the Duke not to smoke. Incremental Limitation / Rule Breaking At this stage, characters are not ready to confront bigger challenges but they are ready for smaller, incremental changes. There is a resistance to a big breaking of Ordinary World / Self Rules and Limitations but there is the incremental breaking of them / detachment from them. In The King’s Speech (2010), the Duke does give a little and tell Lionel that his stammer started at about four or five years of age. The big steps will come later when the Duke talking about his personal life. New Names These reference the emerging Newer Self (an implicit pull away from the Ordinary Self). In The King’s Speech (2010), Lionel wants the Duke to call him by his first name. Passive Learning Some initial, passively gained learning or change or New Way of Thinking takes place (which may contribute to the Existential Battle). It can be said that the Hero begins absorbing the Preparatory Capacities or Preparatory Awakenings. In Back to the Future (1985), Marty learns that George is his father. In The Godfather (1972), Michael sits in on the meeting and learns how Sonny et al think. He answers the phone.

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In The Matrix (1999), Neo realises that true, natural born humans exist. In Lord of the Rings (2001), Frodo et al learn of the Ringwraiths. Omen of Containment A foreshadow of the Existential Battle / Right to Remain / Containment (Lock In) at the Outer Cave. Foreshadows of imminent containment / repression / challenges within the Outer / Middle / Inner Caves. In The Hangover (2009), Alan has disappeared to pick up some Rufilin. Readiness (To Shed The Old Skin) Characters are ready to begin peeling away their skin, representing their Ordinary Self. In The Hangover (2009), Alan returns and asks if the boys are “ready to let the dogs out.” Goodbye Symbolism This references “goodbye” and “goodnight” to the Ordinary Self. In The King’s Speech (2010), the Duke shakes Lionel’s hand and says goodbye and tells Elizabeth, “No.” Magical Gift Commonly, the new attachment is a Magical Gift, which will help overcome later obstacles. In The King’s Speech (2010), the Duke accepts the recording; when he listens to it later, he will accept Lionel’s tuition.

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New World of the Outer Cave (Entering) The literal or metaphoric Great Cave has three major sub-domains: the Outer Cave, the Middle Cave and the Inner Cave. Journey and Border Symbolism is engaged in as we enter the New World of the Outer Cave. In The Hangover (2009), the boys leave the villa and go to the elevator. Then walk through the door onto the roof. Attachment Symbolism Commonly, characters have attached to new in/tangibles from the New World Proper, Castle or Great Cave, which represent their incremental newer selves. In The Hangover (2009), Alan carries the man-purse / satchel. New Creatures, Sights and Sounds are encountered. In Back to the Future (1985), the people in the bar seem odd to Marty, as they’re dressed in 50’s clothing. Minor Threshold Guardians need to be overcome. In The Hangover (2009), on the way to the roof they pass the couple making out. Descent Symbolism Commonly, entry deeper into the cave involves a physical or psychological descent. The descent is often dark, unknown and resisted. In Star Wars (1977), Luke et al go down the stairs into the bar. Foreboding Symbolism Often a “Keep Out” sign or similar warnings of danger are present. Phrases like “I don’t like the look of this” and “don’t go there” are common. Dragons lie here. This is a place of innermost fear. In Stand by Me (1986), the gate has a “Keep Out” sign. In Planet of the Apes (1968), Ape territory is marked with scarecrows. In Star Wars (1977), Threepio has a bad feeling about entering the bar.

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In When Harry met Sally (1989), Harry meets Sally going down the escalator. In The Matrix (1999), Neo literarily falls from the pod. New World This is a New World in its own right. In Superman (1978), the newsroom is a distinct World within Metropolis. In Star Wars (1977), the bar in which Luke and Obi Wan meet Han, is a world unto itself. In Spartacus (1960), the slaves’ quarters are a world unto themselves. In Iron Man (2008), the cave in which Stark meets Yinsen is a world unto its own. Breaking Rules Simply entering this place breaks rules of some form or other. Commonly, Ordinary World / Self rules are broken, which symbolises the incremental breaking away from the Ordinary Self. Supernatural Aids may encourage this Rule Breaking if the Hero resists it. In The Hangover (2009), Stu worries that they’re not supposed to be on the roof. Authority Figure (Law Giver) An Authority Figure will guard the entrance to the Outer Cave (thus, s/he is a Threshold Guardian Archetype). In classical stories, this is the “owner of this house,” an innkeeper or host. In Back to the Future (1985), the café owner is the Authority Figure. Book of Law The Authority Figure (Law Giver) reads the Book of Law. These are the rules that the Hero must obey if he is to be allowed further into the Cave and survive in the New World Proper in general. In Scarface (1983), Frank tells Tony that the way to survive in the Miami drugs business is to stay low, not to fly too high. Let the other guy make more money. Let the other guy be the target. In Back to the Future (1985), the café owner indicates to Marty how to behave.

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Ally Natural Inhabitants These are friends, allies, supernatural aids and characters who generally will encourage and assist the hero through the beachhead and possibly beyond. In Argo (2012), John Chambers is there to help Tony from the start. Else, the character will meet allies who s/he will help / change. In Back to the Future (1985), Marty meets George McFly. Enemy Natural Inhabitants These are enemies who generally will resist and hinder the hero. These characters will benchmark evolution (eventually overcoming them indicates change). In Back to the Future (1985), Marty meets Biff and his gang. In Dances with Wolves (1990), Wind in his Hair takes a disliking to John. In Scarface (1983), Omar thinks Tony is a peasant. Major Threshold Guardian A common Enemy Natural Inhabitant met here is this archetype. The Hero will encounter a character that is representative of the Beachhead Monster - a character that the Hero will have to battle and overcome before s/he is able to progress deeper into the New World. When the hero meets this character, s/he will be devolved. When the Hero eventually overcomes this character, s/he will have completed the changes wrought by the beachhead and this will be demonstrated by overcoming the Major Threshold Guardian. The function of this character is to be an obstacle and to be overcome within the beachhead. In The Godfather (1972), Sollozzo is the Major Threshold Guardian. When Sollozzo appears, Michael is a naïve. By the time Sollozo is dead, Michael has innovatively solved the Family problem and is entrenched within it. Overcoming Sollozzo leads to Michael’s journey to Sicily (the Deeper New World). In Spartacus (1960), Marcellus is the Major Threshold Guardian. When Marcellus is first met, there is no way Spartacus can defeat him. By the time he does, he is de facto leader of the gladiators. Defeating him removes the biggest obstacle to escape (the Deeper New World).

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In Scarface (1983), Omar is the Major Threshold Guardian. When Tony first meets him, he has no way into the drug-dealing world in Miami. By the time he has left the First Threshold, he has surpassed Omar and persuaded Frank to be his mentor.

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New World of the Outer Cave (New World Challenges) This is where the challenges of the New World Proper are made explicit. We’re benchmarking the character’s initial position with regard to the New World Proper. As we progress, we’ll change the character so that s/he increasingly belongs to the New World Proper. We benchmark the challenges of the New World Proper here so that we can stage-gate the evolution to their resolution. In essence, this is the bottom of the New World arc. New World Innocence The hero is innocent to the extreme as to the ways of the New World. Later, the hero will become wise to the ways of the New World, surpassing all others. In The Godfather (1972), though Michael knows what his father does, his statement “you really gonna kill all those people” is naïve. New World Awakening The hero’s innocent and yet exposure to the New World Proper indicates the extent of the awakening that s/he will have to go through. In The Godfather (1972), though Michael knows what his father does, he only begins to awaken to the reality when sitting in the first meeting with Sonny and the Capos. In The Matrix (1999), Morpheus has to tell Neo where he is – sometime in the future and nothing is as it seems. Who You Are At this stage, the hero doesn’t know who s/he is. The New World will help him (or her) find out Who S/He Is. The hero will awaken to Who S/He Is. In Romancing The Stone (1984), Jack asks Joan, “who are you?” Innocent’s New Name As we enter and continue within this place, the innocent, unknowing, unawakened state is represented by a corresponding new name (as characters evolve so they will be given other names, which will represent those more evolved states). In Ben-Hur (1959), Arius calls Judah “41.” In Spartacus (1960), Marcellus calls Spartacus “slave.” In The Hangover (2009), the boys will be known as the Wolfpack.

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In An Officer and a Gentleman (1982), Foley calls Zach “Mayonnaise.” New World Unreadiness Characters are not ready for the changes which the New World / State / Situation will thrust upon them. In Man of Steel (2013), Perry says that the world is not ready. They are not ready for the opposite thematic argument they may be exposed to. In What’s Your Number (2011), Ally’s not ready for Colin’s opposite philosophy. Fish Out of Water This is normally evident from the hero’s behaviour and inadequate symbolism, such as the wrong clothing and language. Some kind of Differentiation Symbolism is evident. Later, the hero will not be a fish out of water, s/he will belong to the New World so much so that his (or her) absence will be missed / leave a gaping hole. The hero will have acquired the symbols which so set him apart here. In Back to the Future (1985), Marty is a Fish out of Water in the bar. The barman asks him why he’s wearing a life preserver. And if he wants a soda, he’ll have to pay for it (“I’ll have a soda free”). In Star Wars (1977), the criminal wanted in several star systems shows his scars. Luke, a farm boy, has none. In The Godfather (1972), Michael is uncomfortable in the Don’s study, talking with Sonny, Tom et al about killing people. Evolution Benchmarks The New Creatures of this world may seem magical or odd, but they are in some way representative of the New Self that the hero will become. In The Matrix (1999), Neo will become a member of Morpheus’ crew (and then eventually surpass them). In Behind the Candelabra (2013), when Scott first arrives, Liberace’s boyfriend has a plastic face and is bitter. Scott will become just like him. Vulnerability Symbolism At this stage, characters are vulnerable in the New World Proper. Later, they will be the cause of others’ vulnerability.

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In The Jewel of the Nile (1985), Jack and Ralph are nothing like the Sufis and vulnerable to their whims. Belonging / Acceptance Arc Characters may want to be accepted in the New World and by its members. In The Help (2011), Celia wants so much to be accepted by Hilly and the bridge club. But at this stage, characters do not belong in this New World. They are made to feel unwelcome and immature (to the ways of this place). In Legally Blonde (2001), Elle is made to feel decidedly unwelcome in Harvard law school. In The Godfather (1972), Sonny treats Michael like a kid. In Scarface (1983), Omar treats Tony like shit. The lack of belonging or acceptance is related to the opposite thematic position the Ordinary World character carries. In What’s Your Number (2011), Ally and Colin belong to opposite worlds because they have opposite philosophies. When the hero enters the New World, s/he is not accepted or wanted there. By the time s/he is ready to leave, nobody will want him (or her) to go. In Dances With Wolves (1990), when John Dunbar arrives at the Sioux village, Kicking Birds wants him to “go back.” When John is ready to leave, Kicking Bird cries and says he will never forget him. Transmogrification Symbolism This is some representation of the wounded physical form, which will represent the changing physical form, mirroring the changing psychology. In The Hangover (2009), Alan cuts his palm and wants to make a blood oath with the others. Wholeness, Healing and Repair Metaphor As the outer-self heals, so the inner-self will heal too. Some new world metaphor for the new world change is given. In Bridesmaids (2011), Annie’s taillight is a metaphor for her broken self.

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Hope, Belief Metaphor Some symbol of the lack of hope presently being experienced. Further, some symbol of the lack of belief that hope is possible. In The Shawshank Redemption (1994), Red is scared to believe in hope (of freedom). Home Metaphor Some symbol of the present impossibility of returning home. In The Wizard of Oz (1939), when Dorothy arrives in Oz, it seems impossible that she’ll somehow get back. Character Polarity At this stage, characters are divided. Later they will come together (arc towards each other) – this is a benchmark and reflection of change. Character Misalignment This is a stage where heroic characters may be misaligned with non-heroic characters and vice versa. As the change progresses, characters will align to their appropriate Id / Superego side. In Oblivion (2013), Jack is initially aligned with Victoria and Sally. Later, they’ll become enemies. In The Help (2011), Skeeter is initially in Hilly’s group. Later she’ll leave it. Smoking Gun Omen The Smoking Gun is a Capacity or Magical Gift, which will later be gained and used to defeat the Antagonism and restore the Worlds to a State of Perfection. It may be encountered here but the character does not recognise it or is unable to presently utilise it. This is a sign of ignorance and innocence – once the character has awakened, s/he will realise its meaning. In Chinatown (1974), Gittes doesn’t realise the significance of the photos on Yellburton’s wall or the glasses in the pool when arriving at Evelyn’s house. In The Hangover (2009), the boys are on the roof, which is where they will eventually find Doug.

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New World of the Outer Cave (Right to Remain, Lock In) The function of this stage is to lock the character into the First Threshold and maybe even the whole New World Proper, until the change is completed, until tasks are completed, until capacities are gained etc. In Hangover (2009), the boys are locked into Vegas until they find Doug. Losing Doug is an excuse to stay in Vegas until, for example, Stu has changed. Outcast Symbolism Within the New World Proper, the hero (and Ordinary World accomplices) is an outcast. In Kung Fu Panda (2008), Po is made to feel decidedly unwelcome as a member of the team – no one except Master Oogway believes that he should be the Dragon Warrior. In Thor (2011), upon arrival on the Frost Giant planet, Thor's allies know they “shouldn't be there.” Exile Symbolism The hero (and Ordinary World accomplices) is threatened with exile. In An American Werewolf in London (1981), the pub landlady refuses courteous service and would prefer the strangers leave. Right to Remain Battle This is an existential battle where the hero must win / earn the right to exist and remain within the New World Proper and win the right to journey and complete the Beachhead Task, before s/he can move into the Deeper New World. In Priest (2011), the Priest and Hicks battle the infected humans / vampires. In Star Wars (1977), Obi Wan helps Luke defeat the outlaw wanted in several star systems. Nobody messes with them after that and they can go about their business. It is not unusual for the Right to Remain Battle to be between the hero and the Major Threshold Guardian. This character will block the hero from leaving. This is the obstacle that must be overcome before the hero is able to leave - thus this is the start point of a benchmark. In Spartacus (1960), Marcellus provokes Spartacus.

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Supernatural Aids Commonly, some assistance aids the hero at this stage, as s/he is new to this world and its creatures – later the hero will evolve past all of them; what seems difficult here will be effortless later. In Star Wars (1977), Obi Wan helps Luke defeat the outlaw wanted in several star systems. In Lord of the Rings (2001), Aragorn helps Frodo beat the Ringwraiths. No Going Back Else some event ensures that the hero is here to stay and there is no going back until what needs to be done is done. There is Only Going Forward. In The Godfather (1972), the dead fish arrives. Luca Brasi is dead and there is no going back now. All options to return are now permanently denied. In Thor (2011), the Frost King gives Thor the option to return when he first arrives, but it is soon rescinded. In The Matrix (1999), Neo shouts “let me out!” then gets confirmation from Morpheus that there is no going back. Containment Symbolism In essence, characters are contained within the First Threshold and maybe even the whole New World Proper, until the change is completed, until tasks are completed, until capacities are gained etc. In One Flew Over The Cuckoos Nest (1975), the Doc keeps McMurphy is the hospital. In The Ugly Truth (2009), Abby is forced to work with Mike. In Bridesmaids (2011), Annie is forced to try and get along with Helen and play tennis. New World Character Lock In Just as new arrivals are locked in, so may be the creatures of the New World. This is a form of Detachment Symbolism - they detach from their older ways; a tangible element of the Ordinary Self / World is lost. In Back to the Future (1985), Lorraine forgets about the other boys when Marty arrives.

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Magical Gifts Commonly, some Magical Gift will assist the lock-in, containment. In The Hangover (2009), Rufilin results in the boys forgetting where Doug is, and therefore their containment in Vegas until he is found. Magical Gifts also assist overcoming the Right To Remain Battle. In Star Wars (1977), Obi Wan helps Luke defeat the outlaw wanted in several star systems with a light sabre. Disorientation Symbolism Commonly, after the lock-in, characters are disorientated. In The Hangover (2009), the boys wake up disorientated after the Rufilin. In Groundhog Day (1993), Phil wakes up disorientated that first morning. The Containment gives us our goals. In other words, things must be achieved before we can escape. Commonly, Lost / Liberty Tangible Some lost tangible must be found and put back in place. Some tangible must be acquired in order to escape Containment / The Great Cave / New World. In The Hangover (2009), Doug is missing and the boys need to find him before they can go home. Dismemberment Symbolism This indicates that the body is not whole and that the process to make it whole must be undergone. The body is a physical representation of the psychological state – in other words, this indicates that the New Self is not whole and that the process to make it whole must be completed. In The Hangover (2009), Stu has a tooth missing tooth. Healing Symbolism Characters begin to heal the physical (Transmogrification Symbolism) and psychological wounds that represent the Broken Self. In The Matrix (1999), when Neo exits the pod, he has to rebuild his muscles. There’s still a lot of work to do. His body has holes in it.

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Transmogrification Symbolism The hero changes physically and begins to look unacceptable for the Ordinary World. This is a form of Detachment Symbolism from the Ordinary World / State. In The Hangover (2009), when he wakes up, Stu looks like a nerdy hillbilly. Goliath Symbolism A fearful, overpowering tangible, which cannot presently be confronted. The capacities to confront this potent antagonism must be gained. The tangible represents the intangible challenge itself. In The Hangover (2009), there’s a tiger in the bathroom, which will be confronted later. In The King’s Speech (2010), the Duke is afraid to talk about his personal life, which is the root of the problem. This is represented by his older brother, who all keep referring to.

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New World of The Middle Cave (Detachment From Ordinary Self) What we’re beginning to do now, is turn. We’re going let go of the old position, the old thematic point of view, the old self etc. Between Two Worlds At this stage, the hero is between the Ordinary World and New World. Spatially / physically s/he is in a world between the two. In The Godfather (1972), Michael is sitting in the garden thinking. He’s neither with Kay nor sitting inside with all the men. Period of Indecision Commonly, there is contemplation and indecision – breaking away from the Ordinary World and Self is usually not easy, especially if the Hero is Unwilling (often meaning that the Ordinary Self is wanted and may need to be sacrificed) or Unknowing. In The Godfather (1972), Michael sits on the bench in the garden and thinks hard. Resistance manifests itself as an Attachment To The Ordinary Self. In The Godfather (1972), Michael is attached to the idea that he would never get involved with his Family and become like them. He is also attached to the wonderful idea of a normal, happy life with Kay. In The King’s Speech (2010), the Duke is attached to the idea that he doesn’t want to talk about his private life. He’s also attached to the idea that he could never be a great speaker. Resistance may manifest itself as a reluctance to Break Ordinary World / Self Rules, which indicates reluctance to a parting from the Ordinary Self. In The Hangover (2009), Alan doesn’t think they should drive the Mercedes. Resistance may manifest itself as a Reluctance To Change. In Bridesmaids (2011), Annie and Helen talk before playing tennis. Annie is reluctant to change. Commonly, there is Time Pressure and Armageddon Symbolism – capacities must be gained if the hero is to Save The World. The End of the World is Nigh unless the journey / change is successful.

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In The King’s Speech (2010), the Duke has to learn to speak on radio. The world as we know it is ending and the new world of broadcast is upon us. Commonly, a Trial will indicate that the Capacities to Save The World are lacking. In The King’s Speech (2010), the King forces the Duke to speak into the microphone, where his stammer becomes all too obvious. Pull Toward The New We continue the process of detaching the hero from the Ordinary and attaching the hero to the new by pulling him toward the new and toward the Middle Cave. In The Godfather (1972), Clemenza calls Michael in from the garden saying, “you’re wanted on the telephone.” Who Are You? The New World will show the character who he really is, what he will become, change him to the New Self. As the character is pulled toward the new, the question is asked, commonly indirectly through dialogue. In The Godfather (1972), Michael asks Clemenza, “Who Is It?” Pulled Back By Ordinary Attachments (Doves) Simply upon departing the Ordinary World, the hero has begun to change and detach from the Ordinary Self. This is enhanced upon entry into the New World and the Beachhead. As the character is pulled toward the new, so Ordinary World Attachments (Doves) don’t want this change and come calling for the Hero, forcing him / her back to the Ordinary World and, implicitly, the Ordinary Self. That want that old person back. In The Devil Wears Prada (2006), as Andy spends more time at the magazine, she changes. Her old friends want the old Andy back. In The Godfather (1972), Kay calls Michael. Ordinary Enticements Ordinary Attachments tempt the hero back with incentives. In The Godfather (1972), Kay tells Michael she loves him. Refusing Ordinary Enticements

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Commonly, enticements are denied, indicating a partial detachment from the Ordinary State. In The Godfather (1972), Michael can’t tell Kay he loves her. Coming Back From Death Death symbolises change - the end of old way and state. As the hero is between the two worlds, it is not complete, in other words, return from death is common. In The Godfather (1972), Kay asks Michael how his father is? Getting better. Commonly, the Ordinary World will be associated with an archetype, which represents it; the imminent death or disappearance of that archetype will signify the end of it. All those tangibles which represent the old way and were dissolving away may begin to reappear. In The King’s Speech (2010), the Duke’s father is about to die, indicating that the old way has finally come to an end. Middle Cave Road of Trials This is one location where characters undergo learning. Specifically, they are learning the ways of the new world. In The Godfather (1972), Clemenza teaches Michael how to cook, “come over here kid, learn something…you might have to cook for 20 guys some day.” In The Sting (1973), Henry Gondorff gets his crew together and Johnny Hooker transforms. Immaturity Symbolism Commonly, the hero is still immature in the ways of the new world. In The Godfather (1972), Clemenza calls Michael, “kid.” No Other Choice Commonly, there is no choice but to engage in these Road of Trials. In Spartacus (1960), the new arrivals have to learn to be gladiators or they’ll be hanged. Detachment Symbolism

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Those attachments which represented the older self continue to dissolve away. Else, attachments which have dissolved away are referenced. In The Godfather (1972), Sonny asks Clemenza how Paulie is. “Oh, you won’t see him no more.” Awakening As we detach from the old self and more toward the new self, so the old self goes to sleep and the new self awakens. “Seeing” is a for of awakening, and this is often heard in dialogue. In The Godfather (1972), Clemenza says, “you won’t see [Paulie] no more.” Journey Back Willingly or Unwillingly, the hero journeys back to some representation of the Older State. We do this so as to be able to further detach from this Older State. Commonly, the Hero is forced back to a place in between the Ordinary and New States – forced back to the Edge of the Ordinary World. In other words, the Hero doesn’t go all the way back. In The Devil Wears Prada (2006), Andy meets her friends in the bar, not home and not at work. If the Hero does return to the same geographical Ordinary World, then it will be changed (the Hero’s change changes the Ordinary World itself). In other words, it really is not the same place. In Bridesmaids (2011), Annie returns home but her mother has joined AA and is meeting people. Danger Of The Journey Back The two worlds are opposite and, commonly, journey from one to the other is forbidden (this will end at the end, when the hero is Master of Two Worlds). In The Little Mermaid (1989), journey from undersea to the human world is forbidden. However, at this stage, the hero hasn’t fully changed and is still a creature of the Ordinary World and thus still able to traverse it. In The Godfather (1972), it’s OK for Michael to go back to see Kay, because he’s still a civilian.

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Same Self Protectors This is a sensitive journey for the hero and it is not unusual for New World Allies to guard the hero on his return. They are attempting to keep the hero as a New Self. These may play the role of Minor Threshold Guardians that resist or block the return. In The Godfather (1972), Sonny makes sure Michael is followed when he goes back to the City to see Kay. The reverse situation is also common – as the hero moves to the New World and Self, so Ordinary Self Allies accompany him in order to keep him the same. Unless they also change, they will not be allowed forward very far. In The Godfather (1972), Kay wants to go with Michael when he returns to see his father, but is not allowed. Ordinary / New Self Gap Symbolism When back at the Ordinary World representation, upon meeting Ordinary World Attachments, the gap between them is evident. The hero (a changed self) is not the same as he was before, especially from the perspective of Ordinary World Attachments. The hero behaves differently and is somewhat unrecognizable to those Ordinary World Attachments that knew him before. These are benchmarks - even the short time in the First Threshold has changed him. In The Godfather (1972), back in the hotel, Michael and Kay have dinner but he doesn’t talk much – he is different. Commonly, Transformation / Transmogrification Symbolism is used to show this. In Close Encounters of the Third Kind (1977), Roy returns home after having seen the UFOs and is sun burnt. Going Away Ordinary World Attachments manoeuvre to bring the “Old Person” back. In The Godfather (1972), Kay asks when she’ll see Michael again (when will she see the old self again). But that older person no longer exists. Whether made explicit or not, the hero is a metaphor for change and it is not certain whether there will be a return. In The Godfather (1972), Michael doesn’t know when he’ll be back.

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There will be an eventual Return, but in a different form: In Back to the Future (1985), Marty does finally return home, but he has changed and so has his world - the result of his journey. Else, at the return, some form of the Ordinary World will integrate into the Mature, Self-Actualized Self. In An Officer and a Gentleman (1982), Zach leaves the academy wearing the white officer uniform (representing his Mature Self) and on his bike (representing his Ordinary Self). We never see him return home. Detachment / Departure At this point, the hero has to go – in other words, leave his Ordinary Self. The hero now physically disassociates from these Ordinary World Attachments, which represent the Ordinary Self. In other words, characters detach from their Ordinary Selves. This is not necessarily a complete rupture from Ordinary World Attachments, but a temporary departure until such time that the hero has gained the capacity to integrate his Ordinary Self into his New Self (but before he can do that, he must become part of the New World and a New Self). In The Fly (1986), Veronica tells Stathis their relationship is over. Later, she returns to him for help. In The Godfather (1972), Michael leaves Kay. In Chinatown (1974), Evelyn detaches from her previous position of suing Gittes. Thematic Detachment / Departure Thematically, what is happening here is that the hero is detaching from the initial thematic point of view or position. In The Godfather (1972), Michael detaches from the idea of thinking about himself and a life with Kay separated from the Family. Conscious Decision Commonly, the decision is conscious. Willing Heroes are happy to do it and Unwilling Heroes are forced to do it. If there is an intangible that the Hero brings with him in this visit, it is the Capacity To Detach from the Ordinary World / Self and its representations.

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In The Hangover (2009), Stu initially refuses to admit that Melissa is a problem. Unwillingness Overturned (Reversal of Denials ) This is another form of detachment. Characters demonstrate a New Way of Thinking and a New Direction. If they previously denied the need for change or rationalised a way out of it or denied a need to tackle the antagonism, then that thinking is now reversed. In The Hangover (2009), Stu is starting to admit that Melissa is a problem. Goodbye Symbolism Commonly, there is a form of goodbye, which implicitly indicates a goodbye to this version of the Self. In The Godfather (1972), Michael kisses Kay goodbye. Journey and Border Symbolism Exiting The hero crossed Border Symbolism out of Ordinary State representations, demonstrating detachment from Ordinary Self Attachments and the remnants of the Ordinary World. In Butch Cassidy and The Sundance Kid (1969), Butch and Sundance return to the whorehouse. They hope they have outsmarted and outrun their pursuers and can go back to being their old selves. But not so – they are forced out…and cross the physical border of the roof to leave that World. In The Godfather (1972), Michael walks out of the hotel doors.

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New World of The Middle Cave (Attachment To New Self) What we’re continuing to do now, is turn. Now we’re going to accept the new position, the new thematic point of view, the new self etc. Commonly, there is Journey and Border Symbolism into a New World with its own New Creatures, Sights and Sounds where Minor Threshold Guardian may need to be overcome. In The Godfather (1972), Michael enters the hospital. In Chinatown (1974), Gittes drives to the Mulwray house. In The Hangover (2009), the boys take the lift downstairs, encounter the older lady in the lift, sit by the pool and have breakfast. There are lots of girls dressed in bikinis walking around. They boys have never been this hungover. Armageddon Benchmark Commonly, the journey is motivated because the End of the World is Nigh. In Chinatown (1974), Gittes drives to the Mulwray house, because Mrs Mulwray is going to sue him. Later, the house will be closed down, which will represent the Ordinary World finally dissolving away / letting the Ordinary World go. Illegal Entry Commonly, movement between Ordinary and New Worlds is forbidden, as they represent movement from the Ordinary to the New Self. Some indication that the character is not supposed to be here is given. In The Godfather (1972), the nurse tells Michael that he’s not supposed to be here [in hospital]. Breaking Ordinary World Rules This is another form of detachment. Characters break the rules associated with the Ordinary World, Self and State. Implicitly, the rules which limit the self are broken. In The Godfather (1972), Michael is not allowed to see his father so late into the night or to move him from one room to the other, but he does so. Sickness Symbolism Whether Willing or Unwilling, characters reject the New World and it rejects them. Usually, they are literally sick.

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In The Hangover (2009), Stu throws up while they’re all sitting by the pool. In Man of Steel (2013), Kal-El is literally sick when he enters Zod’s ship. Provocation Symbolism Commonly, some provocation forces the character to detach from the older self and attach to the newer self. In The Godfather (1972), Michael discovers that men are coming to kill his father, which forces him on side, saying “I’m with you now, Pop.” In The Hangover (2009), Stu can’t find Doug. They’ve lost him. They have to retrace their steps and find him. In The King’s Speech (2010), the royalty is weak and broken without a strong face to represent it. The Duke must become that face. Death Symbolism Commonly, some representation of the older world and self, which is being lost, is on the cusp of death. Commonly, Maintainers of the Ordinary World (or State of Perfection) are on the cusp of death. In The Godfather (1972), the Don is the Maintainer of the State of Perfection / Ordinary World, from the point of view of the Corleone Family. New World Attachments These are gained and represent the incremental transformation to the new. In The Hangover (2009), Alan is now carrying the baby. They’ve found a tiger in the bathroom. In The Godfather (1972), Enzo arrives at the hospital and meets Michael. Thematic Attachment Thematically, what is happening here is that the hero is attaching to the latter thematic point of view or position. In The Godfather (1972), Michael attaches to the idea of sacrificing himself and a life with Kay for the sake of the Family. Stepping Away From Innocence

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The journey is a metaphor for maturity. What the hero is doing is stepping away from innocence and closer to maturity. Peer Brother comparisons may demonstrate this. In The Godfather (1972), previously, both Michael and Enzo were innocents. Now Michael steps away from Enzo’s level into his father’s less innocent world. Peer Brother Arc The hero matches or surpasses peers in a way that demonstrates evolution. In The Godfather (1972), Michael snaps at Sonny when told not to panic. He’s not panicking – he’s a natural. New Names These represent the incremental newer self. In The Hangover (2009), the baby is given a new name. Transformation Symbolism This demonstrates incremental change away from the Older Self. This is also indicative of increasing liberty. In The Hangover (2009), the boys are wearing looser clothing. Phil tells Alan to find some pants. Encouraged the Newer Self In The Hangover (2009), Phil tells Stu to stop worrying for one minute. Encouragement to Let Go There is encouragement to let go of the limitations to the older self, attachment to the older self and so forth. In The Hangover (2009), Alan tells Stu to calm down and gives him some juice. Repair Symbolism The attachment to the new world is the attachment to the new self is the beginning of repair. We see the incremental progress of transmogrification, the incremental progress of the physical repair. In The Hangover (2009), Alan finds Stu’s tooth. They’re beginning to focus on the problem.

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Building The New Self The attachment to the new world is the attachment to the new self is the building of the new self. This is also about Gaining Capacities, which will help survival in the new world. In The Matrix (1999), Neo learns martial arts. In Spartacus (1960), Spartacus slowly trains to become a strong gladiator. The Deliverer Has Come What’s happening here is that the hero is accepting / engaging with the opposite side of the theme, the opposite side of the argument, the opposite world’s point of view, etc. From the point of view of Armageddon, the hero is on side and agreeing to help Save The World. Commonly, the hero makes a conscious decision to join a particular side, which inevitably leads to the New World and New Self. Implicitly, the hero makes a conscious decision to ensure that the State of Perfection will not be completely lost or will return. Implicitly, the hero makes a conscious decision to become a Maintainer of the New State of Perfection (to Become The Father, to Replace The Father). Commonly, the Altruistic Hero is with the Good People of the Township now. This is different from the earlier Conscious Decision stage. There, the hero agreed to enter the New World. Now s/he agrees to join the fight. The Deliverer (Hero) will ultimately not restore the same Original State of Perfection, but create a New State of Perfection, one with New Rules and one which will not be susceptible to the previous Deficiency. In The Godfather (1972), Michael tells his father, “I’m with you now, Pop. I’m with you.” In Chinatown (1974), Evelyn asks Gittes to drop the case, but he doesn’t want to drop it. In Jesus of Nazareth (1977), Jesus states that the Prophecy will be fulfilled and that he is the Deliverer.

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Emotional Outpouring Once the Deliverer has arrived, there may be an emotional outpouring for a number of reasons: a) The Saviour Is Here, b) The Prophecy Has Come To Pass, c) the next generation has arrived and agreed to live up to expectations, agreed to mature and Take On The Responsibilities Of The Father. In Jesus of Nazareth (1977), the believers cry when they hear that the Deliverer has come. In The Godfather (1972), the Don cries when Michael says, “I’m with you now, Pop. I’m with you.” Archetype Divisions This is a common stage of character division and polarization. An easy way to look at it is through the lens of the Jesus Story. Once Jesus says that he is the Deliverer – the Fulfiller of the Prophecy - some view this as blasphemy and battle against him. On the other hand, others believe and join him. In other words, the act of taking sides naturally creates Allies and Enemies. Also, Ordinary Self Attachments resist the change and New Self attachments encourage it. These are Doves and Hawks who pull the character back and push the character forward. Commonly, this manifests itself as the Appearance Of Supernatural Aids And Enemies. In The Godfather (1972), once Michael takes sides, Enzo appears and so does McCluskey. In Jesus of Nazareth (1977), Jesus gains his first disciples but also the enmity of the established religious elite. New World Romantic Challenge Commonly, one of the Supernatural Aids that is acquired here is the New World Romantic Challenge, which is an indicator of their increasing merging and alignment. In Chinatown (1974), implicitly, Evelyn and Gittes get closer when he visits her, she drops the lawsuit and they talk amicably. In Raiders of the Lost Ark (1981), Indy acquires Marion in Nepal. See Advanced Archetypes http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html

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First Threshold Separation The character has been building up to this, which is accepting the opposite thematic position. In The Lone Ranger (2013), John Reid starts of as a representation of the Law of Man. After his brother is murdered by Cavendish, he wants to kill Cavendish – he is turning to represent the Law of Nature. Journey and Border Symbolism is engaged in, which is a New World with its own New Creatures, Sights and Sounds. In Chinatown (1974), Gittes drives to the reservoir. In The Godfather (1972), Michael is drawn down the stairs outside the hospital by the lack of guards. Some Minor Threshold Guardian will be overcome with the use of Magical Gifts acquired earlier. In Chinatown (1974), Gittes drives to the reservoir and gets past the police barrier using Yelburton’s card. Time Pressure is evident. In The Godfather (1972), Michael and Enzo guard the hospital doors until help arrives. Breaking Ordinary World Rules This is another form of continued detachment. Characters consciously break the rules associated with the Ordinary World, Self and State. Implicitly, the Rules Which Limit The Self are broken. In Chinatown (1974), Gittes lies to get past the police barrier. In The Hangover (2009), Phil drives the stolen police car (illegal) on the curb and tells the passer-by, “she has an amazing rack” (politically incorrect). First Threshold Separation Limitation Limitations to the First Threshold Separation, which the Mind Altering Provocation helps overcome. In The King’s Speech (2010), the Duke doesn’t yet see the value of Lionel’s training.

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In The Godfather (1972), Michael isn’t yet ready to kill Sollozzo and Captain McCluskey. Implicit with the First Threshold Limitation is the push to overcome it, the Push to Self-Actualize, to cross over to the other side of the theme, to cross over to the other side of the self, to overcome that which is holding one back, to cross over to begin to become ready. In The Matrix (1999), Morpheus ask “what are you waiting for?” Mind Altering Provocation Some mind altering provocation switches the character to the other side. In The Godfather (1972), Captain McCluskey attempts to kill the Don in hospital and then punches Michael, causing him to easily think about murder. In Spartacus (1960), Draba kills himself instead of killing Spartacus, which tips him over the edge. In When Harry Met Sally (1989), Harry tells Sally that he’s getting married. Motivation Symbolism From another point of view, some provocation enhances the motivation to go to the other side. To overcome the antagonism or Major Threshold Guardian and / or move forward or enter the Deep New World and the Deeper Transformation. In Spartacus (1960), Draba’s death and later public hanging provoke and motivate Spartacus. First Threshold Tangible Commonly, some new world tangible is acquired, which represents the new / opposite position, the new / opposite thematic point of view, the newer / opposite self etc. This can be seen as a New World Attachment. In Man of Steel (2013), Kal-El pulls out the spaceship from under the ice. In World War Z (2013), Gerry and his family are joined by the latino boy. The corollary of attachment is Ordinary World Detachment. In The Hangover (2009), the boys have lost the Mercedes but gained a police car.

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Incremental Letting Go As we detach, we begin to incrementally Let Go of the previous Ordinary Rules and Behaviour. Small signs of the Greater Letting Go are visible. In The Hangover (2009), Alan plays with the baby and Stu almost laughs, but then controls himself, “not cool.” The First Threshold Separation is Letting To Of The Old Way, agreeing to change. In The King’s Speech (2010), Bertie’s father tells him that the old way is over. When Bertie hears the record of himself speaking, he overcome all hesitation and agrees to let go of the Old Way, his old reluctance and refusal, he agrees to change. Commonly, the tangible is a New World Romantic Challenge. In Spartacus (1960), Varinia holds Spartacus’ hand. In Back to the Future (1985), Lorraine falls in love with Marty. In Raiders of the Lost Ark (1981), Indy pulls out Marion and the headpiece from Nepal. In Blade Runner (1982), Deckard pulls out Rachael. In L.A. Confidential (1997), Lynn accompanies White on the journey. In Erin Brockovich (2000), George accompanies Erin on the journey. Commonly, the tangible is also an Innocent Archetype. This archetype will start off innocent and mature as we go along and is often used when the hero is already capable. In this case, the hero will act as a mentor to the innocent, who is in effect a maturity tool. In Up In The Air (2009), Ryan pulls Natalie along. In Beverly Hills Cop (1984), Axel initially has to learn lots about Beverly Hills but he teaches the other cops (a Supernatural Aid characteristic) from the start. The significant maturity is demonstrated through Rosewood. In Up In The Air (2009), Ryan pulls Natalie along. Both are innocent (he knows nothing about commitment and she knows nothing about his world) and both are supernatural aids (she teaches him the value of relationships and he teaches her about his world).

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The First Threshold Tangible can be viewed as a Magical Gift, which overcomes the previous resistance and limitation to the turn. In The King’s Speech (2010), the Duke doesn’t see the value of Lionel’s training until he hears himself speak on the record. Something New Is Achieved, which couldn’t be achieved before, indicating a switch to the newer / opposite side: In Spartacus (1960), Spartacus beats Draba. In The King’s Speech (2010), after hearing himself on the record, Bertie finally believes that Lionel may be able to help. This is a Progression / Transformation Benchmark, an after picture compared to the before picture. In Spartacus (1960), Spartacus competently battles Draba, which is evolution from the previous state where he was easily defeated. Some New Way of Thinking or New Focus is evident. This is really further detachment from the older way of thinking. In Back to the Future (1985), Lorraine’s focus turns from the other boys to Marty. In Chinatown (1974), after Hollis’ murder, Gittes realises that there’s much more going on. Hope Is Kindled With the arrival of the Deliverer, acquisition of the First Threshold Tangible, the switch to the other side etc, hope returns. In Lord of the Rings: The Return of the King (2003), the beacons are lit and Rohan will answer the call for help. Gandalf says, “hope is kindled.” In The King’s Speech (2010), after hearing himself on the record, hope is kindled that Bertie may be able to become a good public speaker. Death Symbolism represents the death of the old way. In Chinatown (1974), Hollis is murdered. In The Lone Ranger (2013), John Reid’s brother, Dan is killed. John also dies, for a moment.

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Status Elevation The hero is turning toward the other side, and therefore begins to rise in status on the other side. The hero is turning toward the new world, and therefore begins to rise in status in the new world. Characters begin to rise amongst the ranks of the Natural Inhabitants of the Beachhead / New World. In The Shawshank Redemption (1994), Andy tells Hadley how to save his money and wins everyone over. Transmogrification Symbolism The body is wounded and the change into a new form is set in motion. This is the beginning of the physical change and as such indicates how far the hero has yet to evolve (it’s a benchmark). Transmogrification Symbolism can include blood, the colour red or similar. The later physical healing is symbolic of the later psychological transformation. The body mirrors the mind. In The Godfather (1972), Michael’s face is deformed after Captain McCluskey punches him. In Raiders of the Lost Ark (1981), the Nazi torturer’s hand is imprinted. In Spartacus (1960), Draba attacks Crassus, who cuts him. In Brokeback Mountain (2005), Ennis and Jack fight and bloody each other. In An American Werewolf in London (1981), Jack turns up and tells David what’s about to happen to him. New World Supernatural Aids Commonly, New Supernatural Aids useful for the journey through the New World will be encountered. These may also play dual archetypal roles and act as Inhibitors to the journey through the New World. In Chinatown (1974), Gittes meets Escobar and his partner. At this early stage, the hero may need the assistance of Supernatural Aids to survive within the New World. He has not transcended them yet. In The Godfather (1972), Michael is saved from Captain McCluskey’s punch by Tom et al. Prototype Parent This is a form of New World Supernatural Aid, who is the hero’s parent-figure within the New World and possibly beyond into Act III. This archetype represents

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the final thematic position that the hero will adopt. This archetype represents who the hero will be at the end. In Pretty Woman (1990), Edward will adopt James Morse’s point of view. Loss of the Original State of Perfection The New / Opposite World represents that which was lost and the journey through it will help the hero recover what was lost. Therefore it is common for New Supernatural Aids to have been encountered previously, during the Loss of the State of Perfection, hence this will be referenced. In Chinatown (1974), Gittes knows Escobar from Chinatown. New Supernatural Aids help the hero recover what s/he has lost. In The Lone Ranger (2013), Tonto helps John Reid rediscover the Law of Nature. Peer Brothers As the hero journeys, so s/he acts as a change agent. Others are elevated as the hero progresses. Those characters who have survived within the antagonist’s world and accepted his side of the theme, will have survived and prospered. Peer Brothers are those characters who the hero will become like. In Chinatown (1974), Escobar is now a lieutenant. In Wings (1928), the boys meet White. Born For It The hero will eventually surpass New Supernatural Aids. As such, they are benchmarks. In Chinatown (1974), Gittes will surpass Escobar, who will eventually make some really dumb accusations. Even at this early stage, the hero finds that s/he is a natural relative to peers – that s/he was born for this cause, s/he is fulfilling destiny, s/he has Natural Capacities for it. In The Godfather (1972), Michael helps Enzo guard the door at the hospital but his hands don’t shake like Enzo’s.

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New World of The Middle Cave Road of Trials (Change) Journey and Border Symbolism is engaged in, which is a New World with its own New Creatures, Sights and Sounds where Minor Threshold Guardian need to be overcome. In Chinatown (1974), Gittes enters the Mulwray house and has to get past the butler. Willing Heroes These archetypes have wanted the change and the First Threshold Separation has been the significant breakthrough. They are motivated to change and learn. In The King’s Speech (2010), after hearing himself on the record, Bertie finally believes he can speak and, following Lionel’s instruction, changes rapidly. Unwilling Heroes These archetypes haven’t wanted the change and the First Threshold Separation has been the unwanted significant breakthrough, which forces them to contemplate that which they did not want. In The Lone Ranger (2013), John Reid wants to be a Man of the Law, but his brother’s murder forces him to think of murder and revenge, forces him onto the side of the Law of Nature. Disrobing / Peeling As we progress, the hero begins to show transformation by removing those symbols and attachments which represent the old self. In The King’s Speech (2010), the Duke begins to relax and slouch on Lionel’s sofa. He takes his jacket off. Supernatural Aids These archetypes provide Magical Gifts (a metaphor for Capacities) that will begin to shape the Hero’s New Self. In The King’s Speech (2010), Lionel begins tutoring the Duke; working mechanics, strengthening his stomach, repeating tongue twisters etc. In Gladiator (2000), Proximo trains Maximus. Learning Benchmarks Initially, characters are Fishes Out of Water.

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In The King’s Speech (2010), Bertie is a Fish Out of Water speaking in public, even to small audiences at the market. Learning Curve The hero embarks upon a learning curve and finds that s/he was Born For It. It is during this phase that the Hero’s Quality manifests itself. Something about the hero makes him/her different from Ordinary Men. In other words, uniquely suited for this task and a candidate for the Deeper New World and Deeper Transformation. In Gladiator (2000), Proximo sees that Maximus is special and could win in Rome. In The Matrix (1999), Morpheus sees that Neo is special and destined to meet the Oracle. Graduation Symbolism As we progress, rewards, which represent incremental graduation, manifest themselves. Part of this is benchmarking – we benchmark a small reward, which will be minor in comparison with later rewards and graduation. In The King’s Speech (2010), the Duke speaks at the local market, which is a lot less important than speaking to his Empire, as King, later. Change Benchmarks A series of before and after images reveal the rapid acquisition of capacities and change. In Spartacus (1960), first Draba can easily put Spartacus down and then eventually Spartacus puts Draba down. He’s becoming a decent gladiator. This is where the Myths And Legends Begin. In The Untouchables (1987), the four take a photograph of themselves, which is the beginning of their legend. New Name With the learning about the New World and the emergence of the New Self comes a New Name (to represent the new version of the Self). In Bull Durham (1988), Crash names Nuke, “Meat.” In The Untouchables (1987), the four call themselves, The Untouchables.

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Learning To Be The Father As the hero changes, so s/he increasingly becomes like the parent. The father was the Maintainer of the State of Perfection. With him gone, the hero is learning to acquire the Capacities to Maintain the State of Perfection. In Beverly Hills Cop II (1987), when Bogomil dies, Axel has to learn what he knew. In The King’s Speech (2010), the King is going to die and Bertie will have to take over. Pulling Away from Innocence (Innocent / Maturity Arc) When the hero first entered the New World, s/he was innocent to its ways. Now s/he is learning to not be so innocent of its ways. In Beverly Hills Cop (1984), when Axel first arrived in Beverly Hills, he was innocent to its ways. As he is arrested etc, he learns the Ways of this World. As the hero becomes the father, so s/he becomes less of a child. In The Godfather (1972), as Michael becomes like his father, so he becomes less of a child. The Ordinary World represents one side of the theme, the New World represents another side of the theme. Learning the other side of the theme represents maturity. In The Lone Ranger (2013), John Reid is innocent when he represents the Laws of Man. When he embodies the Laws of Nature, he matures. Active Learning You can separate the First Threshold into two sections – before and after the First Threshold Separation. In the first section, you can class the hero as being passive and in the second section, you can class the hero as being active. The more the Hero learns and the more s/he demonstrates an affinity for it and success with it, the more s/he engages. In essence, a series of successful outcomes creates a need for more experiences. In The Matrix (1999), Neo can absorb a lot of information, “he is a machine.” And the crew have “never seen anyone as fast.”

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But remember that learning and “active” is an arc too. In other words, here the hero arcs along the “active” arc, but also becomes more active later (will progress along the active arc). Preparatory Capacities The Capacities gained at this stage can be described as preparatory. As the hero goes past the Physical Separation (Act II Hard Break) into the mainland of the Deeper New World, so these Capacities will become much more potent. In 12 Angry Men (1957), before the Physical Separation, the men just loosely go over the concepts. After the Physical Separation, they get down to the real work of sorting the case out. Outer Challenge At this stage, we are peeling away the Old Self. And so we are, really, attacking the challenges. Challenges are like an onion with the outer challenge at the top and the inner challenge at the bottom. As we’re at the surface, we’re attacking the Outer Challenge. This will prepare us to tackle the Inner Challenge (the more fundamental issue) later. Thus, we are playing with surface issues. Thus this is a limited form of change. In The King’s Speech (2010), the Duke sees his problems as mechanical and is only prepared to tackle those initially. In Spartacus (1960), initially Spartacus is learning to fight. Later, he’ll learn to lead. Awakening At this stage, the hero is awakening to the opposite side of the theme, awakening to the new world and awakening to Who He Is about to become. The hero is at the beginnings of forging a path toward the Newer Self. In A Fistful of Dynamite (1971), Juan meets Dr. Villega and the other revolutionaries, who are a foreshadow of his own, coming revolutionary Self. In The Untouchables (1987), Eliot Ness is awakening to Malone’s tactics and philosophy. In Man of Steel (2013), Clarke awakens to Who He Is under Jor-El’s guidance. In Django Unchained (2012), the KKK take off their masks – they would like to see.

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In Groundhog Day (1993), Phil begins to see the possibilities and advantages of reliving every day. He’s not going to live by their rules anymore. New Capacities As the hero peels and awakens and begins to find his newer self, so new, hitherto unknown capacities emerge (or re-emerge). In The Hangover (2009), Alan feels qualified to take care of the baby. In The Lone Ranger (2013), John Reid discovers a taste for revenge (for his brother’s murder). In Django Unchained (2012), Django learns to shoot the rifle. Liberty Symbolism Moving forward and into this New World is a step away from the older, more repressive worlds and states, hence characters become freer. Moving forward, characters move away from being Fishes Out of Water, hence there is greater liberty within this New World. This is a Bigger, Wider World and archetypes are becoming Bigger, Wider Selves within it, hence greater liberty. Thematically, the characters are “opening up” to the opposite side of the theme and leaving the rules of the older side of the theme behind. Liberty is made explicit through openness, freer behaviour, wider spaces, light and similar Liberty Symbolism. Those elements of the Original State of Perfection begin to return (democracy, summer etc). In The King’s Speech (2010), after listening to himself on the record and beginning to follow Lionel’s instruction, Bertie is liberated from the repression of his stammer. Smoking Gun This is a Magical Gift, which the hero does not yet have the Capacities to acquire – it is visible but its significance is invisible. This is linked to Awakening. This a metaphor for a Capacity which will eventually be used to defeat Goliath / The Monster and Restore a State of Perfection / Return Home etc. In The Untouchables (1987), Oscar Wallace keeps telling Eliot Ness that they can catch Capone on tax evasion, but Ness doesn’t see it.

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Commonly, some in/tangible is presented but it is unattainable / its meaning or potency unknown / the hero is unable to recognise it or use it or similar. Specifically, the hero is not ready for it; s/he is not ready to receive it. As such, it is a type of Benchmark - the journey has to be progressed on and enlightenments gained before the value of the Smoking Gun is realised. In Chinatown (1974), when Gittes first enters the Mulwray house, he finds the glasses in the pool but Evelyn’s arrival prevents him from fishing them out. Even if he did fish them out, he wouldn’t know the meaning at that stage. The point is, he is not ready to fish them out. In The Wizard of Oz (1939), Dorothy receives the ruby slippers, but doesn’t know their significance. In The Hangover (2009), the boys see the workmen removing the mattress, but don’t recognise the significance. Character Converging and Diverging Just as the hero progresses and turns, so do other characters, be they allies or enemies. Just as the hero becomes more potent, so do other characters. Just as the hero’s true nature emerges, so does it for other characters. Thus this is a stage where, no matter where they start off, characters begin to take the side of their eventual position. The guys who will end up good start aligning and the guys who end up bad start aligning. Allegiance form toward their ultimate position. Friendships begin to cement. Superego and Id forces begin to align. In The Hangover (2009), the boys begin to become less strangers to each other and friendlier towards each other. The various protagonists and antagonists begin aligning (protagonists are the sum of all those forces that push the hero’s transformation forward and antagonisms are the sum of all those forces that hinder the hero’s transformation). Thus the hero gains allies and enemies. As the hero develops, so do his relationships with others. Those that are meant to become closer to the hero (converge) do so, and those that are meant to diverge, do so also. From another point of view, relationships further evolve or devolve. Thus character challenges become more explicit. Most Major Allies have a challenge that requires resolution. If the Ally journeys with the hero to the end, then that challenge will be also be resolved at the end (the journey is useful to all who travel the path). These are a demonstration of States of Imperfection.

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In Gladiator (2000), Maximus is not the only one with problems. Juba needs to return home etc. New World Romantic Challenge The hero and New World Romantic Challenge start out Polarised / Divided and converge as the hero evolves. This is because the New World Romantic Challenge represents the New World, the opposite thematic point of view or the end-state thematic point of view etc. As the hero approaches that, so he gets the girl. It is at this stage that the New World Romantic Challenge also starts to change toward aligning with the hero. In The King of Comedy (1983), Rita is impressed that Pupkin has met Jerry. She invites him for coffee. Which is a start. In Raiders of the Lost Ark (1981), Marion and Indiana are initially very confrontational, but there is a spark there. Commonly, the New World Romantic Challenge is a driver and motivation for the forward movement. She is also a measure of success within the New World. In Scarface (1983), winning Elvira over is a prime motivation for Tony. As Tony evolves, he starts winning Elvira over. In Spartacus (1960), Spartacus sees a future because of Varinia. In The Matrix (1999), Trinity encourages Neo. In The Hustler (1964), Sarah encourages and drives Eddie. Shape Shifter The Shape Shifter may also start to change at this stage (thus we are noticing several core archetypes: Hero, Interdictor, New World Romantic Challenge, Supernatural Aid, Shape Shifter, Loyal Ally etc; see Advanced Archetypes at http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html ). Commonly, the Shape Shifter has Unique Capacities. Commonly, the journey cannot progress without this archetype, as s/he proves pivotal. In Star Wars (1977), Luke pulls Han onto the journey.

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In A Fistful of Dynamite (1971), Dr. Villega helps Juan beat the police and is a high status member of and guide to the revolution. The Shape Shifter has Unique Capacities because s/he represents the Ego. S/he is not totally bad like the Id or totally good like the Superego. In other words s/he could also be the hero or the antagonism. As not yet Superego, the Ego has not completed the cycle and is not fully matured – one reason why the Id is so easily able to manipulate him/her. Thus the Ego is a Form of Innocent that the journey can help mature. It is not unusual for the Shape Shifter and Innocent archetypes to be one and the same. In Star Wars (1977), Han ultimately rescues Luke, which demonstrates maturity. In The Magnificent Seven (1960), Chico is immature and an innocent. He demonstrates maturity toward the end of the story. The Ego has a nature (for example, selfishness) and thus the Shape Shifter tends to have this nature. The product of maturity is the loss of this nature, thus the Shape Shifter will lose this nature at the end (if s/he chooses the Superego side; if s/he chooses the Antagonism’s side, s/he will demonstrate increased immaturity, the trait will be exaggerated, stagnation or some form of psychological or physical death will emerge). In Raiders of the Lost Ark (1981), Belloq only cares for the reward. He chooses the Antagonism’s side and dies. It is because the Shape Shifter demonstrates a specific nature, such as selfishness, that s/he tends to need to be persuaded to go on the journey or will refuse it. If refused, then some contrivance ensures that s/he usually comes along. In Star Wars (1977), Han has to be persuaded with money to go on the journey. In The Magnificent Seven (1960), Chico is not allowed to accompany the original six because of his weaknesses. But he just follows. It is because the Shape Shifter has the potential to be the hero that he is also a Hero Competitor and thus also a Romantic Competitor. In Raiders of the Lost Ark (1981), Belloq attempts to woo Marion. Belloq knows the he and Indy are very much alike.

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In Out of Africa (1985), Bror challenges Denys for Karen’s affections (“you could have asked, Denys…”) The difference between the Hero (Superego) and Shape Shifter (Ego) initial positions / natures is the root of their Natural Conflict, Cynicism and Suspicion, which is heightened if the Shape Shifter turns against the Hero (the Shape Shifter chooses the Antagonism). In Star Wars (1977), Han initially only cares for the reward, which is just anathema to Superego archetypes (Leia and Luke). In The Matrix (1999), Cypher turns bad and the polarity between him and Neo / Trinity increases.

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New World of the Inner Cave / Battle In this section, we kill all options of going back, break Ordinary World Rules / Limitations and arc the hero past First Threshold Creatures. Journey and Border Symbolism is engaged in, on the way to the Inner Cave, which is a New World with its own New Creatures, Sights and Sounds. In The King’s Speech (2010), the two sons drive to see their dying father, where we meet the Queen. Demonstration of the Modified Self The Hero’s Newer Self, since entry in the Beachhead and after the Mind Altering Provocations is made explicit. When the hero entered the First Threshold, s/he was the opposite of the Creatures of the New World. Now s/he has Become Like Them. In Spartacus (1960), when Spartacus entered, he was a slave. Now he has become like the creatures of the new world he entered into – a gladiator. He is now a different beast to that which entered the New World. When the Hero first entered the First Threshold, limitations were established. S/he was naïve of the ways of the New World. Now those limitations have been overcome and the Hero has matured to some extent in the ways of the New World. Thus, this is an evolution benchmark. In The Godfather (1972), Michael is now a different beast to that which entered the New World. When he arrived, he was uncomfortable talking about murder, but after the attempt on his father’s life at the hospital, he sits with Sonny and Tom et al as though he Belongs There. Dissolving Ordinary World The Ordinary World is representative of the hero’s Ordinary Self. As his Ordinary Self dissolves away, so does the Ordinary World. In other words, the Ordinary World is an arc. In The Godfather (1972), when Michael et al go back to the house after the incident at the hospital, Sonny’s attacked a rival and button-men are everywhere. The Ordinary World is dissolving away. Commonly, the Ordinary World continues to dissolve away as a result of breaking Ordinary World Rules.

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In The Godfather (1972), Sonny breaks the old rules of keeping business going and starts a war with Tattaglia. End Of The World Is Nigh (Armageddon Symbolism) In essence, the Ordinary World or State of things as we know them is coming to an end. In The King’s Speech (2010), the King is dying and one of the brothers will have to replace him. In The Godfather (1972), Clemenza says that, “everybody will be going to the mattresses soon.” What you want to do here is Kill All Options Of Going Back. In Chinatown (1974), Evelyn officially hires Gittes as her detective. In The Godfather (1972), Sollozzo wants to hold a deceptive meeting until the opportunity can be found to finish off the Don. The attack on Tattaglia means it is impossible to turn back. The antagonism is a supernatural aid in that it encourages the hero to change and overcome it. At this stage, the antagonism will perform an act which will kill all options of going back. In The Jewel of the Nile (1985), Omar wants to establish his leadership over the Middle East. Inner Challenge Arc From another point of view, the inevitable confrontation with the Inner Challenge / the Innermost Fear gets ever closer. Another layer preventing it is stripped away. In The King’s Speech (2010), the King is dying and Edward is one step away from Bertie having to accept the throne and make speeches. Provocation Arc The End of the World is Nigh because of continued Extraordinary Provocations from all sides. What these are doing is contributing to the end of the Ordinary World (and therefore Ordinary Self). In The Godfather (1972), Sollozzo is trying to kill the Don and Sonny is hell bent on starting a war. Choice Arc The Extraordinary Provocations are also making it impossible for the hero to turn back.

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In Chinatown (1974), Gittes keeps getting pulled in. Containment Symbolism The New World of the Inner Cave is a Contained State, caused by the ever increasing provocations. Characters are contained and Locked-In within the First Threshold. The Liberty In/Tangible must be acquired to escape it. In Spartacus (1960), the gladiators continue to be provoked down below and while in their cells. In LA Confidential (1997), Vincennes is told he's "not getting out of here until you make a case." Liberation Imperative Characters are itching / ready to break free from the First Threshold and engage with the deeper change and journey, which will occur in the Deeper New World (Mainland, past the Physical Separation and along the Road of Trials and beyond). In The Ugly Truth (2009), Abby is itching to learn how to successfully date Colin. In Spartacus (1960), following Draba’s death, the gladiators are simply scratching to revolt. Marcellus’ provocations have left Spartacus on the verge of rage. More than that, characters MUST break free. In The Hobbit: An Unexpected Journey (2012), unless they break free, the trolls are going to cook the dwarves. Seeking The Liberty In/Tangible The Liberty In/Tangible is that Magical Gift, which will help escape containment within the First Threshold. The Inner Cave is a domain in which you seek the in/tangible, which will free you from the First Threshold / Beachhead. In Spartacus (1960), something is needed to break out of the gladiator training school. Limitations To The Liberty In/Tangible Limitations to the acquisition of the Liberty In/Tangible is made explicit. Commonly, limitations include Ordinary World Rules.

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In The Godfather (1972), Tom advises settling as killing a police captain is a BIG NO and it would cause a war with the other Families. These are Ordinary World Rules and is the way the Don, the Father, would have done it. In The Hangover (2009), Stu is lying to Melissa about his trip to Vegas with the boys, which represents him sticking to Ordinary World Rules. Major Threshold Guardian This archetype is the physical expression of the Limitations To The Liberty In/Tangible. In Spartacus (1960), Marcellus represents the guards and the barriers which keep Spartacus et al contained within the training school. Minor Gathering of Ordinary Men Commonly, the hero is part of this group and the purpose is to prove that the hero is different from them, that s/he is not an Ordinary Man. In The Godfather (1972), Michael sits with Sonny, Tom et al to discuss what is to be done with Sollozzo and the corrupt police captain. In Chinatown (1974), Gittes sits in his office with his associates. Deficient Proxies These are characters who may be in charge of “bringing us back home” [home is a metaphor for the return to a State of Perfection] until the hero is ready. They are deficient, weak, incompetent or lacking on some level. Their lack of strengths are demonstrated. They generally exacerbate havoc and actually pull us further away from home. They are another reason why The One / the hero must be found. In The King’s Speech (2010), Edward cries on his mother’s shoulder – something that a King should not do, it demonstrates weakness. In The Godfather (1972), Sonny shows that he is a bad Don. Dove and Hawk Battles Doves wish to go back and Hawks wish to go forward. Doves wish to restore the Ordinary World or present it from dissolving away and hawks push for it to dissolve away toward something new. These are part and parcel of the trials of Ordinary Men, which the hero will solve. Unwilling Archetypes / Doves are motivated to return to the Ordinary World and State.

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In The Godfather (1972), Tom and Sonny argue after Tattaglia is attacked – it’s not good for business. Tom does all he can to go back to the way it was. In The Help (2011), Skeeter doesn’t have enough maids talking and thinks about quitting; Aibileen tells her about her son and why there is no turning back. In The King’s Speech (2010), the King is dying. Edward tries to turn the clock back (literally), but obviously cannot. Those Unwilling Archetypes which are most attached to the Ordinary World and Self find most discomfort and sickness with the idea of movement into the new / Deeper New World and State. In The Hangover (2009), Stu is panicked when he finds out he married Jade. In The Godfather (1972), all are sick that Sonny has attacked Tattaglia. In The King’s Speech (2010), neither of the boys want the King to die and the old way to end. Outer and Inner Arcs Two drivers force the acquisition of the Liberty In/Tangible or push the hero (commonly, both are made explicit): The Outer Driver (Outer Challenge) that is the consequence of the Antagonism’s Provocations. In The Godfather (1972), Michael has to deal with the Sollozzo mess. The Inner Driver (Inner Challenge) is what the hero must become (which is also the consequence of the Antagonism’s Provocations). In The Godfather (1972), Michael must decide whether he wants to be part of the Family (be like his father) or not. The Outer and Inner Arcs is where the hero comes face-to-face with what s/he must do or confront or be or become. It is what the hero is getting into. In Harder they Fall (1956), Art shows Eddie the video. In Superman (1978), Jor-El teaches Clark Kent what he must do and how he must behave.

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In The Hobbit: An Unexpected Journey (2012), Bilbo has to rescue the horses from the trolls, but to do so he has to become a burglar. Retrieving The Liberty In/Tangible The acquisition of the Liberty In/Tangible is not easy – Ordinary Men cannot achieve it. Commonly, the hero will retrieve the Liberty In/Tangible. In doing so, s/he Proves That S/He Is Not An Ordinary Man. In Iron Man (2008), the suit powers up. In LA Confidential (1997), Exley gets the confession from the boys in the cell. The acquisition of the Liberty In/Tangible may also complete earlier tasks. In The Hangover (2009), Eddie tells the boys that Jade had a baby, which solves one puzzle. Awakening By retrieving the Liberty In/Tangible, Ordinary Men awaken to the hero’s potential, they awaken to Who He Is. By retrieving the Liberty In/Tangible, the antagonism also awakens to the hero’s potential. Commonly higher level antagonisms replace older level antagonisms (e.g. the bad guy will get a more fearsome lieutenant to hunt the hero down). Else some kind of awakening occurs. In The Hangover (2009), the boys learn that they’ve been drugged. Belief Arc This is where those who do not believe that the hero is The One, begin to believe. Ordinary Men begin to gain, you can call it, a grudging acceptance of the hero. The Natural Inhabitants of the New World and New World Attachments begin to accept the hero. In other words, s/he is becoming like them and part of them. The Hero Begins To Find His Place within the New World. The retrieval of the Liberty Tangible triggers this. In The Shawshank Redemption (1994), the guards and other prisoners begin to tolerate Andy. In Starship Troopers (1997), the lieutenant gives Johnny a command, to see what he can do.

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In LA Confidential (1997), Exley gets grudging acceptance from the rest of the cops after he finds the girls location. And even an ally. There is also grudging acceptance of the oncoming change. Commonly, nobody wants to see change, but the End Of The World is Nigh and the New Way / change is inevitable and it looks like the hero is leading the way. Breaking Ordinary World Rules and Limitations The hero retrieves the Liberty In/Tangible by breaking past Ordinary World Rules and Limitations. The limitations that restrict other characters do not hold back the hero. S/he solves the problems that others cannot. In The Godfather (1972), Michael breaks a cardinal rule by suggesting that Captain McCluskey be killed. Tom advises settling and Sonny doesn’t know what to do except go to full-blown war. Michael comes up with the solution, which involves transcending his brothers’ limitations. Not only does the Hero surpass limitations, s/he does so in a way that stretches the boundaries of all previous limitations. S/he Innovates, s/he Exceeds Expectations, s/he has grown beyond expectations. In LA Confidential (1997), Exley innovatively gets the confession from the boys in the cell. Detachment What the hero is really doing is transcending the limitations that bind him to the Ordinary Self. Physically, this is represented by him detaching from representations of the Ordinary Self and State / losing a in/tangible element of the Ordinary Self. In Star Wars (1977), Luke sells his speeder, which represents his Older World and Self. And swears he’ll “never come back here again.” If the hero has been Unwilling, not wanted the change, then the detachment from the Ordinary World and Self may be a Sacrifice. In The Godfather (1972), Michael never wanted to become like his father – by doing so, he sacrifices what he wanted to be for the sake of the Family. Death Arc Death is part and parcel of detachment and separation.

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Death represents the death of the ordinary / old way, the break from the ordinary / old way, the death of all attachments that represent the Older Self. It therefore represents change. In order to move forward, the hero has to Kill A Part Of The Ordinary Self. It is a form of showing No Going Back. In The King’s Speech (2010), the King is dying and will soon die. It is literally the death of the Ordinary World. In The Empire Strikes Back (1984), the rebel base on the planet is blown up. By retrieving the Liberty In/Tangible, the hero does a number of things, including: Status Arc The hero rises in the ranks among the creatures of the New World, showing that s/he is no longer a Fish Out of Water. Further, s/he adopts some sort of leadership position among them. Further, s/he begins surpass those who previously had been New World Supernatural Aids, indicating evolution within the New World. In The Godfather (1972), Michael has to convince Sonny, Tom et al that killing McCluskey is feasible. Separates from the Ordinary World Thematically, separates from the thinking of the starting-side of the theme. Separates from the Ordinary Self. Belonging Arc Begins to belong to the New World and final-side of the theme. The hero escalates past the Creatures of the First Threshold to show that s/he not only belongs, but belongs more than they do. Truer Self Begins to show Who He Really Is. Begins to Become The Father. In The Hangover (2009), Eddie thinks that Stu is the craziest, wildest bastard he’s ever met. In The Godfather (1972), this is where Michael first starts to look like the Don. Encouraged To Mature

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Maturity is representative of growth, evolution, whatever arc may be being engaged in, becoming whole or complete on some level or to broaden horizons or enter a larger, bigger world and version of the self etc. It represents Becoming the Father. In The Hangover (2009), the doctor tells the boys to find it [the best Little Chapel] themselves, they’re big boys now.

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Major Threshold Guardian Battle Road Of Trials There is the push, Journey and Border Symbolism into a New World. In The Hangover (2009), the doctor tells the boys to, “Fuck off and find the Best Little Chapel.” Foreboding Symbolism The Major Threshold Guardian is no pushover and foreboding symbolism and tension is evident. In Iron Man (2008), Raza is mean and bad. Supernatural Aids and Magical Gifts are required to ready the hero for battle against the Major Threshold Guardian. Time Pressure to gain the required Capacities adds to the potent mix (there is a Race Against Time). In Iron Man (2008), Stark races against time before Raza’s ultimatum. The hero goes through a Road of Trials where s/he learns the Capacities required for battle against the Major Threshold Guardian. In The Godfather (1972), Clemenza gives Michael an untraceable gun and teaches him how to kill someone, not to look into anyone’s eyes and leave as quickly as possible. Commonly, the journey through the Beachhead is itself a Capacity Gaining / Road of Trials exercise, in which case this section will demonstrate that the hero is ready for battle against the Major Threshold Guardian. In Spartacus (1960), the slaves enter the gladiator training school to gain the capacity to fight. In Rise of the Planet of the Apes (2011), Caesar learns to climb the tree and show anger. Natural Hero It is again during this phase that the hero demonstrates s/he is a natural, endowed for this task, destined for it, fate is on his side. Capacities Arc Commonly, Capacities gained here call upon or build upon Ordinary Self Capacities, which have been gained in earlier Worlds. Previous journeys and

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battles are referenced – in other words, this is a common stage of flashback, where the elements of the Loss of the State of Perfection are made explicit. In The Godfather (1972), Michael knows how to handle a gun as he is a decorated war hero. Evolved Fish out of Water (Modified Self) During this phase, the hero increasingly starts to look like s/he belongs, like a Natural Inhabitant of the New / Opposite World, as opposed to a creature of the Ordinary World. Thus, you’re continuing to stage-gate the transformation. In Superman (1977), Superman flies out of the Fortress of Solitude (as opposed to Clark Kent walking to it). Readiness Limitations Overcome Limitations to the hero’s readiness for the Major Threshold Guardian Battle are overcome. In The Godfather (1972), everyone nervously eats and tensions are high while they wait to see is they can locate the meeting point and plant the gun in time. Which is a Measure of Transformation, In My Fair Lady (1964), Eliza learns to pronounce properly. Finally, there is Journey and Border Symbolism Exiting the Great Cave. We have entered the Great Cave to do a number of things related to change and all those have been achieved – the battle with the Major Threshold Guardian will be the final test (for the First Threshold), after which the hero will leave for the Mainland and the Deeper New World and the deeper change. In Iron Man (2008), Iron Man flies out of the cave, as opposed to the wounded Stark that was brought there. Goodbye Symbolism is notable upon exit from this stage, which is a metaphor for goodbye to the Older Self. This is similar to Detachment Symbolism. In The Godfather (1972), Michael says goodbye to Sonny et al.

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Major Threshold Guardian (MTG) Battle Journey and Border Symbolism into a New World is evident, with its own New Sights and Sounds. In Chinatown (1974), Gittes enters his office through the doors. In Thelma and Louise (1991), the girls book into a hotel, before deciding to go to Vegas. Unrecognisable Ordinary Self The creature (hero) that enters this domain is not the same creature that entered the First Threshold. Characters demonstrate the First Threshold change thus far by being unrecognisable from their earlier Ordinary Self. This is a benchmark of the hero’s / characters’ evolution thus far. In Rise of the Planet of the Apes (2011), the Caesar that attacks the neighbour is a very different creature from the sweet baby that first arrived at the house. It’s a Reversal of the situation demonstrated upon entry into the First Threshold. In Kramer vs Kramer (1979), Ted and Billy smoothly make breakfast, which is the reverse of their initial state. It’s a Graduation of the situation demonstrated upon entry into the First Threshold. In Wings (1928), the boys battle Kellerman and graduate to real fliers. This is a benchmark, so the Major Threshold Guardian (MTG) benchmark is shown earlier and completed here. In Spartacus (1960), Spartacus’ inability to defeat Marcellus is shown early upon entry into the First Threshold. At the MTG stage, Spartacus defeats Marcellus. The earlier setup is paid off here. The fact that Spartacus beats Marcellus here indicates how far he has changed. Their interactions throughout the First Threshold is an arc. In The French Connection (1971), Alain needs the French actor to agree in order to camouflage his heroine shipment to New York. Once the actor agrees, Alain goes to New York.

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Ordinary World Divergence This is a measure of the change. It is some expression of the distance between the hero as s/he now is and that person known to Ordinary Self Attachments. Commonly, the hero’s behaviour is abnormal within the Ordinary World and Ordinary World Attachments do not recognise it. The hero arcs away from the Ordinary World. In The Hangover (2009), Melissa calls Stu and doesn’t recognise what’s going on. Commonly, characters do not recognise this new side of themselves, or may be surprised by it. New World Convergence The First Threshold is the beginning of the New World. As the hero distances from the Ordinary World (and therefore his Ordinary Self), so he synergizes with the New World (and therefore his Newer Self). The hero arcs toward the New World. All New World Supernatural Aids, First Threshold Attachments etc assist the hero – in other words, assist him to pull away from the Ordinary World and Self. In The Shawshank Redemption (1994), Hadley helps Andy overcome the rapist and Red and the gang send a gift. Who Are You? Within the First Threshold, the hero has let go of his Ordinary Self but has yet to fully become the New Self. Thus this is a place where this question arises or is referenced. In The Hangover (2009), when the boys exit the chapel, Stu doesn’t know who he is. Phil asks, “Who are you?” Stu starts breaking everything. Transmogrification Arc Transmogrification represents the physical change. The body will be cut, deformed, damaged, wounded, branded or similar. When it later sets, the form will represent the New Self. Transmogrification symbolism includes blood, the color red etc. In Chinatown (1974), Claude cuts Gittes. Physical Limitations In its simplest form, the MTG is an obstacle, which blocks exit from the First Threshold (Beachhead) and entry into the Deeper New World (Mainland). It is a physical block that must be overcome.

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In Spartacus (1960), none of them will ever escape unless they overcome Marcellus. It is also a Test of Transformation, which is in itself a Test Of Belonging In The New World: In My Fair Lady (1964), Eliza learns to pronounce properly and the Doc wants to test her in public. Foreboding Symbolism The physical limitation that is the MTG and the battle itself are something to fear and involve danger and warning symbolisms. These are physical representations preventing the psychological forward movement - the tangible fear is really a substitute for the psychological innermost fear related to change. In Chinatown (1974), Claude cuts Gittes and warns him not to be so curious. Tug O War The MTG is really a battle between the Ordinary World / Self holding the hero back and the New World / Self pushing the hero forward. Tangibly, Ordinary World / Self Attachments hold the hero back and New World / Self Attachments push the hero forward. In The Little Mermaid (1989), Triton et al hold Ariel back and Ursula et al push her forward. Letting Go The MTG is really a battle to let go of the Ordinary World / Self. In Ordinary People (1980), Dr Berger urges Conrad to Let It Go. Major Threshold Guardian Battle This is the actual confrontation and surpassing of physical and psychological limitations in order to allow the movement out of the Beachhead and into the Deeper New World (Mainland). Commonly, the Major Threshold Guardian is an Id Archetype, who Provokes The Confrontation. In The Shawshank Redemption (1994), Andy overcomes his rapist. In The Godfather (1972), Michael kills Sollozzo and McCluskey.

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Not An Ordinary Man When the hero overcomes the MTG obstacle, s/he demonstrates that s/he is not an Ordinary Man. Is Ready When the hero overcomes the MTG obstacle, s/he demonstrates that s/he is ready to exit the preliminary Beachhead and enter the Deeper New World (Mainland), where the bigger change will occur. In other words, s/he has grown enough to be able to move forward. In The Devil Wears Prada (2006), Andy has changed sufficiently enough to finally impress Miranda and thus move forward to the deeper change. Capacities Gained The battle demonstrates the Capacities (Magical Gifts etc), which have been gained as a result of passage through the Beachhead. It demonstrates the hero’s Arc Thus Far. In Spartacus (1960), Spartacus tackles and kills Marcellus – something he could not have done before. In The Shawshank Redemption (1994), overcoming the rapist nemesis demonstrates Andy’s growing friendships and allegiances within the prison. Peer Brother Matching The battle shows the hero matching Beachhead Peer Brothers. This is also demonstrative of the hero’s arc thus far In The Hangover (2009), Stu wants to torch the cop car, which is something that Phil wouldn’t do. Here, Stu matches Phil’s looseness and craziness. In The Devil Wears Prada (2006), after gaining Nigel’s assistance, Andy begins to dress as well as Emily and all the other girls and wins Serena’s admiration. No Going Back As stated, the MTG is really a battle between the Ordinary World / Self holding the hero back and the New World / Self pushing the hero forward. When the hero wins this battle, s/he breaks (detaches) from the Ordinary World / Self, which is why there is No Going Back. The hero Burns All Bridges Back. One thing that’s happening is Breaking The Connection To Home.

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In The Godfather (1972), after Michael actually kills Sollozo and McCluskey, there is certainly no going back. Death / Destruction Symbolism Death or Destruction Symbolism is common because it indicates the death of the Older Self and World. In The Hangover (2009), Stu wants to torch the cop car and everything in it. Eddie gets shot.

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Physical Separation (Drivers) In essence, this section covers the reasons characters leave the First Threshold (Beachhead) for the Deeper New World (Mainland). Deep Change Generally, the real reason characters move forward into the Deeper New World (Mainland) is to change deeply (in all its forms), so that they will be able to overcome limitations to the Return. They change to: Become Ready to Return, Become Whole, Learn To Believe, Learn The Opposite Way, Learn The Opposite Theme, Repair, Return Home, Awaken (Reawaken), Kindle Hope, Lose Innocence, Mature, Find Their Place In The New World, Find Who They Are, Reckoning, Find The Other Side, Choose The Other Side. Deep Arc The First Threshold has been a place of relatively little arc. The Deeper New World (Mainland) will be a place of deep arc. In The Matrix (1999), by the time Neo follows Morpheus and jumps off the building, he’s come a long way. But he’s still got to arc all the way to being The One. What the character will do in the Deeper New World (Mainland) is arc away from / through his Inner Challenge, which necessitates referencing / showing linking to the Inner Challenge / Inner Cave Battle. In Groundhog Day (1993), Rita watches Phil eat breakfast at the diner and sees that he’s self-centered. Phil will go on to lose that self-centredness. Unwilling Crossing (Forced To Flee) A common reason characters move forward into the Deeper New World (Mainland) is that they are unable to confront and overcome, yet, the antagonisms which pursue. They are forced to run away, forced to cross. In Bonnie and Clyde (1967), both antiheroes go on the run because they’ve killed someone and are not ready to face the police. In Spartacus (1960), the slaves have overcome Marcellus et al but they are unable to overcome, yet, the Roman soldiers that will pursue them because of it. They run into the countryside.

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In The Godfather (1972), Michael has defeated Sollozzo and McCluskey, but he is unable to overcome, yet, the Mafia Families and police that will pursue him. He runs to Sicily. In Romancing the Stone (1984), Zolo catches up with Jack and Joan and starts firing. This forces them into the jungle. They’re not ready to take on Zolo yet. In Butch Cassidy and the Sundance Kid (1969), both are pursued by the posse. They’re not ready to take them all on yet. In Thelma and Louise (1991), both are forced to think about Mexico as somewhere to escape the police. Break From the Ordinary Commonly, characters choose to break with those symbols which represent their Ordinary Selves. In Thelma and Louise (1991), Louise asks Thelma is she wants to go to Mexico. Finally, she says yes. To hell with Darryl. Search For An Elixir (Quest) Commonly, characters are on some form of quest, in search of some in/tangible. Commonly, a Romantic Challenge. In Groundhog Day (1993), although Phil knows Rita, he will go into the Mainland (Deeper New World) stages to woo her. Provocation Commonly, characters are provoked onto the journey. Or are Forced To Choose The Deeper Journey. In The Hangover (2009), the boys are provoked to go in search of Jade to find some answers and an annulment. Overcome Limitations Some limitation, Inner Challenge or Deficiency must yet be overcome, which is benchmarked here. In The Matrix (1999), Neo has come a long way and is able to trust enough to jump off the building now – but he still hits the ground hard. In The Godfather (1972), Michael has come a long way when he is sitting at the table with Sollozzo, but he is not fluent in Italian yet. He’s not his father / Sicilian yet.

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In Iron Man (2008), Stark is confronted by Yinsen’s words. This is why Stark must evolve beyond arms dealing when he escapes. In An Officer and a Gentleman (1983), Zach risks getting everyone in trouble – he’s selfish and not a team player yet. Implicitly, there are reminders that archetypes are Ordinary Selves and not the New Selves that they wish to be or could be. Only the Ordinary Self with Ordinary Capacities exists. In The Hangover (2009), Stu wants to be seen as a doctor, but the real Doc reminds him that he’s just a dentist. Peer Brothers are tangible representations of limitations. In The King’s Speech (2010), Bertie meets his brother, the older and better looking one. Surrogate Parents are tangible representations of limitations. These will be parent figures whose limitations the hero will have to transcend. In The King’s Speech (2010), the Archbishop attempts to ingratiate himself to the new King. Overcoming him will be a measure of Bertie’s maturity. Escape Containment A common reason characters move forward into the Deeper New World (Mainland) is to escape containment, which the Elixir provides. The characters are stuck in the New World until the Elixir is acquired. The Elixir is a tangible representation of change. The characters are stuck in the New World until they change. In The Hangover (2009), the boys need to find Doug if they’re going to get out of Vegas. They won’t find Doug until they’ve done what they’re here to do – change.

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Physical Separation (Rupture) The Physical Separation is the separation from the First Threshold into the Deeper New World. In Spartacus (1960), the slaves break free from the gladiator training school. Push To A Physical Border Some force pushes characters to the physical border of the Deep New World (Mainland). In The Godfather (1972), Michael kills Sollozzo and McCluskey, but is unprepared to take on the other Families yet. In The Lord of the Rings: The Fellowship of the Ring (2001), the Ringwraiths pursue Arwen (carrying Frodo) across the river. In Romancing the Stone (1984), Zolo and his men pursue and force Joan and Jack to the bridge. Sometimes the border is represented by some Transmogrification Symbolism. The old physical form changes into the new physical form. In Gremlins (1984), the Gremlins literally change from Gizmo like cuties to little horrors through the cocoon process. In Raging Bull (1980), Jake and Joey literally become fat. Intangible Border Sometimes the border is represented by some Significant Event, the natural Passage of Time or similar. In Goodfellas (1990), Henry and Karen get married. In Raging Bull (1980), Jake gets married and children come into the picture. This is a Literal Rupture With The Old Way. In Spartacus (1960), the new gladiators break from slavery to free men. In Lawrence of Arabia (1962), Lawrence consciously goes back into the desert to rescue the fallen Arab, something the Arabs wouldn’t do.

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The Old Way is represented by the Book of Law, so rupturing with the Old Way is tantamount to Burning The Book of Law. Just as there is detachment from physical representations of the Older Self, so the Ordinary Rules associated with it are broken free from too. They are easily forgotten. The origin of these Rules is this: they were designed by the Hero Parent in order to Maintain a State of Perfection. This is another demonstration of the loss of the capacities to maintain the State of Perfection. Deficient Proxies break from the Old Way etc. In The King’s Speech (2010), Mother complains that tardiness wouldn’t be tolerated if the King were alive. In The Godfather (1972), Sonny talks at the dinner table, something his father wouldn’t have done. Death, Destruction Symbolism This literally represents the death of the Old Way. Commonly, some archetype associated with the Old Way dies or disappears. In The King’s Speech (2010), the King dies. In Iron Man (2008), Yinsen dies. In Spartacus (1960), the training school burns down. In The Lord of the Rings: The Fellowship of the Ring (2001), Arwen reaches the river, where the Ringwraiths will be drowned. Perilous Border Crossing The physical borders or barriers to the Deeper New World (Mainland) are Difficult, Dangerous and Precarious in nature. Dilapidation Symbolism is common. In Romancing the Stone (1984), Jack and Joan cross a dangerous, dilapidated footbridge. In King Kong (2005), Jack crosses a dangerous ravine. Some kind of Magic Carpet is common. In Star Wars (1977), Luke et al leave on the Millenium Falcon, which Luke thinks is a piece of junk.

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Resistance Symbolism In all it’s forms, a reluctance to go forward / cross. In essence, the loss of the older state is resisted, especially by Ordinary World and Beachhead Attachments (who wish that things could remain as they were). In other words, the New Self is resisted. In The King’s Speech (2010), Edward literally tries to turn the clock back. In Close Encounters of the Third Kind (1977), Ronnie doesn’t want to see her family torn apart. In Thelma and Louise (1991), Jimmy wants his old girl back, “what’s happening to my girl.” Detachment Dissonance A lack of commitment or inability to break with attachments / the Older Self is common. In Thelma and Louise (1991), Louise doesn’t yet know whether to go to Mexico or not. She doesn’t know whether she can leave Darryl. Foreboding Symbolism The Deeper New World (Mainland) is significantly more different and threatening than the First Threshold (Beachhead) was. If entering the First Threshold was entering the World of Innermost Fear, then the Deeper New World (Mainland) is where the real monsters are met and is the real place to fear. This measure of fear and threat is directly proportional to the depth of the transformation that will occur here. The Deeper New World (Mainland) is commonly characterised by Warning, Fear, Confusion, Misinformation or similar. These add to resistance and limitations to the crossing. In Dances with Wolves (1990), John Dunbar plucks up the courage to actually go to the Indian village, not knowing what awaits him and having heard terrible stories. Detachment Symbolism The rupture is represented through detachment from representations of the Old Way (commonly, Ordinary World Attachments); this is indicative of detachment from the Older Self.

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In The Hangover (2009), Melissa calls and Stu is forced to hang up and then not return her calls. In The Help (2011), Skeeter breaks from the bridge club rules and Hilly. This may also take the form of stripping away / Disrobing clothing etc which represents the Old Self. In Thor (2012), before the Physical Separation, Thor is stripped of his clothes. Beachhead Supernatural Aid Departure Commonly, the Beachhead Supernatural Aid is lost. This archetype’s function is to assist the hero gain the Preparatory Capacities within the Beachhead only. Once that task is completed, it is common for him to be left behind. Death or Disappearance Symbolism is common. In Spartacus (1960), Lentulus runs away. In Superman (1977), Jor-El disappears once Superman leaves the Fortress of Solitude. Goodbye Symbolism Before characters depart, goodbyes to the Older Self are made explicit through its representations. In The Godfather (1972), Michael says goodbye to Sonny, Tom et al before he goes to Sicily. Sleep Symbolism Similar to goodbye is goodnight. The Old Self is put to sleep. In My Fair Lady (1964), Eliza learns to pronounce properly and then goes to bed.

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ACT II (PART TWO, SOFT or HARD BREAK)

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Pulling Away (Deeper New World) Just as the Beachhead (First Threshold) was a New World (which was entered into to strip away the Older Self), so the Deeper New World is a New World (which is entered into to become / attach to the New Self). The Deeper New World is as different to the First Threshold as the First Threshold was to the Ordinary World. Geographic Separation This is implied by the Perilous Crossing (see earlier Physical Separation). This is a literal, physical pull away from the Older World. Commonly, significant Journey and Border Symbolism takes us from one tangible geographic location to a new one. In Spiderman (2002), as Peter physically moves away from the space where his Uncle lays and starts flying huge distances over lots of huge buildings. In The Empire Strikes Back (1980), Luke leaves the planet that was the base for the Dagobah system. In The King’s Speech (2010), Edward runs away from the deathbed and up the stairs. In LA Confidential (1997), White drives away from the torture site. Again, the New World has its own Magical New Creatures, Sights and Sounds. In Dances with Wolves (1990), John Dunbar enters Sioux territory. In Gladiator (2000), Maximus is brought into Proximo’s World – a distinctly different World, a World unto its own. Thematic Reflection The First Threshold is an Opposite World but it is designed to strip the hero’s Old Self Away. The Deeper New World is also an Opposite World but it is designed to force the hero to reverse his (or her) thematic position. It therefore reflects the opposite thematic position.

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In Dances with Wolves (1990), when John Dunbar enters Sioux territory, that world is designed to reverse John’s (and the general White Man’s) view. Sheer Strangeness The first reaction to the Deep New World is commonly it’s sheer strangeness. Just as the First Threshold was strange and magical, so is the Deeper New World but in a newer, deeper, never-been-experienced way. This is thematic. The strangeness is the strangeness of the opposite thematic position. If the character believes one way, then the Deeper New World will be designed to force the character to believe the opposite way. The “sheer strangeness” is a physical reflection of the strangeness of the opposite way. Bigger Wider World The Deeper New World is “bigger and wider” because the new thematic position which is going to be learned is bigger and wider. It is a reflection of the coming growth. This is where characters will become bigger and wider versions of themselves. In Slumdog Millionaire (2008), the train takes the boys into a bigger, wider world. Sense of Liberation Commonly, entry into the Deeper New World is accompanied by a sense of liberation. This is reflective of the coming growth, which is liberating. This is also reflective of the coming opposite thematic position, which is also liberating. In The Godfather (1972), there is a sense of liberation when Michael first arrives in Sicily. In Dances with Wolves (1990), there is a sense of liberation when John rides to the Sioux village. This sort of thing shows you how to design the Deeper New World. For example, Open Spaces are common. In The Godfather (1972), Sicily is all open spaces and sunshine whereas New York was all darkness and claustrophobia.

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Pulling Away (Potency Separation, Detachment, Hero) When the hero enters the Deeper New World, s/he is significantly different from the creature which entered the First Threshold. In Walk the Line (2005), Johnny is still a singer, but now he has a massive crowd. He’s come a long way - this is a distinctly different state to the one that existed before. On all measures, s/he is more potent. In Spiderman (2002), Peter’s physical movement over lots of huge buildings corresponds with his increasing power Evolution within the New World / State Increased potency is a measure of evolution within the New World, which takes many forms – there is increased confidence in the New World, less fear of it, more can be easily achieved, less assistance is needed etc. The hero has grown a little. In The King’s Speech (2010), Bertie arrives alone, unaided, to Lionel’s office. He can make it to the darker and less desirable parts of the city alone now. Born For It Characters find that they have Natural Capacities in the Deeper New World. This is because the Deeper New World will draw out their True Selves (Who They Are) – thus they are destined to be here and to absorb the teachings of this place. In Rio (2011), though Blue is afraid of the jungle, this is his natural habitat. Eventually, he will return to it. In Rise of the Planet of the Apes (2011), Caesar is afraid of the troops of apes, but he is destined to be among them. Eventually, he will return to them. Detachment From The Old Self One measure of evolution is detachment from the behaviours and limitations of the Old Self. Characters engage in a way that the Old Self would not. They have learned what needed to be learned / overcome earlier limitations and are on their way to overcoming even greater ones.

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In LA Confidential (1997), Exley shoots a man without due process, something his Ordinary, Innocent Self would not have done. It’s a tough decision which will lead to the toughest one of all – killing Dudley. In Raging Bull (1980), Joey says to Jake, “look at you, you fat fuck.” He’s not longer the fit boxer he was. Detachment from the Old World One measure of evolution is detachment from the Old World. While there is not a complete separation from it (which happens in Act III), this is a significant point of detachment. Detachments are metaphors for the loss of the Old Way, World and Self. In Spartacus (1960), Spartacus and the slaves are freed from the gladiator training school and, in effect, their old slave world. Detachment from Ordinary Self Attachments One measure of evolution is detachment from the representations of the Old Way (which represent the Ordinary Self). With characters, this is similar to the “death function” or the “goodbye function,” where characters die or we say goodbye to them. In The Godfather (1972), Michael leaves Kay, his mother, brother and everyone else. Characters that were once close are lost or become less close. In Silkwood (1983), Karen and her friends are initially close, but then become less friendly once Karen starts investigating. Losing Supernatural Aids, mentors and father figures is common. Commonly, they are no longer required because the hero has outgrown them. In Spiderman (2002), after Uncle Ben’s death, Peter Pulls Away from the Older Self. Else, simply tangibles or people representing the Old Way are lost. In Clash of the Titans (1981), Pegasus is lost (captured). In Jason and the Argonauts (1963), Hercules departs. This doesn’t mean we don’t see these characters again – just the function of these things not being there at this stage sends the message.

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In The King’s Speech (2010), Bertie arrives alone, without Elizabeth, to Lionel’s office. But she’s an essential symbol of Bertie’s overall change and we meet her again. Much of the detachment from Ordinary World Attachments is the leaving behind of the image that they have of the hero. The image that s/he is unable to do what must be done. In Chinatown (1974), after Chinatown, Gittes’ colleagues are surprised that he is going after the Big Game. In The Godfather (1972), after all of Michael’s idealism, Sonny and Tom et al are surprised that Michael is suddenly prepared to kill someone for the sake of the Family. This is benchmarking (we leave them behind and return to them later when we have gained the Capacities to incorporate them). In Chinatown (1974), Gittes sits in his office with his associates and tells them that he’s going to sue the hell out of the Big Game. We do not meet them again until their incorporation into the Mature Self during the Final Conflict. Weakening Pull of the Old Characters still carry psychological links (represented by attachments) and physical links (represented by tangibles) to the Ordinary World / Self. Characters may even believe that one day there will be an unchanged return to that Ordinary State. Generally, however, those links are weakened. In Six Days and Seven Nights (1998), Quinn and Robin still have the flare when they crash land on the island. Both believe that if they are rescued, they will return the same people. In Platoon (1986), Taylor still writes to Grandma. He believes he will return the same person. The psychological link is broken when he stops writing to her. In Gorillas in the Mist (1984), Dian still carries a photo of her boyfriend. She believes she will return the same person and marry him. The psychological link is broken when his photos disappear.

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Irritation with the Old Commonly, there is irritation with the Old Self / World and its limitations. In An Officer and a Gentleman (1982), Zach becomes irritated when Paula encourages him to talk about his old life. Thematic Separation Commonly, characters separate from inappropriate influences. This is a form of evolution (the initial allegiance with dark forces or incorrect ways of thinking is broken). Thematically, characters are separating from influences which promote the original thematic position; which resist the direction where the theme is going. In The Help (2011), Skeeter breaks with Hilly. In LA Confidential (1997), White leaves Dudley. Stripped Away Generally, the Older Self has been stripped away on some level. In Dances With Wolves (1990), John Dunbar’s Old Self has been gradually stripped away. His “Self,” in other words “Who He Is,” is represented by his uniform, which he increasingly wears casually. Awakened Generally, while the hero has not fully accepted the opposite side of the theme, s/he has awakened to it. Past the Physical Separation, there is a call to fully awaken to it. Superego archetypes will wake up and Id archetypes will remain asleep. In Oliver (1968), Nancy urges Bill to wake up. He resists. Ready For Deep Change / Reversal At this point, the hero is ready for the deeper change. From the thematic point of view, s/he is ready to turn to the other side. In Dances With Wolves (1990), when John Dunbar walks to the Sioux village, he is ready to learn that nothing he has been told about these people is true.

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Pulling Away (Potency Separation, Supernatural Aids) One purpose of the journey through the Deeper New World is deep change. Deeper New World Supernatural Aids will guide this deeper change. These Supernatural Aids will be a higher caliber than those encountered in the First Threshold. In The Matrix (1999), the Oracle is more powerful than Morpheus. Limitations Overcome If these Supernatural Aids are the same character as the First Threshold Supernatural Aid (or earlier Ordinary World Supernatural Aids), then they will raise their caliber of guidance. In other words, some limitation to their higher caliber of guidance will be removed, or the hero himself (or herself) will have overcome some limitation to the higher caliber of guidance (s/he will be Ready for it etc). In The Matrix (1999), earlier on, Neo was “Not Ready” to meet the Oracle. Power of Sight Awakening and “Being Able To See” is one way of looking at the deeper change, which the hero will undergo in the Deeper New World. Because Deeper New World Supernatural Aids will guide this, they will tend to have the power of sight to a much greater degree than earlier Supernatural Aids. In The Hobbit: An Unexpected Journey (2012), Galadriel is able to see more clearly than Gandalf and guides him. Visualizing the New Self One element of the “Power of Sight” is that the Deeper New World Supernatural Aids (or characters with similar archetypal roles) are able to see the hero’s true potential. They are able to see the hero’s New Self. They are able to see the hero for Who He Is. They can see the hero as Not An Ordinary Man and therefore can see him doing things that Ordinary Men cannot do (namely, Seize The Sword). In The Hangover (2009), previously nobody accepted Stu as a doctor, whereas Jade does. Jade doesn’t see Stu as being “quiet.” In The Matrix (1999), the Oracle and Morpheus can see Neo’s potential.

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The Castle as Ordinary World Commonly, the Castle is the Deeper New World Supernatural Aid’s Ordinary World. The Deeper New World Supernatural Aid belongs in the Castle and the hero does not belong there yet. The Deeper New World Supernatural Aid (and Castle) are representative of the other side of the theme, which the hero will move towards. In Educating Rita (1983), Frank invites Rita into his home. Frank’s home Is the Castle. Deeper New World Supernatural Aid’s Backstory Commonly, this character is a Failed Hero and his/her Ordinary World (the Castle) is representative and symbolic of the failed battle with the Greater Antagonism. Symbols of that past event are evident here. In Gladiator (2000), Proximo was once champion gladiator in Rome until he was destroyed by it. His home is all about that event. In The Postman (1997), Getty is a broken man. The Deeper New World Supernatural Aid’s path is one which the Hero will have to mirror, only succeed at instead of fail. Deeper New World Supernatural Aid’s Limitation The Deeper New World Supernatural Aid has a limitation, which caused him to lose the battle with the Greater Antagonism – hence s/he knows the Greater Antagonism’s Achilles Heel better than anyone. The hero will have to surpass the Deeper New World Supernatural Aid’s limitation (and therefore surpass the Deeper New World Supernatural Aid himself). This will be the basis of the hero’s eventual detachment from the Deeper New World Supernatural Aid and the basis of the Apotheosis away from the Deeper New World Supernatural Aid at the end of Act II. In The Postman (1997), the Postman will have to battle Idaho just as Getty did. In Gladiator (2000), Proximo knows the game and has insights, which will help win it.

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Pulling Away (Potency Separation, Antagonism) Just as the Deeper New World Supernatural Aids raise caliber in this section, so does the Antagonism. In Schindler’s List (1993), Goeth starts randomly shooting at Jews within the concentration camp. In fact, it is arguably because the Antagonism raises his (or her) caliber that Deeper New World Supernatural Aids must raise theirs. Actually, it is because the hero is changing and must continue to change that the other archetypes raise their caliber. Deeper New World Supernatural Aids push the hero forward whereas Antagonisms hold the hero back. In Shawshank Redemption (1994), it is here when we really meet the Warden (Greater Antagonism), the real power and evil behind the guards. In Ben Hur (1959), it is here when we meet Caesar, who represents Rome (Greater Antagonism), the real power and evil behind Messalah and Pontius Pilote. Id Potency Generally, the Superego represents the forces of good and the Id represents the forces of evil. Just as the Superego gains potency, so does the Id. In other words, it is common for characters to take sides and a whole new set of characters to appear, who reinforce each side. In Rio (2011), Nigel persuades the monkeys to help him. In Raiders of the Lost Ark (1981), Indy has Sallah but Belloq gets the Nazis. From the Goldilocks metaphor point of view, we now leave behind Baby Bear and encounter Mama Bear. In Gremlins (1984), as the Gremlins mutate and burst their cocoons, they become more evil and villainous; they turn from little cuties to little horrors. In Rio (2011), the fearsome Nigel is put in charge. Limitation Overcome Specifically, this is when the Antagonism overcomes some previous limitation.

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In Star Wars (1977), the Death Star destroys Alderran; it becomes fully operational and can now destroy the Rebellion in one swift stroke. In Rio (2011), Nigel is not a softie but his predecessor was. Antagonism as Benchmark The antagonism’s potency is a measure of the hero’s Devolved Self - a demonstration of the difference between what the hero presently can do and will be able to do (vanquish the antagonism in Act III). This is, implicitly, a measure of the distance the hero must travel before s/he can even begin to contemplate a confrontation. It is also, by its very nature, a foreshadow of the Final Conflict. In The Godfather (1972), as Michael leaves for Sicily, a war breaks out between the Families. This is what he will have to ultimately confront – war with all the Families. In Ben Hur (1959), Judah is taken to Rome by his adopted father. The arrival in it and his presentation before Caesar is implicit of the Greater Antagonism and the Final Conflict – Rome is the True Enemy.

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Benchmarks (Deeper New World) One purpose of the journey through the Deeper New World is deep change, which can be described as a reversal of earlier states or this state. In In The Heat of the Night (1967), Virgil doesn’t want to get involved. After meeting with Endicott, he wants to nail him. This is one of the reversals which occurs, from Unwilling to Willing. As the character changes deeply, so the Deeper New World changes with him. This is an externalization of the change. Specifically, the Older World dissolves away and the New World begins to materialize. What we do here is benchmark the Worlds so that we can show them changing as we progress. Journey and Border Symbolism leads into a Castle, commonly at the behest of some Supernatural Aid or Magical Gift. As in all New Worlds, the Castle has its own New Creatures, Sights and Sounds. In The Shawshank Redemption (1994), the warden sends Andy to the library. Castle Symbolism The Castle is that tangible, usually, but not necessarily, an edifice that represents the hero’s present Devolved Self and eventual New(er) Self. When initially encountered, the Castle is devolved, uprooted, empty, dysfunctional and bare on some level. As the Hero progresses and evolves within the Deeper New World, so the Castle evolves too – it becomes fuller, warmer, homelier, busier etc. This Castle may or may not be the same Castle which is encountered in the First Threshold. In other words, you may use the same or separate tangibles to demonstrate the evolution. In Shawshank Redemption (1994), the library grows as Andy does. In Gorillas in the Mist (1988), the camp that Dian initially enters is threadbare. Eventually, she makes it her home. Its evolution mirrors hers. In Yojimbo (1961), the bar is initially threadbare. As the Samurai progresses, it becomes busier.

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In Six Days and Seven Nights (1998), the aircraft is the Castle – initially it is broken and unable to fly. It’s development mirrors the couple’s development on the island. Closing of the Castle Loop If the Castle represents evolution in Act II (or the evolution in the Deeper New World), then it becomes fully evolved at the end of Act II. If the Castle represents the hero’s complete evolution throughout the story, then it becomes fully evolved at the end of Act III. Does Not Belong Characters are invited into the Castle, commonly an Intimate, High Status Place within the Deep New World. Characters are initially uncomfortable in this place and their eventual comfort in it will represent their evolution. Discomfort in this place shows that the character does not yet belong in the Deeper New World. Later comfort will indicate that the character does belong in the Deeper New World. In Educating Rita (1983), Frank invites Rita into his home. She is initially uncomfortable there. Later, she is blasé about it. In The Devil Wears Prada (2006), Andy is invited into Nigel’s dressing room. She is initially uncomfortable there. Later, she is blasé about it. Thematically Opposed One purpose of the journey through the Deeper New World is deep change. This means that the character has to change thematically. At this stage the character is on the wrong side of the theme and the creatures of the Deeper New World are on the other side of the theme. This is why the character doesn’t belong. This is also why the character will eventually belong – s/he will belong when s/he adopts the same thematic position as the creatures of the Deeper New World and Castle. Benchmarking Elixirs Characters arrive in the Deeper New World and the Castle seeking elixirs (tangibles, which represent intangibles). Generally, they will be seeking direction and resolution to their problems and limitations etc. In The Hangover (2009), the boys tell Jade that they’ve lost and are trying to find Doug.

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The Castle’s evolution will benchmark the journey toward these elixirs – the closer characters are to their Elixir’s, the more the Castle evolves, or the more they near entry into it, comfort within it, belonging within it, can acquire the treasures within it etc. In The Hangover (2009), the more Stu changes, the closer he gets to Jade. New Rules The Deeper New World is also benchmarked by New Rules. In Schindler’s List (1993), Goeth starts randomly shooting at Jews within the labor camp. These are new rules for the new world of the labor camp. As the hero progresses and evolves and eventually leaves the Deeper New World behind, so this is shown by him (or her) breaking these New Rules. In Scarface (1993), Frank tells Tony to lay low if he wants to survive. Eventually, Tony breaks Frank’s rules, which demonstrates that he is surpassing his old mentor.

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Benchmarks (Devolved New Self) One purpose of the journey through the Deeper New World is deep change. What we do here is benchmark the hero / characters so that we can show them changing as we progress. Character Devolved States All characters will be at an early change-state, relative to their final states. They will be Polarized, Divided and Different. In The Hangover (2009), Stu is not happy that Jade is a stripper – he has yet to accept her. Alan didn’t know they gave out rings at the holocaust, which the others find stupid. They are divided and different. Characters are Directionless or Lost: In Romancing the Stone (1984), Joan naturally takes to the jungle and starts hacking away, but has no idea where she’s going or where she is. Characters are Ragtag. In other words, they do not act in unison, in harmony or synergistically. In Spartacus (1960), the freed slaves have not yet decided to become an army of gladiators and thus are directionless; a band of thugs roaming the countryside. Characters are Barely Able to Survive. In Rise of the Planet of the Apes (2011), Caesar is, initially, barely able to survive with the rest of the troop. Characters have a Flaw, an outer manifestation of the inner damage. As the repair is an arc, there are usually a few flaws or the flaw is repaired incrementally. This is part of the repair and recovery and becoming whole again. In Iron Man 3 (2013), Stark starts a somewhat broken man. Evolution In/Tangible Some in/tangible will represent the early-stage here. It will be referenced again later (we will arc through it) to indicate evolution from this early state to the later state. It will mark the hero’s evolution as we progress through the Deep New World. Commonly, the Evolution In/Tangible may be a Capacity.

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In The Godfather (1972), Michael can barely speak Italian when he arrives in Sicily. By the time he leaves it, he is fluent. In LA Confidential (1997), the freeway gets the go ahead and work starts. Commonly, the Evolution In/Tangible may be a Losing Old World Attachment (which will eventually be lost, thus illustrating loss / dissolution / detachment of the older state. In Platoon (1986), Taylor still write to Grandma. Later he stops. Commonly, the Evolution In/Tangible may be a Growing New World Attachment (which will eventually be gained, thus illustrating the gain of the new state). In Dances With Wolves (1991), John Dunbar saves Stands with a Fist from her suicide attempt, and later “wins her over” romantically. This is symbolic and representative of John’s change. Limitations Some limitation is made explicit. As the hero changes, so the limitation will dissolve away. In Fast & Furious 5 (2011), Han is single and has to keep his hands and mouth busy. After the process, these issues are resolved. The Limitation to the Return, the Limitation to the Return Home is common. In Inception (2010), Cobb can’t return home. This links directly to the Loss of the State of Perfection, Outer and Inner Challenges etc. In An Officer and a Gentleman (1982), Zach references the death of his mother, the no-good father and his days in the PI. The Limitations to the Elixir is common. In Romancing the Stone (1984), Jack wishes for a boat (a metaphor for liberty). He’ll get it at the end. Fishes Out Of Water Characters are Fishes Out of Water in the Deeper New World and the Castle. In The Hangover (2009), Jade asks the boys why they’re all acting so weird.

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In Rio (2011), Blue is unfamiliar with and scared of the jungle. It is not just the new arrivals that are Fishes Out of Water, the receivers are also Fishes Out of Water etc in their presence. From the point-of-view of the Natural Inhabitants of the Deeper New World, the new arrivals are strange and they do not know how to deal with them. This is the result of the two sides being thematically opposite. As the two sides merge thematically, they will each begin to belong and act synergistically. In Dances with Wolves (1990), when John first arrives in the Indian village, Wind in his Hair clumsily pulls Stands with a Fist off the horse. He doesn’t know how to react to the White Man. Bull in a China Shop Though characters are “born for this place (the Deeper New World),” they are presently incompetent in this place. Their capacities just haven’t been developed or refined enough. In essence, these are early symbols of their Newer Self. In Six Days and Seven Nights (1998), Robin trips in the sand and accidentally releases the life raft, trapping herself. In Scarface (1984), Manny is like a Bull in a China shop when sticking his tongue out to the girls on the beach. Innocence The Deeper New World is where characters will really grow up. Some expression of innocence, which will later reverse to maturity is made explicit. This is a grown up world and the childish hero doesn’t belong in it. In Romancing the Stone (1984), Jack didn’t know the Doobey Brothers had split up. In Scarface (1993), Omar thinks Tony is a peasant. In Star Wars (1977), when they take off from Tatooine, Han refers to Luke as “boy.”

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Encouraged Onto The Road Of Recovery (The Elixir) This is the push onto the Road of Trials / Recovery proper, where the hero will reverse. It is a Call onto the Road of Trials. Period of Uncertainty Before being encouraged onto the Road of Trials, there is a period of ambiguity as to where and how to proceed, if at all. In The Godfather (1972), when Michael first arrives in Sicily, he has no clear plan except to wait out his time. In Romancing the Stone (1984), after being forced into the jungle by Zolo and his men, Jack wonders why he’s guiding Joan. Awareness of the Seeking Deeper New World Supernatural Aids are made aware of the hero et al and what they are searching for, if they don’t already know. In Scarface (1983), Frank knows what Tony wants. Else, some opportunity to learn (or something similar) presents itself. In Avatar (2009), the Colonel et al are aware that the Omaticaya clan have chosen Jake. Pointing To The Elixir Deeper New World Supernatural Aids point characters toward the Elixir. The Elixir is a tangible representation of inner achievement. Once they have acquired it, they will have changed (they can only acquire it once they have changed). The Elixir is the medal which is given as a reward for inner change. The Elixir usually involves a series of tasks. The Elixir itself is the grand reward that results from the journey. In Fast & Furious 5 (2011), Dominic and Brian decide to catch the corrupt businessman. In Thor (2011), Thor is looking for his hammer, which he will only acquire after he has changed. In Scarface (1983), Elvira will let Tony bed her when he becomes boss she doesn’t sleep with the help.

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In An Officer and a Gentleman (1982), Foley wants Zach to change from thug to officer. In Water For Elephants (2011), August wants Jacob to become his elephant trainer. It could even be Ordinary World Attachments and eventual antagonisms who encourage the journey onto the Road of Recovery. In Avatar (2009), everyone, including the Colonel, Selfridge, Neytiri and the clan pushes Jake’s learning / transformation. Thematic Immersion The Elixir will in/directly lead deeper into the Deeper New World. In essence, a reason to venture deeper into the Deep New World is found. The Deeper New World represents the opposite side of the theme, hence this is a deeper immersion in the opposite side of the theme. In King Kong (2005), King Kong kidnaps the girl and takes her deep into the jungle, triggering the others to follow. In Gladiator (2000), Proximo will lead Maximus to the Coliseum and the encounter with Commodus. The journey through the Road of Trials proper will do a number of things: Synergy It will focus the ragtag, directionless characters, give them purpose and unite them thematically (or point them towards the common thematic goal). In Romancing the Stone (1984), from the experience in the downed aircraft, Jack’s focuses on attaining the jewel. In The Shawshank Redemption (1994), after the arrival at the library, Andy focuses on making it excellent. In Dances With Wolves (1991), Ten Bears wants Kicking Bird and Wind in his Hair to find out more about the white soldier and how many more are coming. Gaining Capacities It will force them to acquire Capacities, so as to be able to survive within the Deeper New World.

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In The Shawshank Redemption (1994), Andy is going to gain the Capacities to restore the library to its full glory; with these will come the Capacities to be able to confront the warden and eventually escape. New Self It will Dissolve Away The Older Self. A Deep Transformation where the Old Self evaporates away and leads to the New Self. Characters discover Who They Are. In The Shawshank Redemption (1994), Andy is going to become a librarian. In The Devil Wears Prada (2006), Andy will become a fashion natural. This, in essence, is the hero’s destiny. In Forrest Gump (1994), Lieutenant Dan tells Forrest he has a destiny. Belonging It will lead them through a status rise and belonging in the Deeper New World. In The Shawshank Redemption (1994), Andy’s rank rises as the library develops. Belief It will lead them to believe in the opposite side of the theme. In Oblivion (2013), Jack moves away from Sally and toward the renegade Earth dwellers. Sword Commonly, the Elixir may be a reward to be acquired on the Road of Trials, or it may be the Sword itself. In The Shawshank Redemption (1994), Andy’s restoration of the library will lead him to the record, with which he will disobey the warden. Repair It will lead characters onto the Road of Repair, where the damage will be rectified. The healing process begins in earnest on the Road of Repair. In The King's Speech (2010), the metaphor for that is the fixing of the toyaircraft. In Oblivion (2013), Jack will repair the damage done to him.

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Rediscovery It will lead characters to discover that which has been lost. In Oblivion (2013), Jack will rediscover what he has lost. State of Perfection It will show the way back home. In Meek’s Cutoff (2010), Emily helps the Indian because she wants him to owe her and thus help find water. In Spartacus (1962), Spartacus will only gain freedom if he becomes leader of an army. In Fast & Furious 5 (2011), the solution to the boys’ problems is to steal all of Dominic’s money. In Lord of the Rings: Fellowship of the Rings (2001), the Ring must be destroyed in Mount Doom – this quest benefits and motivates all of Frodo’s allies.

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Road of Recovery (Interdictions) The Road of Recovery will force the hero to change deeply. Anything which prevents the forward movement is unconsciously or consciously aligned with the antagonism and exists simply to prevent characters changing. Many obstacles prevent or conspire to keep characters as their Old Selves. In The Wizard of Oz (1939), this is what the Wicked Witch is literally and metaphorically always trying to do - warning Dorothy not to progress: “go back, go back…” Both the Deeper New World and the Road of Recovery are New Worlds in their own right. Both contain dangerous New Creatures, Sights and Sounds, which are Metaphors For Non-Acceptance and Non-Belonging. In Rio (2011), once in the jungle, Blue quickly encounters a dangerous spider and feels low on the food chain. Exiled and Outcast These creatures are thematic opposites to the hero and therefore the hero is repelled. Because the hero is the thematic opposite, s/he does Not Belong. In The Empire Strikes Back (1980), Luke doesn’t belong on Dagobah. Because the hero is the thematic opposite, s/he is Unwelcome or Unacceptable or Inappropriate in some way. These are benchmarks of evolution within the Deeper New World and Road of Recovery – comfort and invitation are only possible once characters have become accepted members within it, which means that they must thematically align. Characters attempt to enter the Deeper New World, Road of Recovery and the Castle are turned away (later, after the change, they will be welcomed). In Dances with Wolves (1990), Wind in his Hair tells John (when he first appears) to leave the village – he is not welcome there. Later he is asked to move in. In The Sheriff of Fractured Jaw (1958), the Indians shoot arrows at Jonathan.

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Else, characters exile themselves, wondering why they’re there. In The Empire Strikes Back (1980), Luke considers leaving Dagobah before meeting Yoda. Minor Threshold Guardians These function as blocks to enforce exile and outcast. In The Shawshank Redemption (1994), Andy wants to build the library, but there is no money and wardens don’t give money. Brooks tells him it is hopeless. In An Officer and a Gentleman (1982), Zach doesn’t let Paula leave the hotel room and walk out of his life, as he normally would. Warning and Foreboding Symbolism These also function as blocks to enforce exile and outcast. Commonly, some form of dragon (a metaphor for danger) will be present along the Road or at the end of it. In other words, it’s dangerous, don’t do it. In Ben Hur (1959), Judah’s adoptive father holds him back from going back to resolve the conflict with Messalah. In Romancing the Stone (1984), Joan fears trusting Jack. He could easily steal the stone. In Dances with Wolves (1990), Wind in his Hair doesn’t like the idea of communicating with John. Unwilling Archetypes Characters will themselves resist the Road of Recovery and the Becoming of the New Self. In The Hangover (2009), Jade calls Stu a doctor, but he reminds her he’s just a dentist. Commonly, these are initially significantly cynical – they do not believe in the opposite side of the theme and therefore the value of integration and acceptance. In Star Wars (1977), Han doubts Luke and the Force. In The Matrix (1999), Cypher doubts Neo.

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Else they do not believe, in some way, that the State of Perfection can be returned to, that the antagonism can be vanquished, that the hero can change, that the hero is The One etc. In An Officer and a Gentleman (1982), Foley doesn’t believe that Zach can lose the selfishness and make the program. Willing Archetypes These will be blocked by interdictors. In The King’s Speech (2010), judges prevent Lionel from getting the acting role; they prevent him from growing to the Newer Self and reaching the Mature Self. Forward Back Dissonance Willing Archetypes want to venture forward and Unwilling Archetypes attempt to hold them back. In King Kong (2005), the kidnapping forces the search for the girl deeper into the jungle, but at the same time there are forces encouraging not going into the deeper jungle. Commonly, antagonisms force characters onto the Road of Recovery. But simultaneously, antagonisms want to capture and prevent the forward movement. These are physical manifestations of the dissonance to the movement forward. In Romancing the Stone (1984), Zolo's men pursue and force the Jack and Joan deeper into the jungle. But at the same time, they’re trying to capture them. Conflict manifests itself and represents the opposition between forward and backward forces. In Spartacus (1960), Crixus confronts Spartacus as he attempts to pull away from the Ordinary Self.

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Forced Embarkation, Only Going Forward Limitations Overcome In essence, all interdictions and limitations to the journey onto the Road of Recovery are overcome. Some critical threshold is crossed. In Star Wars (1977), the Imperial Starships attempt to push the Millenium Falcon back to Tatooine until Han is able to make the switch to hyperdrive. In The Empire Strikes Back (1980), Luke finds Yoda. Forced Embarkation This is one way to overcome interdictions and limitations. In The Wolverine (2013), Logan and Mariko are forced off the train by the kidnappers. Breaking Ordinary Rules Commonly, the interdiction or limitation is some Ordinary World Rule, which is broken. The Ordinary Self is free to let go and change. In The King’s Speech (2010), Bertie had a rule – never to talk about his personal life; now that evaporates and he begins revealing all to Lionel. In The Help (2011), Skeeter breaks the bridge club rules and misquotes Hilly. In Romancing the Stone (1984), Joan smokes some pot when in the downed aircraft, something her Ordinary Self wouldn’t do. Supernatural Aid Magical Gifts Supernatural Aids provide Magical Gifts, which overcome interdictions and limitations. In Fast & Furious 5 (2011), Dominic and Brian need a team, hence Han et al arrive. In Rio (2011), Blue and his girlfriend meet Rafael. Contained In This Place Commonly, some in/tangible must be acquired before characters can exit or overcome interdictions and limitations. In Six Days and Seven Nights (1998), Quinn tells Robin that they maybe stuck on the deserted island for a long, long time.

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In essence, characters are contained (if only briefly) in this place (past the physical separation and before the Road of Recovery) until they acquire the Capacity to move forward, another Liberty In/Tangible. In Spiderman (2002), Peter’s uncle dies. Peter embarks once the cop gives him the picture of the suspect. The Old Way Is Over In essence, it is recognised that the Old Way is over and we need to Learn About The New Way. Thematically, we are learning about the opposite side of the theme. In Dances With Wolves (1990), Ten Bears decides to learn about this white man, who represents what is coming. Death Symbolism This represents the death of the Old Way. Characters die off. Only Going Forward Death Symbolism is trying to tell you that there is No Going Back, that the only way is forward. The way back is physically cut off. In Brokeback Mountain (2005), Jack Twist asks Joe for a job on the mountain again and is flatly turned down. There is no way back. In Butch Cassidy and the Sundance Kid (1969), once the posse begin pursuing Butch and Sundance, there is no going back. In The Help (2011), Aibilene can’t go back after what they did to her son. In King Kong (2005), after Jack crosses the gorge, the log falls away. Ordinary Self Pursues As the hero crosses the critical threshold onto the Road of Recovery (where s/he will change significantly and reverse to the other thematic position), so Ordinary World Attachments (who represent the hero’s Old Self) pursue in an attempt to pull him (or her) back. They are trying to pull the hero back to the Ordinary World and to the original thematic position. In The Little Mermaid (1989), the king pursues Ariel when she goes in search of her Prince.

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Contained Within The Road of Recovery (Entry) The Road of Recovery is a New World in its own right. Like all New Worlds, characters Journey and Border Symbolism into it. The Road of Recovery is where the character will a) reverse to the other side of the theme, b) it is the place of coming to terms with the innermost fear and c) it is a place of getting ready to face the innermost fear. Thus, it is a Foreboding Dangerous Domain and Supernatural Aids need to push characters into it. In An Officer and a Gentleman (1982), all the trainees must undergo the swimming pool test and they’re all scared of it. As with all New Worlds, the Natural Inhabitants and Behaviours are unfamiliar. It is full of New Creatures, Sights and Sounds. In The Hangover (2009), the boys are in the police station, with its own cops, prisoners and visiting children. Road Symbolism Commonly, the Road of Recovery is literally a road along which the character walks while s/he is changing, evolving and Gaining Capacities. In Wizard of Oz (1939), Dorothy walks the Yellow Brick Road. There are various types of Road Symbolism, from literal roads to bridges to railway tracks to rivers to gates to doorways etc. In Cool Hand Luke (1967), the chain gang tars the road. In Little Miss Sunshine (2006), Olive and family take to the road in the VW. In Stand by Me (1986), the boys walk along a train track. Hero Containment and Lock-In Commonly, the hero is locked into the Road of Recovery until s/he reverses. The exit (see later section) is the exit from this containment. In Rio (2011), Blue and his girlfriend must get rid of the chain that binds them. If this stage occurs within a location, then the Road of Recovery may include the Castle.

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In Withnail and I (1987), the boys will spend their time in the house. Antagonism Containment and Lock-In Commonly, while the hero is reversing and changing, the antagonism is locked or contained or restrained or limited in some way. In The Avengers (2012), Loki is contained by the superheroes. In Star Trek Into Darkness (2013), Khan is contained by Kirk et al. Lock-Out This is the reverse of lock in. With lock-in, the character is locked into a particular world until s/he changes. With lock-out, the character is locked out of the Deeper New World until s/he changes. When the hero first arrived in the Deeper New World, s/he was exiled and outcast. The hero is locked-out there until s/he changes. In other words, when the character starts to look like s/he belongs, that’s when the lock-out ends and the character is allowed in. In Dances With Wolves (1990), when John Dunbar first arrives, Wind In His Hair tells him to go away. It’s only after the Road of Recovery when John changes and begins to look like he belongs that he’s invited to the village – the lock-out ends. Road of Recovery Task (Tangible) Commonly, the Road of Recovery involves completing some tangible task. In Withnail and I (1987), the boys hunt for food along country roads. In The Wolverine (2013), Logan has to protect Mariko. In Avatar (2009), Jake’s task is to get the clan to move, so that the Colonel and the Corporation can mine the area. Road of Recovery Task (Intangible) But the real task is to turn to the other side, to become someone else representing the other side. In Avatar (2009), Neytiri wants Jake to become a warrior. Limitations To The Task

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There will be limitations to the task. The task is the outer tangible, which represents the inner change. As the inner change progresses, so the task increasingly becomes reachable. The real limitation is letting go of the Older Self and all it represents. In Avatar (2009), Jake will have to let go of Who He Is to find himself. He’ll have to let go of the marine, the military man working for the Corporation. Race Against Time Commonly, there is Time Pressure to complete the task. In Dances With Wolves (1990), Kicking Bird is in a hurry to communicate with John and know how many more soldiers are coming. The Race Against Time is exacerbated by antagonisms, false heroes, proxy heroes etc unavoidable bringing the world closer to Armageddon. In The Godfather (1972), while Michael is in Sicily, back home things aren’t getting any better. The war between the Families is getting more aggressive and it’s interfering with business. Repair / Recovery Metaphor The purpose of the Road of Recovery is to recover, to repair, to rediscover what has been lost. Some tangible will act as a metaphor for all this. We are about to mend what is broken and so some form of Becoming Whole Metaphor is common. In The King’s Speech (2010), the Duke starts repairing the toy aeroplane. In Bridesmaids (2011), Annie has to fix her broken tail-light. Growth Metaphor We are about to embark on significant growth and change, which is commonly accompanied by some form of tangible metaphor. In Crazy, Stupid, Love (2011), Cal starts tending the garden. Graduation Metaphor Similar to the above, a benchmark tangible will be introduced to demonstrate incremental graduation along the Road of Recovery and beyond. In The Hangover (2009), Jade is wearing Stu’s grandmother’s ring. When Stu graduates, he’ll get the ring back.

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In The King’s Speech (2010), Lionel hasn’t earned his Shilling yet. In Dances With Wolves (1990), the Sioux are waiting for the buffalo. Their eventual arrival marks John’s graduation from the Road of Recovery.

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Reversing / Recovering (Trust, Ending Exile / Outcast) This section ends the state of exile, outcast and complete polarity of the hero within the Deeper New World. Fish Out Of Water In the beginning of the Road of Recovery, characters are Fishes Out of Water. As this is a New World, there are two sets of characters – the hero and his or her allies and the Natural Inhabitants of the Road of Recovery (who are Natural Inhabitants of the Deeper New World). Commonly, both sets of characters are Fishes Out of Water. Each represent the two sides of the theme – the hero will learn to cross over to the opposite side (of the theme). In Dances With Wolves (1990), when the Sioux delegation goes out to meet John Dunbar at the Fort, both they and he are Fishes Out of Water. Unwilling Archetypes (Doves) resist and hinder the journey. In Dances With Wolves (1990), Wind In His Hair is resistant to talking with and getting to know John and the White Man. Willing Archetypes (Hawks) do the opposite. In Dances With Wolves (1990), Kicking Bird is keen to talk with and get to know John. Low Status In the beginning of the Road of Recovery, characters have low status in the New World. In Dances With Wolves (1990), when the Sioux delegation first meet John Dunbar, Kicking Bird thinks he’s nuts. Commonly, it is believed that the hero will not be able to learn, to “see” the other side. It is believed that the hero is a fixed representation of the “wrong, other side.” In Avatar (2009), Moat doesn’t respect Jake and thinks he should go away. He doesn’t think Jake is able to learn or “see.” He thinks that Jake is a rock, not able to bind with nature.

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Benchmarking Various benchmarks or some of the metaphors mentioned earlier will be set up to demonstrate improvement as we go along. In Dances With Wolves (1990), when the Sioux delegation first meet John Dunbar, he starts mimicking buffalo – when the Buffalo arrive, John will be accepted into the village (he will not be outcast or exiled, he will belong). He’s also initially dressed as a soldier - later, he’ll strip that uniform off. Also, nobody speaks the other’s language – later, John speaks Sioux and Kicking Bird some words in English. Dangerous Outer Trials Commonly, trials will be engaged in. As they represent innermost fears, they will be dangerous and intimidating. In Priest (2011), the Priest teaches Hicks how to shoot vampires. In Fast and Furious 5 (2011), Dominic and Brian win the car easily, which they need to carry out the heist. In Avatar (2009), Jake learns to ride the “horse” and the dragon. To speak and fire bows and arrows etc. He’s reading the trail, the tracks, finding water etc. Learning about the New World. Dangerous Inner Trials The Dangerous Outer Trials are simply externalizations of the inner challenges that are being grappled with. What we’re doing here is carving away at Inner Challenges, the root of the problem. In The King’s Speech (2010), Bertie lets go off his limitations about talking about his personal life and lets Lionel works on the root of the problem. In Avatar (2009), Jake learns to ride the “horse” and the dragon etc, but he’s really learning to “bond” with them and nature and spirituality and all the things that the clan represent, which is the opposite of the things that the Colonel and the Corporation represent. Neytiri is always trying to teach Jake about the “flow of energy,” the “spirits of animals,” “a network of energy which flows through all living things,“ “all energy is borrowed and one day you have to give it back” etc – he’s learning to become like them, to be them, to become spiritual. New World Rules Common to these trials are new rules and limitations, which characterise the New World. Once the hero transcends the New World, these rules and limitations will also be transcended (in other words, the limitations of the New World will be transcended).

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In Scarface (1983), Frank tells Tony the rules needed to be adhered to if one wants to survive as a dealer. Gaining Capacities Once characters let go of the old limitations (commonly, under the guidance of Supernatural Aids) and adopt the new approach, they demonstrate Extraordinary Abilities not seen in Ordinary Men. In short, they demonstrate they are Naturals (Born For It) and prove cynics wrong. In essence, this is because they are recovering or rediscovering something which was previously possessed but then lost. In the spectrum from enemy to family, this is the stage of “incremental wins” and “good relations.” In An Officer and a Gentleman (1982), Zach is a natural in the water. In The Empire Strikes Back (1980), Luke begins to get much more powerful under Yoda’s guidance. In Avatar (2009), Jake says he was “born for this.” Symbol Exchange Representations of each world are exchanged to facilitate integration. In Dances With Wolves (1990), John makes the Sioux delegation coffee. The Sioux give John buffalo skin to keep him warm in winter. In Back to the Future (1985), Marty magically creates a skateboard to get away from Biff. This other worldly thing captivates Lorraine. Early Losses and Slow Progress Early engagement in the trials yields early losses and is slow. Progress is based on failure rather than success. In The Shawshank Redemption (1994), Andy doesn’t get any responses to his letters. In Star Wars (1977), Luke isn’t able to defend against the simulationattacks with his light-sabre. In Avatar (2009), Jake resists Neytiri’s spiritual talk. End of Exile As we progress, so each side increasingly feels at home with the other. Each side is belonging and becoming less of an outcast to the other. The initial unwelcomeness and exile dissolves away or ends. If the hero wasn’t allowed in the Castle earlier, he is now.

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In Dances With Wolves (1990), first the Sioux delegation waits far off on the hill, then they come into the Fort and watch John make coffee. Then John is invited into the village; now the village welcomes the stranger – he is no longer a stranger. In essence, some earlier forbidden place is now accessible. In Avatar (2009), Jake is ready to learn to fly dragons and go to that place where one is found. Synergy Symbolism New World Inhabitants are beginning to Trust the hero as they begin to “become one” or merge. Characters that were divided, merge. Commonly, characters get closer to those who are closer to their side of the theme. In Dances With Wolves (1990), Two Socks won’t eat from John’s hand just yet, but he’s getting closer. In When Harry Met Sally (1989), both Harry and Sally are learning to synergise - finally they will be one. In The King’s Speech (2010), Lionel’s children are getting closer to their father (they want him to perform and keep him company in his office); the Duke arrives unannounced and asks for a drink (they’re on much more familiar terms). Not Ready / Act II Limitations Commonly, there is also a limitation, which will only be overcome at the end of Act II. Act II has a specific purpose and this limitation benchmarks that. Presently, the hero is nowhere near ready to overcoming it. Commonly, this limitation is overcome when the issue is as important to the hero as it is to the Creatures of the New World. In other words, it is overcome when the hero fully belongs to the New World / has fully turned to the other side. In Dances With Wolves (1990), Kicking Bird wants to know how many White Men are coming, but John is nowhere near ready to tell him. In Avatar (2009), Jake knows that his people are going to attack, but he doesn’t tell the tribe until the issue has become as important to him as to them – until he fully belongs.

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Reversing / Recovering (New Attachments, New Thinking) The pace of progression increases – the rate of change and reversal increases and we see the hero adopt the other side. Cannot See (Unawakened) When the character enters this phase, s/he “cannot see,” s/he is blind to the other side. When s/he exits, s/he has awakened, s/he can see the other side. In Avatar (2009), when Grace et al fly to the floating mountains, all the dialogue is about “not seeing.” Big Wins New, more potent Supernatural Aids and Magical Gifts turn the earlier incremental progress into radical progress. In essence, the limitations to slow progress are overcome. In Dances With Wolves (1990), Stands With a Fist begins to help with communication with John. In Fast and Furious 5 (2011), Han easily gets Reyes’ handprint. In Avatar (2009), Jake is running farther everyday and he trusts his body to know what to do. Detachment From Old Norms And Values The hero detaches from the Old Way of Thinking, s/he detaches from the thinking which defined the previous thematic position. In The Empire Strikes Back (1980), Yoda tells Luke that he must unlearn what you have learned. In Dances With Wolves (1990), John realises that nothing he has been told about these people [the Sioux] is true. It’s not just the hero, other characters arc towards or away from the hero too. In Avatar (2009), Norm, Trudy and Dr Patel are some of the characters that eventually split from their corporate (science and military) attachments. Detachment (Tangibles) Tangibles which are lost are symbolic of the loss of the old way, the gradual dissolving away of the old way.

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Commonly, these are burnt (Burn Symbolism) or die (Death Symbolism). In Memento (2000), Leonard burns his old possessions. With death, you are “killing” the hero’s Older Self, which is generally a good thing if the theme is moving us toward higher moral ground. In Avatar (2009), the dragon will try to “kill” Jake. Detachment (Shape Shifters) When these tangibles are characters, they are lost because they cannot adapt to the new way. They remain attached to the older side of the theme. They change their role or function. In An Officer and a Gentleman (1982), Daniels DORs. In Silkwood (1983), Winston was a Romantic Challenge, but now becomes an enemy. Ordinary Limitations / Rules Dissolving Away Limitations and Rules which defined the Old Way gradually dissolve away. The attachment to the Ordinary Norms and Values that maintained the Ordinary World and Self dissolve away. In Dances With Wolves (1990), John is willing to tell the Sioux about the Fort’s supplies, but they can’t understand him. In The King’s Speech (2011), the Duke tells Lionel that he has never talked to a commoner before; he’s never had a friend either. Now the Duke is allowing himself to approach those. In Avatar (2009), when Jake kills the dog, he does it respectfully, praying for the dog’s spirit while he does so. He gradually stops making reports, which the Colonel can use. Losing Older Self Symbolism As we progress, archetypes strip away symbolisms (commonly clothing) that represent their Older Selves and Worlds. In Six Days and Seven Nights (1998), Robin removes clothing to acclimatize herself to the deserted island. In Romancing the Stone (1984), Joan gradually loses clothing.

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Attachment To New Norms And Values The hero attaches to the New Way of Thinking, s/he attaches to the thinking which defines the new thematic position. In essence, s/he is learning the new way, being exposed to Opposite Ideas. In The Godfather (1972), Michael is told that many of the men have died due to vendettas. 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. It manifests itself through Unusual Behaviour, which represents accepting the Other Side and moving away from the behaviour characteristic of the Old Self. Essentially, some symbol of the Newer Self presents itself. In Meek’s Cutoff (2010), Emily repairs the Indian’s shoes. In Romancing the Stone (1984), Joan begins to hack away at the jungle. She drinks and smokes marijuana, something she wouldn’t normally do. These are representative of her future, looser, more confident, easy-going self. In LA Confidential (1997), Exley shoots a man without due process, something his Ordinary Self would not have done. The thinking that existed previously is reversed. Commonly, the original dislike for the New World turns to like. In Twilight (2008), Bella turns from hate to like with regard to Forks. The unusual behaviour is also indicative of increased belonging. The character turns from Passive To Active, increasingly stepping forward and leading. This is also a form of Growing Up. In The Hangover (2009), Stu begins to walk in front of the boys – he begins to take the lead. He’s also less passive than he was. New Possibilities Once characters let go of the old and adopt the new approach, new possibilities appear. In Spartacus (1960), the treasure allows the gladiators to envision freedom in Libya.

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Attachment (Tangibles) Tangibles which are gained are symbolic of the gaining of the new way, the gradual becoming and accepting of the new way and self. In Dances With Wolves (1990), John accepts the buffalo skins. In Avatar (2009), Jake takes possession of the dragon, “you’re mine.” Graduation Benchmark Some benchmark is hit, which indicates milestones are being reached. In Dances With Wolves (1990), the buffalo arrive and when John enters the village, he is no longer sent away. Pull Away From The Old World A benchmark of the hero’s progresses is detachment / separation / departure from the Old World. The Old World represented the hero’s Old Self, and somehow s/he now separates / is pulled away from it. In Dances With Wolves (1990), John Dunbar packs up his things at the Fort and joins the Sioux on their buffalo hunt. In Avatar (2009), Jake can hardly remember his Old Life. If the hero was reluctant or Unwilling to journey into the Road of Recovery, then that reverses. In Straw Dogs (1971), David is eventually glad he came. Letting Go Of Old Rules and Limitations Pulling away from the Old World is a measure of letting go of the older rules and limitations. It is a measure of forgetting about the Old Way. In Dances With Wolves (1990), when John Dunbar arrives at the Fort, his priority is to stand by his post. By leaving the Fort, he lets go of that. High Status / Celebrity As the hero progresses, so he rises in status to become a celebrity within the Deeper New World, which reverses the older low status position. The hero's status is a measure of evolution in the mainland, which is itself a measure of his adoption of the other side of the theme. In The Shawshank Redemption (1994), Andy’s status rises as he becomes more of a librarian and accountant.

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In Thor (2011), as Thor evolves on Earth, so his status among Jane and her group rises. In When Harry met Sally (1989), Harry goes from being an unacknowledged acquaintance to a romantic interest. In Spartacus (1960), the pirate assumes that Spartacus is descended from a royal line. He becomes undisputed leader. New World Romantic Challenge As the hero progresses, so New World Romantic Challenge (who represents the hero’s progression and belonging in the Deeper New World) begins to arc in the right direction. In Dances With Wolves (1990), Stands With A Fist begins to notice John Dunbar romantically, when he joins the Sioux for the buffalo hunt. In LA Confidential (1997), White sleeps with Lynn for first time. Ordinary World Romantic Challenges who can adapt become New World Romantic Challenges. In Raiders of the Lost Ark (1980), Marion was a Supernatural Aid from which a tangible needed to be acquired. Now she becomes a Romantic Challenge. Wholeness Arc One purpose of the Road of Recovery is to repair, in other words, to become whole again. The Romantic Challenge is a part of this and meeting her (or him) is symbolic of the Return to Wholeness – the Romantic Challenge “completes” the hero. In Dances With Wolves (1990), John meets Stands With A Fist, who he’ll eventually marry. Acceptance / Belonging Arc In essence, characters are going through the acceptance and belonging arc, where they are gradually becoming accepted and begin to belong in the New World. In Astroboy (2009), Astroboy finds new friends and learns to belong with them. In The Godfather (1972), Michael is learning to find acceptance and belonging in Sicily.

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In Scarface (1983), Tony continues under Frank’s employ and soon evolves. Pretty soon he knows his way around and he is making good money. He loses the peasant look.

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Reversing / Recovering (Repel Old, Equal To The New) The first stage is repulsion from the Ordinary World and Self. Ordinary World Alienation Here, the character is exposed to the ugly side of the Ordinary World, the ugly side of the Ordinary side of the theme. In Dances With Wolves (1990), John and the Sioux come across the field, where the buffalo have been slaughtered only for their hides. This is where the character really begins to Wakes Up. In Avatar (2009), Jake wakes up to find the huge tractor tear down the jungle. He tries to stop it, attacks it and smashes the cameras. Between The Two Worlds Repelled by the Ordinary World / Self and not yet a member of the New World / Self, the hero is between the two worlds. In Dances With Wolves (1990), John travels with the Sioux on the buffalo hunt but does not sleep with them. In Avatar (2009), Jake says, everything is backward now, like out there (Pandora) is the true world and in here (the corporate / military camp) is the dream. The second step is attraction to the New World and Self. Not An Ordinary Man Commonly, the hero engages in some trial where s/he demonstrates that s/he is not an Ordinary Man within the New World. This is the culmination of the stages of status rise: from low status to celebrity to superior. Commonly, s/he saves an innocent from death. Or aids in a New World Inhabitant’s survival. In Dances With Wolves (1990), John saves the boy being attacked by buffalo. In Lawrence of Arabia (1962), Lawrence saves the man lost in the desert.

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Equality Commonly, the hero rises in status to equal other Natural Inhabitants of the New World. In Dances With Wolves (1990), Wind In His Hair defends John when he almost gets into a fight in the tent. In 48 Hrs. (1982), Cates forces Reggie to fight and they’re equals. Two Equal Homes Commonly, the hero is now at home in the New World, as s/he is in the Ordinary World. In Dances With Wolves (1990), John feels equally at home in the Sioux village as he does in the fort. Implicit in the two equal homes concept, is the need to choose between them (as each represent a side of the theme). It’s Time To Choose Sides. In Red 2 (2013), Director Philips tells Victoria, "its time to choose sides." Pulled Into The New World Whereas the hero was previously between Two Worlds, s/he is now pulled to one side, to the New World. The hero Takes Sides (s/he Chooses A Side). In Dances With Wolves (1990), Wind In His Hair wants John to tell another story, to stay, to not leave – he pulls him away from the place between the Two Worlds into the New World. In Avatar (2009), the Colonel tells Jake he “crossed the line.” He tries to tell Selfridge to listen to Grace. In Lawrence of Arabia (1962), Lawrence becomes a bedouin when they give him the white robes. Do Not Leave When the hero first arrived, s/he was exiled. Now, the inhabitants don’t want the hero to leave. Those characters who, at first, wanted the hero to go, now don’t want him (or her) to leave. In Dances With Wolves (1990), Wind In His Hair wants John to tell another story, to stay, to not leave. In The Empire Strikes Back (1980), when Luke first arrived on Dagobah, Yoda wouldn’t train him. Later, he urges him to complete the training.

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Castle Arc The hero is increasingly invited into the Castle, which increasingly gets fuller and warmer. All symbols of increased belonging. It’s a greater reversal of the earlier state of exile and outcast. As the hero changes, s/he is Brought Home, a metaphor for increasing togetherness / merging / synergy. Significant progress is indicated through the learning of names and sharing of behaviours. In Dances With Wolves (1990), Wind In His Hair invites John back into the tent. They smoke, eat, tell stories. In Avatar (2009), Jake is shown and allowed to bond with the most sacred tree. And be bonds with Neytiri too. Symbol Exchange The hero continues to lose representations of the Ordinary Self. In Lawrence of Arabia (1962), Lawrence loses his British officer uniform in the desert. The symbols which represent the Older Self are replaced by symbols which represent the New Self. In Dances With Wolves (1990), John swaps his jacket for Wind In His Hair’s chest-piece. In Water For Elephants (2011), Jacob puts on a new suit. Becoming One of Them As the hero takes the side of the New World, we see him becoming One of Them. In Dances With Wolves (1990), John is back at the Fort, but he dances around the fire, just like an Indian. He is becoming a Sioux. In Avatar (2009), Jake wants to finish the ceremony, the final stage to becoming a man. If he does it, he becomes one of them. Transmogrification Symbolism The physical form changes to resemble the “other side,” to resemble “one of them.” In Raging Bull (1980), both Jake and Joey get fatter.

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In Spiderman (2002), Peter’s costume changes from one of amateurism to a professional looking one. In Slumdog Millionaire (2008), the boys transmogrify from children into young boys. Ordinary World Attachments As the hero pulls away to the other side, Ordinary World Attachments attempt to pull the hero back. In Dances With Wolves (1990), Two Socks runs after John as he makes an unannounced visit to the Sioux village. In Avatar (2009), the Colonel sees that Jake has turned and turns off his machinery and pulls him back. In Lawrence of Arabia (1962), as Lawrence gradually creates an Arab army and diverges away from the British position, Colonel Brighton is always trying to pull him back.

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Monsters Cave, Failed Trial, Not Ready, Disenchantment What we are doing within the Monster’s Cave is confronting an Innermost Fear / Inner Challenge, which was born from the Loss of State of Perfection, the Parent Death etc. Failing this confrontation is a measure of the Hero’s Unreadiness. However, what comes out of this is that characters Begin To Believe. New World Being a New World in its own right, there is Journey and Border Symbolism into the Monster’s Cave, where New Creatures, Sights and Sounds are experienced. In The King’s Speech (2010), the Duke and Duchess drive towards Edward’s party where Bertie follows Edward into the cellar. In The Empire Strikes Back (1980), Luke goes into the cave to encounter an illusion of Darth Vader. In The King’s Speech (2010), the Duke and Duchess enter Edward’s party and meet Mrs Simpson. In Priest (2011), the Priest and Hicks climb into the nest. In The Hangover (2009), the cops force the boys into the interview room. Minor Threshold Guardians Obstacles into this world are overcome. In The King’s Speech (2010), a tree falls and blocks the way, but this is easily passed. Invisible Cloak The Monster’s World is guarded. Entering and surviving within it requires disguise (that the hero is disguised, indicates that s/he is not ready for this challenge). In In Harry Potter and the Prisoner of Azkaban (2004), Harry sneaks into town wearing an invisible cloak. Lure Commonly, a magnetic, utterly unavoidable “thunderbolt” or lure forces this journey.

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In The Godfather (1972), Michael and Apollonia are each stunned when they see each other. In Jewel of the Nile (1985), Omar’s forces catch up with Jack and Joan and pursue them until they are forced up the mountain toward the Nubians. In Aliens (1986), the marines are forced into the alien cocoon by the colonist's identifiers. Fragile Archetype Commonly, the lure or bait is a Fragile Archetype (a wounded creature or innocent). In Star Wars (1977), Luke et al are pulled toward the Death Star by the lone fighter. Illegal Journey / Law Breaking / Hanging Offence This journey (or the world and acts involved) may be illegal; some serious law is broken; a hanging offence is committed. The hero is breaking Ordinary or New World Rules. If the hero is breaking Ordinary World Rules, then this is a further detachment from the Ordinary World and Self. If the hero is breaking New World Rules, then this is the beginning of attachment from the New World and Self. In Legal Eagles (1988), Tom is an attorney and is not supposed to illegally enter private property (the warehouse), which could get him disbarred. In The Hangover (2009), cops shouldn’t be tasering suspects. In Goodfellas (1990), Henry et al kill Billy Batts. To kill a made guy is serious trouble. In Close Encounters of the Third Kind (1977), Roy piles garbage into the kitchen. In An Officer and a Gentleman (1982), Foley catches Zach selling contraband. In Scarface (1983), Tony returns home to Mama and throws ill-gotten gains on the table.

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Incompatible Laws The Two World are incompatible. Commonly, some New World / Self rule contradicts or is incompatible with some Ordinary World / Self rule. In Legal Eagles (1988), Tom is an attorney and is not supposed to illegally enter private property (the warehouse), which could get him disbarred. Illegal entry is forbidden to his Ordinary, attorney Self but not to his New, independent Self. In The King’s Speech (2010), a King is not supposed to abdicate because of “love.” In An Officer and a Gentleman (1982), selling contraband is normal for Zach’s Ordinary Self but not for his New Officer Self. In The Little Mermaid (1989), it is illegal to travel from the under-water world to the above-water world. Foreshadow of the Final Conflict Commonly, the Monster’s Cave is a foreshadow of the Final Conflict, as it references the Innermost Fear. In Aliens (1986), Ripley watches the marines enter the nest, which she’ll eventually return to, to face the queen. In 48 hours (1982), the girls' apartment is where the duo finally find Ganz. In Avatar (2009), Grace et al find a spot on the floating mountains, where they’ll hide during the final battle. Sense of Foreboding There is wariness as the Monster’s World is approached. Expressions such as “I have a bad feeling about this” are common. The journey involved darkness, descent and all the other aspects of foreboding (warning, cautiousness etc). In Aliens (1986), Ripley and the marines cautiously enter the nest. In Legal Eagles (1988), Tom and Laura enter the warehouse cautiously. In The Godfather (1972), Michael is told that pursuing Sicilian girls is dangerous. Interdiction Foreboding is common when severe punishments are the result. In Legal Eagles (1988), illegal entry could get Tom disbarred.

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Commonly, the punishment is a push back to the Ordinary World / Self where challenges will remain unsolved. In other words, exile from the New World / Self. In An Officer and a Gentleman (1982), Perryman tells Zach that his contraband could get them all a DOR. In Erin Brockovich (2000), Erin doesn’t want to be sacked – it will be a road back to poverty and isolation as a single mother. With foreboding and interdiction, it is not surprising to find resistance to the Failed Trial. In Goodfellas (1990), Henry tries to stop Tommy and Jimmy killing Billy Batts, which is a big No No, within the mafia fraternity. Time Pressure (urgency, race against time, ticking clock) to get in and out of the Monster’s Cave is made explicit. In Priest (2011), the nest is full of vampires and creatures of the night, which will imminently pursue. Monster’s Cave Task Commonly, the journey here is embarked upon to acquire some tangible or complete some task. In Legal Eagles (1988), Tom and Laura must enter the warehouse to try and get the proof. In Aliens (1986), the marines enter the cocoon to find and rescue the colonists. Failed Task / Acquisition / Challenge The task within the Monster’s Cave is failed. In Legal Eagles (1988), Tom and Laura must enter the warehouse to try and get the proof. They fail. In Aliens (1986), Ripley and the marines want to get the colonists out. They fail. In The King’s Speech (2010), Bertie confronts his brother and starts stammering again. Further, Edward tells him that he’s going to marry Simpson. In Tootsie (1982), Julie slaps Michael at the party.

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In The Shawshank Redemption (1994), Brooks commits suicide. Limitations The failure of the task / acquisition / challenge reflects the hero’s present limitations. The failure shows that the hero is Not Ready. In Beverly Hills Cop (1984), Taggart is uptight and Rosewood doesn’t think for himself. In Aliens (1986), Ripley doesn’t want to go back for the marines left inside the cocoon, because she doesn’t believe that they can be rescued (but later she will do just that to rescue Newt). In Transamerica (2005), Toby distrusts Bree because she doesn’t tell him that she's a man. One Consequences of Failure is the potential Return to the Ordinary World / Self / State where the old problems will resurface. In An Officer and a Gentleman (1982), after Topper Daniels nearly drowns, he is sent home. Depression A psychological sibling of being disenchanted. In The King’s Speech (2010), Bertie is depressed after his stammer returns after he speaks to his brother. Descent This is the physical sibling of being disenchanted. The hero will enter a dark place (pit, cave etc) in order to be punished. In An Officer and a Gentleman (1982), Zach is forced to clean latrines. Gap Symbolism The disparity between who the hero presently is / how he thinks and who he should be / how he should think is made explicit. In An Officer and a Gentleman (1982), Seegar chooses to forego liberty and work on her inability to climb the wall. But Zach is forced to forego it. Zach has to be more like Seegar. In Legal Eagles (1988), Ted has to be more like Laura.

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Cynicism Where cynicism that the gap can be closed is made explicit. There is cynicism that the old rulebook can be left behind or the new rulebook can be accepted and adapted to or some compatible arrangement can be found. Accepting the new rulebook is implicitly a New Way of Thinking and the opposite side of the original theme. In An Officer and a Gentleman (1982), Perryman doesn’t think Zach can change but Sid wishes him luck. Death Symbolism Death is symbolic for change – it marks the end of one Self and the beginning of another Self. It’s symbolic for death of the Old Way. In Legal Eagles (1988), Tom and Laura enter the warehouse, which explodes and they nearly die. In The Shawshank Redemption (1994), Brooks is released and commits suicide. What we are doing within the Monster’s Cave is confronting an Innermost Fear / Inner Challenge, which was born from the Loss of State of Perfection, the Parent Death etc. Thus these things tend to be referenced. Conversations around death are common. In The Hangover (2009), Alan tells Phil that his Grandpa died. In An Officer and a Gentleman (1982), Zach talks about his Mother committing suicide.

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Exiting The Road Of Recovery (Reversal, Belief, Belonging) At exit, we show the hero is a different creature compared to the one which entered the Road of Recovery. Border Symbolism Just as Border Symbolism indicated entry into the world of the Road of Recovery, so it indicates an exit. We are not just exiting the Road, we are Exiting Containment from within it. In The Wizard of Oz (1939), Dorothy et al exits the woods. In Iron Man 3 (2013), Stark drives out of town. Liberty Symbolism The exit from Containment is reflected in a sense of liberty (which is itself an arc – it increases as the hero evolves). In The Shawshank Redemption (1994), Red is hired as an assistant; the boys sit outside as opposed to being confined inside. Forced Exit Just as the entry into the Road of Recovery may be forced, so may its exit. In Avatar (2009), the Colonel forces Jake back after he’s realised he’s turned. Return Paths Disappear (Closing Doors) There is No Way Back to the Older World and Self. In Six Days and Seven Nights (1998), Robin accidentally fires the flare and their only chance of rescue from the deserted island is lost. In Scarface (1983), Tony’s Mama throws him out of the house for being a killer. Gina falls under Tony’s spell and leaves her Ordinary World. Break With The Ordinary World / Self That Return Paths Disappear indicates increasingly tenuous links with the Ordinary World / Self / Values. This is a more permanent dislocation than that which has occurred so far. It is a more explicit break from the past. This is a Banishment or an Expulsion from the Ordinary World or Self. In Platoon (1986), Taylor stops writing to grandma.

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In Gorillas in the Mist (1988), photos of Dian’s fiancée and old life disappear. Change of Atmosphere This marks the change, which the hero has undergone. This is, in itself, a type of Border Symbolism. In Legal Eagles (1986), it starts to snow. In The Wizard of Oz (1939), it starts to snow. In 48 Hrs (1982), it turns from night to day. Goodbye / Goodnight Symbolism This references a goodbye and goodnight to the older self. In Iron Man 3 (2013), Stark drives out of town and says goodbye to his “adopted son.” New Name The hero’s Old Self hasn’t completely died (this doesn’t happen until the very end), but the hero has lost it to a great extent and is fast approaching a New Self, which is represented by a New Name. The New World Adopts the character and gives him (or her) a New Name. In LA Confidential (1997), Exley gets a new name, "Shotgun Ed." In Avatar (2009), Jake becomes “Omaticaya” and a “warrior.” In The Hangover (2009), the cops call Alan, “fat Jesus.” In Dances With Wolves (1990), all the Sioux are now calling John “Dances With Wolves.” The New Name and New Self is an Omen of the Mature Self – the final selfactualized self which will materialise. In The Empire Strikes Back (1980), Yoda shows Luke that the ship can be lifted out of the water. He can’t believe it. This is what it is like to be Jedi. Not An Ordinary Man / Woman The hero cuts a dashing figure by now due to the superior manner in which s/he has progressed through the trials. Partly, this is because the hero was born for this.

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In An Officer and a Gentleman (1982), Foley doesn’t like Zach, but he is impressed with the ease he passed the pool test. In Star Trek II: The Wrath of Khan (1982), Kirk’s escape from the Genesis project entombment impresses. In The Devil Wears Prada (2006), Andy goes with Miranda to see James Holt’s collection and impresses her. Belief When the hero entered the Road of Recovery, s/he didn’t believe (the other side). By the time they are done, s/he believes. Characters turn from nonbelievers to believers. In Ocean’s Thirteen (2013), early on the boys don’t believe they can crack the supercomputer. Now they believe it’s possible. In The Empire Strikes Back (1980), Luke doesn’t believe his ship can be lifted out of the water, until he sees Yoda do it. In Aliens (1986), the marines initially laughed off the threat. After Ripley pulls them out of the cocoon, they believe Ripley’s earlier warnings. Belonging Whereas initially the character was outcast and exiled, then was invited into the New World, now s/he is able to come and go as s/he pleases. Commonly, s/he now finds more harmony in the New World than the Ordinary. In Dances with Wolves (1990), John makes unannounced visits to the Sioux village and has his own cabin. New World Home Where the character was previously comfortable and at home in the Ordinary World, now he has become comfortable and at home in the New World. As a measure of belonging, the character is given the Castle Keys, a home within the New World and the capacity to come and go as s/he pleases. In Gorillas in the Mist (1988), the hut becomes a home. In Legal Eagles (1982), Kelly gives Tom the keys to her office. In Dances with Wolves (1990), John gets a hut in the village. Awakening Symbolism

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Everybody has awakened, usually dramatically. In Step Brothers (2008), Pop forces the boys to wake up from sleepwalking. In Aliens (1990), everyone wakes up to what they’re dealing with. Task Completion The hero walks out having completed the task. In Avatar (2009), Jake has discovered that the clan will never be persuaded to move and this gives the Colonel reason to take a stand and begin planning the attack. In Blade Runner (1982), Deckard finds Zhora. Some kind of Tangible Reward for this is common. In The Hangover (2009), Phil calls Tracy and tells her they’ve been comped a room for an extra night. In Spartacus (1960), Spartacus shows the pirate the chest of treasures. In Romancing the Stone (1984), Jack and Joan get to ride on the 4x4. In The Lion, the Witch and the Wardrobe (1978), Lucy gets a potion that heals people. All the kids get magical gifts, which have magical powers. In The King’s Speech (2010), the Duke and Lionel become friends, “what are friends for.” A Celebration is common. In The King’s Speech (2010), the Duke and Lionel clink glasses and drink together. In Water For Elephants (2011), the circus performers give Jacob a standing ovation. Flaw Repaired The flaw, which was the measure of recovery for the Road of Recovery is repaired. The flaw is a measure of the death of the Old Self, so the Old Self flaw dies. In Legal Eagles (1986), Tom can sleep well now.

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In Iron Man 3 (2013), Stark realises he’s a mechanic. This can be regarded as a Return To Health. When characters entered the New World, they were physically weakened by it. Now they are better. The pain, discomfort, sickness and disease caused by the New World disappears. In other words, characters are adapting and repairing. In The Hangover (2009), Stu disappears to get a soda. He’s healthy now. He doesn’t need anyone to get him a drink. Repair Arc As the hero repairs himself, so the Worlds and the characters within it repair themselves. They are externalizations of the hero’s evolution. In The King’s Speech (2010), as the Duke gets better, so his relations with his wife improve – they kiss and hug in the car. Transmogrification Symbolism In the First Threshold, the body was deformed but now it sets into its new form. The physical change that is the transmogrification starts to complete. In The Godfather (1972), Michael’s face is healing and changing as we see him stroll around Sicily. Reversal One way of describing the Newer Self is reversal. With regard to theme, the hero has reversed thematically, accepted the other side of the theme. A signal of this is the Reversal of Denials and Appeasements. In The Hangover (2009), Stu begins to agree that Melissa is not a nice person. He’s also much more proactive and expressive and he’s come out of his shell. He’s angry that the police used them as guinea-pigs. He shouts that it is unacceptable. Taking Sides (Choosing) Generally, most of the characters have taken a side at this point, or we can see which side they will eventually adopt after any limitations have been overcome. What the characters are doing is taking sides of the theme. In Avatar (2009), some of the scientists and some in the military take Jake’s side. It’s not his side they’re taking, but what he stands for and what he’s trying to prevent the military from doing.

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And so we see a Break With Ordinary World / Self Attachments; critical Ordinary World Attachments are left behind. In Educating Rita (1983), As Rita changes, Denny moves further away. In Close Encounters of the Third Kind (1977), Roy drifts further away from Ronnie and the kids as he gets involved with the UFOs. In American Beauty (1999), Lester leaves work and Buddy separates from his wife. And so we see the Gap with New World / Self Attachments Decreasing. In The Hangover (2009), Stu begins to care about Alan. The gap between the hero and Shape Shifter increases or decreases (polarization or de-polarization), depending on which way the Shape Shifter will eventually turn (which side of the theme s/he’ll align with). 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. A critical New World Attachment is the New World Romantic Challenge, who now views the Hero as a potential romantic partner, whereas previously that was not the case. In Rio (2004), Blue increasingly moves closer to Jewel. In Spartacus (1960), Spartacus grows closer to Varinia. In Wall-E (2008), Eve barely recognises Wall-E. But that is an improvement. In An Officer and a Gentleman (1982), Paula says she's going after what she wants (Zach). Romantic Challenge and Shape Shifter Relationship The Shape Shifter (if he turns to the wrong side) is the hero’s Romantic Competitor and attempts to win over the Hero’s New World Romantic Challenge. The outcome of their relationship depends on the eventual side each chooses. In Raiders of the Lost Ark (1981), Belloq tries to win over Marion. In Spartacus (1960), Crassus tries to win over Varinia.

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In The Matrix (1999), Cypher tries to win over Trinity. Castle Evolution This is a symbol of the evolution thus far. The physical representations, which are metaphors for evolution, show growth and change. They become richer, fuller, more complete. In The King’s Speech (2010), the consultancy is evolving, it is fuller (with kids in it) and Lionel has other adult clients. In A Fistful of Dollars (1964), the bar is now more of a home and regular spot for Joe. Graduation Benchmark This is another symbol of the evolution thus far. Symbols of rising through the ranks, maturing etc are all part of this. Some symbol or reward marks the success of the Big Wins. In Aliens (1990), Ripley graduates past Gorman. Omens of the Elixir With the rewards that have been accumulated, a vision of the State of Perfection begins to materialise and seem realistic. In Transamerica (2005), Bree and Toby arrive at the Gender Pride party in Dallas. Not Ready / Act II Limitations Yet, limitations to the hero’s complete immersion in the New World (and Act II) still exist. In Dances With Wolves (1990), John still resists telling Kicking Bird the whole truth about the White Man. And Kicking Bird doesn’t accept John fighting for the tribe against the Sioux. In Avatar (2009), Jake tries to tell the clan what he was sent there for, but the Colonel switches off his machine and brings him back.

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New World Begins To Dissolve The Ordinary World is a reflection of the hero’s Ordinary Self. The New World is a reflection of the hero’s New Self. Both are just sides of the Self and neither is complete. To complete, the hero must become the Mature Self. To become the Mature Self, the hero loses the Ordinary Self and the New Self and then in Act III, reintegrates both. This is the beginning of the loss of the New Self. This may sound strange as the hero hasn’t yet completed becoming the New Self (which s/he does at the end of Act II), but nevertheless, the dissolution of the New Self begins – it indicates the beginning of the dissolution of the limitations of the New Self. New World Liberty Capacity One of the rewards thus far tends to be the beginnings of the need to escape Act II, the beginnings of the need to escape the New World, the New Self and its limitations. Practically, we’re beginning to look for a way out of Act II. In Star Wars (1977), Obi Wan must release the tractor beam if they are to escape the Death Star. In Six Days and Seven Nights (1998), Quinn et al have to get off the island. Dissolving Away of New World Attachments Those attachments whose acquisition previously represented becoming the New Self, start to disappear. It all signifies the beginning of being able to surpass the New World. Commonly, New World Supernatural Aids Start To Disappear. In Blades of Glory (2007), the two heroes fall out at the Road of Recovery phase. And one hero falls out with the girl. It's a reversal, a detachment from New World Attachments. In Dances With Wolves (1990), Kicking Bird and the Sioux warriors leave John to mind the village and their families. In Carlito’s Way (1993), Gail distances herself from Carlito when he agrees to help break Tony T out of prison. In The King’s Speech (2010), Bertie decides to end the sessions with Lionel.

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Symbolically and psychologically, this is a detachment, a Break With The Past. In The King’s Speech (2010), when the sessions resume, Bertie will no longer go to Lionel’s office; Lionel will go to him. Dissolving Away of the New World The New World is itself a representation of the hero’s New Self and it may also begin to dissolve away. In Midnight Cowboy (1969), the builders begin work and the building is about to be demolished. Similarly, the Ordinary World Continues To Dissolve Away. In Midnight Cowboy (1969), Joe sells his radio. In Close Encounters of the Third Kind (1977), once Ronnie leaves and takes the kids away, Roy can freely investigate the visions. Similarly, the Ordinary World Attachments Continue To Dissolve Away. These can be viewed as Unwilling Archetypes. In essence, they want the World and Self to remain as it is, they don’t want change. In Silkwood (1983), nobody wants Karen to investigate the wrongdoings going on at the plant – if it shuts they’ll all lose their jobs. In essence, here we begin a Not Ready to Ready loop. We leave the Unready State and when we close the loop, we will be Ready. In Dances With Wolves (1990), when Kicking Bird and the Sioux warriors depart, John is not ready [to join them; to fully be one of them]. When they return, he will be. In essence, we are leaving the stage of childhood and when we close the loop, we will be adult. In other words, we will have undergone a graduation process. In The King’s Speech (2010), when the sessions end, Bertie is a Duke and Lionel his servant. When they resume, Bertie is King and they are both friends.

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Meeting the Oracle / Goddess Each major stage has its own Supernatural Aid, each becoming progressively more potent in order to help the hero grow further. The Oracle is more potent than the First Threshold Supernatural Aid and the Road of Recovery Supernatural Aid. Ready Each Supernatural Aid is met when the hero is ready (to learn what is to be taught). In The Matrix (1999), Morpheus takes Neo to meet the Oracle when he is ready. Readiness is demonstrated by still further integration into the New World. In Dances With Wolves (1990), by the time John talks to Stone Calf, he is speaking fluent Sioux. Meeting a new Supernatural Aid involves Separating From An Older One. This also substitutes for the Loss of New World Attachments, which is a form of dissolving away the New World. In The Matrix (1999), Neo separates from Morpheus when he goes to see the Oracle. Meeting the Oracle involves Journey and Border Symbolism into a New World, which is unique in its own right and contains all the standard elements (New Creatures, Behaviours, Sights, Sounds etc). In The Matrix (1999), the Oracle’s world is unique in its own right, which contains lots of new creatures and sights. Neo walks through doors to enter it. In The Neverending Story (1984), Atreyu must pass the two statues, else be turned into stone. Wolves Clothing The Hero et al may hide from the Dangerous, Natural Inhabitants of the Oracle’s World by wearing some form of Wolves Clothing, which is commonly a metaphor for an ability to hide well, disguise or integrate like a chameleon or similar.

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Mirroring Wolves Clothing here is more than just disguise. The memes, symbolism and practices of the Natural Inhabitants of the Deep New World are adopted, absorbed and mirrored. Peer Brothers Within the Oracle’s World, Peer Brothers are often encountered – these are archetypes that could become the hero and may have capacities, which mirror those of the hero. In The Matrix (1999), the Oracle’s world contains others with supernatural abilities. Oracle Guardians Before accessing the Oracle, its Guardians may need to be overcome. Their nature tends to be hostile and there are warnings not to confront them. Commonly, Ordinary Men should not approach the Oracle – they are usually turned to stone or some lower order creature or cursed or similar. Symbols of The One Commonly, Guardians / the Oracle must be satisfied that the hero is (or has the potential to be) The One. From another point of view, characters Must Be Deserving (to enter/ fit into the Oracle’s World). This is usually proved by the conjuring up of a symbol or Magical Gift. In Romancing the Stone (1984), Joan is allowed into the Bell-Maker’s house because she is Joan Wilder – he has read her books. In Scarface (1983), Sosa sees something in Tony he likes – there is no lying in him. Oracle’s Ordinary World The Oracle is often found in his (or her) Private World. Often an anti-chamber where s/he is most comfortable, confined or spends most time. There is a specific Physical Border into this. In The Matrix (1999), Neo meets the Oracle in the kitchen. In Jason and the Argonauts (1963), Jason meets Phineas around the dinner table. In Romancing the Stone (1984), the bell-maker’s house is a world unto its own. Because the Oracle’s function is to direct the hero toward the Awakening and Sword, it may be any organic or non-organic entity.

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In Star Wars (1977), it is the Death Star's computer system. In Alien (1979), it is Mother, the ship's computer system. Awakened Creature The Oracle / Goddess is an Awakened Creature, one Who Can See. Meeting the Oracle / Goddess Further Encourages The Hero To Believe (the opposite side of the theme). In The Hobbit: An Unexpected Journey (2012), Galadriel is all-seeing. Commonly, s/he is able to grant all sorts of wishes, summon objects from the Two Worlds. In Raging Bull (1980), the mafia Don is the Oracle. He is magical because he can arrange anything and knows how the world works. In Romancing the Stone (1984), the bell-maker is able to conjure up all the delights of civilisation. He has a Xerox machine. Seeking To Be Awakened The hero comes to the Oracle in order to benefit from his / her ability to see and in turn, to be Awakened. The hero comes to the Oracle when s/he is Ready to be Awakened. This is why the Oracle is met at this time. There is a reason the Oracle is met at this time, just like there is a reason the Romantic Challenge is met at a specific time. In The King’s Speech (2010), Bertie returns to Lionel disillusioned. Again, he needs help. In The Matrix (1999), Neo wants to know, is he The One. “Awakening” involves a number of things – awakening to the other side of the theme, awakening to Who You Are. In Lord of the Rings: The Two Towers (2002), Gandalf asks Aragorn, “Who Are You?” Oracle Magical Gift The Oracle may provide some insight which helps Awakening. Commonly, these involve New Insights, a New Direction and New Way of Thinking.

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In Legal Eagles (1986), Tom finally starts to believe that there may be something to Chelsea’s story. In Goodfellas (1990), we are told that if you kill a Made Guy without authorisation, then you’re the one who gets whacked. In The King’s Speech (2010), Bertie returns to Lionel disillusioned. Again, he needs help. And Lionel teaches him to swear, which loosens and frees him up. In Scarface (1983), Sosa gives Tony the drugs, which will ensure he becomes a bigger dealer than Frank. But the Oracle’s main purpose is to tell the hero where to go to be Awakened. In The Matrix (1999), the Oracle tells Neo what he must do. Directed To The Sword To become Awakened, the Oracle directs the hero toward the Sword. The Oracle (a Supernatural Aid) is a fountain of knowledge and its function is to wait for any potential heroes and guide them toward the Sword. From another point of view, it is to give the hero the Capacities with which s/he can make The Choice to Seize The Sword. This involves providing Magical Gifts, which enhance liberty within the New World and decision-making. In Spiderman 2 (2004), the doctor tells Peter that he always has a choice. Bride Theft The Sword may or may not be the New World Romantic Challenge, whose acquisition symbolizes The Return of Hope (among other things). Limitations To The Sword The Oracle tells the hero the limitations to Seizing the Sword. In Scarface (1983), Manny sees how beautiful Gina is. And Tony warns him that she’s not for him. This contributes to the final demise. Equally, Sosa tells Tony never to fuck with him. Else, there are limitations to it in some way, shape or form. In The Lord of the Rings: The Fellowship of the Ring (2001), Aragorn feels he is not deserving to touch the sword of his ancestors.

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Limitations To The Sword / Bride Theft In Dances with Wolves (1990), John can’t date Stands With a Fist because she is in mourning. Choice To Seize the Sword, the Oracle tells the hero that he must make a Choice. In The Matrix (1999), the Oracle tells Neo that he’ll have to make a choice. Innermost Fears / Deficiency To become Awakened, the Oracle directs the hero to that place where the innermost fears must / will be confronted and overcome. The Deficiency is the original limitation, which caused the Loss of the State of Perfection. Omens of the Sword, Bride Theft, Beacon of Hope There are foreshadows of the coming stages and the limitations that those stages will help overcome. In Dances With Wolves (1990), both John and Stands With a Fist lie in separate beds listening to Kicking Bird and his wife make love. Soon they will be doing it too. Oracle Backstory The hero is the Superego, the antagonist is the Id, the Shape Shifter is the Ego and the Oracle is the Intellect. Commonly, the Oracle is logic. The Oracle has been there from the beginning, as s/he is part of the same consciousness as the Superego/Ego/Id. In The Matrix (1999), Morpheus tells Neo that the Oracle has “been with us from the beginning.” Just as the Superego and Id are trapped in war, so the Oracle is trapped until that war is ended. Commonly, the Oracle was the Id’s or Hero Parent’s ally during the Original State of Perfection, somehow displeased one of them and was banished / contained. Thus the Oracle continues its function until a New State of Perfection is restored (or until its jailer perishes), at which point it is released. In Jason and the Argonauts (1963), the Harpies imprison Phineas.

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Choice (Illegal Act, Taking Sides) The Choice has certain characteristics: Race Against Time There is time pressure to make the Choice. Time has run out. Armageddon is coming. There is Physical Risk - you’re going into the deepest, darkest, most dangerous recesses of the Monster’s Cave, where the most fearsome monsters lie, in order to pull out (steal) something valuable to them. In Silkwood (1983), Karen goes into the plant to deceive Winston and steal the x-rays. This is a Suicide Mission. In Star Wars (1977), the Princess is held deep within the Death Star’s bowels. Han keeps repeating it’s a suicidal mission. That which will be confronted at the Atonement is made explicit and that which will be confronted in the Final Conflict is also made explicit. Using the Three Bears metaphor (see section I), we’re going to steal the porridge and we know we’ll meet Mama bear and maybe Papa Bear too. In Ben Hur (1959), Judah meets Pontius Pilote in Rome. There is Psychological Risk - you are entering that place which represents a deep, unwanted fear or result. In essence, you are Tackling The Inner Challenge or Deficiency. In Silkwood (1983), Karen doesn’t want to find fake x-rays and have the whole town (including herself) lose their jobs. Worse, to discover that the plant is intentionally misinforming and therefore killing them. Commonly, Failure Is Not An Option and would mean death or return to the Ordinary State. In The Matrix (1999), Neo has to enter the Agents’ Lair in order to rescue Morpheus. Failure will result in certain death. Commonly, there is No Way To Back. In Spartacus (1960), Spartacus must conquer the first Roman legion that confronts them, else they’re dead in the water and back to slavery.

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In Lord of the Rings: The Return of the King (2003), Frodo doesn't want to go into the spider’s nest, but he cannot go back. Commonly, a Sacrifice is involved. Something valuable will be lost in order to gain it. In Spartacus (1960), loss of the confrontation with the first Roman legion will result in the loss of everything that has been gained thus far. Thousands of Spartacus’ followers will be massacred. Commonly, making the Choice and heading to the Sword will result in The End Of The World As We Know It. In The King’s Speech (2010), Bertie chasing the throne will end the world as he knows it. Similarly, it will be the End of The World if the hero doesn’t go after it. In District 9 (2009), if Wikus doesn’t steal the liquid, he’s dead. Commonly, Unwilling Supernatural Aids are required. In Star Wars (1977), Luke needs Han and Chewy to help rescue Leia, and they have to be persuaded. Commonly, making the Choice and heading to the Sword means elevating oneself to becoming the leader (Leadership Threshold). In Star Wars (1977), Luke follows Han until he finds out Leia is on board the Death Star, at which point he leads the charge to rescue her. In Scarface (1983), Tony is Frank’s employee – importing coke from Sosa will cause him to become his own boss. Just as this is a step-up for the Hero, so it is also for other characters (Character Evolution). Their limitations may be the result of risk, resistance and indecision. In Scarface (1983), Frank’s limitations cause Tony dissonance. Tearing Up The New World Book Of Law When the Hero entered the New World, s/he was given the Book of Law – these are Rules designed to guide the Hero in the New World and help survival in it. The Choice may be difficult because it involves going against the Book of Law, going against Supernatural Aids that espouse it and going against all the principles of survival within the New World.

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In Scarface (1983), Frank tells Tony to fly low if he wants to remain a dope dealer long term. But if Tony is going to get ahead, he’ll have to break Frank’s Law and separate from him. Breaking With Who You Are The Choice involves doing something contrary to who you think you are. In Star Wars (1977), rescuing Leia is contrary to who Han is and what he’s there for. Illegal Act The Choice involves Breaking The Strictest Rules Of The Ordinary World, which involves Significantly Letting Go Of The Ordinary Self, which involves Breaking With Who You Were. In Legal Eagles (1986), Tom is a district attorney, but he breaks the law. It’s an Impossible Dilemma. It’s the conflict between the Rules of the Ordinary Self and the Rules of the New Self. If the Ordinary Self Rules are abided by, then the hero will not progress. If the New Self Rules are abided by, then the Ordinary Self (and World) will be further abandoned. In District 9 (2009), if Wikus invades MNU to get the liquid, well that’s a break with everything that he was. If he doesn’t do it though, he’ll die. In Legal Eagles (1988), Tom’s continued journey to solve Chelsea’s mystery causes him to break the Ordinary Self and World rules and risks him being fired and losing the Attorney General job. Choosing Between the Old and New Self The Choice is a dilemma between the Old and New Self, between the old theme and the new theme, between the old way and the new way. In Schindler's List (1993), Schindler has to choose between Stern and Goeth. Unwilling Heroes / Supernatural Aids Commonly, the break / Choice is Forced: In The King’s Speech (2010), Lionel forces Bertie to think of himself as King. In Star Wars (1977), Han Solo and Chewy are persuaded to march into the detention center.

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Willing Heroes Commonly, the Choice is made to Save The World As We Know It: In The Ugly Truth (2009), Abby engages with Mike to save the show. Commonly, the Choice is made No Matter The Consequences: In LA Confidential (1997), Exley tells Vincennes that he is willing to solve the case no matter the consequences. Altruism or Moral Obligation These classic attributes require the hero to think of others as opposed to him/herself or to act out of some sense of duty. In Star Wars (1977), Luke thinks of Leia before himself. In Erin Brockovich (2000), Erin pursues PG&E because she is thinking of all those who have suffered and not about herself. In Superman (1977), Superman thinks of others before himself. In Carlito's Way (1993), Carlito agrees to help Kleinfeld out of loyalty. In Silkwood (1983), Karen acts out of a sense of moral outrage. Irresistible Elixir The Sword is a tangible representation of the Elixir, which is too tempting to resist. The Choice is seductive. In Scarface (1984), Elvira is too tempting a prize for Tony not to want her. In Out of Africa (1985), Karen is drawn to the possibility of capturing something wild and free (Denys). 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. Foreshadowing Atonement This step is a form of lightweight atonement compared to the later significant one. This step triggers the atonement. Characters break from guiding and limiting forces but in a way that doesn’t involve a complete break just yet (that comes at the atonement and apotheosis). In Scarface (1983), Tony starts dealing secretly under Frank’s nose.

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Circle of Elders in the New State of Perfection Some of those that venture forward with the hero will go on to become members of the Circle of Elders in the New State of Perfection and the legend as to how they Seized the Sword will live on many generations after even the Hero has passed away. Limitations Overcome Ultimately, any limitation to the Seizing The Sword is overcome. In District 9 (2009), Wikus overcomes objections to stealing the liquid, steals the guns from the Nigerians and invades the MNU lab. Stealing the liquid enables Wikus to go back to who he was.

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Seizing The Tangible Sword Every story's a quest and the tangible sword, intangible sword (and boon) are it. Goodbye / Goodnight Symbolism “Goodbye” and “goodnight” are a metaphors for a goodbye and goodnight to the Older Self. Journey and Border Symbolism is crossed into a New World, from which the Sword will be Seized. This is a New World in its own right, with New Creatures, Sights, Sounds, Attitudes, Behaviours, Norms and Values etc, becoming stranger across borders. In Star Wars (1977), Luke et al make their way to the detention center. Minor Threshold Guardians block the way into the New World and must be overcome. In The Wizard of Oz (1939), the doormen must be passed. There is Descent into the Lion’s World. In Star Wars (1977), Luke et al make their way to the detention center on the lift going down. Foreboding Symbolism Foreboding, warnings, “Keep Out” signs etc will manifest themselves continuously as the hero progresses through the search for the Sword. Each domain that is crossed is increasingly dangerous. Many landscapes are traversed. Death Symbolism is common (skull and crossbones, dead bodies, murders etc). In Raging Bull (1980), Jake knows he should stay away from the mafia Don’s table. In Star Wars (1977), Han thinks that rescuing Leia is suicidal. Wolves Clothing As these are normally enemy domains and characters seek not to be caught, the hero et al camouflage themselves. They adorn the clothing and symbolism and mirror the norms and values of the creatures of these worlds. They disguise themselves. They become invisible on some level.

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In Harry Potter: Prisoner of Azkaban (2004), Harry 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. Period of Searching Commonly, the specific geographic location where the Sword is kept (called the Lion’s Den) is a Tower (or Tomb) which difficult to find and there are obstacles (usually dangerous Natural Inhabitants of these Worlds) to be confronted before finding it. In Raiders of the Lost Ark (1981), Indy uses the surveyors lens to find the Ark. It is located in a Dangerous Place, either up the highest, most treacherous mountain or in the deepest most treacherous cave. The journey to it is perilous and suicidal, embarked upon against the greatest of odds. Many are cynical of the hero et al’s ability to escape the Tower (or Tomb) alive and indeed, many Sword Seekers perish on the way. Monster’s Cave The Sword lies in the depths of the Greater Antagonism’s World (Monster’s World) and is guarded by the Fiercest Dragons in the Deepest Dungeons or the Tallest Towers (these may be literal or metaphoric). In District 9 (2009), Wikus and the alien invade the MNU lab to get the liquid. There is nowhere more dangerous. Magical Gifts Commonly, a Magical Gift helps locate the Lion’s Den. And further, helps locate the Sword. Minor Threshold Guardians Entering the Lion’s Den, characters find that it is guarded by Minions, who are generally easily overcome. Commonly, the hero et al bypass the Minions stealthily using the Wolves Clothing and deceit, so as not to raise the attention of more potent forces (the dragon, see below). No Way Back Should characters be overcome with fear and wish to back out, well, all passage backwards is cut off. Commonly, a bridge is crossed and then that bridge falls away.

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This environment is dark and uncomfortable for the Creatures of the Day – herein lie evil creatures, creatures of the dark - spiders, moles, bats, snakes and other creepy crawlies and cringe inducing vermin are commonly found. In Raiders of the Lost Ark (1981), the Ark is surrounded by dead bodies and snakes. In District 9 (2009), once Wikus breaks into MNU, there’s no going back. Dragon Protector A dragon – a metaphor for a fearful inner challenge – will prevent access to the Sword. In Dances with Wolves (1990), John cannot be seen with Stands with a Fist, as she is in mourning. In Out of Africa (1985), bulls block the way to Karyn and Deny’s romance. Slumbered Dragons It is not unusual for the Dragon Protectors to be distracted, commonly by some amusing activity - they believe that the theft of the Sword is unlikely as all previous, False Heroes have been easily vanquished. They are often asleep. They may not perceive the intruders as a threat. In The Deer Hunter (1978), the Vietnamese guards are playing Russian Roulette. In Neverending Story (1984), the dragon is asleep. Dragon Battle The hero et al may try to steal the sword stealthily away from Dragon Protectors, but normally they awake. A battle is engaged in. Commonly, the dragon is confident that the Sword cannot be taken and is surprised when confronted by this Hero’s Capacities (the hero is Not An Ordinary Man). Commonly, the dragons are motivated by some punishment that drives their necessity to guard the Sword. Often, their existence is predicated on the existence of the Sword; if it disappears, so do they. Classically, the hero defeats the dragon. To do so, the hero must overcome some fearful inner challenge. When the hero does so, the dragon disappears or becomes docile (as the dragon is a metaphor for the fearful inner challenge – when it is conquered, the metaphor dissolves away). In The Bourne Ultimatum (2007), Jason kills the assassin in the shower.

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In Shrek (2001), Shrek defeats the dragon. Inner Chamber The Sword lies in an Inner Chamber, symbolically marked by Border Symbolism, commonly a tunnel, doorway or similar. Once the Dragon Protector is defeated, entry into the Inner Chamber is gained. Seizing the Sword Commonly, only the hero enters the Inner Chamber using some sort of Magical Spell. Commonly, only the hero has the ability (or is allowed) to Seize the Sword. In Thor (2012), only Thor can retrieve the hammer. In The Sword in the Stone (1963), only the King can release the Sword from the Stone. The Sword is a tangible that represents many intangibles (see next section). Tangibly, the Sword often takes the form of literally a sword, treasure or fire or some other physical valuable (cup, medal etc). Commonly, the Sword may be a valuable person, usually a Prince or Princess. In Syriana (2005), the Sword is simply a post-it note. In Star Wars (1977), Luke et al rescue a Princess. In Alien (1979), Ripley is in charge and gets access to Mother. The Tangible Sword is a powerful thing, but it commonly presents itself as inert and harmless. It’s true power will be harnessed in Act III to help Restore the State of Perfection. In Raging Bull (1980), the mafia pretend they are harmless. False Heroes (imposters) may try to Seize the Sword but they will quickly perish in some manner (usually brutally; often they are turned into stone or similar, as a warning to others - the remains of thousands of False Heroes lie here; this is part of the World of the Sword). Wonderment Upon Seizing the Sword, there is awe and wonderment that such a thing has been achieved. In Spartacus (1960), the Senators cannot believe that the gladiators have defeated a Roman legion.

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A sense of overwhelming beauty is not uncommon, especially when the Sword is the Romantic Challenge (Princess). In Star Wars (1977), Luke is momentarily taken aback as he watches Leia lie there in the chamber. Half-Way To The Boon Every story's a quest and the tangible sword, intangible sword (and boon) are it. Seizing the in/tangible Sword is half-way to leaving the New World with that which we are seeking. In Star Wars (1977), after Luke rescues Leia, he’s halfway there, he just needs to get out. [This is slightly different to the end of the Road of Reversal, where the hero gets halfway in terms of equality in the New World and accepting the New World’s thematic position]. Dragon Army Called With the Sword stolen, Dragon Armies will be called, which will force the Detachment From The World of The Sword (see later section).

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Seizing the Intangible Sword While the Sword is a tangible, it’s its significance that matters. The Intangible Sword is the meaning behind it. Milestone Along Arcs The Intangible Sword is the significant evolution along any of the arcs we’re travelling – readiness, wholeness, repair, home, rediscovery, awakening, belief, belonging, power, theme, maturity, new self, finding ones place, seeing the other side, finding out who you are, conquest of the Romantic Challenge, Significant Capacities etc. When the Hero first arrived in the New World, s/he was a Bull in a China Shop and Fish Out of Water. Now, not so. In Scarface (1983), Tony angles his way smoothly around the nightclub, as opposed to his first entry there, when he was a Fish out of Water and acted like a Bull in a China Shop. Here are some of the things it can mean: Insight / Awakening Every story involves a search for an answer and the Intangible Sword provides it. In Iron Man 3 (2013), the Intangible Sword involves answers the vital question, “When is a bomb not a bomb?” In The Illusionist (2006), Inspector Uhl finds the locket and jewel (the Sword) and then realises that Leopold is responsible for the murder. In The Jewel of the Nile (1985), Joan tells Jack that Joe is the Jewel. Innocence Lost It’s when innocence is lost and maturity strikes. It’s a significant stage of growing up. In Straw Dogs (1971), David shoots the bird and realizes that the boys are riding him. Return Home Every story is a quest for something. There are two sides – the outer and inner. The outer is the tangible sword, the treasure we’re seeking etc. The inner is the Intangible Sword, what it enables us to do, who we’ve become.

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This is where all that is found and thus Seizing the Tangible Sword triggers the Return. The Intangible Sword is being Ready To Return. In Mutiny On The Bounty (1984), after they get their bread fruits, the crew can go home. Only England is not home anymore. When the hero Seizes the Sword, s/he seizes the Capacity to return the Worlds to a New State of Perfection. S/he seizes the Capacity to Go Home. This is the one thing that the Greater Antagonism / Id fears most. In The Lion, the Witch and the Wardrobe (2005), the one thing that the White Witch fears is the return of the New State of Perfection, which means the loss of her reign and the return of summer in Narnia. In District 9 (2009), the liquid will allow the aliens and Wikus to go home. Rediscovering What Was Lost The Sword is that tangible, which helped maintain the Original State of Perfection. It was lost and the Original State of Perfection began to crumble. When a world ends (armageddon), some valuable tangible tends to be lost. In Man of Steel (2013), the Codex was lost. Rediscovering the tangible sword means, intangibly, that the world can be rebuilt, that the State of Perfection can be returned to, that home can be returned to. In The Hobbit: An Unexpected Journey (2012), the dwarves are trying to find the gold, so that they can return home. Directs Towards Innermost Fears In Tom Jones (1963), Tom finds Miss Weston's pocketbook, which triggers his search for her (the princess). Leadership Threshold Leadership is cemented. In Thelma and Louise (1991), Thelma eventually eclipses Louise and takes charge. In Alien (1979), after Dallas dies, Ripley is in charge and gets access to Mother. Power (Fire is symbolic for power)

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In Scarface (1983), Tony becomes a successful dealer in his own right. In Alien (1979), Ripley gets access to Mother. Id’s Achilles Heel The Tangible Sword is that thing, which will Enable (Intangible Sword) the hero to bring the antagonist down. In Spartacus (1960), the Sword represents Spartacus’ army’s capacity to defeat Roman legions and thus gain their freedom. This in itself brings about omens of the Final Conflict and the coming integration of the Old and New Worlds (Mastery of the Two Worlds). In Spartacus (1960), the Senate are horrified that a slave army have beaten a Roman legion. Resistance to this whole idea that the Id can be subdued begins to evaporate. In The Shawshank Redemption (1994), Red strongly objects to Red’s notion of hope – he doesn’t believe he’ll ever get out of prison. Vanishing Fear The innermost fear is conquered. In Despicable Me 2 (2013), Gru loses his fear and goes on a date. The fear of the Deeper New World (and therefore the other side of the theme) is lost. In Out of Africa (1985), Karen is no longer scared of the jungle. The fear of the antagonist vanishes. Confidence to confront obstacles that one could not confront before. In Platoon (1986), Taylor feels able to follow and stop Barnes, who wants to kill Elias. In The Hangover (2009), Alan gains the confidence to tell the boys that he mistakenly drugged them with Roofies. Breaking Ordinary World Rules There is also the confidence to break the rules that limited the character to the Old Self. In The Hangover (2009), Stu dents the car door on Alan’s head.

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Repair / Wholeness The original damage that was done is ready to be fixed. In The King’s Speech (2010), Bertie is ready to repair the initial damage and become whole again. Containment Capacity (Close Pandora’s Box) During the Original State of Perfection, the Id was contained but then gained liberty. The Intangible Sword is the capacity to contain it again. It is the capacity to put Pandora back in the box. It is the capacity to put the genie back in the bottle. Beacon of Hope The Tangible Sword represents hope (Intangible) that the State of Perfection can be returned to, that the other side of the theme can be accepted etc. In Lord of the Rings: Return of the King (2003), Galadriel turns up to give Frodo hope and help him on his feet. The One The Seizure of the Sword indicates that the hero is The One who will Restore the Worlds to a New State of Perfection. It indicates that the hero is the Savior, the Messiah etc. The Seizure of the Sword is the moment that the hero proves that s/he is Not An Ordinary Man. Belief The Seizure of the Sword is when we begin to believe that the hero is The One who will restore the State of Perfection. Importantly, belief is related to theme. The character(s) believe the other side of the theme. In Spartacus (1960), once the first Roman legion is defeated, people begin to believe that Spartacus may truly be The One that will enable their freedom. The Intangible Sword is knowing that everything will be alright. In The Hangover (2009), the boys get the Mercedes back. Phil tells Alan that, “everything is going to be alright.”

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Acceptance / Belonging Seizure of the Sword signifies the intangible acceptance and belonging in the Deep New World. Which itself demonstrates that the hero now belongs on this side of the theme. In The Godfather (1972), Michael is accepted as a Sicilian on a whole new level once he marries Apollonia. In The Jewel of the Nile (1985), Ralph is accepted as a Sufi. In An Officer and a Gentleman (1982), Perryman accepts Zach’s changed Self. In Dances With Wolves (1990), when Two Socks eats from John’s hand, that is symbolic of trust and acceptance within the New World. There is also the hero’s acceptance of the creatures of the Opposite World. In The Hangover (2009), Alan objects to Stu calling Jade a whore. Stu is sorry he banged Alan’s head. Synergy and Union This is a consequence of being accepted by the creatures of the New World. In The Lord of the Rings: The Fellowship of the Ring (2001), the Fellowship is formed. Access The Boon The Intangible Sword allows access to the Ultimate Boon, which is achieved upon exit of Act II. In Scarface (1983), Tony gets Sosa’s shipments, which will allow him to steal Frank’s empire and take Elvira. Journey Benchmark The Intangible Sword is a benchmark telling us that we’re almost there (the end, the Return, towards a State of Perfection). In Meek’s Cutoff (2010), when they reach the stone markers, Emily states “We’re almost there.” Gaining a Significant Capacity A Capacity is gained, which was not possessed before.

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In Thelma and Louise (1991), Thelma is able to put the cop in the trunk of his car, something that she would not have been able to accomplish before the Journey. In Stand by Me (1986), all the boys feel invincible after dodging the train. In The Jewel of the Nile (1985), Ralph is able to walk over hot coals. Commonly, this capacity is one which characters on the opposite side of the theme possess. In The Godfather (1972), now Michael is proficient in Italian. Half-New Self The Sword is a tangible benchmark that we’re almost there (towards a complete New Self). Seizing the Sword is a milestone in the transformation process - the Hero begins to behave like a new person. In The Jewel of the Nile (1985), Joan and Jack’s journey to marriage is halfway there – they realise that maybe they expect too much of each other. In An Officer and a Gentleman (1982), Zach polishes everyone’s buckles, including Perryman’s. In Annie Hall (1977), Annie is no longer dependent on Alfie as she once was. In Dances With Wolves (1990), when Two Socks eats from John’s hand, that is when John is halfway to becoming full Sioux. Reversal The character is reversing from the Old Self to the New Self. In The Hangover (2009), Stu’s aggressiveness is contrary to the earlier denial and appeasement, which is a good thing. Transformation Symbolism The changed Self is illustrated through outward symbols. In An Officer and a Gentleman (1982), Zach begins to wear the officer uniform. In Dances with Wolves (1990), John starts walking around wearing Sioux clothing.

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Transmogrification Symbolism The changed Self is illustrated through physical change or its symbols – blood, physical deformation and the colour red are all common. New Name This is one of those common locations where the hero is given a New Name and a New Identity, representing the Half-New Self. Who You Are The New Name is an identification of Who You Are. The Intangible Sword is Knowing Who You Are. In Planet of the Apes (1968), this is where Taylor begins to talk and identify himself – “I am not an animal!” In Dances with Wolves (1990), John receives his Sioux name. Good Returns A realisation that something good is born. In other words, good returns. Dark turns to light. In The Hangover (2009), Phil tells the boys that Alan’s confession is a good thing. In The Shawshank Redemption (1994), Andy tells Red that hope is a good thing. Allies' Journey Just as all these things happen to the hero here, so they also happen to the other characters. Antagonism Dispersal This is one form of hope. Just as the hero gains Supernatural Aids, so the antagonism loses them. This is the beginning of the Id’s re-containment. In Spartacus (1962), Glaborus is banished. Just as the Seizure of the Sword signifies the hero’s greater acceptance in the Deep New World, so the reverse is true for the Greater Antagonism or it’s representatives. Commonly, antagonisms disperse or are banished. Some aspect of the antagonism is pushed out of the Deep New World. This is a form of loss of potency. This is the Id’s pound of flesh and it hurts.

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In Spartacus (1962), Crassus retires. In Spiderman (2001), the Green Goblin is sent packing but it vows to return. This is a temporary setback for the antagonism. All know that it’s deeds are not finished and that it will return; the battle may be won but the war is not over. Critically, realising that the hero is Not An Ordinary Man, the antagonist raises his game. In Spartacus (1960), the Senate realise that the slave army is a force to be reckoned with. In Spartacus (1962), Graccus knows Crassus will be back. Commonly, this is the last meeting between the hero and antagonisms until the Atonement (the confrontation with it will not take place again until one side has accumulated significantly more resources / Capacities). In Six Days and Seven Nights (1998), Robin and Quinn escape the pirates and they do not confront them again until they have rebuilt the plane.

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Bride Theft High Status The Bride is a valuable member of the New World, commonly of very high status, which is why, when female, she tends to be a Princess. In Star Wars (1977), Luke rescues the Princess. Symbol of the New World The Bride represents the New World, she represents the Opposite World and the opposite side of the theme. In Dances With Wolves (1990), Stands With A Fist represents the Sioux World. Union of Opposites This is a milestone towards the continued progression of the union between Two Worlds. In The Lord of the Rings: The Fellowship of the Ring (2001), Arwen and Aragorn kiss. This is a union between mortals and immortals. Prince of Princess The Bride may be male or female. The Bride tends to be male when the hero is female. In other words, there is no difference between the hero’s or heroine’s journey. In Erin Brockovich (2000), George is the Bride. In Aliens (1986), Hicks is the Bride. Representative Tangible Sword It’s because she’s valuable that the Bride sometimes doubles as the Sword. She’s a treasure in her own right and comes with fire (symbolic for power), as she’s high status. Representative Intangible Sword As she doubles for the Sword, the Bride may also be representative of the intangibles, which the Sword brings. For example, she can represent hope. In Amazing Spiderman (2012), Gwen is a Beacon of Hope. The Bride’s value is indicated by the antagonist’s actions – he is always trying to win over the Bride, to get what the hero is getting.

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In Iron Man 3 (2013), Killian kidnaps Pepper Potts. In Raiders of the Lost Ark (1981), Belloq tries to woo Marion. In The Matrix (1999), Cypher is trying to woo Trinity. Substituting The Bride Because the Bride represents things, if you don’t want to include a Bride or a Romantic Challenge in your story, you can substitute her for the things that she represents. In The Shawshank Redemption (1994), Andy comes out of the hole with hope. Literal Theft Overall, what the hero does is steal the Bride, literally pull her away and out of her world. In Dances With Wolves (1990), John literally pulls Stands With A Fist out of her world, he takes her with him. Detachment from Ordinary Self Attachments However, the journey is not complete and, though the Bride / Sword stage is a significant milestone, the hero doesn’t totally pull her away and out of her world yet. More commonly, at this stage, the hero pulls her away from the attachments, which represent Who She Is. The New World is her Ordinary World and the hero begins to pull her away from it. In Amazing Spiderman (2012), Peter visits Gwen for dinner at her home. After dinner, he pulls her away from her family and the home onto the balcony. Overcoming Extraordinary Limitations Commonly, some extraordinary limitation prevents the Bride Theft. By overcoming this, the hero once again proves that he is Not An Ordinary Man. In Dances With Wolves (1990), John helps Stands With a Fist forget her dead husband. In The Lord of the Rings: The Fellowship of the Ring (2001), to be together with Aragorn, Arwen will need to give up her immortality, which she does.

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In The Godfather (1972), Michael overcomes the very strict Sicilian courting phase and marries Apollonia. Mastery of the New World The ability to pull the Bride away and out of her world demonstrates mastery of the New World. In Amazing Spiderman (2012), Peter flies over the City with Gwen in his arms at the end. The ability to integrate the Bride into the Ordinary World demonstrates mastery of the Ordinary World. Being able to do both demonstrates Mastery of the Two Worlds. In The Godfather (1972), Michael integrates Kay into his mafia world. Romantic Challenge Evolution The relationship with the Bride can be viewed as a simple arc, which reflects the hero’s progress. As the hero changes, so he begins to solve his problems and that is reflected in the growing relationship with the Romantic Challenge. When the hero couldn’t solve his problems, he couldn’t get the girl. As he solves them, so he increasingly gets the girl. Whereas the hero and Romantic Challenge were previously polarized, this is when they come together. In simple fairytales, following the rescue of the Princess from the Tower or the Seizure of the Treasure or Fire or Sword, the Hero (Prince) receives a kiss. In modern stories, something similar occurs. In The Hurt Locker (2009), after Will finds the body bomb, he is able to at least call his girlfriend. Symbolic Bridge The Bride Theft stage is a milestone and this is represented by a crossing from one state to another, usually a bridge. In The Lord of the Rings: The Fellowship of the Ring (2001), Arwen stands on the bridge with Aragorn, and is willing to give up immortality to be with him.

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Baptism Symbolism As this is a significant stage of evolution, a milestone, Rebirth Symbolism is common. Submersion in water is a common symbol for this. In Dances With Wolves (1990), John and Stands With A Fist first kiss while they are in the lake. Physical and Psychological Union Commonly, the union is represented psychologically (shared values and goals).

both

physically

(sexually)

and

The hero has a goal and now this very valuable member of the New World shares this goal. If they want to be together, she has to help him get there. In The Lord of the Rings: The Fellowship of the Ring (2001), Arwen embraces Aragorn and is with him on his journey to reclaim his inheritance and the throne; to overcome the Parent Deficiency (succumbing to the Ring). Refusal of Suitors Here, the Romantic Challenge (Bride) gains the strength or insight required to reject other suitors, specifically the Romantic Competitor (commonly, the antagonist or Shape Shifter). In Raiders of the Lost Ark (1981), Marion charmingly rejects Belloq’s advances. Departure Limitations Though significant limitations have been overcome to steal the Bride, others still remain – there are many obstacles preventing the hero pulling her away completely. In Dances With Wolves (1990), though John and Stands With a Fist kiss and are a couple, she is still in mourning and they must remain a secret. Not least of these is that the hero is not yet ready to depart. In The Lord of the Rings: The Fellowship of the Ring (2001), Aragorn still has to prove he is Not An Ordinary Man, like his ancestors.

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Joy of Infancy Regained / Joy of Rediscovery Joy demonstrates / expresses that the hero made the right decision to come to the New World and acquire what has been found therein. In essence, this is the joy of rediscovering what was lost. It is also the celebration of achieving the milestones along the various arcs: Readiness, wholeness, repair, home, rediscovery, awakening, belief, belonging, power, theme, maturity, new self, finding ones place, seeing the other side, finding out who you are, conquest of the Romantic Challenge, Significant Capacities etc. Joy of Rediscovering Innocence Originally, innocence was lost. In The Genesis Story, Adam and Eve ate the serpent’s apple and lost their innocence. This stage marks the joy of rediscovery of innocence, which is demonstrated in some way, shape or form. In The Godfather (1972), after marriage, Appollonia is playfully different. Characters behave in a childlike manner (before innocence was lost, before growing up). In The Hurt Locker (2008), Will, Sanborn and Eldridge play around in the barracks. In The Hangover (2009), the boys toss around the used condom like kids. Joy of Rediscovering Ideals The joy of rediscovering those ideals which were lost; the type of idealism that only the young / innocent can experience. In The Shawshank Redemption (1994), Andy tells Red to believe in hope. Joy of Rediscovering Love and Friendship The joy of rediscovering love and friendship, before cynicism set in; love and friendship as only the young / innocent can feel. The joy of winning over the Romantic Challenge, the joy of first love.

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In Despicable Me 2 (2013), Gru is joyful and playful at rediscovering love again. In Brokeback Mountain (2005), Jack is ecstatic when he meets Ennis again. In Educating Rita (1983), Bryant is ecstatic that he’s found a friend like Rita. Joy of Rediscovering Treasures The joy of finding the object of the quest. The joy of rediscovering the value of treasures and fire. If the hero has found fire (symbolic of power), it is as if he were the first to find it. If the hero has found treasure, it is as if he were told that he had inherited a kingdom. In Down By Law (1986), Roberto finds fire to cook the rabbit and everyone is happy again. Joy of Rediscovering Power The joy of finding significant, extraordinary capacities. In Chronicle (2012), the boys are ecstatic with their new found super powers. In Django Unchained (2012), Django rediscovers his manhood. The Joy of Rediscovering Wholeness The joy of being well again, of repairing the damage. In The King’s Speech (2010), Bertie is joyous at being a better speaker. The Joy of Rediscovering Home That home which was lost, begins to reappear. Commonly, as this is not yet the end, the inhabitants of the new home begin to collect together and omens of the new home begin to appear. In The Hobbit: An Unexpected Journey (2012), as the dwarves begin to collect together, so this is a foreshadow of the rebirth of their home. The Joy of Rediscovering Sight The joy of awakening and being able to see [the other side][of the theme]. In Lone Ranger (2013), John Reid learns to see the limitations of the Law of Man.

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The Joy of Rediscovering Belief Generally, belief relates to the other side of the theme. With religion, it translates literally to rediscovering faith. In The Prophecy (1995), Dagget rediscovers his faith. In The Empire Strikes Back (1980), Luke learns to believe. The Joy of Rediscovering Belonging The joy of finding ones place. Or of finding and belonging to a new place (the new place, really, is representative of a place which was lost). In The Hobbit: An Unexpected Journey (2012), Bilbo begins to belong with the dwarves. This also relates to belief – the hero begins to belong as other characters begin to believe in him or her. In Man of Steel (2013), Clark begins to belong as Lois begins to believe in him. The Joy of Rediscovering the Opposite Theme The thematic arc moves from one side / one position to another. The other position, usually, was originally taken and then lost. In Lone Ranger (2013), the Law of Nature affords John Reid a little liberty. He originally, along with his brother, represented the Law of Nature. The Joy of Rediscovering Who You Are The joy of finding the New Self, that part of you which was lost, the rediscovery of the identity which was lost. In Amazing Spiderman (2012), Peter rediscovers who his father was and therefore who he is (“I’m Spiderman”).

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ACT II (PART THREE)

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Going Home Going home is not the journey back to where we started, but the new home, the new State of Perfection, which will be created. It’s the journey to that new beginning. Ready To Go Home After the object of the quest has been acquired, characters are now ready to go home. In essence, this is the beginning of the Return Home. In The Deer Hunter (1978), after getting out of the pit, Stevie is ready to go home. In Despicable Me 2 (2013), Lucy says, “lets take her home,” which means

lets take the story home. In Star Wars (1977), with Leia in hand, the priority becomes escape. Forced Departure Commonly, characters are Forced To Exit The World of the Sword. With the Sword Seized, there is a detachment from the World which contains it. In The Bounty (1984), Bligh forces Fletcher to leave the island. In The Amazing Spiderman (2012), Peter senses there is trouble and jumps over Gwen’s balcony to go to help. In some way, shape or form, the state of Things As They Were Come To An End. In Despicable Me 2 (2013), Silas thinks he’s found the culprit and ends the operation. In The Lord of the Rings: The Fellowship of the Ring (2001), the time of the Elves is coming to an end. Commonly, characters Leave Supernatural Aids, who led the journey to the Sword. In The Hobbit: An Unexpected Journey (2012), the dwarves leave Rivendale and Gandalf behind and head for the mountains. In Educating Rita (1983), after summer school, Rita gradually detaches from Bryant.

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In Despicable Me 2 (2013), Lucy is leaving for Australia. Usually, this is part of the continued Race Against Time. In Star Wars (1977), after rescuing Leia, Luke et al are forced from the detention center. In The Lord of the Rings: The Fellowship of the Ring (2001), the Ring cannot stay in Rivendale; it must be taken to Mount Doom before the Ringwraiths get it. Tug O War The departure is purposefully made excruciatingly difficult. Just as the Ordinary World was difficult to break free from, so is the New World. In The Bounty (1984), Fletcher’s girlfriend is pregnant, making it harder to break free from that New World. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo thought the worst was over and that he was going back to the Shire, but he volunteers to take the Ring to Mount Doom. Journey Back And characters do, Willingly or Unwillingly, start the journey back. In The Bounty (1984), with the bread fruits acquired, Bligh wants to go back.

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Unwilling Return To Old Self, To Who S/He Was Unwilling Return To Old Self Even if the journey is willingly undertaken, the characters have changed and though they may willingly go forward, they increasingly are unwilling to change back to what they were. In Educating Rita (1983), Rita is willing – she wants to change - but as she does so, she increasingly doesn’t want to go back to what and who she was. In Despicable Me 2 (2013), Silas thinks he’s found the culprit and ends the operation – he tells Gru he can now go back to being Who He Was, to being a businessman making jams and jellies. But Gru doesn’t want to go back to Who He Was. In The Bounty (1984), Fletcher has changed on the island and he doesn’t want to go back to being Who He Was. Ordinary Self Attachments Potency As the character changes, so Ordinary Self Attachments increase in potency to try to Pull The Character Back To Who S/He Was. In The Devil Wears Prada (2006), Nate is disappointed that Andy didn’t quit her job. In The Bounty (1984), Bligh tries to pull Fletcher back to Who He Was. In Educating Rita (1983), Bryant tries to pull Rita back to Who She Was. Ordinary Self Dissolves Away However, Ordinary Self Attachments find it increasingly difficult, and the world / person they represent increasingly dissolves away. They arc out of the picture. In The Devil Wears Prada (2006), Nigel warns Andy that as she becomes successful at work, her personal life will increasingly go up in smoke.

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Id / Superego Potency Rise (Evolution) Just as these increased in potency upon entry into the Deeper New World, so they increase further here. Id Potency To prevent the character moving forward, the antagonism increases in potency. In The Hobbit: An Unexpected Journey (2012), the pale dwarf puts a price on Thorin’s head. In Lethal Weapon (1987), the general says, “it’s time we turned the heat up.” Somewhat paradoxically, this also pushes the character forward (the antagonism is really a supernatural aid in disguise). In The Lord of the Rings: The Fellowship of the Ring (2001), Middle Earth stands on the brink of destruction, none can escape it. Sauron’s eye is fixed on Rivendell. Saruman is breeding an army. On some level, the antagonism has been contained or limited but now is released. In Spartacus (1960), after the defeat of the legion, Crassus focuses his attention on Spartacus and his army. In The Amazing Spiderman (2012), Dr Curt Connors turns into the lizard. Else, an antagonism for this new section appears. In The Hangover (2009), the boys release Mr. Chow from the trunk of the Mercedes. All in all, the antagonism arcs in potency. In The Shawshank Redemption (1994), Hadley tells Andy, “you’re mine now, Dusfresne.” Now it’s Hadley and the warden against Andy. Superego Potency Just as the Id increases in potency, so does the Superego. The hero gains strength:

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In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo regains his strength. In The Amazing Spiderman (2012), Peter becomes strong enough to deter the lizard on the bridge. New, more potent Supernatural Aids appear to assist. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo and Aragorn meet Boromir, Legolas and Gimli. Shape Shifter Potency Just as the Superego and Id’s potency rise, so does that of the Ego (Shape Shifter). In The Lord of the Rings: The Fellowship of the Ring (2001), Boromir appears and is an unwilling ally to Aragorn. Race Against Time To Become The Father There is an urgency to become the Maintainer of the State of Perfection – to become the father. Father figures or Proxy Maintainers disappear. In The Godfather (1972), Sonny dies. In The Lord of the Rings: The Fellowship of the Ring (2001), the Elves are the protectors - have maintained the state of things thus far. But they are leaving and who will replace them when they’re gone?

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Finding Who You Are / Your Place There is Journey and Border Symbolism into a new world, with its own Creatures, Sights and Sounds. In The Shawshank Redemption (1994), Tommy arrives at Shawshank. In Amazing Spiderman (2012), Peter makes his way to the bridge, where the lizard’s attacking. Who You Are Task Commonly, some task is completed. In Amazing Spiderman (2012), Peter saves everyone on the bridge, including the boy. In Field of Dreams (1989), Ray and Terence pick up Moonlight Graham as a young boy. Because it’s all about changing, finding “Who You Are” involves separating from other characters who represented “Who You Were.” In Gangster Squad (2013), Gracie leaves Mickey. Finding Your Place In essence, the hero finds his place in the New World, his reason for the journey. In The Shawshank Redemption (1994), Andy becomes a librarian and teacher and finds his place in the new world of Shawshank. In Up In The Air (2009), Ryan and Natalie arrive into the World where she takes charge of firing people. In Field of Dreams (1989), Ray and Terence talk in the VW van and discover why Ray is on the journey – to pay penance, to say sorry and play catch with his father. Where the hero once didn’t fit in, now s/he does fit in. Where New World Inhabitants were once feared, now they are amusements. Where New World Inhabitants once mocked the hero, now the hero mocks them. All these elements demonstrate the hero’s new comfort and place within the New World, especially compared to the earlier state. In Educating Rita (1983), once Rita wouldn’t have fit into Trish’s world – when she rents the room, she fits in perfectly.

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New Name A new name indicates the rediscovery of Who You Are. During the original Parent Death, the hero lost the connection to Who He Is. In Amazing Spiderman (2012), the crane operator asks Peter who he is, and he replies “I’m Spiderman.” In Field of Dreams (1989), Terence Mann allows Annie to refer to him as Terry. In Amazing Spiderman (2012), Peter lost Who He Is when his father disappeared. The rediscovery of Who He Is, is a reconnection with that identity. Flaw Benchmark Now knowing Who You Are is a flaw. Rediscovering Who You Are fixes the flaw. In Iron Man 3 (2013), Stark realises he’s a mechanic, and the flaw is fixed. Becoming The Father When the hero first entered the New World, s/he was an innocent. Now s/he is well onto the way to Becoming the Father. Often, this is shown through the hero acting as a supernatural aid. In The Shawshank Redemption (1994), Andy is in the position where he is able to teach Tommy. In Up In The Air (2009), Ryan is in the position where he is able to teach Natalie. Character Journeys Just as the hero rediscovers / finds Who He Is, so do other characters. Commonly, they go through a mini road of trials process, with resistances and obstacles overcome, a graduation and celebration etc. This is part of other-world (Ordinary World etc) characters learning to assimilate into the New World. To find their place in the New World. In The Shawshank Redemption (1994), Tommy becomes a student. In Terminator 2: Judgement Day (1991), Sarah, John and the Terminator break into Dyson’s house and show Dyson who he really is. In The Shawshank Redemption (1994), Tommy goes through a little Road of Trials while learning. Finally he takes his test.

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In The Lord of the Rings: The Fellowship of the Ring (2001), Boromir and Aragorn teach Pippin and Merry to swordfight, in a mini Road of Trials. In Up In The Air (2009), Natalie goes through a little Road of Trials while learning. Everything Will Be Alright This is one of the places when the hero realises that everything will be alright. In Aliens (1986), Ripley tells Newt not to worry, everything will be alright. The recovery of identity is part of Repairing The Damage, which will have an injury / transmogrification metaphor. In As Good As It Gets (1997), Simon’s arm heals. Encouraged To The New World of Containment It is after when the hero rediscovers Who He Is (which is part of repair), that s/he is motivated to complete the repair, which leads to the World of Containment and the Near Death Experiences. Else, the hero et al are simply forced there. In Hurt Locker (2004), Will finds the dead boy's body and it is that which forces him out of the base into the underworld of Iraq. In Lethal Weapon (1987), Riggs and Murtaugh are captured and interrogated. Omens of the Atonement Commonly, it is when we are encouraged to the New World of Containment, that omens / foreshadows of the atonement are made explicit. In The Lord of the Rings: The Fellowship of the Ring (2001), both Saruman and Gandalf know that the Balrog is the threat within the Mines of Moria. That’s what Gandalf et al will confront at the atonement stage of the story. Exit Just as there was Journey and Border Symbolism entering this stage, so it is again when leaving it. In Up In The Air (2009), Ryan and Natalie leave the building.

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New World of Containment In essence we are entering a New World and there is Journey and Border Symbolism into it. In The Hobbit: An Unexpected Journey (2012), the dwarves trek to the mountains. In The Hangover (2009), the boys leave the hotel and drive to Tyson’s house with the tiger in the back. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo et al pass the Walls of Moria. Detachment Arc As part of normal entry into New Worlds, we leave behind those things which represent the older self. In The Ugly Truth (2009), Stu sends Abby to Los Angeles, which means she won’t be going to Lake Tahoe with Colin (someone who represents a dying version of her new self). In Goodfellas (1990), Henry is separated from Karen upon entering prison. In The Devil Wears Prada (2006), Andy misses Nate’s birthday party when she’s forced to the benefit. In Training Day (2001), Alonzo disappears and leaves Jake to his fate. Magical Gifts that functioned perfectly beforehand, fail to do so in this World. In Star Wars (1977), the blasters fail when Han tries to fire them in the garbage hull. Descent Into The Underworld Both physically, psychologically and spiritually, this is a descent – a descent into the psyche. Often characters move physically downward, underground, below or similar. In Star Wars (1977), Luke follows Leia down the shoot into the garbage section of the detention level. Tiered Worlds of Containment There may be tiered entry into deeper and deeper parts of the World of Containment, where various functions will be performed.

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In The Hobbit: An Unexpected Journey (2012), Bilbo and the dwarves are forced into the cave, then fall into the mountain, then Bilbo falls into the lake at the bottom. Supernatural Aids Commonly, the hero is accompanied by Supernatural Aids and Magical Gifts. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo wears Bilbo’s vest and is accompanied by Gandalf and Aragorn et al. Minor Threshold Guardians block the way. In The Lord of the Rings: The Fellowship of the Ring (2001), a password is needed to open the gates to the Mines of Moria. Serpent Battle Commonly, a Serpent (symbolic of the Id, relates back to the serpent that tempted Adam and Eve in Eden) both blocks the way and pushes forward. In Lord of the Rings: Fellowship (2001), the serpent attacks and blocks the way back from the Mines of Moria. Pursuit Commonly, characters are pursued into this New World of Containment. In Star Wars (1977), the Stormtroopers and detention center guards push Luke and Leia into the garbage chute. No Choice Commonly, characters have no choice but to enter this New World of Containment. In Lord of the Rings: Fellowship (2001), Gandalf says that he would only go through the Mines of Moria if he had no other choice. In The Devil Wears Prada (2006), Miranda forces Andy to go to the benefit. Forced Journey As all other routes and choices are blocked off, it is made certain that the character must choose this path. There is No Way Back. In Lord of the Rings: Fellowship (2001), Saruman makes sure that Gandalf et al have no choice but to go through the Mines of Moria. The serpent blocks the way back. And the door caves in.

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In Jason and the Argonauts (1963), the ship’s crew want to turn back. But can’t. In Romancing the Stone (1984), Jack and Joan are forced out of town by the arrival of Zolo’s men. In The Hangover (2009), the boys meet Tyson, who threatens them if they don’t return his tiger, forcing them to capture and return it. World of Containment Task Commonly, some in/tangible (related to the Innermost Fear) needs to be acquired in this World of Containment. In Rambo: First Blood (1982), Rambo goes back to the road to steal the weapons. In Up In The Air (2009), Ryan persuades Alex to accompany him to the wedding. In Dances with Wolves (1990), John and the young Indian boy go back to the Fort to retrieve the guns. In The Shawshank Redemption (1994), Andy goes to the warden seeking freedom, after Tommy tells his story. Foreboding Symbolism Fear and Warnings of the World of Containment are made explicit. By nature, this journey is Frightening, Dangerous. It occurs Stealthily in the Dark, at Night, in Cold, Winter, Rain, Thunder and Lightning, in the Underworld, Tunnels, Graveyards etc. In Aliens (1986), Newt tells Ripley that they better get back; “they mostly come at night, mostly.” In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf is afraid of the Mines of Moria – he knows what lies there. The World of Containment is a Place of Innermost Fear. In Raiders of the Lost Ark (1981), Indiana is forced into the pit, which is full of snakes. In The Shawshank Redemption (1994), Andy will have to face the warden and ask him to investigate his innocence and release.

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In The King’s Speech (2010), Myrtle tells Lionel to go and apologise. Ready To Face Innermost Fears Characters arrive here now because they have changed on the journey thus far and are, whether they know it or not, ready to face their fears. Expressions of how the hero has changed or is ready. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo is not that afraid of the Mines of Moria as he once would have been. Frodo decides to go through the mines. In The Hangover (2009), Stu doesn’t care anymore – even less so than Phil and the others. He plays the piano and is calmer than the rest. He’s not worried about the tiger or Tyson or whatever in Vegas now. Death Symbolism Death surrounds this place, which reinforces the messages of foreboding and innermost fear. However, death also symbolises the death of the older state and is therefore an implicit form of Border Symbolism into the New State. We are also going into the World of Containment to die and be reborn, so we’re linking into these messages too. Dialogue referencing death and “killing” are really referencing the imminent death of the Self. In The Lord of the Rings: The Fellowship of the Ring (2001), skeletons etc are found in the entrance to the Mines of Moria. In The Hangover (2009), Stu says, “We're all going to die.” Containment Symbolism Expressions of the state and limitations of Containment. Characters can’t find their way out. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf can’t remember the way out of the Mines of Moria. Characters are buried, trapped, entrapped, caged-in or similar. In Contagion (2011), Mitch is held in quarantine. In Aliens (1986), after the aircraft crashes, there is no way off the planet.

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In The Hobbit: An Unexpected Journey (2012), the dwarves are locked into the mountain. In Lethal Weapon (1987), Martin Riggs is held hostage in a cell. In The Shawshank Redemption (1994), Andy is sent to the hole for an impossibly long time. In The Empire Strikes Back (1980), Han, Leia et al are tortured in the dungeons. In Lord of the Rings: Return of the King (2003), Pippin swears allegiance to the king. In Spartacus (1963), the pirates betray Spartacus, leaving him trapped between the coast and the Roman legions. Race Against Time There is Time Pressure to escape the World of Containment. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf wants to get out of the Mines of Moria before the Balrog shows up. End of the (New) World is Nigh Commonly, the Race Against Time is the race against some form of armageddon, or end of the world as we know it. In The Ugly Truth (2009), Stu sends Abby to Los Angeles to get Mike back, else ratings will fall again and their contracts will be cancelled. In Despicable Me 2 (2013), Gru needs to ask Lucy out on a date before she leaves for Australia. Liberation Symbolism Commonly, some form of liberation from the World of Containment is sought. In Aliens (1986), once trapped on the planet, some form of escape from it is sought. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf is trying to remember the way out of the Mines of Moria. Psychologically, liberation from the constraints of the inner demon are sought.

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In Despicable Me 2 (2013), Gru is seeking liberation from his crushing inability to ask girls out on a date. Goodbye / Goodnight Symbolism The World of Containment is a place where the hero will be reborn, so goodbye or goodnight symbolism refers to a goodbye and goodnight to the older self. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo and Bilbo say goodbye to each other. Awakening / Belonging Benchmark Liberation from Containment will not be possible until after the character has awakened / belonged / learned the lesson etc. Some benchmark indicating that the character isn’t awakened or doesn’t belong is made explicit. In The Hobbit: An Unexpected Journey (2012), upon entry into the mountain, Thorin says that Bilbo doesn’t belong. As they fall, he says, “wake up, wake up!” In The King’s Speech (2010), the Prime Minister doesn’t think highly of Wallace – she’s twice divorced, unfaithful and has affiliations with the Nazis. And Churchill doesn’t rate Edward either.

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New World of Containment (Belonging, Surpassing NW Peers) During this stage, the hero surpasses New World Peers. In other words, the hero demonstrates that s/he belongs in the New World and with New World Creatures and on that side of the theme. One Of Us By now, it may be that the hero is already considered to belong to the New World. But that the hero has yet to believe it or be fully accepted by everyone. In The Hobbit: An Unexpected Journey (2013), Bofur tells Bilbo, "you're one of us now." Gifted Rival In essence, the hero is no longer a Fish Out of Water – s/he has changed much and is recognised as a gifted (sometimes friendly, sometimes not) rival. In The Devil Wears Prada (2006), all recognise that Andy now fits in at the magazine. She is no longer a fish out of water. Peer Deficiencies Peers, who thus far may have been flawless, may demonstrate deficiencies and flaws. In The Devil Wears Prada (2006), Emily turns up to work with an infectious flu, which doesn’t impress Miranda. In Educating Rita (1983), Rita is upset that Bryant is still drinking. They may even respect their hero rival. In The Devil Wears Prada (2006), Emily reaction to Andy when she appears at the benefit is friendly, compared to her earlier attitude. Peer Competition Some circumstance (extraordinary or otherwise) forces a competition between the hero and new world peers. In The Devil Wears Prada (2006), Miranda asks both Emily and Andy have to prepare for the benefit. Equality Symbolism During competition, both hero and new world peers appear as equals.

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In The Devil Wears Prada (2006), both Emily and Andy appear before Miranda as equals. Andy is doing Emily’s job (first assistant). When Andy arrives at the benefit, both she and Emily walk up the stairs as equals. New World Supernatural Aids These archetypes may assist the hero become an equal at this stage. In The Devil Wears Prada (2006), Nigel dresses Andy for the benefit, which helps her fit in impressively. Surpassing Peers During the competition / trials, the hero demonstrates Extraordinary Capacities and surpasses peers. In The Devil Wears Prada (2006), Emily forgets the name whereas Andy remembers. In Up In The Air (2009), Natalie shows that she’s become just as good as Ryan when firing people. In The Godfather Part II (1974), Vito transcends Clemenza when he kills Fiannucci. This involves Detaching From Previous Peers And Supernatural Aids. In Educating Rita (1983), Rita detaches from (pulls away from) Dr Bryant. With Us Now The hero is recognised as being “with the new world,” which practically means that s/he is “with us on this side of the theme.” The hero Belongs. In Epic (2013), MK is told "you're with us now." New Name Commonly, as the hero belongs, the Newer Self becomes known via a New Name. In The King’s Speech (2010), Churchill asks the Duke what he will be called when he becomes King, “what about George.” New World Romantic Challenge One consequence of belonging is that the New World Romantic Challenge becomes attainable. In The Devil Wears Prada (2006), Thompson describes Andy as a vision. He wants to steal her away from her boyfriend.

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Proximity To The State of Perfection One consequence of belonging is that the Elixir becomes increasingly attainable. In The Devil Wears Prada (2006), Thompson tells Andy that she has a talent. Which will help her get her dream job as a serious journalist. Detachment / Attachment Dissonance As the hero belongs, there is increased dissonance between the pulls of Ordinary and New World Attachments (between the pull of the old and new self). In The Devil Wears Prada (2006), Andy runs home to a disappointed Nate, while Thompson wants her to come back into the building for a drink.

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New World of Containment (Near Death, Inner Demons) This is a new world in its own right, deeper within the New World of Containment. Bigger Wider World One function of the journey into the World of Containment is to allow the hero to become a bigger Self, and so the journey and border symbolism often demonstrates movement into physically bigger, wider, open spaces. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf leads everybody into the bigger wider world of The Great Realm of Dwarf City. Containment Symbolism Again, the contained, buried, locked-in state is shown – the Near Death Experience approaches and there is no avoiding it. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf reads from the book, “cannot get out, cannot get out, cannot get out.” In Training Day (2001), the Latino gang hold Jake in the bathroom. Inner Demons, Serpent’s World What the hero is going to do in this stage of the Near Death Experience is battle his / her inner demons. So it is a world which reflects the inner demon (represented in Biblical stories by the serpent). The inner demon is that thing which caused the initial damage, the initial trauma. It is the thing which the hero couldn’t overcome beforehand as is directly the result of all the carnage since. We’re going right back to the Loss of the State of Perfection and confronting a shadow of the enemy in order to come face to face with our inner demon and overcome it. In The Ugly Truth (2009), Mike is interviewed and asked about the doosey. This takes him right back to where he lost his faith in women. In Despicable Me 2 (2013), Gru sits at home practicing asking Lucy out on a date, which takes him right back to his childhood nightmare. Commonly, the inner demon is a battle with those things that kept you as you were, kept you as the Old Self, kept you on the wrong side of the theme.

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In What’s Your Number (2011), Ally meets Jake, who represents the wrong side of the theme and keeps her tied to the old theme of pleasing everyone else and not herself. Commonly, the inner demon is a battle with the father’s limitation. When the son overcomes it, he overcomes the father’s limitation. In Star Trek (2009), the young Kirk overcomes Nero, which his father couldn’t do. Near Death Experience Task Commonly, the hero is tasked with something during the Near Death Experience - some tangible is to be retrieved, which has the intangible significance of growing up / maturity. This is where an Innocent Archetype grows up. In other words, where Innocence Is Lost. In Dances with Wolves (1990), John and the young Indian boy retrieve the guns. The young boy is an Innocent Archetype who accompanies John to, implicitly, grow up. Else, innocence manifests itself in some way, shape or form. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf reprimands Pippin for making sounds that will attract the goblins and death. Battle Symbolism / Deep New World Existential Battle Commonly, there is a literal battle with demonic forces, which substitutes for the psychological battle of confronting inner demons. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo et al battle the elves and the cave troll. Thematically, “demonic forces” are those which do not accept the theme of the new world. Enemy Natural Inhabitants of the Deep New World who have not accepted the hero / change must be overcome. In essence, these are tangible manifestations of psychological forces that resist the New Self, change, the opposite side of the theme. In Dances with Wolves (1990), the Pawnee attack and they must be overcome.

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Baptism Symbolism Water is symbolic of rebirth. Commonly, the hero is submerged in water during the battle. Else the battle tends to take place around water. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo et al walk beside the river towards the Mines of Moria. Frodo is submerged underwater. 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. Death Symbolism Again, death surrounds this place. In The Lord of the Rings: The Fellowship of the Ring (2001), Gimli runs into the room in which he finds his cousin’s grave. But a Literal (Near) Death often occurs. What is happening is that the Old Self is dying. A literal or metaphoric or symbolic death or near death experience. This is a fatal or near fatal incident, commonly caused by antagonistic forces. In Alien (1979), Ash, head on the floor after being killed, tells the remaining crew they have no chance of survival. In The Lord of the Rings: The Fellowship of the Ring (2001), the troll kills Frodo. In The Hangover (2009), the tiger attacks the boys in the car. In The Shawshank Redemption (1994), the warden and Hadley kill Tommy. In Unforgiven (1992), the Sheriff beats Clint Eastwood to a pulp. In A Fistful of Dynamite (1971), John sees Dr. Villega give away his compatriots. In Training Day (2001), Jake is nearly killed by the Latino gang. Psychological Death is the corollary of physical death. The old way of thinking is dying.

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In The Ugly Truth (2009), Mike is interviewed and comes face to face with the question about the girl that ruined his perception of women and relationships. Desperation The inner demon is that thing, which has burdened the hero all along. The battle with it pulls out true desperation. This is where the hero discovers desperation. In Iron Man 3 (2013), Aldridge gives Stark the gift he himself received seeing Pepper tortured gifts Stark with desperation. Transmogrification Symbolism is common. Which indicates that the old body is about to die and the new one be born. In The Hangover (2009), the tiger claws Phil, who bleeds. Allies’ Deep New World Existential Battle As per the rule of synchronised, mirrored progression, the Near Death Experience does not only afflict the hero, it afflicts all the Good People of the Township, most commonly the hero’s direct allies. Thematically, it afflicts all those who are willing to change and accept the other side of the theme. In The Matrix (1999), when Cypher is about to kill (unplug) Neo, he also kills (unplugs) other members of the crew. In Star Wars (1977), as Luke, Leia et al are about to be crushed in the garbage compactor, so C3PO and R2 are about to be caught by Stormtroopers.

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New World of Containment (Rebirth) This stage is the consequence of the Near Death Experience, of battling Inner Demons. Miraculous Rebirth The inner demon is that thing which caused the initial damage, the initial trauma. It is the thing which the hero couldn’t overcome beforehand as is directly the result of all the carnage since. During the Near Death Experience, the inner demon (represented by a monster) thinks it’s defeated / killed the hero again, just like before. But this time the hero doesn’t die (the result of the growth of the journey thus far). S/he miraculously survives. Which indicates that the hero has overcome the inner demon and all that it represented. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo shouldn’t survive the cave troll, but he does. Practically, the hero miraculously survives. In Training Day (2001), Jake shouldn’t have survived the Latino gang, but he does. In The Matrix (1999), Tank should have died, but he doesn’t. Consequently, nobody should be there to save Neo. But there is. This is why the rebirth is unexpected. It is the last thing that should have happened. Where the hero should have died, s/he doesn’t. In The Matrix (1999), Cypher is shocked that Tank has survived, “impossible.” Repairing The Damage By recovering, the hero has repaired the initial damage, trauma. In Despicable Me 2 (2013), Gru practices asking Lucy out on a date which is confronting his innermost fear / repairing the damage. Physical Rebirth Generally, there is some kind of literal, physical rebirth. Transmogrification Symbolism comes to the fore, where the body repairs itself and takes its new form. This is symbolic of recovery, repair and return to wholeness.

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In Unforgiven (1992), the Sheriff beats Clint Eastwood to a pulp, after which he slowly recovers. In Fistful of Dollars (1964), the old barman assists Clint Eastwood get healthy again. In The Godfather (1972), Michael recovers in bed after the car bomb explosion. Commonly, Supernatural Aids and Magical Gifts assist rebirth or survival. In The Lord of the Rings: The Fellowship of the Ring (2001), Frodo survives the Near Death Experience because of the vest Bilbo gave him. In Training Day (2001), the girl / girl’s wallet saves Jake from death at the hands of the Latino gang. The hero is also a Supernatural Aid and his / her own Superior Capacities may save him / her. In The Godfather (1972), Michael realises instantaneously that the car is loaded with a bomb. But that is still not good enough to save Appollonia. Archetype Rebirth As per the rule of synchronised, mirrored progression, the rebirth afflicts any or all characters. Commonly, the Shape Shifter is also revealed here. In The Incredibles (2004), Bomb Voyage decides to assist the Incredibles escape. In The Godfather (1972), Fabrizio’s True Nature is revealed after the car bomb blows up Apollonia. Celebration Celebrating surviving the near death experience and rebirth is really a celebration of the New Self (who the hero has now become). Thematically, it’s celebrating belonging to the side of the theme represented by the New World. In Star Wars (1977), Luke et al celebrate after being saved from death in the garbage compactor.

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Rebirth (Waking Up, Believing) The Rebirth is where the hero wakes up. Awakening Some sort of awakening occurs. Commonly, relating to “the other side” or the Ordinary World. In Alien (1979), Ripley gets access to Mother and finds out what the mission is, that the crew are expendable and that Ash is a robot. In Iron Man 3 (2013), Stark finds out who The Mandarin really is. In What’s Your Number (2011), Ally’s friends and sister tell her who Colin really is. An Insight or Enlightenment may represent this. In The Hangover (2009), Tyson shows the boys the video and they realise he is alive. In Dances with Wolves (1990), John Dunbar understands the Sioux and feels closer to them than ever before. In The Help (2011), Minny tells Celia about the shit-pie she gave Hilly. Commonly, the hero awakens to antagonists or Shape Shifters. 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. Commonly, the hero awakens to the Limitations of the Father (or father figure). In Unforgiven (1999), The 'Schofield Kid' realises what Will Munny really is. Commonly, the hero awakens to the Limitations of Attachments. Attachments usually represent those things which hold us back, stop us from changing and moving on. These are let go of. In The Lost Weekend (1945), both Ned and Gloria let go of Don.

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Belief The Rebirth is also where the hero starts to believe. In it’s religious context, belief is the return of faith. But otherwise, it’s the belief in the Self. Thematically, it’s the belief in the theme represented by the New World, by the opposite side. In Field of Dreams (1989), Terence Mann sees the baseball field, which Ray has built. Then sees the players. And he believes.

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Rebirth (Reversal Of Thinking, Breaking With The Past) The Rebirth is where the hero reverses his (or her) thinking. This is the death of the Old Way of Thinking (death of the Old Self) and the birth of the New Way of Thinking and inevitable New Direction. In The Godfather (1972), Apollonia’s death completely changes Michael’s way of thinking. Sonny’s death results in the Don calling a meeting with the heads of the Families and ending this war. But Michael will not stop until Sonny and Apollonia are revenged. In Gran Torino (2008), after Sue’s rape, Walt’s feelings reverse - he feels he must defend the family next door. In The King’s Speech (2010), Bertie never had a commoner friend and certainly never accepted one as an equal. At this stage, he reverses and accepts Lionel as an equal and friend. Commonly, the Reversal of Thinking involves a Break With The Old World, In The Help (2011), Celia so wanted to be accepted by Hilly and the bridge club, but then decides that it’s not for her. And the rules and limitations of the old way and old world, In Despicable me 2 (2013), Antonio tells Gru that there are no rules. Commonly, the Reversal of Thinking involves accepting The New World, In Twilight (2008), Bella didn’t initially want to be a part of Forks, but then decides she wants to stay there. It’s coming around to the New World Way of Thinking, In Dances With Wolves (1990), after the battle with the Pawnee and the survival of the Sioux to preserve their winter provisions, John Dunbar completely understands the Sioux’s World and makes his break from the Soldier World and Self. That’s when the Sioux become his family. Innocence Lost Commonly, the Reversal of Thinking involves losing the innocent way of thinking. In Training Day (2001), Jake is nearly killed by the Latino gang, but walks away a grown up – no longer an innocent to who Alonzo really is.

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Commonly, an Innocent Archetype loses his (or her) innocence. The tangible, which is acquired at this stage, as part of the task, represents innocence. In Dances with Wolves (1990), John and the young Sioux boy retrieve the guns. The young boy is an Innocent Archetype who accompanies John to, implicitly, lose his innocence. Commonly, the Reversal of Thinking involves Rediscovering What Has Been Lost (which may refer to the Lost State of Perfection, innocence or all the other relevant messages). In Iron Man 3 (2013), Maya refinds her innocence and tries to force Aldridge to release Stark. Goodbye / Goodnight Symbolism A “goodbye” or “goodnight” is symbolic for goodbye or goodnight to the Older Self. In this case, a goodbye to the old way of thinking, represented by old attachments and father figures. In Syriana (2005), Arash says goodbye to his Father.

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Rebirth (Learning The Lesson) The rebirth is where the “lesson is learned.” Learning The Lesson The hero awakens to that lesson which must be learned. In The Wizard of Oz (1939), Dorothy learns to appreciate Auntie Em and home, while incarcerated in the witch’s dungeon. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf teaches Frodo not to judge Gollum. In The Shawshank Redemption (1994), after Tommy’s death, Andy gets out of the hole and knows to “either get busy dying or get busy living.” This is learning the lesson, which the opposite side of the theme teaches. In Up In The Air (2009), Ryan goes to get Alex, which is a grown up thing to do for him. Linking back to the serpent that originally represented the Id (religious texts), the Near Death Experience is an occasion where the serpent attacks the hero in exactly the same way that the Hero Parent was attacked. That’s when the parent learned the lesson and this is when the son learns it. Character Acquired Character is best formed in the stormy billows of the world (Goethe). Character is not given, but earned and it is after the Near Death Experience and the “lesson” that the hero finds it. It is an evolution of habit and mind from the challenge and struggle of the New World. In Dances With Wolves (1990), after defeating the Pawnee, John Dunbar realises for the first time who he really is. In The King’s Speech (2010), after crying in Elizabeth’s arms, the King finds the character to apologise. Inner Resolve Acquired It is the Near Death Experience and “learning the lesson,” which leads to inner resolve.

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The loss of procrastination, the willingness to make a decision, the willingness to prioritise. The zest, grit, self-control, social intelligence, gratitude, optimism, curiosity required to ascend. The fiercely competitive nature, the willingness to forego prudence manifests itself. In The Help (2011), Minny and Celia become determined not to lose to Hilly. The hero demonstrates that He Has It In Him. In The Ninth Gate (1999), Dean shows that he can kill; "I didn't know you had it in you." Ready For The Atonement Commonly, the Inner Resolve is for the Atonement. This is one of the intangibles, which is pulled out of the Near Death Experience. In Star Wars (1977), Ben is ready to battle Vader. In The Empire Strikes Back (1980), Luke is ready to battle Vader. In Dances With Wolves (1990), John is ready to become a Sioux warrior. In Ordinary People (1980), Calvin discovers the inner resolve to confront his wife (atonement). Direction Acquired The Inner Resolve and Readiness For The Atonement provide the direction. In The Shawshank Redemption (1994), Andy desires to lead a productive life.

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Rebirth (Liberation, Psychologically Ready, Convergence) What we’ve been searching for in the New World has come to an end (we haven’t just been searching for the object of the quest, we’ve been searching for change, to learn the lesson, to revert to the other side of the theme). In Blade Runner (1982), after his meeting with Tyrell, Roy realises his quest is at an end. Liberation Capacity Commonly, it is once the lesson has been learned that the Capacity to escape the World of Containment is granted. In The Lord of the Rings: The Fellowship of the Ring (2001), after Gandalf teaches Frodo not to judge Gollum, he remembers the way out of the mines. In Six Days and Seven Nights (1998), Quinn realises that he can use the legs of the damaged plane to repair his own plane and escape. In Star Wars (1977), Ben disables the tractor beam and escape from the Death Star becomes possible. In Alien (1979), it’s after they learn what the plan is and who Ash is that Ripley et al decide to abandon ship. Psychologically Ready (To Go Home) Once the search has come to an end, we’re ready to go home, ready to return. In other words, the psychological limitations to the return home have been overcome. In Sherlock Holmes, Game of Shadows (2011), after Sherlock's near death experience and rebirth, both he and Watson are ready to go home. In Knocked Up (2007), the boys "want to go home now" after the drug comedown. Psychologically Ready (To Atone) There is also readiness to atone, to confront the atonement (see Atonement section later). Using the symbols, the psychological limitations to “confront the father” and what he represents have been overcome.

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In Gran Torino (2008), both Thao and Walt realise that they must do something about the gang. In Sling Blade (1996), both Karl and Frank realise that they must do something about Doyle. In The Hangover (2009), the boys agree to call Tracy and tell her the truth. Convergence During Act I, the hero was an Ordinary Self. During Act II the hero became a Newer Self. Now the hero has to overcome the obstacles to escaping Act II and go onto the even maturer stage of Act III. Now all the characters (and symbols) which will be part of Act III ready to leave for it. Commonly, there is a convergence of Supernatural Aids. This is the beginning of the Gathering and Supernatural Sponsors (see Act III). In Dances with Wolves (1990), Kicking Bird, Wind in his Hair and the war party et al return. In Goldfinger (1964), Bond activates the homing device and Felix and the CIA appear and prepare. In Goodfellas (1990), Henry cries in the corner and Karen takes him in her arms. Commonly, there is a convergence of Ordinary Self Attachments. This is the continuation of integrating the old with the new. In The Godfather (1972), Kay returns and wants Tom to give Michael a letter. Commonly, there is a convergence of New Self Attachments, commonly including the New World Romantic Challenge. This is the continuation of integrating the old with the new. In Carlito's Way (1993), Gail returns.

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Uniting (Marrying) With The New World At this stage, we’re now ready to join the new world, to become one of them. This is commonly referenced by the term “Mystical Marriage,” which is a metaphor for complete integration within the Deep New World and with the creatures and natural inhabitants therein. Removal Of Limitations The function of the journey through the New World is to transform the hero into a New Self and that is now complete. All limitations to it are removed or disappear. Commonly, Natural Inhabitants of the New World let go / transcend their limitations and accept the Natural Inhabitants of the Ordinary World. In Dances with Wolves (1990), Stands With A Fist is told not to mourn any longer. She is free to marry John. Where the hero was previously not ready, now he is. In Dances with Wolves (1990), John was not ready to become a full Sioux warrior – he wasn’t allowed on the war party. His almost single-handed saving the village from the Pawnee demonstrates that he is ready. New Self Bridge This is Journey and Border Symbolism into the New State of the New Self. In Dances with Wolves (1990), John and Stands with a Fist stand before the tent doors. In Star Wars (1977), Luke and Leia face the bridge. In The Matrix (1990), Neo and Trinity get on the lift. Some Push, Pull, Motivation or Call is evident. Commonly, a Magical Gift. In Up In The Air (2009), Ryan is motivated to go home by his sister’s wedding invite. Detachment is implicit. Detachment from Old Self Attachments. In Up In The Air (2009), Ryan leaves Natalie and the World of airports.

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Matrimony Symbolism The Hero “marries” symbols of the New World. Symbols and representations of the Ordinary and New Worlds merge. There is union and integration with them. Commonly, the symbol is the New World Romantic Challenge. In Dances with Wolves (1990), John and Stands with a Fist are married. Wind in his Hair accepts John as a friend. In Star Wars (1977), Luke takes Leia in his arms and she kisses him. In The Matrix (1990), Neo takes Trinity in his arms. In The Priest (2011), the Priest and Priestess declare their love. In Kramer vs. Kramer (1979), Ted hugs Margaret in the kitchen. New Self Bridge Crossing / Immersion The New Self Bridge is crossed. This is symbolic for consciously accepting the total immersion within the Deep New World. In Dances with Wolves (1990), John Dunbar and Stands with a Fist enter the tent. In The Matrix (1990), Neo and Trinity cut the rope and ride the lift up. In Star Wars (1977), Luke and Leia cross the bridge. In essence, both the Ordinary and New Worlds merge. In The King’s Speech (2010), Bertie’s family and Lionel’s family meet at his home. Celebration This marks the successful crossing and is a symbol of the significant evolution that has been undergone. In Dances with Wolves (1990), the tribe celebrates. Graduation Tangibles A reward (commonly a medal or similar) marks the end of the evolution through the New World. In The King’s Speech (2010), the King gives Lionel his Shilling.

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Atonement (Limitations, Incompatibilities) There is Journey and Border Symbolism into a New World, which can be viewed as the border out of Act II. In Despicable Me 2 (2013), Gru and the family go to the Cinco De Mayo party. In The Lord of the Rings: The Fellowship of the Ring (2001), the Bridge of Khazad-dûm is the exit from the Mines of Moria. In Up In The Air (2009), Ryan and Alex fly to Missouri. Ryan goes home, which for him is unheard of. In The King’s Speech (2010), the King and Lionel arrive at Westminster Abbey. Characters may be Fishes Out of Water here. In Up In The Air (2009), Ryan is a Fish Out of Water at home. In The King’s Speech (2010), Lionel is a Fish Out of Water in Westminster Abbey. As with all New Worlds, New Creatures, Attitudes and Behaviours are evident. In Up In The Air (2009), Ryan is unfamiliar to his sisters and they to him. Time Pressure Commonly, there is a Race Against Time to confront and overcome the atonement. In The Help (2011), the book is ready to be published and there is only one story left to tell – hers. She rushes to confront her mother and ask about Constantine. Limitations to Apotheosis This is a stage of acknowledgements. Limitations to overcoming the object of the atonement are made explicit. In Ferris Bueller’s Day Off (1986), Cameron is dead against trashing the Ferrari (which represents his father’s limitations). Foreboding Commonly, the atonement is a thing to dread.

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In Rebecca (1940), Max has dreaded the discovery of Rebecca's boat. Never Been Done Before That which is being confronted has never been confronted before. All others have withered or failed. Doing this, the hero will prove once again that s/he is Not An Ordinary Man. In The Matrix (1999), nobody has ever confronted the Agents before and survived. In Elysium (2013), Spider has never landed anyone on Elysium before, they all get shot down. Not Who S/He Was As we know from the stages thus far, the hero has changed - by the time s/he arrives at the atonement, s/he is not who s/he was. Thus if this battle has occurred previously in some form, the hero who arrives this time is not the same person who battled before. In Knocked Up (2007), Ben tells Alison that "he's not that person anymore." The hero has changed in so many ways. When he started, s/he was invisible / not memorable. By this time, s/he has become memorable. In American Beauty (1999), - Buddy remembers Lester the second time (when Lester catches him with his wife). Physical (Tangible) Blocking Entity In its simplest one-dimensional form, the atonement is the block out of the Deeper New World, the block out of Act II. From the Act point-of-view, just as the Major Threshold Guardian blocks the movement from the Beachhead into the Deeper New World (blocks movement from Act I to Act II), so the Atonement blocks the movement from the Deeper New World into Act III. Atonement Battle In its simplest one-dimensional form, the atonement is the battle with the block out of the Deeper New World, the block out of Act II. In The Lord of the Rings: The Fellowship of the Ring (2001), the Balrog blocks the way out of the mines.

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Star Wars (1977), Vader and the Stormtroopers block the way out of the Death Star. In No Country for Old Men (2007), Llewelyn must pass the border guard. Limitations At root, the atonement / battle represents limitations. At root, it’s an Act II limitation, which must be overcome to escape Act II. In Dances With Wolves (1990), Kicking Bird wants John to tell him how many white men are coming. But he won’t. In The Godfather (1972), the Don must meet with the Heads of the Families if the war is to end and Michael is to be allowed home. Because Act II is the New World proper, it’s an Act II limitation. In The Help (2011), we find out what happened to Constantine. Psychologically, it’s a restricting entity which prevents forward movement and growth. In The Ugly Truth (2009), Mike goes on the show and is forced to admit that some girl broke his heart; his belief that there is no such thing as a good relationship. In Up In The Air (2009), Ryan has always admired and loved being single, but during the Atonement stage he has to sell marriage to his soon-to-be brother-in-law. Commonly, it’s an Incompatibility between Who The Hero is now and Who The Hero Was before, an incompatibility between the Old and New Worlds. In Educating Rita (1983), Dr Bryant shouts at Rita: “found a new song to sing…no…you’ve found a different song to sing.” She hasn’t attained what she truly set out to attain, she’s just become someone else. In Dances with Wolves (1990), though John has become a member of the Sioux and is living an idyllic life among them, he knows this is not the end. The white hunters are coming. Which is why he was always afraid to tell Kicking Bird how many white men were coming. There is incompatibility between the Two Worlds.

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In Shame (2011), Sissy’s suicide attempt demonstrates an incompatibility between Brandon’s old way of life and Sissy’s opposite approach (loving someone, loving family etc). At root, the atonement / battle represents those forces which have Previously Guided But Now Limit. In The King’s Speech (2010), King George VI confronts the Archbishop, who has previously been somewhat of a guide but who is really a selfserving limitation to Bertie’s growth. At root, the atonement / battle represents the Limitations of the Old Way and because the Old Way represents the Old Self, the atonement / battle represents the Limitations of the Old Self. In The Godfather (1972), the Don represents the Old Way and Michael’s approach is the New Way. In Goodfellas (1990), Paulie has banned drug dealing. When Henry tells him he has been dealing, he is banished. Paulie represents the Old Way. Commonly, the Limitations of the Old Way are represented by a Parent Archetype. As we grow up, we are guided by our parents but also limited by them and their value systems. One day we disagree and go our own way – in other words we confront and transcend our guiding and limiting forces. We are free to mature further by making our own decisions but also our own mistakes – we go on to develop our own values and wisdom. We then become parents and the cycle repeats. Psychologically, the parent or previous guiding / limiting force is a blocking entity, which prevents maturity. In Goodfellas (1990), Paulie is Henry’s father figure. In The King’s Speech (2010), the Archbishop has been a guiding force, but also one who doesn’t allow George to make his own decisions. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf is Frodo’s father figure. In Star Wars (1977), Ben is Luke’s father figure. In The Shawshank Redemption (1994), Red / the Warden are Andy’s father figures.

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In Straw Dogs (1971), a priest is the father figure. In Raging Bull (1980), Joey is Jake’s guiding and yet also limiting figure. In Dances With Wolves (1990), Kicking Bird is John Dunbar’s father figure. In Scarface (1983), Frank is Tony’s father figure. In Spartacus (1960), Graccus is Caesar’s father figure. What the hero is doing then, is Battling The Parent. At the atonement stage, the hero must break free from previously guiding and limiting forces. In order to progress and mature, the hero must confront and transcend those forces which limit that maturity. In The Help (2011), Skeeter confronts her mother. Or the battle represents a conflict with a parent figure. In Star Wars (1977), Ben battles Vader, who was previously his father figure. Or the hero is battling a Metaphor Which Represents The Parent. In Ferris Bueller’s Day Off (1986), the Ferrari is a metaphor for Cameron’s parent, which he destroys. In Alien (1979), the Nostromo is a metaphor for Ripley’s parent (who is called “Mother”). Or a Parent Death will be referenced. In One Flew over the Cuckoos Nest (1975), the Chief talks about his father loss - they worked on him. What the hero is also doing, is Battling The Limitations Of The Parent. The son achieves what the father could not. And therefore Matches The Parent (and transcends him in Act III). In Star Trek (2009), Kirk overcomes his father’s limitations to defeat Nero. Kirk faces the same challenge his father did, and survives. In The Godfather (1972), the Don made a vow not to break the peace, but Michael didn’t.

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What the hero is doing, is Battling The Rules Of The Parent, and because the parent represents the Old Way, the hero is battling the Rules Of The Old Way. In The Hangover (2009), the Mercedes is a metaphor for Sid’s (a parent archetype) rules. In Legal Eagles (1982), Tom is arrested and brought to face his boss, the district attorney.

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Psychological Apotheosis Psychological apotheosis is leaving / letting go / transcending past / liberating from / detaching from etc… the old state of mind and previous state. It involves, Absorption Symbolism Symbolism indicates that the capacities which the parent possessed are absorbed. The child absorbs all that the parent knows and that helps to transcend what the parent knows and achieve (in Act III) what the parent was not able to. The parent represents the Old Way, which is represented by Act II. So without a parent figure in the story, all that was possessed by all forms of Supernatural Aids in Act II is absorbed. In The Shawshank Redemption (1994), Andy walks out wearing the warden’s shoes. In The Godfather (1972), Michael absorbs all that the Don knows and then goes on to defeat those enemies which the Don could not. In My Fair Lady (1964), Eliza absorbs all that Professor Higgins knows. Transcending The New Self The hero becomes the New Self in the New World Proper (Act II) and then leaves it to become the Mature Self in Act III. Commonly, the hero demonstrates that s/he is Ready To Leave the New Self or Ready To Become the Mature Self. The hero demonstrates that s/he is Not Who S/he Was. This is part of the boon (see later section). In Star Wars (1977), Luke demonstrates his warrior new self, when he shoots down the fighter pilots along with Han. Goodbye / Goodnight Symbolism Commonly, characters say goodbye or goodnight (or some symbol indicating this is shown) to the attachments which represent their older self. In One Flew Over The Cuckoo's Nest (1975), McMurphy says goodbye to everyone. Transcending Limitations Usually, this means transcending the Act II Limitation. In Dances With Wolves (1990), John tells Kicking Bird that the White Man is coming.

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Transcending Old Ways of Thinking There is liberation or detachment from Old Ways of Thinking. Commonly, shown by an Illumination, a Seminal Insight, an Epiphany etc. In The Godfather (1972), the Don realises that Barzini is the real enemy. In Scarface (1983), Tony realises that the real enemy is the government and law enforcement agencies. In Ben Hur (1959), Judah realises that Messalah was simply a symptom of Rome. State of Affairs Transcending the things as they were. Leaving behind the Old State. In The Help (2011), the book is finished and published. In My Fair Lady (1964), Eliza’s father gets married. Constraints There is liberation or detachment from constraints, suppression, forms or repression etc. In Scarface (1983), Tony is now king and able to build his empire unobstructed. He no longer needs to worry about Frank or the Diaz brothers. Value Systems There is liberation or detachment from Behaviours and Motivations That Defined The New Self (we are leaving the New Self and going onto the Mature Self). In Ben Hur (1959), Judah defeats Messalah, which leaves him bereft, as that was his motivation up until then. In The Hangover (2009), the boys need $80k and are willing to let Alan gamble to get it. Previously, they tried to dissuade him from gambling. In Casablanca (1942), the old Rick “doesn’t stick his neck out for no-one.” Now he will do just that for Ilsa and Victor. Death / End Of The Old Way There is liberation or Detachment From Attachments, Which Represent The Old Way. And Attachment To Attachments, Which Represent The New Way.

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In Carlito's Way (1983), Al Pacino realises that he must kill Kleinfeld. In Titanic (1997), Rose leaves Cal and saves Jack. In The Godfather (1972), the Don retires. Law Breaking There is liberation or Detachment From Rules, which represent (the now Old Way) of Act II. Commonly, a Rule (designed to maintain the New World and State) is broken, leading to the end of it: In Legal Eagles (1982), Tom is arrested and brought to face his boss, the district attorney, who will suspend him. Achieving The Impossible That which has Never Been Done Before is achieved. In The Matrix (1999), Neo battles and rescues Morpheus from the Agents’ grasp, which has never been achieved before. In The Shawshank Redemption (1994), nobody has ever escaped Shawshank before. Graduation Symbolism The “child” graduates, graduates to become the father, or the person of Act II graduates from Act II. In Spartacus (1960), Caesar arrests Graccus – he grows from student to teacher. Star Wars (1977), Vader says, “once I was the student, now I am the master.” In The King’s Speech (2010), the King begins to tell the Archbishop what to do – in effect, he starts dictating the way of things to a previous father figure. In My Fair Lady (1964), Eliza’s father gets married (which symbolises growing up).

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World’s Psychological Apotheosis Just as the hero graduates, so do other characters. In fact, it may be this increased potency which results in the need for new Parent Archetypes / Supernatural Aids in Act III. In Aliens (1986), the Aliens learn and are able to penetrate the control room. In The Godfather (1972), there is nothing to stop Barzini chiseling away at the Capos’ territory – the Don has vowed not to break the peace. If Michael doesn’t get his act together soon, it’s all over. In Star Wars (1977), Tarkin gains the location of the rebel base – destroying it will mean the end of the rebellion. If Luke et al don’t get their act together soon, it’s all over.

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Physical Apotheosis (Expulsion From The New World Proper) Physical apotheosis is literally leaving the physical space that represented the old state of mind. Just as the Physical Separation is the push out of the First Threshold and into the Deeper New World, so the Expulsion is the push out of the Deeper New World into the next stage. This is the Physical Movement out of Act II into Act III. On a psychological level, it is a push away from the New Self. Physical Apotheosis involves, Passing The Atonement Battle Which involves overcoming the antagonistic block, which prevents it. In The Shawshank Redemption (1994), Andy confronts and escapes the warden. Id forces try to hold the Superego back. Antagonisms try to keep the hero within the Deeper New World. The battle here is between the Superego’s push out and the Id’s pull back. Success in this battle (successful escape) indicates that the hero et al have gained Capacities, are Ready to leave and move on to the next stage. In Star Wars (1977), rebel fighters attempt to pull the Millenium Falcon back. Leaving The New World Proper Which involves leaving the First Threshold and / or the Deeper New World (both part of the New World Proper / the Worlds of Act II). In The Shawshank Redemption (1994), Andy escapes from Shawshank. In Star Wars (1977), Luke et al escape the Death Star. In Lord of the Rings: Fellowship of the Ring (2001), Frodo et al escape the claustrophobia of the mines and enter open territory again. In The Godfather (1972), Michael is able to return from Sicily – he is liberated from banishment there. In As Good As It Gets (1997), Simon leaves his apartment to move in with Melvin. Exile Symbolism is common. The New World / State is not necessarily willingly departed from (Unwilling Heroes),

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In Slumdog Millionaire (2008), Javed tells Jamal to go away. In The Fly (1986), Seth tells Veronica that she shouldn’t come back again, else he’ll hurt her. In Goodfellas (1990), when Henry finds out Karen has flushed the stash of coke down the toilet, he screams “why did you do that!” In Titanic (1997), Jack screams “why did you do that!” Commonly, the New World / State Is Refused, which involves some kind of repellent, distaste, disgust etc (in other words, the character is never going back to that version of the Self again), In Erin Brockovoch (2000), Erin is angered and walks out because Masry is handing all her hard work to Potter. In Star Wars (1977), Han swears he’ll never be going back to the Death Star again. In The Ugly Truth (2009), Mike leaves the show because he can’t be around Abby. In Jesus of Nazareth (1977), Judas is disgusted with himself for betraying Jesus. In Slumdog Millionaire (2008), Jamal is disgusted that Latika is living with the enemy (Javed). In Y tu mamá también (2001), the boys throw up after having slept together. They do not like what they have become. Death of the New World Commonly, the First Threshold and / or the Deeper New World (both part of the New World Proper / the Worlds of Act II) literally die or are destroyed (because they represent a version of the older self, which is now dying). Just as the Ordinary World disappears (literally, or changes so that it is not as it once was) when the hero leaves it, so the New World disappears as the hero leaves it. This may be a literal, symbolic or metaphoric disappearance. Expulsion may therefore be the result of the non-existence, any longer, of the New World.

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In Dances with Wolves (1990), John knows that the Sioux perfect life cannot last – the White Hunters are coming and they will be as many as the stars. The Sioux pack up their things and leave. In My Fair Lady (1964), Eliza’s father leaves the pub. The Old World is left behind / dies. Geographic Separation The Expulsion is a geographic movement between Worlds. A Physical Pulling Away from the New World (and therefore New Self). In Avatar (2009), Jake is expelled from the World of the army base to the World of the floating mountains. Parent Death Leaving behind the parent figure, which represented the (now Older State) of the Deeper New World and Worlds of Act II. Commonly, the parent dies or the realisation that s/he or it must be destroyed. In The Help (2011), Skeeter is told that Constantine has died. Star Wars (1977), Ben dies. In The Lord of the Rings: The Fellowship of the Ring (2001), Gandalf dies. In Scarface (1983), Tony eliminates Frank. In Ordinary People (1980), Conrad battles and transcends the parent. Metaphor Death Metaphors which represent the (now Older State) of the Deeper New World, the Worlds of Act II and the parent die or are left behind. In Alien (1979), Ripley realises that she has to nuke the Nostromo, called “Mother.” In Ferris Bueller’s Day Off (1986), Cameron “kills” his parent by trashing the car. In The Hangover (2009), the Mercedes, which is a metaphor for the Ordinary World and Self and is now lost and beyond repair (cannot be returned to). Supernatural Aids Leaving behind those Supernatural Aids, who represented the (now Older State) of the Deeper New World and Worlds of Act II. Often, Supernatural Aids are

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parent figures or some form of Older Self Attachment. This is similar to liberation or Detachment From Attachments, Which Represent The Old Way and Attachment To Attachments, Which Represent The New Way. In Educating Rita (1983), Rita is embarrassed by Bryant and avoids him. In The King’s Speech (2010), the new King overrides the Archbishop’s disapproval. In Raging Bull (1980), Jake beats up Joey and knocks out Vickie. Joey disappears from his Jake’s life. In Romancing the Stone (1984), when Joan parts from Jack (the river scene), she is able to make it to Cartagena without his help. She has surpassed her need for his guidance. Commonly, older Supernatural Aids are replaced by new ones, which will carry the hero in Act III. In Erin Brockovich (2000), the case becomes too heavy and cost intensive for Ed Masry to handle alone, hence he brings in Potter. Where new Supernatural Aids arrive, the hero demonstrates greater maturity and capacity by needing them less. This indicates fast approaching full maturity transcending / not needing any of them. In Erin Brockovich (2000), Erin needs Potter much less so than she needed Ed Masry. In The King’s Speech (2010), the King needs the Archbishop much, much less than he now needs Lionel. World’s Physical Apotheosis Just as the hero physically departs, so do other characters. Commonly, the antagonist (or a representative) pursues in order to re-acquire the stolen boon. In Raging Bull (1980), Vickie attempts to leave but Jake refuses to let her go. In Star Wars (1977), Luke et al flee and Vader’s right behind them.

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Tangible (Physical) Boon, Last Supper Much of the Boon is intangibles (see next section). Commonly , there is Journey and Border Symbolism into a New World, with New Creatures, Sights and Sounds. In The Hangover (2009), the boys go down the escalators to enter the Casino. In The Devil Wears Prada (2006), Andy goes to Paris, where she meets the fashion nobility. In The Godfather (1972), the Don and Michael are being driven in the back of the car. The Tangible Boon is the sum of the tangible prizes gained as a result of passage through the New World Proper (the whole of Act II). It includes: Awakening To The Real Enemy The realization of what or who the antagonist really is. In Ben-Hur (1959), Judah kills Messalah, only to realize that the true evil is that which made him – Rome. In The Godfather (1972), the Don realizes that Barzini is really pulling the strings. In The Ten Commandments (1956), the Israelites escape the Pharaoh and Egypt but then have to face themselves – they quickly turn to false idols. The Golden Fleece A metaphor and symbols for treasure, prize etc. In Raiders of the Lost Ark (1981), Indy leaves Egypt with the Ark. In Romancing the Stone (1984), Jack and Joan retrieve the jewel. In The Hangover (2009), the boys win 80k in the casino. In The Help (2011), Aibileen and Minny get paid for contributing to the book.

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In The Devil Wears Prada (2006), Andy gets the Paris gig, the most coveted event in the fashion calendar. The Bride The Bride is the most valuable thing in the New World. In Star Wars (1977), Luke escapes the Death Star with Leia. In Scarface (1983), Tony takes Elvira and Frank’s empire. Commonly, all these tangibles Assist To Restore The New State Of Perfection. In Star Wars (1977), Luke escapes the Death Star with Leia, who knows how to retrieve the plans to destroy the Death Star. Last Supper This a tangible manifestation of the prize and of Celebration of the intangible prize. In Spartacus (1960), the gladiators have their last supper. They celebrate, as they have reached the sea and believe that they are nearly free. In The Hangover (2009), everyone celebrates in the casino, as they make their 80k. In One Flew Over The Cuckoo’s Nest (1975), at the boon stage everyone celebrates and gets drunk. Billy gets laid. In Jesus of Nazareth (1977), Jesus and his disciples have their last supper.

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Intangible (Psychological) Boon, Full New Self, Resurrection The hero has now become that which the New World teaches him (or her) to become. This is the psychological / intangible culmination of all the Act II arcs. Opposite Self The creature that emerges on the other side is a changed being from that which entered the First Threshold and the Deeper New World. In Dances with Wolves (1990), John Dunbar emerges from the other side of the tent a fully-fledged Sioux. This is a completely different person from the one who arrived at the village wearing his soldier’s uniform. Opposite Theme If the New World represents the opposite side of the theme, then by becoming the New Self, the hero has reversed to represent the opposite side of the theme. In The Godfather (1972), Michael enters the New World opposing his father’s world-view. When he leaves, he represents his father’s worldview. Synergy The Last Supper is a physical manifestation of synergy. All who were once divided, now celebration in unison. In Spartacus (1960), the gladiators have their last supper. They were once divided, now they sing one song. In Jesus of Nazareth (1977), Jesus and his disciples have their last supper. They were once divided, now they sing one song. This is the result of overcoming ego and working toward the higher, common goal and thus can be perceived as an overcoming of the limitation of the ego. Here, all characters merge, in other words, they become a team. The hero et al begin working synergistically alongside all those forces that will assist in the battle to return a New State of Perfection. Commonly, the synergy will include allegiances gained in the Worlds of Act II. 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.

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In Beverly Hills Cop (1984), Axel Foley, Taggart, Rosewood and Bogomil finally begin working together to tackle Victor Maitland. In The Hangover (2009), Alan is no longer weird, now “he’s the man! We're the three best friends that anyone could have!” In Star Wars (1977), Han and Luke shoot down the Empire’s fighters like a team. Synergistic Fit With The New World The hero fits perfectly into the New World. This is a kind of wholeness with regard to the New World. (It is important to realise that the hero has not yet completed the journey to become totally whole – in the third act s/he will evolve further to become a Mature Self (totally whole)). In The Devil Wears Prada (2006), Andy becomes a fashionista and fits in perfectly at the magazine. In Educating Rita (1983), Rita becomes a student and doesn’t look out of place at university. The complete fit is demonstrated through New Clothing Symbolism: In Dances with Wolves (1990), John Dunbar is dressed in the full Sioux outfit. Or simply different clothing, representing the changed, more liberated Self. In The Hangover (2009), the boys enter the casino wearing new clothes. The complete fit is demonstrated through New Name, representing the Full New Self: In The Hangover (2009), at the Casino, Stu calls Jade “wife.” The complete fit is demonstrated through New Behaviour: In Dances with Wolves (1990), John Dunbar and Stands with a Fist are trying for a baby. In The English Patient (1996), Laszlo de Almasy stops bargaining.

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In The Hangover (2009), Stu is not worried about the Tyson threat – he’s more impressed with his right hook. Previously, Stu worried about everything – now he worries about nothing. The complete fit is demonstrated through New, Significant Capacities characteristic of the New World: In Dances with Wolves (1990), John Dunbar speaks Sioux fluently. One form of Capacities is the New World Supernatural Aids, which the hero has gathered as a result of the journey through the New World. In Dances with Wolves (1990), John Dunbar has gathered the allegiance of all the Sioux warriors, who will help him escape the soldiers at the end. A particularly important capacity gained (actually, regained) is the Ability To Remake A New Home. In Hangover (1999), Stu and Jade agree on a date next weekend - de fact ability to make a home. In Pride and Glory (2008), Ray gets back together with his wife. The complete fit is demonstrated through Transmogrification Milestones. All physical wounds are healed and New Physical Self is demonstrated. In The Godfather (1972), Michael's face has healed; he takes his new form. The complete fit is demonstrated through Comfort in the New World, and comfort at replacing the father: In The Godfather (1972), Michael comfortably takes over his father’s role as Don. The complete fit is demonstrated by a Refusal To Return To The Ordinary World. In Six Days and Seven Nights (1998), Quinn can now get off the island but he no longer wishes to – now he would rather stay on the island with Robin. In Twilight (2008), Bella no longer wants to go live with Mom. She wants to stay in Forks.

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In The Godfather (1972), Michael doesn’t want to go back to being a civilian. New Way of Thinking The hero has a New Way of Thinking, which mirrors the thinking of the inhabitants of the New World. Specifically, the hero mirrors the thinking of New World Supernatural Aids, those who encouraged the hero along the path in the first place. The New Way of Thinking is the opposite side of the theme. In Dances with Wolves (1990), John Dunbar mirrors Kicking Bird in every way, when they talk in the meadow after the wedding. Becomes The Father The hero replaces the father or father figure. In The Godfather (1972), Michael replaces the Don as head of the Family. In Scarface (1983), Tony replaces Frank, his previous mentor. Becoming The Father is a symbol of maturity. When characters literally don’t become the father, they show signs of maturity. The Innocent Self Grows Up. In One Flew Over The Cuckoo’s Nest (1975), Billy gets laid, moving out of virginity. New World Royalty The hero has become royalty within the Worlds of Act II, surpassing all others. This is a measure of change and evolution within it and as a person. In The Devil Wears Prada (2006), Andy has overcome all others to get the coveted Paris gig. This is a measure of Evolution. Characters demonstrate the capacities gained as a result of the distance they have travelled, as a result of the journey through the New World Proper (Act II). Graduation Symbolism is evident. In An Officer and a Gentleman (1983), Zach passes survival training. Innocent Archetypes have evolved and become Leaders within the New World, with all the aligning attributes – focus, doubtlessness, purpose etc. In Alien (1979), Ripley and Parker initially antagonise each other. At this stage, Parker and Lambert quickly fall into line behind their de jure leader.

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In The Hangover (2009), Alan becomes the leader of the boys in the casino. Resurrection Characters feel they can achieve anything within it. The hero “Is Back!” That Which Had Been Lost Has Been Fully Rediscovered. When the Original State of Perfection was lost, the Capacities to maintain it were lost. Now they have been regained. The state of the person before the inner damage was done returns. In other words, the undamaged person resurrects itself. In The Hangover (2009), in the car after winning at the casino, the boys shout, “We’re back!” Phil says that they should come back next weekend and take the whole city down. What the hero shows here, is that the damage (and the resultant flaws) have been repaired. Where the hero didn’t believe, now s/he Believes. Where the hero was damaged / not whole / needed repair, now s/he Is Whole. Where the hero couldn’t see, now s/he Is Awakened (to The Other Side of the theme). Where the hero lacked hope, now s/he has Become Hope. Where the hero didn’t belong or fit in, now s/he Finds His Place. On some level, a psychological damage (commonly, the Deficiency) has been overcome and reversed so that the hero Can Now Do What Could Not Be Done Before. In Raiders of the Lost Ark (1981), by stealing the Ark, Indy reverses the psychological ballgame; where once Belloq took whatever he wanted from Indy, now Indy takes whatever he wants from Belloq. Ready To Return This is a demonstration of resurrection. The hero is ready to go home, to Restore The State of Perfection. S/he Demonstrates The Capacities to do so. In Star Wars (1977), Luke shows that he can shoot down enemy fighters. He’s become a de facto rebel and warrior. A long way from the once innocent farm boy.

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True Calling It is during this stage that the hero finds his / her True Calling or destiny. The hero discovers that s/he is a natural. The hero fully knows Who He Is. Obstacles are tackled with ease, there are no delays and no mistakes are made, the impossible is made possible. In The Hangover (2009), Alan finds his true calling (gambling) in the casino. In Dances With Wolves (1990), when leaving with the Sioux at the end of Act II, John Dunbar knows Who He Is. Nakedness The Old Self has been stripped away and the New Self adopted. Commonly, the hero is naked here, representing the total stripping away of the Old Self. In American Beauty (1999), Ricky is completely naked. Foreshadows Omens of the battles and challenges that still lie ahead (Act III) are part and parcel of the Last Supper. In Jesus of Nazareth (1972), during the Last Supper, Jesus knows that real challenges still lay ahead; that one of his disciples will betray him; that his disciples do not appreciate the tests that await them.

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ACT III

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No Mans Land We now venture into the worlds and states, which make up Act III. No Mans Land is a New World in its own right. In Unforgiven (1992), the girls hide Bill in the barn. Fragile Truce No Mans Land is a state where a fragile, uneasy, unsatisfactory truce exists. The hero is ready to face the antagonist (has changed enough to be able to do so), save for some limitation. It is a state of affairs where there is no victor. In Unforgiven (1992), the battle between Munny and Daggett is unresolved, while Munny hides out in the barn. In The Godfather (1977), the battle between the Corleone and the other Families is unresolved. The Corleone have promised not to break the peace. In Robocop (1987), the cops declare a strike. Safe Haven No Mans Land is also a temporary haven from antagonistic forces. In Unforgiven (1992), while undiscovered, Munny is safe in the barn. In Scarface (1983), Tony and Manny et al are protected in their mansion. Tony wants more protection, he wants more cameras. Uneasy Equals Commonly, the hero and antagonist are uneasy partners or equals in this state. They are two kings of two rival kingdoms. The hero represents the Superego (good) and is king of the kingdom this side, while the antagonist represents the Id (evil) and is king of the kingdom on that side. Thematically, we have two sides of the theme, which have become equal and we are on the verge of battling to decide which side will win. We have Thematic Equals.

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In The Godfather (1977), both Michael and Barzini are Dons. In The King’s Speech (2010), both the King and Hitler are kings in their respective countries. In Spartacus (1960), both Spartacus and Crassus are kings of their respective armies. Outpost No Mans Land can also be viewed as an outpost where the remnants of the Good People of the Township gather. In The Lion, the Witch and the Wardrobe (1979), Aslan’s camp is an outpost that is separate and distinct from Narnia, which the witch controls. In Star Wars (1972), the rebel planet is an outpost. The outpost has always existed, always represented the Superego and the Id has always been keen to destroy it to secure victory. The outpost has always been the Antagonist’s Achilles Heel. In The Matrix (1999), the Agents are desperate to find and destroy Zion. In Star Wars (1977), the Empire’s goal has been focused on finding the rebel planet and destroying it to end the rebellion once and for all. Just as the hero was once not ready and small, so the outpost was once not ready and small. Just as the hero has grown in this journey, so has the outpost – The Outpost Is An Externalization Of The Hero’s Growth And Change. Both hero and outpost are now ready to face and bring down the antagonist. Hero Archetypes This place is full of all hero archetypes (Alternative Heroes, Failed Heroes, False Heroes, Peer Brothers etc…) – all those archetypes who could, potentially, turn out to be the hero, turn out to be, The One. This place is full of all those forces that are willing to do battle with the Id / Greater Antagonism in order to restore a New State of Perfection. In The Lion, the Witch and the Wardrobe (1979), Aslan’s camp is full of all the creatures of the day whereas the White Witch’s camp is full of all the creatures of the night. The creatures of the day are ready to right all past wrongs.

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Armageddon Time Pressure The period of No Mans Land is characterised by time pressure – the knowledge that the “truce” will not last long and that the antagonist will shortly complete the conquest. In The Godfather (1972), Barzini is waiting for the Don to die so that he can complete his conquest of the Corleone. If he carries on chiseling away at his territory, there will be nothing left when he dies anyway. In Star Wars (1977), there is no time for pleasantries when they know the Death Star is approaching the rebel planet. Foreshadows of a New Home No Mans Land, or the Outpost, can be viewed as a foreshadow of the new home, a foreshadow of the returning State of Perfection. All the brethren and symbols representative of the State of Perfection begin to reappear. Thus this domain is often a familiar place on some level (deja vu), but not quite home. In The Lion, the Witch and the Wardrobe (1979), all the forces of good and evil that engaged in the Original Battle return.

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The Gathering, Limitations / Immaturity Manifest Gathering This is a collection of the most powerful representatives who will assist in the New State of Perfection coming about and it is some of these who will make up the New Circle of Elders in the New Order (so we are bringing to bring back those archetypes which we saw in the Backstory Act). It is during this Gathering that the hero’s New Self Limitations and / or immaturity is pulled out. In Jesus of Nazareth (1977), the priests gather to discuss Jesus’ fate. Final Conflict Encouragement Commonly, there is encouragement to confront the Antagonist / Id, there is encouragement to the Final Conflict. In The Hangover (2009), the boys try to tell Stu that he's marrying the wrong girl. However, Limitations To The State Of Perfection being attained (or reacquired) are made explicit. In The Ugly Truth (2009), Mike doesn’t approach Abby because he thinks she’s like all the other girls - looking to tick off her list. Else / and / or, Limitations To The Final Conflict are made explicit. In The Godfather (1972), the Capos do not understand why Michael doesn’t attack Barzini immediately, before he chisels away all of their territories. Father’s Limitations Explicit In Act II, the hero becomes the Father, but s/he doesn’t surpass the father. In other words, Act II takes the hero up to the father’s level but not beyond him, so the hero still suffers from the father’s limitations. It is these that are made explicit and these that have to be overcome. In The Godfather (1972), Michael is in the shadow of his father’s limitations while he continues to keep his father’s promise and agrees not to break the peace. In Star Trek (2009), Kirk faces the same challenge his father did, and survives. He is now playing a bigger game than his father could have (in Act III).

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Deficient New Self The limitations of the New Self are made explicit. In Act I, the hero was an Ordinary Self. In Act II, the hero became a New Self. But the New Self is not the complete, whole, Mature Self. That there is still some progress to be made toward the Mature Self is demonstrated. In Educating Rita (1983), Rita has become the perfect student, which is a New Self. But that hasn’t matured her – her definition of important things are “studentish.” Commonly, the limitation is the hero’s unwillingness to let go of the New Self, Characters Are Unwilling To Let Go Of Who They’ve Become and they are Unwilling To Let Go Of The Old Way. In The Ugly Truth (2009), Stu sends Abby to Los Angeles to get Mike back; she resists the suggestion as it will mean sacrificing the weekend with Colin. Colin is Abby’s symbol of the emerging New Self. Immaturity Trial Commonly, some trial is engaged in which pulls out the hero’s New Self Limitations and / or immaturity. In Erin Brockovich (2000), Ed tells Erin that she lacks tact and underappreciates the other lawyers’ talents. Erin is too harsh on Potter’s protege. Race Against Time Commonly, there is a race against time to acquire some tangible, which is a metaphor for overcoming: a) the immaturity / limitation. Some indication as to what the Hero must do / change in order to become the Mature Self is demonstrated. In Erin Brockovich (2000), Ed Masry tells Erin not to judge the “professional lawyer.” b) the Id’s seeming omnipotence. In Star Wars (1977), the generals have to figure out a way to use the plans inside Artoo to destroy the Death Star. The tangible is a Smoking Gun (see Smoking Gun section below) – some part of the puzzle piece is missing.

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Immaturity Manifest (Call of the Mature Self) As indicated, the limitation that is really being touched on here is one of immaturity. The Mature Self is a synthesis of the Ordinary and New Selves (maturity is not leaving behind older versions of the Self, but being able to integrate them all). There is a Call to Integrate the Two Selves. Symbols representing the Ordinary Self (commonly Ordinary Self Attachments) request, in some manner or other, that the New Self accepts them to a greater degree. Else, some aspect of the Ordinary Self (and therefore Ordinary World) needs to be integrated with the hero’s New Self. In The Godfather (1972), Michael integrates Kay into his crime Family. In Chinatown (1974), Gittes asks for Curly’s help. Schizophrenia What we really have here is a case of schizophrenia that demands to be cured. The Two Selves demand to merge in order to become whole / healthy again. One part was lost in order to gain a newer part (wholeness was lost), now the older part demands to be re-integrated (wholeness demands manifestation). From a psychological point of view, the Old Part was lost and the New Part was gained and the separation resulted in schizophrenia – now the schizophrenia demands to be cured through reintegration.

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New Dawn / Order (Building A Mature Home) Journey and Border Symbolism into a New World are made explicit. In The Godfather (1972), Michael goes to Vegas to buy Mo Green’s casino. New State of Perfection Omens of the New Order, the new state of affairs begin to manifest themselves. In The King’s Speech (2010), the King sits watching the film reel in a commanding position, with the Archbishop now obeying his words. It is a magical appearance / early building of the New State of Perfection and is what will eventually come to be pass, unhindered, once the Id / Greater Antagonism has been vanquished. In The Godfather (1977), Michael begins the move to Nevada, to take the Corleone legitimate and repair the Family’s power base. In Oblivion (2013), when the State of Perfection was lost, the Earth turned to dry desert – it become infertile. As we return, lush gardens and children, all indicating fertility, reappear. Mature Home Arc In Act I, the hero had an Ordinary Home, representing the Ordinary Self. In Act II, s/he had a New Home, representing the New Self. In Act III, s/he has a Mature Home, representing the Mature Self. At the boon, the ability to remake this mature new home was gained. Now the rebuilding starts. In Hangover (2009), Stu and Jade agree on a date next weekend - de facto ability to make a new home. In Pride and Glory (2008), Ray gets back together with his wife. New Book Of Law With the coming of the New Order comes a new set of rules and hierarchy designed to maintain it. Just as the Hero Parent maintained the Original State of Perfection by establishing guidelines, so new guidelines are established for this new emerging State of Perfection.

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In The Godfather (1972), Michael is the new Don and tells everyone the way it is going to be now. Members of the Gathering who were powerful during the Original State of Perfection and in No Mans Land may lose their position here (the root of this loss of power lies in their inability to maintain the Original State of Perfection and / or restore the Worlds to a New State of Perfection once it was lost. This is part and parcel of the End Of The Old Way. In The Godfather (1972), Tom is sidelined. Limitations to the New Order Limitations to the completion of the Mature Home, the New State of Perfection, are made explicit. Commonly, the hero cannot establish complete until s/he has become the Mature Self (lost the immaturity discussed in the last section) and defeated the Greater Antagonism (Id), which itself involves completely letting go of the old limitations. In The Godfather (1972), Mo Green rejects Michael’s proposal – he has made a deal with Barzini.

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Dissolving Older Worlds and Selves, Changed Self Chasm This is a demonstration of the yawning gap between what that the hero was once and what s/he is now – who the hero once was and who s/he is now. Dissolving Old Way (Ordinary World) The Ordinary Imperfect World (Ordinary World Home) is packed up and disappears (it continues to dissolve away). The hero continues to let go of the Ordinary World. In The Godfather (1977), Michael’s old home in New York, his father’s home, the home representing the Old Way, is packed up and dissolves away. Dissolving Old Way (New World) The Ordinary World represents the Old Way, but in Act III, so does the New World. It too dissolves away. The Imperfect New World (New World Home) is packed up and disappears (it continues to dissolve away). The hero continues to let go of the New World. The hero lets go of the world that forged the new man / woman / hero/ine. In Greystoke: The Legend of Tarzan, Lord of the Apes (1984), John begins to let go of Scotland and his estate there; he realises his place is at home. In Dances With Wolves (1990), the pull back to the soldier’s fort is the beginnings of John’s letting go of the Sioux world. In Deer Hunter (1978), as Michael's New Self disappears, so Saigon is about to fall. In The Hangover (2009), Jade lets go of Stu; they say goodbye to each other. Commonly, the illusions of the New World are stripped away. In The Devil Wears Prada (2006), Andy sees Miranda is crying and getting divorced again. The New World and New Self is itself a limitation, which it is shown to be when it is let go of. In The Deer Hunter (1978), when Michael let's go off his New Self, he beds Linda. His Mature Self is demonstrated by new clothes.

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Transcendental Powers Dissolve Away In essence, all Supernatural Aids and Magical Gifts from the Old and New Worlds start to melt / dissolve away, disappear. Partly, this is symbolically letting go and dissolving away of the older symbols of the Self. Partly, this is because the hero must fight his / her final battle alone - how else can s/he be certain that the antagonisms (which in no small measure are psychological) have certainly been overcome. In Aliens (1986), Ripley returns to the alien lair alone, without Bishop or Hicks. New Self vs Old Self Gap A demonstration of the disparity between the Hero’s Ordinary Self and present, Newer Self. The change that is now evident is representative of a growing maturity and the loss of innocence. Ordinary World Attachments will still possess the old innocence, they still possess signals of the Old Way. The near Completed Transmogrification, the physical change, is made explicit. In The Godfather (1972), Fredo remarks upon Michael’s changed face. The New, Changed Self is made explicit. This New, Changed Self Surprises The Hero’s Ordinary World Attachments or those who knew him before the journey. Commonly, there is a Refusal Of Ordinary Self Behaviours. The hero’s Ordinary World Attachments or those who knew him before the journey Refer To Him By His Ordinary World Name – which is inappropriate for the Hero’s Present Self. Enforcing the New Rules This is a demonstration of the similarity between the Hero’s Present Self and the Hero Parent. In essence, the hero becomes the Father, the Maintainer of the State of Perfection, Takes The Parent Role. In The Godfather (1972), when Michael goes to Vegas to buy Mo Green’s casino, he lays down the law in the way his father would (showing he’s changed). It is also a demonstration of the new distance between the Hero’s Present Self and Ordinary Self Attachments, who were all once close and similar.

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In The Godfather (1972), Fredo doesn’t know what’s happened to Michael – he doesn’t want to be entertained by the hookers; he’s in Vegas on business. Michael tells Fredo never to take sides against the Family again, just like his father would do. In Dances with Wolves (1990), the soldiers don’t like and understand why John has "turned injun." In The King’s Speech (2010), Bertie now talks to the Archbishop as though he was a child.

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False Idols This is where following false idols is proven to be a bad choice and bad decisionmaking. Id Omnipotence / Goliath Symbolism During the period of No Mans Land and the early stages of Act III, it seems that the Id / Greater Antagonism is victor and omnipotent. This is implied by the outpost status of the rebels / superego. The sheer magnitude of the challenges faced is manifest. Act III involves confrontation with the most potent antagonism (using the Goldilocks metaphor, Papa Bear), and Papa Bear’s potency is made explicit. In The Godfather (1972), after the meeting with the Heads of the Families, it seems that Barzini has won. And nothing stops him chiseling away at the other territories. Because the Don is unwilling to break the peace. In The Lion, the Witch and the Wardrobe (1979), Aslan’s camp is a small part of Narnia, which the witch controls. In Spartacus (1960), it seems that Crassus has outmaneuvered Spartacus in the final act. In Twilight (2009), the leader of the rebel vampires warns Edward and his family not to underestimate his rogue colleagues. False Idols Characters choose to follow others who seem more likely to be The One. In The Godfather (1972), Mo Green sides with Barzini. So does Tessio. The Capos are afraid that Michael will not be able to defeat Barzini and that he will grab their territories. Peer Brother Elevation (False Idols) Else, it is thought that other hero archetypes (Peer Brothers, Alternative or False Heroes etc) may be more capable against the Greater Antagonist / Papa Bear. The Hero is sidelined, as s/he has shown immaturity (the Deficient New Self discussed earlier). In Erin Brockovoch (2000), the “professional” lawyer is deemed more competent in the tort case than Erin.

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Brother Battle The hero may not easily allow peers to replace him / her. A battle ensues in which the hero demonstrates significant capacities but also significant weaknesses - immaturity (the Deficient New Self discussed earlier). In Erin Brockovoch (2000), Erin battles Potter’s protégé and shows she can remember the names of all the clients, which is significant. But Erin is also patronising and underestimating. Peer Brother Journey Peer Brothers replace the hero. In Erin Brockovoch (2000), Potter’s protégé replaces Erin. Period of Isolation The hero, now sidelined, is forced into a Period of Isolation, where all the initial challenges manifest themselves again. In Bull Durham (1988), Crash sits alone in the pool hall after he is fired from the team. Commonly, the challenges that manifest themselves are the same as those faced in the Ordinary World. In other words, this is serious – it involves a Return to the Ordinary State. In Erin Brockovoch (2000), after Erin storms out, Erin is back at home with the kids and looking for a new job again with the same old problems. Commonly, the Period of Isolation is a World Unto Its Own. In The Insider (1999), Jeffrey Wigand sits alone in his hotel room after the negative PR threatens his new job.

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Value Recognised, Transcending Mature World Peers Where the hero is pulled out of the Period of Isolation. Peer Brother Deficiency If the hero has been replaced by False Idols, then their deficiencies are now made explicit. Commonly, they are unable to continue the path to the building of the New State of Perfection or acquire the Smoking Gun (see later section). In Erin Brockovich (2000), the “professional lawyer” does not know how to engage with the local folk. She’s not up to the task. Value Recognised More than the Peer Brother Deficiency being made explicit, a crushing demand for the hero grows as his / her value is recognised. Those engaged in the preparations for the battle with the Greater Antagonism finally appreciate the hero’s capabilities. In Erin Brockovich (2000), Ed realises it is better to get Erin to help the hotshot lawyer. The local folk complain to Erin and long for her to return. 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. [Each of these stages are representative; it is not always the hero who is brought back]: In Spartacus (1960), Crassus has resigned but it is he who must be brought back into the battle. A Magical Gift is common at this stage, which may be a) An Incentive Magical Gift, designed to induce the hero to return into the fray. In Erin Brockovich (2000), Ed gives Erin the jeep. In Spartacus (1960), Crassus demands a high price: rule as Emperor. b) A Ceremonial Magical Gift, celebrating the hero’s victory over peer brothers.

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Hero Elevation Implicitly, the hero’s return is an elevation. And for the Peer Brother, a demotion. The hero is given High Status in the New Order. And proves his / her worth by doing what Peer Brothers could not. In Erin Brockovich (2000), Erin is put in charge of the case again and sets about getting the signatures. Who, but her, knows the clients as well.

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Death Of The Old Way Limitation The Father represents the Old Way and the father’s / old way’s limitation is one block to engaging with and overcoming the antagonism (which itself represents the hero’s own psyche and a psychological flaw). Nostalgia For The Old Way Commonly, there is regret that the Old Way is being lost. From one point of view, the Old Way was, for the hero, innocence. Thus there is regret for the loss of innocence. Phrases similar to “it didn’t have to be this way,” or “he must follow another path” etc are common. In The Godfather (1972), the Don regrets that Michael wasn’t able to become a Senator, that this is the way it had to turn out. In The Godfather 2 (1974), Tom and Frankie talk about the way things used to be. In The Shawshank Redemption (1994), Red misses his friend and the way things were. Death Symbolism Limitations of the Old Way, which held the hero back, are overcome. Commonly, some in/tangible representing the Old Way (usually a parent figure) dies or disappears or leaves. In The Godfather (1972), the Don dies, thus Michael is no longer obliged not to break the peace. In The Hustler (1961), Sarah commits suicide. In The Hustler (1961), after Sarah’s death, Bert leaves. Illegal Act Commonly, some rule is broken, which helps the previously hindered hero break with the Old Way. In The Hustler (1961), Bert sleeps with Sarah - the mentor becomes the enemy.

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Permission Given Commonly, some permission is given to let go of the Old Way. In The Godfather (1972), the Don’s death permits Michael to break the peace. Resurrection The overcoming of the father’s / Old Way limitations may be viewed (or implemented) as a Resurrection (a form of Rebirth). In The Lion, the Witch and the Wardrobe (2005), Aslan is resurrected. In Jesus of Nazareth (1977), Jesus is resurrected.

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Dastardly Deed End Of Fragile Truce The fragile truce which marked No Mans Land and the early stages of Act III comes to an end. Unacceptable Provocation An event or action, which can be viewed as a Magical Gift, that will force the push / pull to the Final Conflict. It will overcome any limitations to it. In Robocop (1987), Jones tells Clarence to eliminate Robocop, thus forcing battle. Id Comes Calling Commonly, the Id / Greater Antagonism comes calling. In Star Wars (1977), Vader et al plant a bug on the Millenium Falcon in order to locate the rebel planet, and are coming to blast the planet apart. Commonly, the Id / Greater Antagonism crosses a Critical Threshold / Potency which forces a confrontation. In When the Earth Stood Still (2008), the microorganisms begin to duplicate and threaten the Earth. Commonly, some in/tangible (the New Home) must be Protected At All Cost. In The Matrix Reloaded (2003), Zion is discovered and threatened. Achilles Heel The nature of the Dastardly Deed is not dissimilar from the nature of the Inciting Incident – something is lost, stolen, broken, goes missing etc. Commonly, the Id / Greater Antagonism forces the hero to come to it through an action upon an Achilles Heel Archetype (a tangible representing the hero’s greatest vulnerability). In Spiderman (2002), the Green Goblin kidnaps Mary Jane. In The Hangover (2009), Chow kidnaps Doug and if the boys want him back, they had better meet him at Big Rock at dawn. In Gran Torino (2009), the gang rape Thao’s sister. In Aliens (1986), the aliens kidnap Newt.

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In The Hustler (1961), Sarah commits suicide. Retaking the Sword / Bride Commonly, the Id / Greater Antagonism retakes the Sword / Bride, thus forcing the hero to the battle in order to once again retrieve it. In Despicable Me 2 (2013), El Macho steals Lucy away. In Spiderman 2 (2005), Spiderman must rescue MJ before Doc Ock kills her. Inner Challenge Comes Calling From the psychological point of view, the Inner Challenges pull the hero into battle. In Despicable Me 2 (2013), El Macho steals Lucy away. One thing Gru must do upon finding her, is ask her out. Lure Tangible Commonly, some in/tangible / symbol lures the hero towards the Final Conflict. In Dances with Wolves (1990), John goes back to the Fort for his diary. Time Pressure The Dastardly Deed always induces Time Pressure, which means that there is incremental decreasing opportunity to restore the Worlds to any New State of Perfection. In Ben-Hur (1959), Judah must hurry as Tirzah is dying, and without her there will be no return to normality.

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Smoking Gun (Acquiring The In/tangible) Journey and Border Symbolism will be crossed into a New World, with its Minor Threshold Guardians, New Creatures, Sights and Sounds. Familiar With The Unfamiliar Contrary to all previous New Worlds, this time characters are not Fishes Out of Water (they have gained significant Capacities as a result of the journey). This is an indicator of the significant evolution that they have undergone. Celebrity Contrary to all previous New Worlds, even though characters are new here, they are known and thus do not have the usual low and unknown status that is common upon entry into a New World – they are not exiled or outcast and overcome threshold guardians and interdictions easily. This is also an indicator of the significant evolution they have undergone. In Erin Brockovich (2000), Erin enters the bar and gets the signature from the bar owner, who knows her and doesn’t charge her. She then meets Charles Embry who gives her the files to corporate HQ. Smoking Gun The Smoking Gun can be likened to the well known silver-bullet that is used to tame the werewolf. It is a Magical Gift that will eventually contain / repress the Id / Greater Antagonism; it will put the nail its coffin. It will be some form of in/tangible - a Magical Gift, a form of enlightenment, a Capacity or similar. In The Lion, the Witch and the Wardrobe (2005), Aslan frees all those who have been turned to stone and rushes into battle with them to defeat the White Witch. In Star Wars (1977), the knowledge that a proton torpedo may penetrate the Death Star’s defenses is acquired. In Chinatown (1974), Evelyn tells Gittes about her relationship with her sister / daughter. In Robocop (1987), Murphy realigns his accuracy. Clarence demonstrates his firepower. In Yojimbo (1961), The Samurai practices his knife throwing skills.

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Smoking Gun Supernatural Aid Commonly, a Supernatural Aid will point characters to the Smoking Gun. Ready To Receive Commonly, the Smoking Gun is only acquired when the hero has changed and is ready to receive the gift. Letting Go Commonly, the Smoking Gun is acquired when some character lets go of previous limitations. In Erin Brockovich (2000), Charles Embry lets go of any limitations to revealing to Erin that he still has the paperwork he was meant to destroy. In Epic (2013), MK lets go of her belief that her dad is a crazy old fool who believes in fairies. Old World Magical Gift Commonly, the Smoking Gun is something that was already acquired on some level in an older world, somewhere along the journey. Again, this indicates the merging of the Two Worlds (Selves) to achieve a Mature World (Self). Whilst others may hesitate or be awed by the Smoking Gun, the Hero is strangely confident, almost blasé about it – s/he has spent his or life attuning to it; innate capacities have focused in on it. In Slumdog Millionaire (2008), Jamal is strangely confident and almost mocks the Who Wants To Be A Millionaire presenter opposite him. The last question relates to his childhood lessons, just as in Star Wars (1977), Luke’s confidence in shooting into a two-meter wide hole whilst travelling at speed is something he learned shooting swamp rats when he was younger. In Epic (2013), MK goes back home to fetch her dad. Celebration Some celebration at the attainment of the Smoking Gun is common. In Erin Brockovich (2000), Erin and Masry joyously present the signatures and Charles Embry’s files to Potter and his protégé.

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Transcending Peers Acquiring the Smoking Gun is something peer brothers have failed to achieve, hence doing this demonstrates, once again, that the hero is Not An Ordinary Man. In Erin Brockovich (2000), Erin achieves what Potter’s protégé could not. In When the Earth Stood Still (2008), Helen’s old mentor is surpassed in her favor. Shape Shifter Decision The battle is between the Superego (hero) and Id (antagonist). The Shape Shifter is between these two (ego). Commonly, following the acquisition of the Smoking Gun, the Shape Shifter must make a decision between the two sides. Commonly, it is the Id / Greater Antagonism that approaches the Shape Shifter and encourages him to take the dark side. Thus, the Shape Shifter’s motivations (usually self-interest / ego) are made explicit here. In Spartacus (1962), Crassus approaches Caesar. In Jesus of Nazareth (1977), the devil approaches Judas. In Slumdog Millionaire (2008), Javed tells Salim to take back Latika. Shape Shifter Denied Commonly, it is at this point that the Shape Shifter (who is the Hero’s Romantic Competitor) loses the Romantic Challenge. This is an evolution benchmark. As the hero evolves, so the relationship with the Romantic Challenge evolves (arcs together). As the hero evolves, so the relationship between the Romantic Challenge and Shape Shifter devolves (arcs apart). In Star Wars (1977), Han decision not to fight and his admission that he’s doing it for the money does not endear him to Leia.

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Merging the Old and New Selves, Emerging Mature Self Part of the journey to the complete, whole, mature self is integrating all the parts, which involves integrating representations of the two selves. Commonly, this means Integrating Old And New Attachments. In The Godfather (1972), Johnny Fontane agrees to help attract stars to the Corleone Casinos in Vegas. Kay integrates into Michael’s new life. In Dances With Wolves (1990), John’s Mature Self is indicated by possessing both the diary and the pipe, which are elements from both worlds. Marriage Symbolism Marrying the New World Romantic Challenge is a form of integrating the New with the Old. In The Hangover (2009), Stu wants to come back next weekend and take Jade out on a real date. In The Godfather (1972), Michael “marries” Kay literally and into his new life. The hero doesn’t fully mature until the later “Letting Go” stage, but s/he is well on the way to it. Emerging Mature Self Benchmarking Some expression of the distance the hero has come, relative to the Ordinary Self and New Self, is made explicit. This indicates that the hero is evolving past both the Ordinary and New Selves. In Spartacus (1960), Spartacus and Crassus both speak to their armies. That Spartacus has an army to command that rivals the Roman legions is something, considering he started alone. Emerging Mature Self Symbolism The hero’s emerging Mature Self is indicated through a complete new wardrobe, behavior, body language, symbolisms, attitudes and beliefs etc, which are an integration of Ordinary and New World Selves. In Slumdog Millionaire (2008), Jamal has new clothes when he returns to the show from the police interrogation.

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Vestiges Of The Older Selves Though the Older Selves are integrating and the Mature Self is emerging, vestiges of the Older Selves in independent form still remain – the hero hasn’t completely let go yet (s/he will do so in the coming “Letting Go” stage). In Robocop (1987), Murphy asks what happened to Murphy's wife and son (referring to himself – his Old Self - as "him"). In The Godfather (1972), Michael hesitates becoming Godfather to Connie’s baby (he resists losing the remnants of innocence).

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Pulled to the Dangerous Domain Once the Two Selves have been merged, the hero is totally ready to face the antagonist. In The Hustler (1961), Fast Eddie is able to return to face Fats. In essence, the hero Journeys and Border Symbolisms into the Worlds of the Final Conflict, which is a very Dangerous Place. In Spiderman (2002), the battle takes place on a bridge high up above the water. In Spartacus (1960), the battle will take place in the trough between two hills. Crassus arrives at the army camp and walks through the curtains into the tent. In Gran Torino (2008), the battle will take place in the gang’s HQ. In Star Wars (1977), the fighter pilots arrive to battle the Death Star. In The Hangover (2009), the boys leave the city for the desert to meet Chow. Failed Trial Foreshadow These worlds and states may have been foreshadowed earlier. Commonly, the hero will have failed a trial here (or somewhere similar) previously, indicating that s/he was not ready at that time. In The Empire Strikes Back (1980), Luke battled a shadow of Vader under Yoda’s guidance. Commonly, the battle takes place where the Original State of Perfection was lost. In The Bourne Ultimatum (2007), Jason returns to the building where it all started for him. No Choice Commonly, the hero et al have no choice but to engage in the Final Conflict (for example, as a result of the Dastardly Deed). The hero et al have no choice but to Return. In Star Wars (1977), the rebellion has no choice but to battle the approaching Death Star.

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In Avatar (2009), the soldiers attack the Na’vi, thus forcing the battle. In Goldfinger (1964), Bond is drawn to Fort Knox and Goldfinger’s dastardly plan. In Spartacus (1960), the gladiator army has no choice but to battle the Romans. Having tasted freedom, the gladiator army would rather die free than become slaves again. In Annie Hall (1977), Alvie has no choice but to go to LA and confront Annie. In The Devil Wears Prada (2006), Miranda knows they’re coming after her job and prepares. Id Omnipotence / Goliath Symbolism The sheer Magnitude Of The Challenge is made explicit. This is an Existential Battle, where the hero’s Forces Are Outnumbered, the Fate Of The World Is At Stake, there is Certainty Of Death and Small Chance Of Success. In Epic (2013), Dagda says, “we're outnumbered, out of time and the fate of the world is at stake.” In Spartacus (1960), Spartacus shares with Varinia his concerns – how can Rome ever be beaten; every time they are beaten they just keep coming back. There are Interdictions, Apprehensions, Foreboding and Warnings. The Risks of the Final Confrontation are made explicit. From this, there is No Return Journey. In Gran Torino (2008), the priest begs Walt not to face the gang for fear of the consequences, “The police will handle it.” In Unforgiven (1992), Munny decides to take on the Daggett, which all advise against. In The Hangover (2009), Alan wants Phil to turn the lights on…just do something. Tempted to Betray The Self The Final Confrontation is a meeting with destiny – the hero was meant to do this. Thus interdictions are implicit attempts to avoid destiny, to avoid becoming the Mature Self, to betray the Self.

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As it is known that the battle with the Id / Greater Antagonism will be fraught with danger, lesser heroes may accept an easy way out. This is where Failed Hero’s originate from and the offer is usually made by a disguised representative of the Id / Greater Antagonism. In Spartacus (1960), the pirate offers Spartacus the chance to flee once he realises he is trapped, but this is rejected. In Jesus of Nazareth (1977), the devil attempts to tempt Jesus. Face to Face The hero and antagonism’s forces will face each other at Opposite Ends Of A Small Distance (commonly, the domain of the Final Conflict). In The Lion, the Witch and the Wardrobe (2005), the two armies watch each other on opposite sides of the field. In Spartacus (1960), the two armies watch each other on opposite sides of the field.

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Final Confrontation Finally, the Superego and Id engage to establish dominance and the future state of things (A State of Perfection if the superego has its way and a State of Imperfection if the Id has its way). Engagement Journey and Border Symbolisms demonstrate the beginning of confrontation, where both sides cross into each others’ space. In Star Wars (1977), the rebel fighter pilots enter the domain of the Death Star and begin the assault. In When Harry Met Sally (1989), Sally and friends arrive at the New Years Eve party. In Spartacus (1960), the slave army lights the tree trunks and rolls them toward the awaiting Roman legions. Outshine The Father The cycle is a generational one – the father has Deficiencies and loses the capacity to maintain a State of Perfection and the progeny (hero/ine) goes about the business of overcoming those Deficiencies and regaining the State of Perfection. Previously, the hero matched the father – now is the moment when the hero/ine has a chance to outshine / surpass the father. In LA Confidential (1997), while waiting for the shootout, Exley says he just wanted to match his father but now he has the chance to outshine him. Battle of Proxies The initial phases of the Final Confrontation concern themselves with the hero’s and antagonism’s representatives – all the good forces are seen to engage on a general level with all the dark forces. In The Lion, the Witch and the Wardrobe (2005), the White Witch’s armies engage with Aslan’s armies. Status Meets Status The individuals of each side are drawn towards their opposite number (the hero gravitates towards the antagonist, the hero's Loyal Ally gravitates towards the antagonist’s Loyal Ally etc). In The Lion, the Witch and the Wardrobe (2005), the good and bad beasts of each species battle each other.

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Minor Tasks or Errands During the early stages, the hero is often engaged in Minor Tasks or Errands, which could involve battling minor enemies or saving minor allies. In The Lion, the Witch and the Wardrobe (2005), during the Final Conflict, Peter is initially engaged with protecting allies and attacking minor foes. Impossible Dilemma Commonly, the hero will be forced to engage in and to overcome an Impossible Dilemma. This will involve Journey and Border Symbolism into a World within the World of the Final Confrontation – a space / location within it. The Impossible Dilemma is related to the original Hero Parent Sacrifice and Deficiency. The Hero Parent could not resolve this dilemma (thus losing the Capacity to Maintain a State of Perfection) whereas the hero does (thus demonstrating that this generation is superior to the last in being able to achieve what the last could not). The Magical Gifts gained throughout the journey relate to the ability to achieve this. Thus this is more than merely a distraction, it is a benchmark of evolution, a benchmark of surpassing the parent (generation). In Spiderman (2002), Peter Parker has to save the people in the lift or Mary Jane – he cannot do both simultaneously. In Gladiator (2000), Maximus defeats his opponents even though he has been stabbed and is dying. Id Omnipotence / Goliath Symbolism The Id / Greater Antagonism demonstrates its potent superiority by effortlessly putting down enemies and all resistance; many of the hero’s minor allies will perish; it will seem as though it is impossible to defeat this foe. In The Lion, the Witch and the Wardrobe (2005), during the Final Confrontation, the White Witch effortlessly turns her enemies into stone. Deficient Proxies and Supernatural Aids This is a period where Alternative Heroes, False Hero’s, Peer Brothers, Have-AGo Heroes and other similar archetypes etc attempt to be The One – to successfully counter the Greater Antagonism and its forces. That they fail demonstrates the lack of their capabilities. Supernatural Aids who have thus far guided the hero, will also demonstrate their incapacity to subdue the Id / Greater Antagonism. In other words, this is where previous Supernatural Aids are transcended and that the need for Someone Extraordinary becomes clear.

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That Proxies and Supernatural Aids are very competent demonstrates that the Id / Greater Antagonism is a) no challenge for ordinary men and b) the magnitude of the challenge and Id’s Omnipotence. In The Lion, the Witch and the Wardrobe (2005), all normal archetypes who attempt to battle the White Witch are easily defeated. In Lord of the Rings (2001), all normal archetypes who try to throw the Ring into Mount Doom fail. In The Matrix (1999), Morpheus is Neo’s Supernatural Aid, but even he is no match for the Agents. Surpassing Peer Brothers The Peer Brother is a benchmark archetype (one who was previously emulated) whose Death / Disappearance or Demonstration of Weakness indicates that the hero has now surpassed him / her. Id’s Confidence Such is the overwhelming nature of the Greater Antagonism’s potency, supremacy and Magical Spells, that it is Surprised that the Hero et al are even attempting to battle it; it is Confident Of Victory, often Displaying Arrogance. Superego’s Insecurity Conversely, at this point the hero et al tend to demonstrate Humility Bordering On Insecurity. In Rocky (1976), Rocky knows that Apollo is a great fighter. Prophets of Doom Some within the Id / Greater Antagonism’s camp, especially those who are familiar with the Prophecy and possess higher levels of wisdom are not surprised by the confrontation and are also humble instead of confident. Thus we see Archetypal Differences Within The Id / Greater Antagonism’s Camp. Commonly, the Greater Antagonism will Acknowledge The Threat from opposing forces, but it will seem minor or the odds of the Hero’s victory will seem small. Opportunity to Resign Both sides will have the option to turn back or flee on some level. For the Id / Greater Antagonism, the refusal to flee makes perfect sense (it is confident).

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For the Superego / Hero, the refusal to flee is the result of a real lack of alternatives. In other words, there is No Way Back and No Choice; fleeing will result in complete and utter annihilation and the Loss of Opportunity to Restore a State of Perfection. Commonly, the Result Will Be Armageddon. Thus the hero et al continue to fight. In Spartacus (1960), the gladiators have nowhere to turn back to but slavery and crucifixion. In Goldfinger (1964), the nuke goes off in less than 3 minutes and Bond MUST neutralise it. Impairment To make matters worse, Id Omnipotence / Goliath Symbolism is enhanced through the hero impairment, commonly a physical injury. In Dances With Wolves (1990), John is clubbed on the head. In Hideaway (1995), Hatch falls before finding and battling Vassago. In Gladiator (2000), Commodus poisons and cuts Maximus. If not physical injury, the Impairment may be some form of new vulnerability which becomes apparent. In Spartacus (1960), Spartacus is surprised when Pompeii’s armies arrive at the battlefield. Transcendental Aids Depart Commonly, the Impairment is accentuated by the continued loss and disappearance of those Magical Gifts and Supernatural Aids which have thus far aided and been most useful. Symbolically, this is the Continued Loss Of The Older Self. Time Pressure Further, some form of Race Against Time to defeat the Antagonism becomes acute. In Goldfinger (1964), the nuke timer continues to tick away.

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Hand to Hand Battle Extraordinary Capacity to Survive Throughout the Final Confrontation, the hero demonstrates an Extraordinary Capacity to Survive. S/he cannot be killed, contained or sidelined, s/he is Not An Ordinary Man. Dwindling Superego Forces The number of the Superego’s forces are slowly made insignificant as a result of the Id’s potent capacities. Born To Come Together The Id’s attention turns specifically to the hero. Or vice versa. They are naturally drawn to each other, a natural gravitation, they are destined to face each other, they are shadows of each other. In Genghis Khan (1965), Jamuga begins personally mowing down opponents and then turns on Timujin. In Superman 2 (1980), Superman and Zod gravitate toward each other. In Aliens (1986), the queen breaks free from her reproductive cycle and searches Ripley out. Hand To Hand World Commonly, the Hand To Hand Battle takes place in its own World. Journey and Border Symbolism is crossed into it. In Spiderman (2004), the Green Goblin and Peter fall through the walls into the graveyard. Xenophobic Intensity For the Id / Greater Antagonism, the challenge to its supremacy is more than just business, it’s personal. The hero is the focal point of that challenge and thus the antagonism’s focus on him / her rises to the most contemptuous and xenophobic intensity. From a practical point of view, it is made explicit that a deep rivalry exists on some level. The source of this xenophobia is that the hero is a shadow of the antagonism, the Superego is a shadow of the Id. In The Lion, the Witch and the Wardrobe (2005), the White Witch takes it personally when she is unable to easily defeat the children and that the prophecy foreshadows the end of her reign.

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From another point of view, the superego is like a boil that the Id finally wants to lance (the Id has been exposed to the Prophecy and hearing about the inevitability of its demise from the very beginning). In Star Wars (1977), Tarkin will be glad to finally end the Rebellion once and for all. In Jesus of Nazareth (1977), the Romans have been hearing of the Deliverer for years through the Prophecy, and are glad to finally get rid of it through Jesus’ death. Lone Battle Before the Hero engages with the Greater Antagonism in a Hand-to-Hand Battle, further Transcendental Aids are lost (Magical Aids, Supernatural Aids, Mentors, Allies etc) or they become unavailable. Commonly, Allies are separated but continue to battle against their own challenges. The Superego must battle the Id alone (because the Hero is really battling his or her own dark psyche). Symbolically, this is also the Continued Loss Of The Older Self. In Lord of the Rings: The Return of the King (2003), Frodo journeys up the mountain alone. In Alien (1979), Ripley is finally all alone in the spacecraft, and has to battle the alien. 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. In American Beauty (1999), Ricky can no longer supply Lester with marijuana. In Bullitt (1968), Frank no longer has Ross' dead body to play with. Crossing Swords The Hand-to-Hand Battle (the direct confrontation between the Superego and the Id) is consciously engaged in. Commonly, the Greater Antagonism battles its way toward the Hero by quickly defeating all obstacles that stand in its way.

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All Hope Is Lost The Hero has come far and is well able to defeat the antagonism. Factors that prevent the hero from doing so can be generalised as limitations, which may include: Period of Defeat The hero (and his / her allies within their own challenges) continue to experience defeat. Commonly, the allies’ defeat is made explicit first, and then the hero’s. Here, the Antagonist’s Potency is again demonstrated – the reason why it has dominated for so long is made explicit. It seems that the hero is not so extraordinary after all. In Rocky (1976), when Rocky first starts boxing Apollo, he realises why he is so great. Impairment Exacerbated It is common for the Impairment to be exacerbated. The Greater Antagonism mows the hero down. In Rocky (1976), in the fight, Apollo breaks Rocky’s nose, which has never been done before. The Period of Defeat and outer impairments are commonly the result of inner limitations: Period of Dissonance Now here’s a rub - the antagonist is bad, bad, bad. As such, it is a Supernatural Aid in that it forces others to ally against it – in other words, it is inadvertently a force for good. Thus, destroying the antagonist may be bad thing, it may have the reverse effect to the hero’s altruistic intentions. From another point of view, loss of life is never the hero’s goal and doesn’t help a State of Perfection. Further, the hero may actually admire the antagonist. These are limitations, which prevent the hero destroying the antagonist. In Dr Who and the Genesis of the Daleks (1975), the Dr refuses to destroy the Daleks on Skaro because they have inadvertently been a force for good. In Rocky (1976), in the fight, Rocky doesn’t initially go all out against Apollo.

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Way Of The Old World And Self Commonly, the Old Self has not been completely let go off and a last remnant remains. Old Value systems limit. In The Godfather (1972), Michael hesitates becoming Godfather to Connie’s child, as this represents the last remnant of his innocent self – he knows he’s going to kill the child’s father. Shape Shifter’s Dissonance Commonly, it is not the hero’s limitation which constrains, but that of another character. Commonly, a shape shifter’s decision is the difference between victory and loss. This archetype sits on the fence and frets over which side to choose. Else, the conflict between making certain decisions or taking certain actions is demonstrated. In Bonnie and Clyde (1967), Moss is pulled between loyalty to Clyde and his father. Similarly, Blanche is conflicted about giving away Moss' surname. In Gladiator (2000), the soldiers watch the battle between Commodus and Maximus and are torn between loyalty to the Emperor and fairness. All Hope Lost Doubts about the hero et al’s ability to restore any State of Perfection are made explicit or begin to emerge. The antagonism’s confidence skyrockets and the hero is doubly cautious. It seems all hope is lost. In Rocky (1976), in the fight, the commentators don’t hold out much hope for Rocky. In The Hangover (2009), Phil phones Tracy and is about to tell her that Doug is not going to make it back for the wedding. In The Empire Strikes Back (1982), Vader’s light-sabre points at Luke’s throat.

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Letting Go, Transcending To The Mature Self The purpose of this stage is to force the hero (or other characters) to let go of all remaining limitations and attachments to the older selves, thus achieving maturity. Just when all hope is lost: Ultimate Provocation Commonly, the Greater Antagonism commits an act that forces the hero to reach inside himself and let go of limitations. Often, the Greater Antagonism threatens a heinous act or an emotional tie. 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 how winning will lift them out of that. In Rocky (1976), in the fight, Apollo provokes Rocky. Magical Gift Commonly, a Magical Gift presents itself, which allows the hero to let go of all remaining limitations. In The Hangover (2009), the boys exchange the money for Black Doug, who will cause Stu to remember where Doug is. Removing the New Self Mask The hero takes off the mask that is the New Self, allowing it to be replaced with the mask that is the Mature Self. In Robocop (1987), Murphy takes his mask (which represents his New Self) off. Transcending to the Mature Self means Letting Go Of Who You Have Become, specifically, letting go of the New Self created within the New World Proper of Act II. Once the hero has let go of Who S/he Has Become, s/he is no longer limited, s/he is easily able to transcend to the Mature Self. In The Godfather (1972), Michael is ready to be godfather to Connie and Carlo’s baby. He lets go of all vestiges and pretences of innocence.

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In Dances With Wolves (1990), John has to let go of the Sioux and his Sioux Self, if he is to become a Mature Self. In Educating Rita (1983), Rita has to let go of being a student if she is to become a Mature Self. Choosing To Let Go (Choice) The character has a choice, whether to let go or not. In Six Days and Seven Nights (1998), Robin and Frank make a choice at the airport (which is a border back to their Ordinary World / Self / State). They let go and decide to be together, and walk off into the sunset (the New State of Perfection; the Mature World / State / Self). In An Officer and a Gentleman (1982), Zach returns to collect Paula, who is working in the factory again (her Ordinary World). They walk off into the sunset (the New State of Perfection; the Mature World / State / Self). Letting Go Of All Vestiges Of The Older Selves This is the end of the Ordinary and New World arcs. Everything that is associated with them does not merely further dissolve away, it disappears. In How Green Was My Valley (1941), the Preacher let's go of the chapel and his love and the village. In Out of Africa (1985), Karen takes the white glove off her servant's hand, which is letting go of the last pretences of her older self. In Gran Torino (2008), Walt says goodbye to his house. In Spartacus (1960), Spartacus looks back at the sea and the lost chance of freedom. He’s letting go of freedom. In Robocop (1987), Murphy lets his wife and son go. Unsatisfactory New Self Commonly, letting go of Who You Have Become involves recognising that it is an imperfect version of the Self. Implicitly, it is therefore the realisation and acceptance that another version of the Self must be attained (a Mature Self). In Educating Rita (1983), Rita wanted to be a student as she thought they were enlightened, but realises that they can be limited too. Thematic Letting Go Thematically, letting go involves letting go of the incorrect side of the theme, an incorrect way of thinking.

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In Crimes and Misdemeanors (1989), Cliff Stern loses everything, including the girl, because he was on the incorrect side of the argument – he thought that intellectually deep (though poor) people would win over shallow (though rich) people. Part and parcel of Thematic Letting Go, is Letting Go Of The Older Self’s NonBelief, in other words, Believing In The Opposite Side of the theme, or simply believing. In Raiders of the Lost Ark (1981), Indy averts his eyes at the final moment because he believes. Thematic Awakening Part and parcel of Thematic Letting Go, is Letting Go Of The Older Self’s inability to see, in other words, Seeing The Opposite Side of the theme. Hero’s Damascus Moment This may be in the form of an enlightenment, which allows (or forces) the hero to let go of all remaining limitations. In Crimes and Misdemeanors (1989), Cliff Stern has a Damascus Moment, his worst fear is realised – he loses everything to the shallow rich guy – his philosophy proves incorrect. He is forced to let go of his old way of thinking. Shape Shifter’s Damascus Moment When the limitation belongs to other characters, they let go. Shape Shifter’s make their decision. In Gladiator (2000), the soldiers allow Maximus to fight Commodus without interference. In Iron Man 3 (2013), Pepper Potts lets go, facilitating Killian’s defeat. Maturation Fully letting go of the Older Selves, leads to full maturation. The hero fully learns the lesson. The hero Becomes Whole again and Knows Who S/he Is. In Crimes and Misdemeanors (1989), Cliff Stern grows up - he learns that rich guys get the girl. Judah Rosenthal also grows up – he learns that “the eyes of God are NOT always on us,” which is why he gets away with murder. Part and parcel of maturation, is Letting Go Of The Older Self’s Innocence.

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In The Godfather (1972), by accepting to be Godfather to Connie’s baby, Michael lets go of all vestiges of innocence. The Innocent Archetype (who represents innocence when the main character is not so innocent) grows up (see Advanced Archetypes at http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html ). In Spartacus (1960), Caesar arrests Graccus. Mature New Name Commonly, the Mature Self is expressed through a new name. This is an expression of Knowing Who You Are. In X-Men: First Class (2011), at the end, Erik knows who he is, calling himself Magneto.

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Id Containment, Multiple Catharsis It is the fully whole, mature hero, who has let go of all limitations and attachments to the Older Selves, who finally subdues the Greater Antagonism. It is the hero who has learned what the theme is supposed to teach, who finally subdues the Greater Antagonism. Inner Strength and Resolve The Ultimate Provocation, Damascus Moments etc cause the hero to search inside himself and draw Inner Strength and Resolve. It is a form of Rebirth. In Return of the Jedi (1983), Luke begins to fight back. In Cinderella Man (2005), Jim Braddock begins to fight back. In The Matrix (1999), Neo begins to fight back. In Rocky (1976), in the fight, Rocky gets serious, “..come on, come on… .” Self-Actualization All the Capacities that have been gained thus far on the journey come to bear on the Id; everything that the hero can be comes to the fore. In Cinderella Man (2005), Jim Braddock lets go in the final battle. In The Matrix (1999), Neo lets go in the battle against Smith. In The Insider (1999), it is only once both Jeffrey and Lowell have let go (made the required sacrifices) that they defeat the Corporation. In Back to the Future (1985), George McFly finally lets go and musters up the courage to punch Biff. In Rocky (1976), in the fight, Rocky lets go and begins to seriously damage Apollo. Hope Returns. With newly gained Inner Resolve and having Let Go, the hero demonstrates Overwhelming Capacities and Claws Back lost ground. The hero Becomes The Master and Begins To Win. In The Matrix (1999), Neo plays with the bullets.

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In Rocky (1976), in the fight, Rocky gives as good as, if not better, than he gets. In Return of the Jedi (1983), Luke shows Vader what he can do. In Lethal Weapon (1987), Riggs shows Joshua what he can do. In Spiderman (2002), the Peter shows the Green Goblin what he can do. Ally Recovery Just as Hope Returns for the hero, so does it for other characters allied to the hero / Superego. They too begin to win. Deficiency Overcome That Deficiency, which the father could not overcome, is shown to be overcome effortlessly. Limitations, which earlier could not be overcome, are overcome effortlessly. Else, they no longer exist. Antagonist’s Damascus Moment The Greater Antagonism realises: a) b) c) d)

How relevant and true the Prophecy and its adherents were. The hero is Not An Ordinary Man. The hero has the capacity to defeat him. The Old Way, where the Id ruled, is over.

First Catharsis The Greater Antagonism is brought to its knees. In Return of the Jedi (1983), Luke brings Vader to his knees. In The Matrix (1999), Neo finally defeats Smith easily. In Lethal Weapon (1987), Riggs brings Joshua to his knees. In Spiderman (2002), the Green Goblin in brought to his knees. Magnanimity and Compassion The classic, Altruistic Hero has no need or intrinsic desire to kill the Greater Antagonism (it may even be useful ally) and demonstrates Magnanimity and Compassion. Even antiheroes may hesitate to kill, requiring a Final. Moral Justification. Thus the Greater Antagonism is allowed to exist. In Return of the Jedi (1983), Luke critically wounds Vader, he does not kill him.

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In Spiderman (2002), Peter shows the Green Goblin compassion. In Spartacus (1960), Crassus lets Graccus live, keep his property and his women. In Rise of the Planet of the Apes (2011), Caesar lets some of the humans live. Redemption Offered The hero, who is in truth not unlike the Greater Antagonism (they are Shadows Of Each Other), offers it a chance of Redemption. The meaning of Redemption is this: help create and maintain a New State of Perfection for the benefit of all instead of the Self. In Return of the Jedi (1983), Luke gives Vader the chance to redeem himself. In Spiderman (2002), Peter gives the Green Goblin the chance to redeem himself. Second Catharsis This is where the Greater Antagonism’s Mask is Removed. The Greater Antagonism Reveals Itself And It’s Motivations and the Clarity (see below) is made explicit. In James Bond, this is often where the villain reflects or explains his motivations. Clarity It often turns out that the hero knows the Greater Antagonism; they are Mirror Images of each other (the hero is after all, subconsciously, simply fighting his or her own demons). In Spiderman (2002), the Green Goblin reveals himself to Peter Parker – he is Harry's father. In Return of the Jedi (1983), Vader takes off his mask to reveal his True Self to Luke – his father’s face. In Scooby Doo, we always knew the antagonist was amongst us. Battling Himself Commonly, the Greater Antagonism is revealed to be a parental figure, because the hero is indeed fighting himself and the last generation and the representations of the Old Way.

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There is more than just a passing relationship between the hero and Greater Antagonism. They know each other, understand each other and can predict each other. There is Hero And Antagonism Affinity. In Basic Instinct (1992), Nick knows that Catherine won’t hide behind a lawyer. In Once Upon a Time in the West (1968), Harmonica and Frank intuitively recognise each other. In Se7en (1995), John Doe is obsessed with Mills. The Removal of the Mask results in a Clarity becoming self-evident. In The Empire Strikes Back (1980), Vader tells Luke that he is his father. The Removal of the Mask and the Clarity link back to the Deficiency (which caused the Original State of Perfection to be lost; It Becomes Clear Why The Deficiency Came Into Being). Commonly, the Greater Antagonism felt some injustice that caused him to rebel. In the Bible, the devil was cast out of heaven because God favoured mankind. The Greater Truth But the above is missing the point: the Greater Antagonism’s (Id’s) nature is mischief and the perceived injustice is simply rationalisation. In the Bible, the devil would have caused mischief no matter what. Redemption Legitimately Accepted On occasion, the Greater Antagonism accepts the hero’s offer with no intention of deceit. In Kelly’s Heroes (1970), the German tank commander joins Kelly and his gang as they all want the gold. In Mad Max Beyond Thunderdome (1985), Aunty lets Max live. In these cases, victory is demonstrated through the Greater Antagonism’s acquiescence, albeit through some face-saving mechanism. In Kelly’s Heroes (1970), the German tank commander takes back the Sieg Heil and salutes Kelly.

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Redemption Deceitfully Accepted Commonly, the Greater Antagonism accepts the hero’s offer intending to deceive. The Greater Antagonism’s True Nature is revealed through stories such as this: The scorpion asks the frog to carry him across the lake. The frog refuses: “you will sting me and I will die.” But the scorpion replies, “why should I sting you, if I do that, you will drown and I will drown with you.” So the frog carries the scorpion on his back and halfway across the frog feels the scorpion’s sting. “Why did you do that? Now we will both die.” And the scorpion replies, “I did it because it is my nature. I couldn’t help it.” Thus the Greater Antagonism accepts the hero’s offer intending to vanquish the hero at the earliest opportunity. In Spiderman (2002), the Green Goblin deceives Peter and plans the final kill. Final, Moral Justification After accepting the hero’s offer of redemption, the hero turns his back and the Greater Antagonism attacks quickly and dangerously. The hero, once again proving that s/he is Not An Ordinary Man, is forced to rely on superior Instincts to overcome the Greater Antagonist’s Deceit. In Silence of the Lambs (1991), Clarice instinctively turns around to shoot Buffalo Bill. In Heat (1995), Vincent instinctively reacts to take out Neil. Third Catharsis Often, the hero is faced with a Me Or You Choice - the choice of his own death or the death of the antagonist. Thus, a Forced Kill is the result. [In the ancient texts, the Greater Antagonism simply vanishes in a puff of smoke]. In Harry Potter series, either Harry or Voldermort can live. Not both. In Die Hard (1988), only Hans or John can survive. In Spiderman (2002), the Green Goblin deceives Peter and forces Peter to kill him. A Mercy Killing is not uncommon. Expressions such as “I feel sorry for him,” or “he was in a sad state” are not uncommon.

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In Return of the Jedi (1983), Vader wants to die. Fourth Catharsis With the Greater Antagonism vanquished, it’s Dark Allies Disappear or their Potency Is Diminished and the Hero’s Allies win their battles / challenges. In Lord of the Rings: Return of the King (2003), the enemy armies disappear in smoke once Saruman is defeated. In The Matrix (1999), the other agents run from Neo after he defeats Smith. In The Lion, the Witch and the Wardrobe (2005), once the evil witch is defeated, all the dark creatures on her side run or disappear. Id Containment The Greater Antagonism represents the Id and the hero represents the Superego. Both are consequences of the subconscious and neither can be completely extinguished without annihilating the other. Thus the Greater Antagonism is contained (captured is a form of this) rather than completely destroyed. This also allows the cycle to repeat itself perpetually (in the next epoch / cycle, the Id will find a way to free itself). Thus Containment Symbolism is evident. The Capacity to contain (destroy, minimise, make irrelevant or similar) the Id is regained. In Pandora’s Box (2002), the Id reverts back into its box. In Hellraiser (1987), the evil is returned into the box. In Priest (2011), Black Hat is destroyed. Fifth Catharsis Importantly, the Shape Shifter’s Choice matters here. It is significant that the Shape Shifter makes his decision at the same time that the hero “Lets Go.” It is only when the hero has “Let Go” and Self-Actualized that the Shape Shifter can also “Let Go” and Self Actualize (this applies to all characters). This is when all characters’ capacities become truly useful (allies) or threatening (enemies). Just as the Hero = Superego and Greater Antagonism = Id, so Shape Shifter = Ego (which is why the Shape Shifter’s most common trait is selfishness).

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Whoever’s side the Shape Shifter comes down on, that side tends to have the capacity to defeat the other. In Spartacus (1960), Caesar arrests Graccus. The Shape Shifter joins the Crassus and the dark side wins. In Star Wars (1977), Han returns and sides with Luke against Vader. The good side wins.

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New State of Perfection (Final Conflict) With the Id / Greater Antagonism contained, some demonstration that a State of Perfection has been restored is illustrated within this world of the Final Conflict. All the classic symbolisms that demonstrate a State of Perfection may be evoked (see the Original State of Perfection). Outer Reflections Restored The physical manifestations of imperfections right themselves. In The Lion, the Witch and the Wardrobe (2005), Narnia reverts to summer. Graduation Tangibles and Symbols, which signify completion are gained and demonstrated. In The Hangover (2009), the boys are all together again and they’re going home with some money. Stu has his grandmother’s holocaust ring back. In Crazy, Stupid, Love (2011), Jacob graduates from a single ladies – man to a someone in a relationship. Symbolic medals, are awarded on graduation. In The Help (2011), Minnie sits at the dinner table in the main room along with Celia and her husband. In Crazy, Stupid, Love (2011), Jessica gives Robbie pictures of her naked self. Marriage is a graduation tangible and symbol – the hero marries the Princess of the New World. In Diamonds are Forever (1971), Bond always ends up in bed with the girl. Synergy Arc Those who were once divided are now joined. In The Hangover (2009), the boys are all one happy gang which is the opposite of the original state. In Lethal Weapon (1987), Murtaugh calls Riggs, “partner.” Once they were divided, not they are together.

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Victory Symbolism Illustrations that the war has been won. In The Hangover (2009), Jade tells Stu that he won. In Rise of the Planet of the Apes (2011), all the apes give supplicating gestures to Caesar. Elixir’s Abundant Magic Potions / Elixirs are abundant and now accessible and useable. Commonly, they are used to revive / rebirth allies who have been mortally wounded during the Final Conflict. In The Lion, the Witch and the Wardrobe (1979), Lucy uses her magic potion to revive all those who have been injured, including Peter. In Twilight (2008), Edward revives a dying Bella with his blood. Liberty Symbolism Those forces could contain have no more potency. Any containment that restricted the hero et al disappears. Or the capacity to escape that containment is gained. Liberty and open spaces dominate. In The Hangover (2009), once Chow is defeated and Doug retrieved, the boys can go back to LA. In X-Men: The Last Stand (2006), the mutant bird flies over the Golden Gate Bride, wings spread as wide as is possible. In Red Dragon (2003), Will Graham ends by sailing on his boat in the open ocean. In 50 First Dates (2004), Henry and Lucy end the story sailing on their boat in the open ocean. Exit Symbolism Border Symbolism out of Containment is expressed. In The Hangover (2009), the boys exit the hotel. Overcoming Limitations Any limitation that previously held the hero back, is shown to have disappeared. In The Hangover (2009), Stu is finally able to appreciate Jade.

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Evolution Symbolism The hero et al have evolved in all manners, as a result of the journey – physically, psychologically and as members of the group (his / her status has risen). In Captain America: The First Avenger (2011), Steve is all muscles, expresses wisdom that was lacking earlier and is leader. In The Help (2011), Minnie becomes a de facto member of Celia’s family. Enlightenments Any required revelations are easily come by. In The Hangover (2009), Jade tells Stu that he pulled out his own tooth. Subplot / Ally Arcs Characters who had their own challenges, now easily resolve them. In The Lion, the Witch and the Wardrobe (2005), Mr. Tumnus had challenges which are now resolved.

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Journey Back Commonly, there is a Race Against Time to return to the Ordinary World. In The Hangover (2009), the boys are in a rush to get to the wedding in time. Else, the hero et al will return in due course. Commonly, some Magical Gift or Supernatural Aid facilitates the journey back. In The Lion, the Witch and the Wardrobe (2005), the White Stag is a Magical Gift / Supernatural Aid which guides the children back to England. Obstacles Easily Overcome There may be obstacles to the journey back (foreshadowed earlier) but these are now easily overcome. In The Hangover (2009), all the flights are booked but Stu says that driving back and getting there in time won’t be a problem. Chosen Ones Commonly, those special allies which accompanied the hero/ine on the journey, helped the New State of Perfection come about and are Natural Inhabitants of the New World are bestowed Magical Gifts and the Authority to Maintain the State of Perfection within this World. They are made Kings and Queens. In The Wizard of Oz (1939), the Lion, Tin Man and Scarecrow are all given gifts (a heart, a brain, courage) and tasked to look after the Land of Oz when the wizard leaves. In The Lion, the Witch and the Wardrobe (2005), Mr. Tumnus et al are charged to look after Narnia once the children leave. In Gladiator (2000), Marcus Aurelius’ vision will come alive through Lucilla et al. Constitution New Laws embedded within a Constitution are created (The Ten Commandments, The Prophecy etc) in order to assist Maintain the State of Perfection. Should these Laws / Rules be forgotten or not applied, the State of Imperfect will return. Prophets of Doom constantly warn against breaking the rules.

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Journey and Border Symbolism mark the way back. In The Hangover (2009), the boys drive back to LA. In The Lion, the Witch and the Wardrobe (2005), the children pass the lamp post again on their way back to England. New World Magical Gifts Magical Gifts are metaphors for all sorts of in/tangible Capacities. The hero et al return to the Ordinary World with New World Magical Gifts (and their in/tangible representations). In The Hangover (2009), the boys are going home with some money, Stu’s holocaust ring etc. Mature Self Symbolism Symbols representing the Mature Self are magically acquired along the way. In The Hangover (2009), the boys are given Tuxedos on the freeway. Transformation / Transmogrification Symbolism This fortifies and is part and parcel of the newly acquired Mature Self Symbolism. In other words, it physically expresses the change that has occurred. In The Hangover (2009), when the boys find Doug, he's got a little colour. Evolution Benchmarks Symbolism Upon arrival, a certain condition existed. Upon return, a new condition exists. This change is demonstrated. Commonly, some Status Symbolism is used. In The Hangover (2009), Stu is driving the Mercedes back to LA, indicating that he is in charge. Previously, it was Doug or Phil who were in the leadership positions.

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Contained Id Resurrection Commonly, the Contained Id / Greater Antagonism attempts to rise again. In The Lion, the Witch and the Wardrobe (2005) sequels, the White Witch is always attempting to escape containment. Commonly, one of the Greater Antagonism's Lieutenants may resurface. In Diamonds are Forever (1971), the Gentlemen Murderers return (appear on the boat) with a bomb inside a cake. In Die Hard (1988), Karl appears from under the sheet and takes the officer’s gun. In Lethal Weapon (1987), Joshua takes the officer’s gun. Sixth Catharsis Commonly, the hero will put the Greater Antagonism (or its representative) down again, this time effortlessly, indicating that the Capacities to contain it have been fully regained. In Diamonds are Forever (1971), Bond effortlessly disposes of the Gentlemen Murderers. Else, some other character / archetype will effortlessly put the Greater Antagonism down again. Thus, the Chosen Ones are tested and it is demonstrated that they have gained the Capacity to Contain the Id – they have changed as a result of the journey, they have resolved their challenges as a result of the journey. Further, that the hero is no longer needed. In Die Hard (1988), Karl appears from under the sheet and takes the officer’s gun. Al Powell shoots him. In Lethal Weapon (1987), Joshua takes the officer’s gun. Murtaugh and Riggs both shoot him.

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Return, Opposite Condition, Seventh Catharsis Anticipated Return The Ordinary World has eagerly been awaiting the return of the hero(es), with new gifts and capacities which they hope will Restore the State of Perfection, which will right the wrongs. In The Hangover (2009), Tracy has been looking at her watch, waiting for the boys to come back with her fiance. Border Symbolism back into the Ordinary World is crossed. In The Hangover (2009), the boys rush in through the doors. Opposite Condition On their return, hero(es) arrive as their fully formed, mature, self-actualized selves and symbols demonstrate this. This is the opposite condition - when they left, they were in one condition, when they return they are in another. In The Hangover (2009), the boys return fully dressed in their Tuxedos. Readiness Symbolism is evident. Characters are ready to face any challenges which could not previously be conquered and are ready to claim the prize that is a result of that and the journey and change. In The Hangover (2009), this is the anticipated final wedding ceremony; Doug is ready to marry and the boys to take their place beside him. [marriage is also symbolic of winning over the Bride, the final part of the New World Romantic Challenge arc]. Seventh Catharsis When the hero(es) left the Ordinary World, they were unable to contain the antagonisms within it, unable to vanquish challenges within it. Now they have gained those Capacities and those antagonisms / challenges are easily, effortlessly vanquished. Obstacles that were once difficult are now easily overcome, so much so that effort is not noticed. In The Hangover (2009), Stu confronts and breaks up with Melissa. In Horrible Bosses (2011), Dale is finally able to control Julia. In LOTR: Return of the King (2003), Sam asks Rosie out. Challenges Dissolve Away Generally, the challenges which originally existed have dissolved away,

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In The Hangover (2009), when Phil left LA, he hated it, now he is glad to be back with his family. Or are shown to have dissolved away, In The Wizard of Oz (1939), when Dorothy left the farm, she hated it, now she is glad to be back with her family. And she tells everyone just that.

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New State of Perfection (Enlightened Archetypes) Return To Sharing One manifestation of the Loss of the State of Perfection was the loss of sharing. This was the manifestation of the loss of community and the turn to individualism and the Self (ego and Id). Now that is reversed and the hero shares what s/he has brought and learned from the journey. This can be viewed as Letting Go (of some type of Individualism), Sharing The Gift or Sharing Victory. In Erin Brockovich (1999), Erin shares her victory with George, by taking him along to visit Donna Jensen and tell her the good news. Accessible Home The home, which was denied access, is now accessible. In Liar Liar (1997), at the end, Fletcher is allowed back into the home. Initially he was not allowed in. In Inception (2010), Cobb is allowed back home. Liberty Symbolism The constraints and limitations which characterised the Ordinary Condition at the start no longer exist. The Good People of the Township and their descendants are free to live without hindrance, encumbrances and the repercussions of any challenges. Where the Self is free from attachments, dependencies and needs that previously caused limitations. In Spartacus (1960), Spartacus lives to see his free son, who will not be a slave like his father was. Mastery of the Many Selves The ability to accept and integrate all versions of the Self, which are commonly represented by different names and by differing attachments, is demonstrated. The acceptance of the Ordinary and New Self parts. The acceptance that maturity is a compound of many elements (including Innocence). In The Godfather (1972), Michael effectively lies to Kay thus managing his New Self (the gangster) with his Ordinary Self (the innocent). In Robocop (1987), Murphy is now able to call himself Murphy. In Educating Rita (1983), Rita is able to call herself Rita, not Susan or any other pretentious name.

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Mastery of the Many Worlds The ability to accept and integrate all representations of all Worlds, shown through the merging Old and New World (and Self) symbols and attachments. In Rise of the Planet of the Apes (2011), Caesar becomes king of the apes but is still able to turn around to Will and ask permission to climb the Redwood. Thus he integrates effortlessly into the ape and human worlds. In Blade Runner (1982), Roy finally understands humans as well as droids. In An Officer and a Gentleman (1983), the Zach rides past Foley on his old bike and in a new uniform. In Erin Brockovich (1999), Erin finally visits Donna Jensen with George. Capacity To Traverse The ability to traverse, at will and without limitation, All Worlds. In Barefoot in the Park (1967), Paul is ultimately able to be a stuffed shirt during the day and let loose at night. In Gone with the Wind (1939), Scarlett is ultimately able to keep Tara and try and win Rhett back. In The Odd Couple (1968), Felix is ultimately able to come and go into Oscar's and the Pigeon sisters’ apartment. The Matrix (1999), Neo plays with the Matrix. He can slip between both worlds. Better Father The hero replaces the father to become the New Maintainer Of The State Of Perfection, but is a better father from the point of view that he has conquered the challenges that the father could not. In The Godfather (1972), Michael takes on the Don’s role. He, his new Capos, Clemenza et al reclaim and maintain the new balance of power. Capacities (Re)gained Those Capacities and in/tangibles which were lost are shown to be regained. Common Capacities and in/tangibles include Belief, Hope and Who You Are. In The Prophecy (1995), Dagget finds his faith.

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In The Shawshank Redemption (1994), Red rediscovers hope. In Raiders of the Lost Ark (1981), Indy believes [in the otherworldly side]. Completeness, Wholeness Symbolism The State of Imperfection is represented by incompleteness. People live alone, families are torn apart, the body is ripped apart etc. During the State of Perfection, all becomes complete again. Where all the parts have been reconstituted into an effective whole. In Die Hard (1988), John McClane is whole with his wife and family again. In The Ugly Truth (2009), Abby initially lives alone. Finally, she ends up with a man. In Erin Brockovich (1999), Erin’s home is finally complete, with George, a top job and happy, understanding kids. The hero is Fully Repaired, the Damage Has Been Healed. In Dororo (2007), Dororo repairs and heals himself by collecting all his body parts. Belonging Symbolism A critical element of Completeness and Wholeness is belonging – the hero finally finds a place where s/he belongs or feels at home. This is a world that is not too big nor small for the hero, one where all potentials are possible. This is related to destiny – the hero ends up where s/he was supposed to. In Percy Jackson & the Olympians: The Lightning Thief (2010), ultimately tells Percy, “this is where you belong.”

Sally

In Astro Boy (2009), Astro Boy finally finds a place where he belongs. Harmony, Balance Completeness, hope, wholeness, hope etc all help to restore balance and harmony - hero is able to re-experience a perfect state. All those signals of not being balanced (for example, insomnia) disappear. In Alien (1979), Ripley relaxes and smiles with Jones the cat. In Legal Eagles (1986), Tom can sleep again. In The Last Time (2006), Ted is finally at peace again.

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Graduation Symbolism The hero graduates to the highest evolution – to the highest level of psychological growth and development. In Silence of the Lambs (1991), Clarice is becomes an FBI agent at the graduation ceremony. In An Officer and a Gentleman (1982), Zach et al become officers at the graduation ceremony. Nobility Symbolism The hero and New World Romantic Challenge become king and queen of the Ordinary World and / or The Many Worlds. They become nobles through some sort of Coronation or Marriage Ceremony. This is also a form of graduation. In The Hangover (2009), Doug and Tracy get married – they become the King and Queen. They hold hands. In Lord of the Rings: The Return of the King (2003), Aragorn and Arwen become King and Queen. The marriage itself signifies the Merging of the Two Opposite Worlds (two differing value systems, themes). Thus, just as the Hero Parent and Hero Parent Spouse were from Two Opposite Worlds (see the Original State of Perfection), thus the same is established now for the Hero and his spouse (who was the New World Romantic Challenge). In Four Weddings and a Funeral (1994), Charles and Carrie are from opposite worlds. Both become Parent Archetypes (Maintainers of the State of Perfection). In The Godfather (1972), Michael marries Kay – she is an Innocent and Ordinary Self and he, now, not quite so. In Lord of the Rings: Return of the King (2003), Middle Earth celebrates the marriage of Aragorn (a human) and Arwen (an immortal). Celebration Symbolism is common. In The Hangover (2009), the musicians play at the wedding and everyone’s dancing. In The Jewel of the Nile (1985), the Arabs, Nubians, Sufis etc all dance together.

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Confirmation A rite (of which the Coronation or Marriage is a part) where the hero is accepted as Not An Ordinary Man and possessor of those Significant Capacities that enabled him / her to contain the Id and Restore The State of Perfection. Commonly, the hero et al are made nobles in some form of ceremony, which allows Special Rights and High Status. This allows them special status at the Round Table and among the Circle of Elders (see the beginning – the Original State of Perfection). In Lord of the Rings: Return of the King (2003), Frodo is allowed to depart with the immortals. In effect, he is Knighted A God. Sceptre / Sword Classically, through the Coronation and Confirmation, a tangible is bestowed – a crown, medal, treasure, cup or similar. In The Godfather (1972), the lieutenants kiss Michael’s hand – he is the new Don. In Star Wars (1977), Luke and Han are awarded medals by Leia. In Back to the Future (1985), Marty returns home to find his father is successful, his Mom is good looking and he gets that 4x4. In Erin Brockovich (1999), Erin is made Ed Masry’s personal assistant and given some high profile cases and a fat cheque. In Lord of the Rings: Return of the King (2003), Frodo et al are knighted during a ceremony. In The Lion, the Witch and the Wardrobe (2005), the children are knighted during a ceremony. Enlightened Self In these final stages, the hero evolves beyond even the Mature Self to become an Enlightened Self, which the Coronation and Confirmation signify. It also is accompanied by an Enlightened New Name. In The Deer Hunter (1978), Michael is enlightened enough to not shoot the deer in the end. In Blade Runner (1982), Roy learns the value of life and allows the bird to live and fly free.

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The Enlightened Self is where one’s full potential is realized. In The Matrix (1999), Neo realises his full potential. The Enlightened, Self is usually given (or possesses) the following gifts: S/he is Immortal - where even the limitations of the physical body are overcome. In The Green Lantern (2011), Hal becomes immortal. S/he is Fully Awakened – s/he Can See. The capacity to differentiate between illusion and reality. The capacity to embrace the reality of the Id and that it must be contained. The Capacity to see what others cannot. In The Matrix (1999), finally, Neo can differentiate between reality and illusion. In The Godfather (1972), the Don was able to see in a way that others could not. Subplot / Archetype Conclusions All characters / archetypes on the side of the Superego (usually, the hero) who had their own challenges, are now effortlessly able to resolve them. In Gladiator (2000), Juba returns home to his family. In Lord of the Rings: Return of the King (2003), Aragorn finally returns to the throne, his legacy no longer a hindrance. Archetype Synergy Characters / archetypes who were once divided and polarised, now act synergistically. In The Hangover (2009), the boys all sit together and enjoy each other’s company.

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New State of Perfection (Enlightened Worlds) All the classic symbolisms that demonstrate a State of Perfection may be evoked (go back to the beginning - the Original State of Perfection). In essence, the Worlds are shown in their perfect, most harmonious states. Enlightened World There is the reverting back to normal all of the consequences that resulted from the Loss of the State of Perfection (which itself was the result of the Deficiency and Inner Challenge). In The Lion, the Witch and the Wardrobe (2005), the White Witch has kept Narnia in a state of eternal winter. Now Narnia reverts back to summer. In Back to the Future (1985), George McFly had no confidence, which resulted in him being bullied and creating the world we see when Marty is at home in the beginning of the film. At the end of the film, Marty returns home to a prosperous, loving, confident family. Where there are many worlds, there is Perfection in All the Worlds. In Lord of the Rings: Return of the King (2003), Aragorn is crowned king and his kingdom’s State of Perfection is demonstrated. Then the hobbits return to their Shire and then that world’s State of Perfection is demonstrated. In An Officer and a Gentleman (1982), Zach is made an officer and that World’s State of Perfection is demonstrated. The he goes to find Paula and then that World’s State of Perfection is demonstrated. In Back to the Future (1985), both George’s and Marty’s World are shown in a State of Perfection. A New Balance is restored. This New State of Perfection is not the same as the previous, Original State of Perfection of the Original World. It is better in that it is no longer susceptible to the same Id Temptations, no longer susceptible because the Deficiency which allowed the Id Temptations has been cured. In Slumdog Millionaire (2008), when Jamal and Latika walk away into the sunset, they enter a New State of Perfection, as their families have now dissipated – they go on to create a new family. Closing Loop The New State of Perfection is a return to that which was originally lost and is represented by the same, original symbolism.

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In Kung Fu Panda 2 (2011), the State of Perfection is originally represented by celebration and fireworks and the return to it is represented by celebration and fireworks. Classic symbolisms include (all explained in the Original State of Perfection section) include Idyllic, Danger-Free etc: In Lord of the Rings: Return of the King (2003), Frodo et al return to the idyllic Shire. In When the World Stood Still (2008), the Earth is safe again.

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New State of Perfection (Serpent’s World) Within the Worlds of the New State of Perfection, a Forbidden World exists. It is within this that the Id / Greater Antagonism, which has been contained, resides. In Raiders of the Lost Ark (1981), army intelligence won’t tell Indy where the Ark is hidden. Border Symbolism Some form of barrier, with Warning Symbolism, prevents entry into the Forbidden World. Commonly, Threshold Guardians also block entry. Upon entry into this World, Foreboding Symbolism takes over. Commonly, a Magical Gift is required to enter the Forbidden World, some kind of spell, special key or permission. In Thor (2011), the Frost Giants have been banished to another world, which is cold, dangerous and frightening. None are allowed entry. To get there, one must pass Heimdall. Containment Symbolism The Id / Greater Antagonism is contained within some tangible. Commonly, this is Pandora’s Box. In Aladdin (1992), the Geni is entombed within the lantern. In Hellraiser (1987), Pinhead is contained within the cube. Commonly, the Id / Greater Antagonism contained within the tangible exists in a State of Unrest and is bursting to get out. This represents the chaos it would cause if it did get out. In Goodfellas (1990), Henry is unhappy in the witness protection program, he can’t even get decent spaghetti, “living like a schnook”. In Thor (2011), the Frost Giants would cause chaos if they were ever allowed out of their banished world. New Constitution A Book of Law (part of the New Constitution) dictates who is allowed into the Forbidden World and what Rules they must conform to whilst there. All of these are designed to prevent the Id / Greater Antagonism from escaping. This is a New Constitution (for this New State of Perfection) in that it differs from the Original Constitution (from the Original State of Perfection) – the New

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Constitution contains Rules and Laws that were not present in the Original Constitution (and thus the Id / Greater Antagonism was allowed to escape). The New Constitution is an amended and evolved version of the Original Constitution, which prevents such escape from ever happening again. Commonly, the new hero’s rules are similar to the Hero Parent’s Rules. In The Godfather (1972), Michael does not allow Kay to ask him about his business. In Jesus of Nazareth (1977), Jesus constantly amends and corrects the rules that are being followed. Because the Id / Greater Antagonism is essentially the dark side of the psyche, the New Constitution also dictates how the Good People of the Township should behave. In Logan’s Run (1976), the citizens are not allowed outside the walls of the city and must submit themselves to death at age 30. In Harry Potter, nobody is allowed to mention Voldermort by name. Innocents Forbidden Commonly, Innocents and the new generation (children) are forbidden from entering the Forbidden World as they have not developed the Capacities to contain or control the Id / Greater Antagonism which lies there. If they do enter, they are accompanied by adults (those who have developed such Capacities through the journey). One function of the journey is to develop such Capacities. Commonly, even in the presence of adults, Innocents will demonstrate their immaturity and incapacities with the Id / Greater Antagonism by making mistakes. In The Godfather (1972), the Don takes Sonny into the meeting with Sollozzo where Sonny makes a faux pas by revealing his thoughts to strangers. In Thor (2011), Odin lets Thor meets with the Frost Giants, where Thor shows his immaturity. When the present parent generation is ready to give way to the new generation, these innocents will let the Id / Greater Antagonism loose – then the journey / cycle will begin again.

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Departure (Return To The Sleeping) In the ancient texts, the Gods (Supernatural Aids) awake from their sleep when the Earth quakes, help right whatever wrong is taking place and then go back to sleep. This is mirrored in modern story. In Captain America: The First Avenger (2011), Captain America is found buried in a tomb. In other words, he is woken up. During their wake, they endow Chosen Ones (Heroes) the Capacity to Regain the State of Perfection. In The Lion, the Witch and the Wardrobe (2005), Aslan endows the children with the power to Regain a State of Perfection in Narnia. When they return to sleep, they endow Chosen Ones (Heroes and Allies) the Capacity to Maintain the State of Perfection. The Supernatural Aids and Chosen Ones may be one or many. In other words, the functions of endowing, regaining and maintaining may be split among characters and archetypes. In The Wizard of Oz (1939), when the Wizard leaves, he endows the Scarecrow, Tin Man and Lion with the powers to maintain the State of Perfection (a brain, heart, courage). Glenda the Good endows Dorothy with the Capacity to return to Kansas. Independence Capacities are endowed so that the Natural Inhabitants are able to maintain their own affairs. It is learning to be independent and this is one reason why the journey process is a metaphor for growing up. Universalism of the Changing The function of the Gods is to bring about universal change towards the perfect. For this, they endow Chosen Ones to Spread the Constitution, which teaches the State of Perfection. In Jesus of Nazareth (1977), Jesus teaches his disciples and then sends them forth to spread the word. Departure Symbolism With the State of Perfection Restored, Supernatural Aids (of which the hero may be one) depart.

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In Lord of the Rings: Return of the King (2003), Frodo and the immortals leave. In The Devil Wears Prada (2007), Andy leaves Runway. In The Lion, the Witch and the Wardrobe (2005), Aslan leaves. In Bridesmaids (2011), Annie and Rhodes both depart. Various situations give rise to various reasons for departure: In The Roman Empire (1965), Marcus doesn’t want the responsibility of being Emperor. The Gods depart and prepare for the next epoch (the next cycle), where they know they will be needed again (when the Chosen Ones lose their Capacity to maintain the State of Perfection and the Id rises again). Else, their services are needed elsewhere. In The Lion, the Witch and the Wardrobe (2005), Aslan leaves to carry on his work elsewhere. From one point of view, their Powers of Restoration are enhanced through rest. In Interview with the Vampire: The Vampire Chronicles (1994), the vampires grow stronger when they sleep through the eons. Commonly, the Supernatural Aid is now able to seek his / her own State of Perfection. In other words, the journey has also assisted the God in finding the way. In The Last Time (2006), Ted is now able to go back to the university. Alternatively, both Heroes and Chosen Ones may depart. In Jesus of Nazareth (1977), Jesus dies and his disciples leave to spread the word. Death Symbolism This is a form of departure and related to martyrdom (see below). In Gladiator (2000), though Maximus dies, Lucilla promises to carry forth and implement changes.

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In Spartacus (1960), though Spartacus dies, he knows the seed has been sown. In Jesus of Nazareth (1977), though Jesus dies, his disciples carry the message forward. In Midnight Cowboy (1969), Ratso dies. In Fistful of Dynamite (1971), John dies. Goodbye Symbolism This goes hand-in-hand with Departure Symbolism. The Chosen Ones remain behind and bid the hero or Supernatural Aid goodbye as s/he moves on to Return to the Sleeping or go wherever else s/he is needed. Goodbye Symbolism indicates a goodbye to this World and Self. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice from the other side (the Caribbean island), says his goodbyes and departs. Burial Symbolism Commonly, Gods / Supernatural Aids / heroes will return to a Cave / Tomb, from which they will re-enter a Chamber / Casket / Coffin and sleep. Commonly, it is from these that the Hero rises / is found at the beginning of the story. In Captain America: The First Avenger (2011), Captain America is initially found buried within a tomb. Detachment Symbolism Detachment is a common signal of departure. In Spotswood (1992), Errol gives up his management consultancy job to Kim. Journey and Border Symbolism is crossed into the Return to the Sleeping. In Lord of the Rings: Return of the King (2003), Frodo and the immortals get on a ship and cross the Great Sea. Closing Loop The departure closes the initial Arrival Symbolism / Loop, which was demonstrated at the beginning.

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In An Officer and a Gentleman (1982), the story starts with Zach arriving from college and ends with him departing (with Paula) into the symbolic sunset. In Mad Max (1979), Max comes from nowhere and returns to it. In Yojimbo (1961), the Samurai comes from nowhere and returns to it. In Terminator (1984), Reese comes from the future and Sarah ends up waiting for it. Myths and Legends Symbolism Myths and Legends about the Supernatural Aids and Chosen Ones are created and passed down through generations. These tell of how these beings restored the State of Perfection. Legend Tangibles representing these myths and legends, the journey and elixirs gained are kept and given high status. In The Hangover (2009), the boys look at the video footage of their trip. In The Untouchables (1987), Ness looks at the photograph of the four in the restaurant. Martyrdom This is a special manifestation of Death Symbolism and Myths and Legends. Martyrdom makes a legend out of the person dying and thus helps spread the message. This is why it is common for the Id / Greater Antagonism to a) resist the Hero’s Death and any symbolism relating to it and b) fret when the martyrdom has been accomplished. In Jesus of Nazareth (1977), Zerah wishes that Jesus’ grave should not be known, to prevent him becoming a martyr. Once Jesus has risen, he knows that it is too late. In Spartacus (1960), Crassus wants Spartacus buried in an unmarked grave, to prevent him becoming a martyr.

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Afterlife Act: The Age Before Time Began Restarting Of The Cycle The essence of the Afterlife Act is the loss, once again and after some time, of the New State of Perfection. This is the normal state of affairs – the cycle eternally repeats. Now the cycle is as it was in the beginning and the hero has now become the Hero Parent and the New World Romantic Challenge the Hero Parent Spouse, about to give birth to the Hero Progeny (the New Baby Hero). The New State of Perfection that was established has now become the norm and now becomes the same as the original Original State of Perfection. The Hero Parents are ready to give way to the next generation, but the next generation have to learn what the parents already know, if they are to Maintain A State Of Perfection. In Thor (2011), Odin is ready to give way to Thor, but Thor must grow up first. Thus this is a restarting of the cycle and therefore links back to the Loss of the Original State of Perfection (at the beginning). But at the same time, it is slightly different, incorporating some new steps and symbolisms and thus differentiating the absolute end with the absolute beginning. The following is the general pattern: Stable Rule The hero or the Chosen Ones rule on the throne for an interminable period (in the True State of Perfection (Heaven, Utopia etc) there is no death, hence this may be eons). The Hero lives happily with his bride (the New World Romantic Challenge). In Conan the Barbarian, (1982), Conan rules on his throne. Forgotten Constitution After an interminable period, the State of Perfection is taken for granted and the importance of the Rules is forgotten by all except the hero (now the King / Hero Parent), the New World Romantic Challenge (now the Queen / Hero Parent Spouse) and the Loyal Ally (now the Oracle / Trusted Ally / Consigliere / Extraordinary Supernatural Aid) and Prophets of Doom. Commonly, the new generation (Hero Parent Progeny) do not appreciate the rules or the Constitution.

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In The Ten Commandments (1956), the Israelites forget to believe in the one true God. In The Godfather (1972), Sonny doesn’t appreciate the importance of his father’s rules. Shape Shifter Simultaneously, the Id / Greater Antagonism is constantly attempting to break free from its Containment and does so by using the Tools of Temptation against a weak Shape Shifter, who in turn influences the Good People of the Township, all of whom are Unable To Discern Danger because they have Forgotten How To See. In The Ten Commandments (1956), Dathan is constantly trying to influence the Israelites. Weak Progeny If the hero and Romantic Challenge (King and Queen) have borne children, they are Poor Rulers – they have not inherited their parent’s Capacities. If they have, then those capacities do not appear to manifest themselves until the hero (who is now the Hero Parent) is on the precipice of death at the Edge of the Original World (go back to the beginning of this material). In El Cid (1961), the princes and princess are self-centered, jealous rivals. In The Godfather (1972), Sonny is weak and a bad Don whilst Michael’s capacities do not manifest themselves until his father is on his deathbed. In Thor (2011), Thor shows himself to be a bad, impulsive ruler. Call Away Commonly, in this already weakened state of control, the Hero Parent is called from other lands to help Maintain the State of Perfection there (prevent those lands from falling into darkness). Omens Sages, Prophets of Doom and other wise men do not see the Call Away as a good sign, but as a sign of the Prophecy fulfilling itself. Physical Omens (linking back to the Omens at the start of the story) may appear – these omens indicate the imminent End of Empire (Loss of the State of Perfection). Waning Influence While the Hero Parent is away, his / her influence wanes. Commonly the hero is away for an Unduly Long Period – rumors / legends of his / her death become widely accepted. These are seized upon and

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exacerbated by the Id and it’s accomplices in order to create a situation of Reduced Hope. In The Ten Commandments (1956), Dathan persuades the Israelites to ignore Moses, who may have died upon the mountain. Weakened Circle of Elders Those left in charge allow (themselves) Deception and Temptation and ignore what is left of the Constitution and begin breaking its Laws. Thus, the Id is released and the Deficiency comes into being once again (the Inner Challenge comes into being once again, the ability to control the Id is lost; the capacity to maintain the State of Perfection is lost; the capacity to resist temptations is lost; this is Original Sin all over again). False Gods This is the stage where the Id becomes worshipped and the Hero Parent ignored. In The Ten Commandments (1956), the Israelites allow themselves to be influenced and begin crafting idols of gold. Hero Parent Return When the Hero Parent unexpectedly returns, s/he enters a dark, chaotic world that is distinctly different from the one that s/he left. In The Ten Commandments (1956), Moses returns to find a different state to the one which he left. Land of the Divided A few Good People of the Township have been able to see the Id / Greater Antagonism for what it really is and thus the Hero Parent returns to a small remnant of remaining followers (Goods Angels) and a large number of defectors (Dark Angels). In The Prophecy (1985), the angels have divided into two camps, those in God’s favour (good angels) and those outside of it (dark angels). Land of the Blind The Hero Parent warns of the danger but the vast majority (Circle of Elders, People of the Township) do not see the imminent end of their World. They have become Unawakened. Interdiction Some punishment or limitation prevents the Hero Parent from interfering in any way with the changes that have come about. Commonly, the Hero Parent is unprepared to make any required sacrifice.

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2100 Stage Hero’s Journey v 1.0 © All Rights Reserved Kal Bashir / www.kalbashir.com

Id Potency The Id / Greater Potency thus grows and crosses a critical threshold where the journey must be engaged in once again in order to regain the Capacities to contain it. In Superman (1977), the Circle of Elders forbids Jor-El from spreading the word in case it causes panic [of the enlarging red sun; a metaphor for the enlarging Id]. Banished The Id / Greater Antagonism knows that the Hero Parent and his progeny are a threat and banishes them to the Edge of the World of the State of Perfection (this is its error and Deficiency). It only banishes them because of some limitation to killing them, at that time. Mysterious Death At the Edge of the World of the State of Perfection, the Hero dies a Mysterious Death (see Hero Parent Death at the beginning). In Out of Africa (1985), no one knows exactly how Denys died. Hallowed Ground The Hero Parent receives a High Status Burial from a few loyal followers, commonly on Sacred / High Ground. In Out of Africa (1985), Denys is buried upon a hilltop. Magical Gift Commonly, a Magical Gift is hidden in the grave, which will assist the next hero to Restore the State of Perfection (this may be the Sword of the next cycle). The Magical Gift is protected by Magical Spells, to ensure that only a hero is able to retrieve it. Various archetypes (see Advanced Archetypes http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html) attempt to hide the grave:

at may

Secret Grave The Id / Greater Antagonism’s representatives may attempt to hide the grave so as not to induce a Prophecy through martyrdom. Else, the Hero Parent Loyal Allies will attempt to hide the grave and the Magical Gift within it.

2100 Stage Hero’s Journey v 1.0 © All Rights Reserved Kal Bashir / www.kalbashir.com

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2100 Stage Hero’s Journey v 1.0 © All Rights Reserved Kal Bashir / www.kalbashir.com

Havoc The Id wreaks havoc in the World and the Good People of the Township realise their mistake, but it is too late. Hero Parent’s Legend The Hero Parent’s Legend lives on through a Select Few, who predict his return in another form, most commonly through a descendant, around which a Prophecy is told - the present, growing evil will one day be brought down. In Genghis Khan (1965), Subotei maintains the legend of the Prophecy The cycle continues…go to the beginning.

2100 Stage Hero’s Journey v 1.0 © All Rights Reserved Kal Bashir / www.kalbashir.com

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2100 Stage Hero’s Journey v 1.0 © All Rights Reserved Kal Bashir / www.kalbashir.com

FURTHER, ADVANCED MATERIALS You should read this material several times in order to get your head around the concepts adequately. Each re-read gives richer insights and enlightenments. Other things you can do to get your head around this pattern: See how the pattern applies specifically to the type of story you want to write. Order a custom deconstruction of a specific story in your genre: http://www.kalbashir.com/CustomServices.html Understand the advanced worksheets points-of-view: http://www.kalbashir.com/AdvancedWorksheets.html Get your head around advanced archetypes: http://www.kalbashir.com/screenwriting/HerosJourneyArchetypes.html Investigate our other services and how they tailor to your need: http://www.kalbashir.com/CustomServices.html

2100 Stage Hero’s Journey v 1.0 © All Rights Reserved Kal Bashir / www.kalbashir.com

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