These close Allies of the hero may provide comic relief as well as assistance. Comical sidekicks, played by character actors such as Walter Brennan, Gabby Hayes, Fuzzy Knight, and Slim Pickens, provide humor lacking in their stalwart, serious heroes they accompany. Such figures may freely cross the boundaries between
Mentor and Trickster, sometimes aiding the hero and acting as his conscience, sometimes comically goofing up or causing mischief.
TEAMS
The Testing stage may also provide the opportunity for the forging of a team. Many stories feature multiple heroes or a hero backed up by a team of characters with special skills or qualities. The early phases of Act Two may cover the recruiting of a team, or give an opportunity for the team to make plans and rehearse a difficult operation. The World War II adventure films The Dirty Dozen and The Great Escape show the heroes bonding into a coherent team before tackling the main event of the story. In the Testing stage the hero may have to struggle against rivals for control of the group. The strengths and flaws of the team members are revealed during Testing.
In a romance, the Testing stage might be the occasion for a first date or for some shared experience that begins to build the relationship, such as the tennis match between Diane Keaton and Woody Allen in Annie Hall.
ENEMIES
Heroes can also make bitter enmities at this stage. They may encounter the Shadow or his servants. The hero's appearance in the Special World may tip the Shadow to his arrival and trigger a chain of threatening events. The cantina sequence in Star Wars sets up a conflict with the villain Jabba the Hutt which culminates in The Empire Strikes Back.
Enemies include both the villains or antagonists of stories and their underlings. Enemies may perform functions of other archetypes such as the Shadow, the Trickster, the Threshold Guardian, and sometimes the Herald.
THE RIVAL
A special type of Enemy is the rival, the hero's competition in love, sports, business, or some other enterprise. The rival is usually not out to kill the hero, but is just trying to defeat him in the competition. In the film The Last of the Mohicans, Major Duncan Hayward is the rival of hero Nathaniel Poe because they both want the same woman, Cora Munro. The plot of Honeymoon in Vegas revolves around a similar rivalry between the hapless hero (Nicolas Cage) and his gambler opponent (James Caan).
NEW RULES
The new rules of the Special World must be learned quickly by the hero and the audience. As Dorothy enters the land of Oz, she is bewildered when Glinda the Good asks, "Are you a good witch or a bad witch?" In Dorothy's Ordinary World of Kansas, there are only bad witches, but in the Special World of Oz, witches can also be good, and fly in pink bubbles instead of on broomsticks. Another Test of the hero is how quickly she can adjust to the new rules of the Special World.
At this stage a Western may impose certain conditions on people entering a town or a bar. In Unforgiven, guns cannot be worn in the sheriff's territory. This restriction can draw the hero into conflicts. A hero may enter a bar to discover that the town is totally polarized by two factions: the cattlemen vs. the farmers, the Earps vs. the Clantons, the bounty hunters vs. the sheriff, and so on. In the pressure cooker of the saloon, people size each other up and take sides for the coming showdown. The cantina sequence in Star Wars draws on the images we all have of Western saloons as places for reconnaissance, challenges, alliances, and the learning of new rules.
WATERING HOLES
Why do so many heroes pass through bars and saloons at this point in the stories? The answer lies in the hunting metaphor of the Hero's Journey. Upon leaving the Ordinary World of village or den, hunters will often head straight for a watering hole to look for game. Predators sometimes follow the muddy tracks left by game who come down to drink. The watering hole is a natural congregating place and a good spot to observe and get information. It's no accident that we call neighborhood saloons and cocktail lounges our "local watering holes."
The crossing of the First Threshold may have been long, lonely, and dry. Bars are natural spots to recuperate, pick up gossip, make friends, and confront Enemies. They also allow us to observe people under pressure, when true character is revealed. How Shane handles himself in a bar fight convinces a farmer to become his Ally and stand up to the bullying cattlemen. In the tense bar-room confrontations in Star Wars, Luke Skywalker sees flashes of Obi Wan Kenobi's spiritual power and Han Solo's "look out for Number One" mentality. The bar can be a microcosm of the Special World, a place through which everyone must pass, sooner or later, like the saloon in The Life and Times of Judge Roy Bean. "Everybody Comes to Rick's," says the title of the play on which Casablanca is based.
Bars also play host to a number of other activities including music, flirting, and gambling. This stage in a story, whether it takes place in a bar or not, is a good place for a musical sequence that announces the mood of the Special World. A nightclub act may allow the introduction of a romantic interest, as in Jessica Rabbit's sensational torch song in Who Framed Roger Rabbit? Music can express the dualities of the Special World as well. At this stage in Casablanca the polarities are movingly presented in a musical duel between the passionate "Marsellaise" sung by the French patriots and the brutal "Deutschland uber Alles" sung by the Nazis.
In the lonely outposts of adventure, saloons or their equivalent may be the only places for sexual intrigue. Bars can be the arena for flirting, romance, or prostitution. A hero may strike up a relationship in a bar to get information, and incidentally acquire an Ally or a lover.
Gambling and saloons go together, and games of chance are a natural feature of the Testing stage. Heroes may want to consult the oracles to see how luck will favor them. They want to learn about the wheel of fortune, and how luck can be coaxed their way. Through a game the stakes can be raised or a fortune can be lost. In the Hindu epic The Mahabharata, a cosmic family feud is set in motion by a rigged game of chance between two sets of brothers. (The bad guys cheat.)
THE WIZARD OF OZ
Of course not all heroes go to bars at this stage of the journey. Dorothy encounters her Tests, Allies, and Enemies on the Yellow Brick Road. Like Psyche or the heroes of many fairy tales she is wise enough to know that requests for aid on the road should be honored with an open heart. She earns the loyalty of the Scarecrow by getting him unhooked from his post and by helping him learn to walk. Meanwhile she learns that her Enemy, the Wicked Witch, shadows her at every turn and waits for the chance to strike. The Witch influences some grumpy apple trees to become Enemies to Dorothy and the Scarecrow. The Scarecrow proves his worthiness to be on the team by outwitting the trees. He taunts them into throwing apples, which he and Dorothy pick up to eat.
Dorothy wins the affection of another Ally, the Tin Woodsman, by oiling his joints and listening sympathetically to his sad story of having no heart. The Witch appears again, showing her enmity for Dorothy and her Allies by hurling a fireball at them.
To protect her dog Toto, Dorothy stands up to the blustering of the Cowardly Lion, a potential Enemy or Threshold Guardian, and ends up making him an Ally.
The battlelines are clearly drawn. Dorothy has learned the rules of the Special World and has passed many Tests. Protected by Allies and on guard against declared Enemies, she is ready to approach the central source of power in the land of Oz.
The phase of Tests, Allies, and Enemies in stories is useful for "getting to know you"
scenes where the characters get acquainted with each other and the audience learns
more about them. This stage also allows the hero to accumulate power and information in preparation for the next stage: Approach to the Inmost Cave.
QUESTIONING THE JOURNEY
1. What is the Testing phase of Sister Act? A League of Their Own? Big? Why do heroes pass through a period of Tests? Why don't they just go right to the main event after entering Act Two?
2. How does your story's Special World differ from the Ordinary World? How can you increase the contrast?
3. In
what ways is your hero Tested, and when does she make Allies or Enemies? Keep in mind there is no "right" way. The needs of the story may dictate when alliances are made.
4. Are there loner heroes who have no Allies?
5. Is your hero a single character or a group such as a platoon, a crew, a family, or a gang? If it is an "ensemble piece" like The Breakfast Club or The Big Chill, when does the team become a coherent group?
6. How does your hero react to the Special World with its strange rules and unfamiliar people?
Heroes, having made the adjustment to the Special World, now go on to seek its heart. They pass into an intermediate region between the border and the very center of the Hero's Journey. On the way they find another mysterious zone with its own Threshold Guardians, agendas, and tests. This is the Approach to the Inmost Cave, where soon they will encounter supreme wonder and terror. It's time to make final preparations for the central ordeal of the adventure. Heroes at this point are like mountaineers who have raised themselves to a base camp by the labors of Testing, and are about to make the final assault on the highest peak.
Our band of Seekers leaves the oasis at the edge of the new world, refreshed and armed with more knowledge about the nature and habits of the game we're hunting. We're ready to press on to the heart of the new world where the greatest treasures are guarded by our greatest fears.
Look around at your fellow Seekers. We've changed already and new qualities are emerging. Who's the leader now? Some who were not suited for life in the Ordinary World are now thriving. Others who seemed ideal for adventure are turning out to be the least able. A new perception of yourself and others is forming. Based on this new awareness, you can make plans and direct yourself towards getting what you want from the Special World. Soon you will be ready to enter the Inmost Cave.
FUNCTIONS OF APPROACH
In modern storytelling, certain special functions naturally fall into this zone of Approach. As heroes near the gates of a citadel deep within the Special World, they may take time to make plans, do reconnaissance on the enemy, reorganize or thin out the group, fortify and arm themselves, and have a last laugh and a final cigarette before going over the top into no-man's-land. The student studies for the midterm. The hunter stalks the game to its hiding place. Adventurers squeeze in a love scene before tackling the central event of the movie.
COURTSHIP
The Approach can be an arena for elaborate courtship rituals. A romance may develop here, bonding hero and beloved before they encounter the main ordeal. In North by Northwest, Cary Grant meets a beautiful woman (Eva Marie Saint) on a train as he escapes from the police and the enemy spies. He doesn't know she works for the evil spies and has been assigned to lure him into their trap. However, her seduction backfires and she finds herself actually falling in love with him. Later, thanks to this scene of bonding, she becomes his Ally.
THE BOLD APPROACH
Some heroes boldly stride up to the castle door and demand to be let in. Confident, committed heroes will take this Approach. Axel Foley in Beverly Hills Cop crashes into the precincts of his enemy a number of times at the Approach phase, conning his way past Threshold Guardians and flaunting his intention to upset his opponent's world. Cary Grant in Gunga Din marches into the Inmost Cave of his antagonists, a cult of assassins, singing an English drinking song at the top of his lungs. His bold Approach is not pure arrogance: He puts on the outrageous show to buy time for his friend Gunga Din to slip away and summon the British army. In true heroic fashion Grant's character is sacrificing himself and tempting death on behalf of the group.
The Approach of Clint Eastwood's character in Unforgiven is not so much arrogant as ignorant. He rides into the Inmost Cave of the town during a rainstorm, and is unable to see a sign forbidding firearms. This brings him to an ordeal, a beating by the sheriff (Gene Hackman) that almost kills him.
Approach to the Inmost Cave PREPARATION FOR THE ORDEAL
Approach may be a time of further reconnaissance and information-gathering, or a time of dressing and arming for an ordeal. Gunfighters check their weapons, bullfighters dress carefully in their suits of lights.
THE WIZARD OF OZ
The Wizard of Oz has such a well-developed Approach section that we'll use it throughout this chapter to illuminate some of the functions of this stage.
OBSTACLES
Having made some Allies in the Testing stage, Dorothy and friends leave the woods on the border of Oz and immediately see the glittering Emerald City of their dreams. They Approach in joy, but before they reach their goal, they face a series of obstacles and challenges that will bond them as a group, and prepare them for the life-and-death struggle yet to come.
BEWARE OF ILLUSIONS
First they are put to sleep by a field of poppies sown by the Wicked Witch's magic. They are brought back to consciousness by a blanket of snow, courtesy of Glinda the Good.
The message for the hero is clear: Don't be seduced by illusions and perfumes, stay alert, don't fall asleep on the march.
THRESHOLD GUARDIANS
Dorothy and friends reach the City, only to find their way blocked by a rude sentry, a perfect Threshold Guardian (who looks suspiciously like Professor Marvel from Act One). He is a satirical figure, an exaggerated image of a bureaucrat whose job is to enforce stupid, pointless rules. Dorothy identifies herself as the one who dropped a house on the Wicked Witch of the East, and she has the Ruby Slippers to prove it. This wins the respect of the sentry who admits them immediately, saying, "Well that's a horse of a different color!"
Message: Past experience on the journey may be the hero's passport to new lands. Nothing is wasted, and every challenge of the past strengthens and informs us for the present. We win respect for having made it this far.
The satire of bureaucratic nonsense reminds us that few heroes are exempt from the tolls and rituals of the Special World. Heroes must either pay the price of admission or find a way around the obstacles, as Dorothy does.
ANOTHER SPECIAL WORLD
Dorothy and company enter the wonderland of the City, where everything is green except for a horse pulling a carriage, the famous Horse of a Different Color who changes hue every time you look at him. The Driver also looks like Professor Marvel.
Message: You've entered yet another little Special World, with different rules and values. You may encounter a series of these like Chinese boxes, one inside the other, a series of shells protecting some central source of power. The multi-colored horse is a signal that rapid change is coming. The detail of several characters looking alike, or the same character taking a variety of roles, is a reminder we are in a dream world ruled by forces of comparison, association, and transformation. The protean changes of Professor Marvel suggest that a single powerful mind is at work in Oz, or that Dorothy's dream, if that's what it is, has been deeply influenced by his personality. Professor Marvel has become an animus figure for Dorothy: a focus for her projections about mature male energy. Her father is dead or absent and the male figures around the farm, Uncle Henry and the three farmhands, are weak. She is seeking an image of what a father can be, and projects Professor Marvel's paternal energy onto every authority figure she sees. If the Good Witch Glinda is a surrogate mother or positive anima for her, these variations of Professor Marvel are surrogate fathers.
BE PREPARED
Dorothy and friends are primped, pampered, and prepared for their meeting with the Wizard, in the beauty parlors and machine shops of the Emerald City.
Message: Heroes know they are facing a great ordeal, and are wise to make themselves as ready as they'll ever be, like warriors polishing and sharpening their weapons, or students doing final drills before a big exam.
WARNING
Our heroes, feeling pretty good now, go out singing about how the day is laughed away in the merry old land of Oz. Just then the Witch screeches over the city, skywriting from her broomstick, "Surrender Dorothy!" The people back away in terror, leaving our heroes alone outside the Wiz
ard's door.
Message: It's good for heroes to go into the main event in a state of balance, with confidence tempered by humility and awareness of the danger. No matter how hysterical the celebrations in Oz, they always seem to be damped by an appearance of the Witch, a real party pooper. She is a deep disturbance in Dorothy's psyche which will ruin every pleasurable moment until dealt with decisively. The isolation of the heroes is typical. Like Gary Cooper trying to line up support from cowardly townspeople in High Noon, heroes may find good-time companions fading away when the going gets tough.
ANOTHER THRESHOLD
Our heroes knock at the Wizard's door and an even ruder sentry, another ringer for Professor Marvel, sticks his head out. His orders are "Not nobody, not nohow" is to get in to see the Wizard. Only the information that he's dealing with "the Witch's Dorothy" convinces him to go confer with the Wizard. While he's gone, the Lion sings "If I Were King of the Forest," expressing his aspirations.
Message: The credentials of experience may have to be presented repeatedly at successive rungs of power. When delayed by obstacles, heroes do well to get acquainted with their fellow adventurers and learn of their hopes and dreams.
EMOTIONAL APPEAL TO A GUARDIAN
The Sentry returns to report that the Wizard says, "Go away." Dorothy and her companions break down and lament. Now they'll never have their wishes met and Dorothy will never get home. The sad story brings floods of tears to the Sentry's eyes, and he lets them in.
Message: Sometimes, when the passport of experience no longer works to get you past a gate, an emotional appeal can break down the defenses of Threshold Guardians. Establishing a bond of human feeling may be the key.
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