The Ultimate Hero's Journey
Page 13
149 – The Villain’s Grand Entrance
151 – The Villain’s Monologue
The Villain tries to convert the Hero to the dark side.
Description:
The Villain offers a deal: Join me and there will be peace; surrender, and I’ll make sure you obtain everything you desire.
This promise sounds not only reasonable, but also tempting. The deal includes a malignant requirement, of course: All contracts with the Devil are like that.
If the offer is rejected, apocalypse will ensue.
Examples:
Star Wars: InEpisode V, Darth Vader asks Luke to join him. Together they can defeat the Emperor and bring peace to the Galaxy. The condition: Luke must become a Sith, or else everyone dies.
The Matrix: InReloaded,the Architect tells Neo that he can stop the attack and restart Zion with a handful of selected people, if he goes throughthat door. The condition: Everyone else in Zion must die, including Trinity. Or else, everyone dies.
Harry Potter: Voldemort says, “Tell me, Harry, would you like to see your mother and father again? Together, we can bring them back.” The condition: Harry has to hand over the sorcerer’s stone.
Sideways: Jack proposes Miles that they should move to the wine county; they could buy a vineyard, they could design their own wine, and Miles could write a new novel. It sounds nice. The condition: Throw the wedding (and Christine) out the window.
Dodgeball: White bribes Peter: One hundred thousand dollars in exchange for the gym and the game.
Related:
128 – The Villain’s Speech
152 – Temptation Rejected
The Villain promises to destroy everything the Hero loves.
Description:
At the core of all evil there is a fascist imposition: It’s either the Villain’s way or the morgue’s way.
When presented with this cursed choice, the Hero doesn’t talk much; Evil cannot be reasoned with. Instead, the Hero waits for the moment to act.
Examples:
Star Wars: InEpisode VI – Return of the Jedi, Darth Vader says “peace,” but he means total destruction of any opposition. Luke doesn’t answer and stays in hiding, waiting for the right moment.
The Matrix: Neo rejects the Architect’s bait and chooses to go through the second door, instead. He chooses to save Trinity, not Humanity. No previous “One” did such a thing before.
Harry Potter: Harry screams one word: “Liar!”
Sideways: Miles sees through Jack’s delusion about leaving it all behind and moving to the wine county. He tells Jack, “You’re crazy. You’ve gone crazy.”
Dodgeball: Rejection? Nah. Peter already took the money.
Related:
033 – Attack 3: The Hero Resists
101 – The Temptress
153 – Back to the Hook
The Hook described a future ordeal. Now that ordeal begins.
Description:
This moment is like the highest point after the steady climb of a roller coaster: Now the last and most exhilarating part of the ride begins.
This stage tells the audience, “Okay, that’s what happened until right now. Now let’s find out how it’s going to end.”
This is a Joker stage; it can be placed wherever works best, but always here in Act 3.
Examples:
Star Wars: The first scene showed the Empire chasing the Rebels; now we get back to that same “David versus Goliath” symbolism: The meager squadron of Rebel fighters against the mighty Imperial Fleet.
The Matrix: The movie started with a computer screen cracking a phone number; in its last scene the same screen comes back—only this time it shows the message “System Error.”
Harry Potter: The first sequence in the film showed Harry’s scar. Now we see it again; it hurts because of Voldemort’s presence.
Bonus Examples:
The Lord of the Rings: The action starts in the Shire and ends in the Shire.
Crimson Tide: This movie starts on an aircraft carrier, and it goes back to the same carrier just before the final scene.
Notting Hill:This movie starts with Will walking down Portobello Road. Before the “final battle” we see him in the same situation.
Related:
001 – The Hook
154 – Battle against Major Guardians
The final battle starts.
Description:
The Hero will get to the Final Boss but must first get past the dark side’s most powerful lieutenants.
Examples:
Star Wars: The Rebels fight their way through the laser turrets and the TIE Fighters—the Guardians of the Death Star. The legendary battle of Yavin has begun.
The Matrix: Neo and Trinity fight a SWAT team—the Guardians of the building. The scene that ensues (the shooting in the lobby) has a place among the most spectacular action sequences ever filmed.
Harry Potter: Quirrell (Voldemort’s Guardian) and Harry fight for the sorcerer’s stone.
Sideways: Miles’s final battle: Outrunning the humongous tow-truck driver—the Guardian of the wedding rings.
Dodgeball: The fearsome Purple Cobras (the Guardians of the trophy) deliver a painful ordeal of flying balls.
Related:
156 – Battling Styles
157 – Allies out of Combat
155 – Attack 10: Furious Chase
May the dance of death begin.
Description:
The Hero makes a move, and the dark side shows its terrifying power. Objective: Catch and destroy.
Examples:
Star Wars: The X-wings start the attack, moving across a storm of lasers.
The Matrix: Neo is in the building. Smith is furious; Thomas Anderson must die. Now.
Harry Potter: Harry tries to escape; Quirrell chases him.
Sideways: Cammi’s and her husband are making love in the bedroom as Miles grabs the wallet from the dresser and runs away. The chase starts.
Dodgeball: The Cobras are too powerful. Globo Gym is dominating the game.
156 – Battling Styles
The Hero fights with a virtuous attitude; the Villain doesn’t.
Description:
The Hero uses cleverness, agility, and courage; the Villain uses deception, tricks, brute force, and trash talk—all indications that the Villain can’t leave narcissism behind. And that is precisely the reason why the Villain is going to be defeated.
Examples:
Star Wars: Luke helps his comrades, who are pinned down by enemy fighters. Vader and Tarkin talk about how magnificent this day is: It has seen the end of Obi-Wan Kenobi, and now it will see the end of the Rebellion.
The Matrix: Neo and Trinity cover for each other, always putting themselves into harm’s way. As the chase continues in the streets, the Agents shoot at them in the middle of a market full of people, not caring about anything or anyone.
Harry Potter: Voldemort is the most powerful dark wizard ever, and he uses intimidation and lies; Harry does whatever he can—he is just eleven, after all.
Sideways: Miles wants to get back his friend’s rings; Cammi’s husband wants blood.
Dodgeball: White Goodman cheats during the play (stepping on the line, throwing balls to players not in play, etc.) He yells Gordon, “You’re out, four-eyes!,” which is just a token of his constant trash talking.
Related:
154 – Battle against Major Guardians
157 – Allies out of Combat
157 – Allies out of Combat
The good guys are eliminated one by one.
Description:
The forces of evil are strong. They eliminate (although not necessarily kill) the Hero’s companions, one by one. The Hero has to be the only one left who can meet the Villain hand-to-hand.
The clock continues ticking.
Examples:
Star Wars: One by one, the Rebel fighters are destroyed. The leader of the Rebel squadron misses the shot, and then his ship is destroyed. Luke
must attempt the shot himself. The Death Star is closer and closer to Yavin. R2D2 gets blasted by an enemy.
The Matrix: Morpheus and Trinity were extracted from the Matrix, but Neo couldn’t get out. He must face Smith alone inside The Matrix. The Squids attack the ship in the real world.
Harry Potter: Harry faces Quirrell and Voldemort alone, because Ron and Hermione could not get past the chamber’s tests.
Sideways: Miles had to go alone, because Jack has a sprained ankle and is unable to run, or even walk.
Dodgeball: One by one, Peter’s teammates are eliminated. He ends up facing White Goodman and Me’Shell alone.
Related:
154 – Battle against Major Guardians
156 – Battling Styles
158 – Run for Your Life (3)
The Villain gains momentum. The Hero avoids the blows.
Description:
Deadly, brutal attacks. The Hero cannot oppose resistance or fight back. Dodge, escape, and hide are the only options available.
Just as the Hero started the trials winning and then losing in the descending arc of Act 2, here the Hero starts losing and works his way up to victory.
Examples:
Star Wars: Luke dodges the deadly lasers and maneuvers across the Death Star’s surface. His companions fall under enemy fire around him.
The Matrix: Neo dodges bullets and punches, and eventually he has to run away to find a hardline telephone in order to escape the Matrix. He is surrounded by the Agents.
Harry Potter: Harry tries to escape, but the evil professor flies through the room and catches the kid.
Sideways: Miles runs all the way to the car, one step ahead of Cammi’s husband.
Dodgeball: Peter dodges the fast balls thrown at him, just barely escaping.
Related:
110 – Run for Your Life (1)
123 – Run for Your Life (2)
159 – The Oblivious Innocent
Some character has no idea what’s going on.
Description:
The universe as we know it may be coming to an end, but somewhere some minor character is going about daily business, oblivious to the battle. Children are the archetypical figure of the innocent.
Just like stage145 – The Comedic Relief, this is a Joker stage that dissipates some tension and reminds the audience that they should be having fun. I include it here, but you place it wherever it better serves your story.
Examples:
Star Wars: (Not applicable).
The Matrix: (Not applicable).
Harry Potter: InHarry Potter and The Deathly Hallows, Ron, Hermione, and Harry are sitting at a coffee bar. Two vicious Death Eaters arrive, and the shooting starts. We see the waitress working back in the kitchen, listening to music with headphones on, oblivious to the terrible fight happening a few feet away.
Sideways: A young boy hears Jack cursing. His father tells Jack to watch this mouth.
Dodgeball: White Goodman hits the soda cup of a boy passing by. White also takes a sandwich from to another boy’s hands and brutally eats it. It’s official: White is a total jerk.
Related:
098 – The Awkward Innocent
160 – A Cross of Swords
The Hero and the Villain collide.
Description:
The Hero and the Villain close on each other in combat.
The violent confrontation and the physical contact represent the circularity, unity, and opposition of Good and Evil.
The Villain gets the upper hand.
Examples:
Star Wars: Vader shoots down Luke’s wingmen and says, “The Force is strong with this one.”
The Matrix: Smith grabs Neo from the neck and immobilizes him.
Harry Potter: Quirrell grabs Harry and immobilizes him.
Sideways: Cammi’s husband hits Miles’s car.
Dodgeball: What more physical can contact get than a rubber ball thrown to your face?
Related:
157 – Allies out of Combat
161 – At the Mercy of the Villain
The battle goes wrong for the Hero.
Description:
Well, the Hero has to die. Otherwise, where is the sacrifice?
The Hero is immobilized, conscious but hurt.
The Villain is mostly unharmed and ready to deliver the final blow.
Examples:
Star Wars: Vader has Luke’s ship in his sights. He has a missile lock, now, and a clean shot.
The Matrix: Smith has Neo pinned down on the subway tracks. A train approaches at full speed.
Harry Potter: Quirrell has Harry pinned down on the floor.
Sideways: Jack and Miles are trapped inside the car, and Cammi’s husband is trying to open it.
Dodgeball: Peter eliminates Me’Shell but is left exposed to White’s shot. Here comes the ball.
Related:
164 – The Unthinkable Happens
162 – Death Foretold
The Villain tell the Hero, “You are going to die now.”
Description:
These words from the Villain sound like a farewell, but it’s just mock sadness—the caricature of a magnanimous victor.
The Hero doesn’t talk much, though. The Hero knows what’s coming: Unavoidable sacrifice. Why talk?
Examples:
Star Wars: Vader says, “I have you now.” One push of the trigger and Luke’s dead. Luke says nothing and flies directly to his target.
The Matrix: Smith says, “Do you hear that, Mr. Anderson? That is the sound of inevitability. That is the sound of your death. Goodbye, Mr. Anderson.”
Harry Potter: Voldemort orders Quirrell: “Kill him!”
Sideways: Cammi’s husband screams, “You motherfuckers! I’ll kill you!”
Dodgeball: White says, “Goodbye, Peter. I always knew you were weak.”
Related:
163 – The Hero’s Death
166 – The Hero’s Resurrection
163 – The Hero’s Death
The Hero dies (either literally or symbolically).
Description:
The Hero gives up life for the quest.
The problem is that, by dying now, the quest fails. So this is the worst of endings.
In fact, if the story were a tragedy, this would be the end. In a bittersweet story, the Hero would die, but at least the good side’s object would be achieved (e.g.,Aliens 4,andElysium). But a story with a happy ending must continue.
Examples:
Star Wars: Vader opens fire on Luke’s ship. There’s no escape.
The Matrix: Neo opens the door of the apartment where the phone is already ringing. Smith is standing inside. He repeatedly shoots Neo in the chest. Neo dies.
Harry Potter: Quirrell chokes Harry. No one can save him now.
Sideways: Miles tries to start the car. One more bang on the car window and it’s going to break.
Dodgeball: White launches a fast ball and hits Peter. Peter is eliminated.
Related:
162 – Death Foretold
166 – The Hero’s Resurrection
164 – The Unthinkable Happens
The worst happens (or it looks like it does).
Description:
A total shock.
The audience thought, “Of course, that is never going to happen.” And then, BAM—it happens.
Don’t paint yourself into a corner, though. Make sure you have a clever way to revert the catastrophe; avoid having to resort to adeus-ex-machina, i.e., an utterly improbable, illogical or baseless plot twist that conveniently solves the problem. No: The Hero—and the audience—must be convinced that everything is lost.
Examples:
Star Wars: The Death Star finally gets in position. Tarkin gives the order to shoot. It’s all over.
The Matrix: How can Neo be dead? He is The One—isn’t he?
Harry Potter: Quirrell is killing Harry, and the sorcerer’s stone falls from Harry’s hand. The kid is lost, and Vo
ldemort has immortality within reach.
Sideways:Miles learns that his ex-wife not only remarried but is also pregnant. Every hope he had to get back together evaporates. We hear the voice of one of Miles’s students reading a passage fromA Separate Peace that narrates a death. Life as he knows it is over.
Dodgeball: Average Joe’s loses the game. The dream is over. White Goodman falls on his knees, crying tears of joy.
165 – Emergence of the Elixir
“Oh, right, that gizmo from the beginning!”
Description:
The Elixir doesn’t work like the “shark repellent” that Adam West’s Batman just happen to have in his utility belt. No, this artifact was given to the Hero back in stage 069, remember? It is the thing the Hero put in a pocket and we all forgot about.
In many movies, however, the Elixir is not an artifact but a person or an emotion. In this case, the one who revives the Hero is either the Goddess or the closest sidekick.
Examples:
Star Wars: The Millennium Falcon (“that piece of junk”) is Luke’s Elixir. Laser shots from high orbit rain on Vader’s ship. Han is back!
The Matrix: Trinity’s love is Neo’s Elixir. The Oracle told her that she was to fall in love with The One. Trinity says, “I love you, Neo. So, you see, you can’t be dead.”
Harry Potter: Harry’s Elixir is the love and magic powers he received from his mother. In an effort to breathe, Harry takes Quirrell’s hand from his neck, and the dark wizard’s hand turns into crumbling, black ash.
Sideways: Miles’s Elixir is his answering machine (see next stages). But for this particular scene his Elixir is his old Saab; there he finds refuge from the attack of the big boss of this movie.
Dodgeball: The referee saw that White overstepped the line in his last shot. Double fault. The game is not over yet.
Related:
069 – Presentation of the Elixir
166 – The Hero’s Resurrection