The Monomyth of the Hero

In the course of analyzing the myths and lore of various world cultures,
mythologist Joseph Campbell saw an underlying similarity throughout the stories,
and in fact perceived and articulated a storyline-structure he believed to be
universal for hero-myths. This storyline he called the monomyth.

Here is an outline of the basic structure of the universal hero’s monomyth, as

Campbell discussed it in his book, The Hero with a Thousand Faces:

I. Departure
- The Call to Adventure
- Refusal of the Call
- Supernatural Aid
- The Crossing of the First Threshold
- The Belly of the Whale

II. Initiation
- The Road of Trials
- The Meeting with the Goddess
- Woman as the Temptress
- Atonement with the Father
- Apotheosis
- The Ultimate Boon

III. Return
- Refusal of the Return
- The Magic Flight
- Rescue from Without
- The Crossing of the Return Threshold
- Master of the Two Worlds
- Freedom to Live

Hero's Journey
Hero Archetypes
Heroine's Journey

Inciting Incident
Ordinary World
Call to Adventure
Interdiction / Refusal of the Call
Supernatural Aid
First Threshold
Belly of the Whale
 Physical Separation
Transformation Mentor
Trials, Transformation and The Great Cave
Complex
Meeting the Oracle and Ideal
Divergence
Journey to the Sword
Seizing the Sword
Night Sea Journey
Death or Near Death Experience
Rebirth
Convergence
Shape Shifter Revealed and The Red Herring
Atonement with the Father
Apotheosis
Ultimate Boon

Disgust and Refusal of the Return

Magic Flight
Rescue from Without
Crossing the Return Threshold
Final Conflict
Master of the Two Worlds
Freedom to Live
AfterLife Act

And a diagram of the Hero’s circular adventure:

Chris Vogler - The Writer's Journey

Archetypes

•Hero
•Mentor
•Shape shifter
•Trickster
•Herald
•Shadow
•Threshold Guardians
(•Allies)

The Hero's Journey

1.Ordinary World
2.Call to Adventure
3.Refusal of the Call
4.Mentor
5.First Threshold
6.Tests, Allies, Enemies
7.Approach to the Inmost Cave
8.Ordeal
9.Reward (seizing the sword)
10.The Road Back
11.Resurrection
12.Return with the Elixir

Vogler's Map of the Journey

Vogler breaks down the "Journey" into seven archetypes and twelve stages:
The Seven Archetypes

Hero: "The Hero is the protagonist or central character, whose primary

purpose is to separate from the ordinary world and sacrifice himself for
the service of the Journey at hand - to answer the challenge, complete
the quest and restore the Ordinary World's balance. We experience the
Journey through the eyes of the Hero."

Mentor: "The Mentor provides motivation, insights and training to help

the Hero."

Threshold Guardian: "Threshold Guardians protect the Special World and

its secrets from the Hero, and provide essential tests to prove a Hero's
commitment and worth."

Herald: "Herald characters issue challenges and announce the coming of

significant change. They can make their appearance anytime during a
Journey, but often appear at the beginning of the Journey to announce a
Call to Adventure. A character may wear the Herald's mask to make an
announcement or judgment, report a news flash, or simply deliver a
message."

Shapeshifter: "The Shapeshifter's mask misleads the Hero by hiding a

character's intentions and loyalties."

Shadow: "The Shadow can represent our darkest desires, our untapped
resources, or even rejected qualities. It can also symbolize our
greatest fears and phobias. Shadows may not be all bad, and may reveal
admirable, even redeeming qualities. The Hero's enemies and villains
often wear the Shadow mask. This physical force is determined to destroy
the Hero and his cause."

Trickster: "Tricksters relish the disruption of the status quo, turning

the Ordinary World into chaos with their quick turns of phrase and
physical antics. Although they may not change during the course of
their Journeys, their world and its inhabitants are transformed by their
antics. The Trickster uses laughter [and ridicule] to make characters
see the absurdity of the situation, and perhaps force a change."

The Twelve Stages of the Journey

Ordinary World: "The Hero's home, the safe haven upon which the Special
World and the Journey's outcome must be compared." The Journey begins
in the Ordinary World, travels to the Special World, and returns to the
Ordinary World.

Call to Adventure: The Call to Adventure sets the story rolling by

disrupting the comfort of the Hero's Ordinary World, presenting a
challenge or quest that must be undertaken.

Refusal of the Call: "A Hero often refuses [or is reluctant] to take on
the Journey because of fears and insecurities that have surfaced from
the Call to Adventure. The Hero may not be willing to make changes,
preferring the safe haven of the Ordinary World. This becomes an
essential stage that communicates the risks involved in the Journey that
lies ahead. Without risks and danger or the likelihood of failure, the
audience will not be compelled to be a part of the Hero's Journey."

Meeting with the Mentor: "The Hero meets a Mentor to gain confidence,
insight, advice, training, or magical gifts to overcome the initial
fears and face the Threshold of the adventure. The Mentor may be a
physical person, or an object such as a map, a logbook, or other
writing."

Crossing the Threshold: "Crossing the threshold signifies that the Hero
has finally committed to the Journey. He is prepared to cross the
gateway that separates the Ordinary World from the Special World."

Tests, Allies, Enemies: "Having crossed the threshold, the Hero faces
Tests, encounters Allies, confronts Enemies, and learns the rules of
this Special World. The Hero needs to find out who can be trusted.
Allies are earned, a Sidekick may join up, or an entire Hero Team
forged. The Hero must prepare himself for the greater Ordeals yet to
come and needs this stage to test his skills and powers, or perhaps seek
further training from the Mentor. This Initiation into this Special
World also tests the Hero's commitment to the Journey, and questions
whether he can succeed."

Approach to the Inmost Cave: "The Hero must make the preparations
needed to approach the Inmost Cave that leads to the Journey's heart, or
central Ordeal. Maps may be reviewed, attacks planned, a reconnaissance
launched, and possibly the enemies forces whittled down before the Hero
can face his greatest fear, or the supreme danger lurking in the Special
World." The Approach may be a time for some romance or a few jokes
before the battle, or it may signal a ticking clock or a heightening of
the stakes.

Ordeal: "The Hero engages in the Ordeal, the central life-or-death

crisis, during which he faces his greatest fear, confronts his most
difficult challenge, and experiences "death". His Journey teeters on
the brink of failure. The Ordeal is the central magical Stage of any
Journey. Only through "death" can the Hero be reborn, experiencing a
resurrection that grants greater power or insight to see the Journey to
the end."

Reward (Seizing the Sword): "The Hero has survived death, overcome his
greatest fear, slain the dragon, or weathered the crisis of the heart,
and now earns the Reward that he has sought. The Hero's Reward comes in
many forms: a magical sword, an elixir, greater knowledge or insight,
reconciliation with a lover. Whatever the treasure, the Hero has earned
the right to celebrate. The Hero may have earned the Reward outright,
or the Hero may have seen no option but to steal it. The Hero may
rationalize this Elixir theft, having paid for it with the tests and
ordeals thus far. But the consequences of the theft must be confronted
as the Shadow forces race to reclaim the Elixir that must not see the
light of the Ordinary World."

The Road Back: "The Hero must finally recommit to completing the
Journey and accept the Road Back to the Ordinary World. A Hero's
success in the Special World may make it difficult to return. Like
Crossing the Threshold, The Road Back needs an event that will push the
Hero through the Threshold, back into the Ordinary World. The Event
should re-establish the Central Dramatic Question, pushing the Hero to
action and heightening the stakes. The Road Back may be a moment when
the Hero must choose between the Journey of a Higher Cause verses the
personal Journey of the Heart."

Resurrection: "The Hero faces the Resurrection, his most dangerous

meeting with death. This final life-or-death Ordeal shows that the Hero
has maintained and can apply all that he has brought back to the
 Ordinary World. This Ordeal and Resurrection can represent a
"cleansing" or purification that must occur now that the Hero has
emerged from the land of the dead. The Hero is reborn or transformed
with the attributes of the Ordinary self in addition to the lessons and
insights from the characters he has met along the road. The
Resurrection may be a physical Ordeal, or final showdown between the
Hero and the Shadow. This battle is for much more than the Hero's life.
Other lives, or an entire world may be at stake and the Hero must now
prove that he has achieved Heroic status and willingly accept his
sacrifice for the benefit of the Ordinary World. Other Allies may come
to the last minute rescue to lend assistance, but in the end the Hero
must rise to the sacrifice at hand. He must deliver the blow that
destroys the Death Star (Star Wars), or offer his hand and accept the
"magic" elixir of love."

Return with the Elixir: "The Return with the Elixir is the final Reward
earned on the Hero's Journey. The Hero has been resurrected, purified
and has earned the right to be accepted back into the Ordinary World and
share the Elixir of the Journey. The true Hero returns with an Elixir
to share with others or heal a wounded land. The Elixir can be a great
treasure or magic potion. It could be love, wisdom, or simply the
experience of having survived the Special World. Even the tragic end of
a Hero's Journey can yield the best elixir of all, granting the audience
greater awareness of us and our world (Citizen Kane)."

To recap the Hero's journey:

Heroes are introduced in the ORDINARY WORLD, where
they receive the CALL TO ADVENTURE.
They are RELUCTANT at first or REFUSE THE CALL, but
are encouraged by a MENTOR to
CROSS THE FIRST THRESHOLD and enter the Special World, where
they encounter TESTS, ALLIES, AND ENEMIES.
They APPROACH THE INMOST CAVE, crossing a second threshold
where they endure the ORDEAL.
They take possession of their REWARD and
are pursued on THE ROAD BACK to the Ordinary World.
They cross the third threshold, experience a RESURRECTION, and are
transformed by the experience.
They RETURN WITH THE ELIXIR, a boon or treasure to benefit the Ordinary
World.

While Vogler breaks down the Journey into 7 and 12, there are some
additional ways of looking at the Journey:

As a dance of Unity.

As a Journey of Separation and a return to Unity

Beginning - Middle - End

Journey to the Four Corners of the Earth.

The Seven Stages of Spiritual Unfoldment.

Also, The seven chakras, the seven holy planets.

From Fool to Sage - Completion of the series 0..9

Also, the Ten Spheres on the Tree of Life.

The Twelve Signs of the Zodiac.

Also, the twelve basic personality types.
 All the Archetypes.
22 Keys of the Major Arcana of the Tarot. 22 letters of the Hebrew
alphabet.

References:
1: Excerpts from MYTH AND THE MOVIES ISBN 0-941188-66-3
Reprinted with permission by Michael Wiese Productions www.mwp.com
(800-833-5738 or 818-379-8799)
Copyright 1999 Stuart Voytilla

2: Excerpts from THE WRITER'S JOURNEY ISBN 0941188701

Reprinted with permission by Michael Wiese Productions www.mwp.com
(800-833-5738 or 818-379-8799)
Copyright 1998 Christopher Vogler

Campbell -

Inciting Incident
Can be separate and distinct from the Call to
Adventure. Can be used as a tool to introduce the
antagonism, the push-force, develop context,
polarisation and more:

In Harry Potter: The Goblet of Fire (2005),

we initially meet Voldemort in Harry's
dream.

In Shrek (2001), the cartoon characters

are being rounded up.

In Star Wars(1977), Vader et al kidnap

Leia; we learn about the Empire versus
the Rebellion.

Ordinary World and Ordinary

Self
Where we learn crucial details about the Hero, his or
her True Nature, capabilities and more:
 In Gladiator (2000), Maximus takes time
to feel the tall grass.

In War of the Worlds (2005), we meet Ray

Ferrier at work and at home.

In Annie Hall (1977), Alvie Singer worries

about everything in New York.

In Beverly Hills Cop (1984), Axel is a cop

in Detroit.

Call to Adventure
Where the Hero is incited to leave the Ordinary World.
Often brought by a Herald; Much happens here:

In Star Wars(1977), R2 relays Leia's

message to Luke.

In The Matrix (1999), Trinity tells Neo he is

really searching for the Matrix.

In Beverly Hills Cop (1984), Axel is

motivated by Mikey's assassination.

In Back to the Future (1985), Doc calls

and tells Marty to be at Twin Pines Falls.

Interdiction / Refusal of the Call

Resistances, obstacles, attachments and other issues
impede movement out of the Ordinary World. Doves,
Interdictors and Interdictions are not uncommon:

In Raiders of the Lost Ark (1981), Marcus

warns Indy about the dangers of the Ark.

In The Incredibles (2004), Mr Incredible

resists not being allowed to be a
superhero. The government, Elastigirl and
his boss are Interdictors.
 In Get Carter (1971), Carter's boss warns
of the northern gangs.

In Gladiator (2000), Maximus does not

want to take Marcus Aurelius' place.

Supernatural Aid
Magical Mentors and gifts provide guidance and assist
the overcoming of hurdles. It is not uncommon for the
Hero to encounter multiple Mentors at various stages
of the Journey; most commonly there is a Threshold
Mentor and a Transformation Mentor.

In Million Dollar Baby (2004), Maggie

needs Frankie to start winning.

In The Empire Strikes Back (1980), Luke

needs Yoda to tech him the ways of the
Force.

In Raging Bull (1980), Vickie lures Jake

away from his wife and Ordinary World.

In Gladiator (2000), Marcus Aurelius

pushes Maximus forward and Proximo
transforms him from soldier to gladiator.

First Threshold
The First Threshold has many functions. This is a
place of significant, but not deep, change:

In Lawrence of Arabia (1962), Lawrence

gains the king's trust.

In The Matrix (1999), Neo learns martial

arts.

In Raging Bull (1980), Jake and Vickie

become an item.
 In Planet of the Apes (1968), Taylor et al
discover this is an ape planet.

Belly of the Whale

The Belly of the Whale has many functions. This is a
form of Netherworld where the Hero is encouraged to
venture into the Deeper New World:

In Dances with Wolves (1990), John

Dunbar is resists entering the village.

In Superman (1978), Clarke builds a house

in the North Pole and Jor-El teaches him
about his history, home planet and Earth.

In The Harder they Fall (1956), this is

where Art tells Eddie what he's getting
into.

In Thelma and Louise (1991), this is when

Thelma takes her time deciding whether
to go with Louise or not.

Physical Separation
Where the Hero is (often) forced, pushed or pulled
into the Deeper New World:

In Star Wars (1977), Luke et al have to

blast their way out of Mos Isley.

In Gladiator (2000), Maximus is taken

away by the slave caravan.

In Syriana (2005), Prince Nasir repeatedly

calls Bryan.

In King King (2005), Carl forces the ship to

leave with Jack on it.
Transformation Mentor
The Transformation Mentor may be the same or
separate and distinct from the Supernatural Aid. One
responsibility of the Transformation Mentor is to guide
the Hero through the Trials:

In Gladiator (2000), Proximo sees to it

that Maximus becomes a Gladiator.

In Memoirs of a Geisha (2005), Mamaha is

responsible for Sayuri's transformation
into Geisha.

In King Kong (2005), it is King Kong that

causes the transformation.

Trials, Transformation and The

Great Cave Complex
The Hero, reluctantly or willingly, begins the partial
dissolution of the Old Self. A good understanding of
this section can carry the screenwriter through the
major sections of a screenplay:

In Goodfellas (1990), Karen meets the

wives.

In Educating Rita (1983), Rita transforms

into a student.

In Al Pacino Scarface (1983), Tony

establishes himself as a dope dealer.

In Erin Brockovich (1999), Erin becomes

the centre-piece of the case against
PG&E.

This stage of the Journey encompasses nine to twelve

major parts of the Great Cave Complex. Outer, Middle
and Inner Caves represent the three stages of an
Initiation - also known as separation, transition, and
incorporation or similar. Often four stages may be
explicit: separation, transition, incorporation and
demonstration.

In The Matrix (1999), Neo's

physical growth is a three
stage process: first he learns
various martial arts through
computer simulation, then in
hand-to-hand combat with
Morpheus and then he
undergoes the real-live test
(jumping the building).

In Thelma and Louise (1991),

Thelma is hit on by Harlan,
gets drunk with Harlan, is
almost raped by Harlan. Then
is shot by Louise.

Meeting the Oracle and Ideal

Where the Hero learns of an Ideal, the Sword and the
need to seize it.
The Sword is the tangible representation of the Ideal.
The Ideal can (often) be described as altruistic as the
Hero will (often) have to disregard his Own Self.
Implicit in the Ideal is the concept of sacrifice.
Also see Seizing the Sword

In Carlito's Way (1993), Carlito helps

Kleinfeld out of loyalty.

In The Godfather (1972), Michael sees

Appollonia.

In Spiderman 2 (2004), the doctor tells

Peter Parker that he has a choice.

Divergence
Where the Hero is consciously or not, willingly or not,
separated from all or many crucial Allies or Enemies,
where ideals diverge and more:

In King Kong (2005), Jack leaves everyone

behind in order to rescue Ann.

In Star Wars (1977), Luke leaves R2 and

C3PO behind.

In Syriana (2005), Bennett goes alone to

retrieve the note.

In The Empire Strikes Back (1980), Obi

Wan and Yoda cannot help Luke if he goes
to rescue Han et al.

Journey to the Sword

Includes obstacles, dangers, foreboding, pessimism,
entering a New World and much more:

In King Kong (2005), Jacks journey to Ann

is perilous.

In Star Wars (1977), Hans thinks rescuing

Leia is suicidal.

In The Lion, the Witch and the Wardrobe

(2005), rescuing Edmund involves
entering the White Witches lair.

Seizing the Sword

The Sword is a tangible that represents a number of
intangibles and is a significant, but not complete,
stage of transformation.

In The Godfather (1972), Michael marries

Apollonia and becomes a de facto Sicilian.
 In A Fistful of Dynamite (1971), Juan takes
out the bridge and becomes a de facto
rebel.

In Scarface (1983), Tony takes over

Frank's empire and becomes the boss.

Night Sea Journey

One function of the Night Sea Journey is to attain a
Magical Gift from the Old (Another) World,

In Dances with Wolves (1990), John goes

back to the fort to dig out the guns.

In Rambo (1984), Rambo steals the truck

with the explosives.

In Lord of the Rings: Return of the King

(2004), Frodo is saved by the magical
vest.

Near Death Experience

Death is a prelude to Rebirth.

In An Officer and a Gentleman (1982),

Worley commits suicide.

In Unforgiven (1992), Clint Eastwood is

beaten to a pulp by Gene Hackman.

In A Fistful of Dynamite (1972), Dr. Villega

is captured, tortured and forced to reveal
the identities of his associates. John
recalls his back-story and a similar
situation in Ireland. Rod Steiger faces an
execution at the hands of a firing squad.
Rebirth
Where the complete New Self comes into being.

In Dances with Wolves (1990), John

Dunbar wears the complete Sioux
uniform.

In The Harder they Fall (1956), Toro now

speaks English fluently.

In Syriana (2005), Arash says goodbye to

his father and becomes the archetypal
suicide bomber.

Shape Shifter Revealed and The

Red Herring
The Shape Shifter's True Nature may be revealed;
where Red Herrings are played out.

In The Incredibles (2004), this is where

Mirage helps the Incredible family escape.

In The Lion, the Witch and the Wardrobe

(2005), this is where Edmund reveals that
he is really wants to be part of the family.

In Syriana (2005), this is where we don't

know whether it is Whiting that will be
sacrificed.

Atonement with the Father

There are many aspects of this and it can be
interpreted in many ways, one being: an
incompatibility (re)surfaces between the New Self and
the Old Self.

In Dances with Wolves (1990), John has

become a fully fledged Sioux, yet he
 knows the white man will come and
number "as many as the stars."

In Out of Africa (1985), Karen wants

Denys not to keep disappearing.

In Casablanca (1943), Victor tells Rick

what he would do for Ilsa.

Apotheosis
There are many aspects of this and it can be
interpreted in many ways. One element of it is the
seminal insight , an illumination, an epiphany:

In Casablanca (1943), Rick's insight is that

if you love someone, you sacrifice yourself
for their happiness. That sacrifice can
include selling your most prized material
possessions (he sells his bar), allowing
your love to find happiness in another's
arms (he ultimately allows Ilsa to be with
Victor), physical suffering (it is likely that
his ultimate actions will see him to a
concentration camp), leaving dear friends
(he will have to leave Sam behind) and
forced exile from home and heart (he will
have to leave Casablanca). He learns this
insight from both Ilsa and Victor, who are
prepared to do the same for each other.

In The Shawshank Redemption (1994),

Andy Dufresne's apotheosis is that you
either get busy living or you get busy
dying. He reaches that insight in the
scene by the prison wall with Red (Morgan
Freeman), but it is preceeded by the
earlier insight that he will never get out of
prison (Warden Norton will never let him
go).

In Al Pacino Scarface (1983), Tony

Montana's insight is that the rewards of
the path he's chosen are not worth the
 spiritual price he is paying, expressed
with the words (in the restaurant scene):
"is this it? Is that what it's all about
Manny? Eating, drinking, fucking,
sucking," "no free rides in this world kid,"
"I lost my appetite," "is that what I worked
for? With these hands? Is that what I killed
for? For this?"

In Alien (1979), Ripley's apotheosis arrives

during the conversation with Ash, the
revived android. He tells her that the alien
cannot be destroyed and that the military
want it - this horror will be unleashed on
the Earth unless she destroys it and the
only way to do that is to nuke the
Nostromo.

In Spiderman 2 (2004), Peter Parker

comes to realise the value of being
Spiderman and the price he must pay for
the gift - give up Mary Jane.

Ultimate Boon
There are many aspects of this and it can be
interpreted in many ways. One element of it is
synergy:

In The Dirty Dozen (1967), Lee Marvin's

challenge is to make his men operate as
an effective unit. When Charles Bronson
et al attain synergy - they overpower the
Major's men in the war games sequence.
The whole second act is constructed
around the need to reach synergy.

In Beverly Hills Cop (1984), Axel Foley,

Taggart, Rosewood and Bogomil finally
begin working together to tackle Victor
Maitland.

In Alien (1979), Ripley and Parker initially

antagonise each other. After their
Apotheosis (that the military wants the
Alien, it cannot be destroyed and that
 they are expendable), Parker and Lambert
quickly fall into line under Ripley's
command.

Disgust and Refusal (of the

Return)
There are many aspects of this and it can be
interpreted in many ways. One element of it is: refusal
to be pushed out of the New World and away from the
New Self:

In Dances with Wolves (1990), Stands

with a fist refuses to let John go back to
the fort to collect his diary.

In Erin Brockovoch (1999), Erin refuses to

give up the case to Kirk Potter and his
team.

There is also disgust with the New Self:

In Y Tu Mama Tambien (2000), the boys

throw up after having slept together.

Magic Flight
This is the physical flight from the New World and
New Self and contains an air of the supernatural.
Often the Hero is pursued or pursues.

In Raiders of the Lost Ark (1981), Indy

swims to the submarine.

In Ali (2000), Ali runs through the village

and sees the images of himself.

In Knocked Up (2007), the boys go to

Vegas.
Rescue from Without
The World pulls the Hero back. There are a number of
variations, including:

In A Wonderful Life (1946), Clarence

rescues and shows George Bailey what
the world would have been like without
him.

In Spiderman (2000), the Green Goblin

kidnaps Mary Jane.

In Thelma and Louise (1991), Hal and the

FBI catch up with the girls.

In The Harder they Fall (1956), Eddie

persuades Toro to fight until he is paid.

Crossing of the Return

Threshold
Elements include:

Time Pressure. Bond only has so long

before the nukes explode.

The Hero will venture to a dangerous

place. In Spiderman (2000), the battle
takes place high up above the water.

The overwhelming magnitude of the task

will be noted. In Star Wars (1977), the
Rebellion's fighter pilots are in awe of the
Death Star, “look at the size of that
thing.”

Final Conflict
The Final Conflict is so important and contains so
many critical aspects that it is astounding that it is
rarely given mention. This follows a familiar and
similar pattern across genres. It encompasses Multiple
Catharses, Impossible Dilemma, Polarization,
Unbearable Antagonism, Surpassing Peers, False
Heroes, Hand-to-Hand Battle and much more.

In Annie Hall (1977), Alvie confronts

Annie.

In Gladiator (2000), Commodus and

Maximus battle.

In When Harry met Sally (2007), Harry

runs to tell Sally he loves her.

In Die Hard (1988), John takes on Hans.

Master of the Two Worlds and

Selves
There are many aspects of this and it can be
interpreted in many ways. One element of it is: The
New Self must confront the Old Self.

In The Godfather (1972), Michael tells Kay

that he did not kill Carlo.

In Dances with Wolves (1990), John must

leave the Sioux to spread the message to
anyone who will listen

In Educating Rita (1983), Rita recognises

Dr Bryant's contribution to who she is.

Here, the Hero has the ability to traverse both the

Worlds.

In The Matrix (1999), Neo can stop and

play with the bullets.

In Raiders of the Lost Ark (1981), Indy

tries to warn the government of the power
of the Ark.
Freedom to Live
Balance is restored. Quite a good Freedom to Live
sequence can be found in Elisabethtown (2005).

In Alien (1979), Ripley relaxes and smiles

with Jones the cat.

In Blade Runner (1982), Roy allows the

bird to fly free.

In Raging Bull (1980), Jake pours

champagne out over a mountain of
glasses.

AfterLife Act
Once the Hero has restored balance, his or her story
may not end: The Reign, The Fall, the New Journey,
The Ascendance, rise to Supernatural Aid or Mentor
status, The Death, The Legend, The Rebirth and more
all are often appended to the beginning or ending of
stories:

In Raging Bull (1980), much happens after

Jake retires from Boxing.

In Out of Africa (1985), we learn of Denys'

grave, the lions and more.

In Conan the Barbarian (1982), Conan has

a particular type of final reign.